Architect and Interiors India Hot 100 - July 2017 Issue by Itp India

⊲ Abha Narain Lambah ⊲ Abin Chaudhuri ⊲ Abraham John & Alan Abraham ⊲ Akshat Bhatt ⊲ WPP license no. MR/TECH/WPP-79/NORTH/2018 License to post without prepayment Postal ⊲ ⊲ Amit Khanna Ambrish Arora, Ankur Choksi Talwar Alfaz Miller ⊲ Alok Shetty Registration No. MCN/101/2018-2020. Published on 5th of every month Posting date: & 9th &Sidhartha 10th of every month Posted at Channel Sorting Office, Mumbai-400001. Registered with Registrar of Newspapers under RNI No. MAHENG/2009/33411 ⊲ Amita Kulkarni Patrika & Vikrant Tike ⊲ Anamika Prasad, Tanmay Tathagat & Gurneet Singh ⊲ Total number of pages 146 Annkur Khosla ⊲ Anupama Kundoo ⊲ Anuradha Guglani ⊲ Anuradha Puri & Vivek Singh Rathore ⊲ Aparna Dhareshwar & Vami Koticha ⊲ Ashiesh Shah ⊲ Ayaz & Zameer Basrai ⊲ Ayush Kasliwal ⊲ Babu Cherian ⊲ Bharat Patel, Dinesh Suthar & Jitendra Sabalapara ⊲ Bobby Mukherjee ⊲ Brijesh Shaijal ⊲ Brinda Somaiya ⊲ Canna Patel ⊲ Chitra Vishwanath ⊲ Christopher Charles Benninger ⊲ Dean D’cruz ⊲ Dikshu Kukreja ⊲ Dimple Mittal & Vijay Narnapatti ⊲ Dipen Gada ⊲ Dominic Dube ⊲ Dulal Mukherjee ⊲ Gayathri Shetty & Namith Varma ⊲ Gurjit Singh Matharoo ⊲ Hafeez Contractor ⊲ Hiren Patel ⊲ Husna Rahaman ⊲ Jaisim Krishna Rao ⊲ Jimmy Mistry ⊲ Kamal & Arjun Malik ⊲ Karan Grover ⊲ Krupa Zubin & Zubin Zainuddin ⊲ Lalita ⊲ Tharani & Mujeeb Ahmed ⊲ Latha R Jaigopal & Jaigopal and insight for architects and interior designers Vol 10 | Issue 4 | July 2018 | `50 ⊲ Linus & Lyle Lopez ⊲ Manish Banker ⊲ Manisha Agarwal & Shantanu Poredi ⊲ G RaoInspiration Martand Khosla ⊲ Mehul Patel, Prem Chandavarkar & Vikram Desai ⊲ Michael Foley ⊲ Minnie Bhatt ⊲ Mona Doctor-Pingle ⊲ Naren Pirgal, Smaran Mallesh & Vikram Rajashekar ⊲ Naresh V Narasimhan ⊲ Ninad Tipnis ⊲ Nisha Mathew-Ghosh & Soumitro Ghosh ⊲ Nithya Srinivasan & Kiran Venkatesh ⊲ Noshir Talati & Nozer Panthaky ⊲ Nuru Karim Parul Zaveri & Nimish Patel ⊲ PK Das ⊲ Ponni & Oscar Concessao ⊲ Pratap Jadhav Prem Nath ⊲ Pronit Nath ⊲ Rahul Kadri ⊲ Rajiv D’Silva ⊲ Rajiv Saini ⊲ Ravi Sarangan & Sanjay Shrinivasan ⊲ Reny Lijo & Lijo Jos ⊲ Reza Kabul ⊲ Rooshad Shroff ⊲ Rupana & Niroop Reddy ⊲ Sabeena Khanna ⊲ S&eep Khosla & Amaresh An& ⊲ Sanjay Puri ⊲ Santha Gour & Kalhan Mattoo ⊲ Seema Puri & Zarir Mullan ⊲ Sheila Sri Prakash ⊲ Shibanee & Kamal Sagar ⊲ Shilpa Gore & Pinkish Shah ⊲ Shimul Javeri Kadri ⊲ Shweta Mewara & Saurabh Ailawadi ⊲ Snehal & Bhadri Suthar ⊲ Sonal Sancheti & Rahul Gore ⊲ Sonali & Manit Rastogi ⊲ Sonali Bhagwati ⊲ Sumessh Menon ⊲ Sunita & Kohelika Kohli ⊲ Sunitha Kondur & Bijoy Ramachandran ⊲ Swapnil & Rahul Dalvi ⊲ Tallulah D’silva ⊲ Tanuja & Sanjay Kanvinde ⊲ Tony Joseph ⊲ Uttam C Jain, Shona & Chirag Jain ⊲ Vikas Dilawari ⊲ Vivek Bhole ⊲ Vivek Kishore ⊲ Yatin P&ya ⊲ Yatin Patel ⊲ Abha Narain Lambah ⊲ Abin Chaudhuri ⊲ Abraham John & Alan Abraham ⊲ Akshat Bhatt ⊲ Alfaz Miller ⊲ Alok Shetty ⊲ Ambrish Arora, Ankur Choksi & Sidhartha Talwar ⊲ Amit Khanna ⊲ Amita Kulkarni & Vikrant Tike ⊲ Anamika Prasad, Tanmay Tathagat & Gurneet Singh ⊲ Annkur Khosla ⊲ Anupama Kundoo ⊲ Anuradha Guglani ⊲ Anuradha Puri & Vivek Singh Rathore ⊲ Aparna Dhareshwar & Vami Koticha ⊲ Ashiesh Shah ⊲ Ayaz & Zameer Basrai ⊲ Ayush Kasliwal ⊲ Babu Cherian ⊲ Bharat Patel, Dinesh Suthar & Jitendra Sabalapara ⊲ Bobby Mukherjee ⊲ Brijesh Shaijal ⊲ Brinda Somaiya ⊲ Canna Patel ⊲ Chitra Vishwanath ⊲ Christopher Charles Benninger ⊲ Dean D’cruz ⊲ Dikshu Kukreja ⊲ Dimple Mittal & Vijay Narnapatti ⊲ Dipen Gada ⊲ Dominic Dube ⊲ Dulal Mukherjee ⊲ Gayathri Shetty & Namith Varma ⊲ Gurjit Singh Matharoo ⊲ Hafeez Contractor ⊲ Hiren Patel ⊲ Husna Rahaman ⊲ Jaisim Krishna Rao ⊲ Jimmy Mistry ⊲ Kamal & Arjun Malik ⊲ Karan Grover ⊲ Krupa Zubin & Zubin Zainuddin ⊲ Lalita ⊲ Tharani & Mujeeb Ahmed ⊲ Latha R Jaigopal & Jaigopal G Rao ⊲ Linus & Lyle Lopez ⊲ Manish Banker ⊲ Manisha Agarwal & Shantanu Poredi ⊲ Martand ⊲ Michael Patel, Prem Ch&avarkar & Vikram Desai Foley ⊲ Minnie Khosla ⊲ Mehul SALUTING THE NAMES THAT MATTER WHILE TAKING STOCK OF LANDMARK PROJECTS IN THE INDIAN ARCHITECTURE AND DESIGN& Vikram Rajashekar ⊲ WORLD NarenOFPirgal, Smaran Mallesh Bhatt ⊲ Mona Doctor-Pingle ⊲ Naresh V Narasimhan ⊲ Ninad Tipnis ⊲ Nisha Mathew-Ghosh & Soumitro Ghosh ⊲ Published by ITP Media (India) Nithya Srinivasan & Kiran Venkatesh ⊲ Noshir Talati & Nozer Panthaky ⊲ Nuru Karim

H T 1 O Looking Back LOOKING FORWARD

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EDITOR’S LETTER

MAKING A NAME “What’s in a name? That which we call a rose By any other name would smell as sweet”

WHEN YOU HAVE 100 DESIGN FIRMS SHARING STORIES ABOUT THEIR ACHIEVEMENTS IN A SINGLE ISSUE, IT IS A TRULY INSPIRATIONAL READ

William Shakespeare’s words ring true in many instances…but when it comes to setting up a practice, it is success that smells sweet. In the process of laying a foundation for it by working on projects that make an impact, architecture and design firms create a name for themselves. As many of you know, this is the time of year when we seek out the names that are the hottest — for our Hot 100 issue. So, we had the unenviable task of connecting with, chasing and, quite often, bullying 100 of the most renowned architects and designers in India to ensure that they answered our soul-searching questions. It could be a thankless task, fraught with frustration… but when even one of them takes the time to compliment us on our innovation in bringing out a collector’s edition because of the effort we put into executing a different concept each year, it is worth all the time and effort. And that’s how we make a name for ourselves. This year, in the run-up to our 10th anniversary which we will celebrate shortly, we decided to take stock of where the industry is headed by getting each of the selected firms to tell us about the projects they have executed that are making a difference — both to the firm and to the country — as well as the new projects that they are working on with enthusiasm. Our cover headline — Looking back, Looking forward — would have given you a clue of what to expect within. While we touch upon the inspirations, foundations and stepping stones that helped each firm build their reputations, we highlight the projects that they are looking back on with pride and looking forward to with excitement. When you have 100 design firms sharing stories about their achievements in a single issue, it is a truly inspirational read. What is also interesting is the names that the founders decided to give their firms. Research suggests that names can influence one’s choice of profession, where we live, whom we marry, the grades we earn while we learn, stocks we invest in, whether we are accepted to a school or university or are hired for a particular job. And so it must be with the names of the firms we have featured in this issue. So, while you read the profiles of these Hot 100, you could amuse yourself by gauging how far the name could have contributed to their success, fame and reputation.

Maria Louis, Editor maria.louis@itp.com

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

H T 1 O

CONTENTS

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49.

Abha Narain Lambah Abin Chaudhuri Abraham John & Alan Abraham Akshat Bhatt Alfaz Miller Alok Shetty Ambrish Arora, Ankur Choksi & Sidhartha Talwar Amisha & Pronit Nath Amit Khanna Amita Kulkarni & Vikrant Tike Anamika Prasad, Gurneet Singh & Tanmay Tathagat Annkur Khosla Anupama Kundoo Anuradha & Vivek Rathore Anuradha Guglani Aparna Dhareshwar & Vami Koticha Ashiesh Shah Ayaz & Zameer Basrai Ayush Kasliwal Babu Cherian Bhadri & Snehal Suthar Bharat Patel, Dinesh Suthar & Jitendra Sabalpara Bobby Mukherji Brijesh Shaijal Brinda Somaya Canna Patel Chitra Vishwanath Christopher Charles Benninger Dean D’Cruz Dikshu Kukreja Dimple Mittal & Vijay Narnapatti Dipen Gada Dominic Dube Dulal Mukherjee Gayathri Shetty & Namith Varma Gurjit Singh Matharoo Hafeez Contractor Hiren Patel Husna Rahaman Jimmy Mistry Kamal & Arjun Malik Karan Grover Krishna Rao Jaisim Krupa Zubin & Zubin Zainuddin Lalita Tharani & Mujib Ahmed Latha R Jaigopal & Jaigopal G Rao Linus & Lyle Lopez Manish Banker Manisha Agarwal & Shantanu Poredi

20 22 24 26 28 30 31 34 36 38 40 42 44 46 48 50 52 54 56 58 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 78 79 80 81 84 85 86 87 88 89 90 91 92

50. 51. 52. 53. 54.

Martand Khosla Michael Foley Minnie Bhatt Mona Doctor-Pingle Narendra Pirgal, Smaran Mallesh & Vikram Rajashekar 55. Naresh Narasimhan 56. Ninad Tipnis 57. Nisha Mathew-Ghosh & Soumitro Ghosh 58. Nithya Srinivasan & Kiran Venkatesh 59. Noshir Talati 60. Nuru Karim 61. Parul Zaveri & Nimish Patel 62. PK Das 63. Ponni & Oscar Concessao 64. Pratap Jadhav 65. Prem Chandavarkar, Mehul Patel & Vikram Desai 66. Prem Nath 67. Rahul Kadri 68. Rajiv D’Silva 69. Rajiv Saini 70. Ravi Sarangan & Sanjay Srinivasan 71. Reny Lijo & Lijo Jos 72. Reza Kabul 73. Rooshad Shroff 74. Rupana & Niroop Reddy 75. Sabeena Khanna 76. Sandeep Khosla & Amaresh Anand 77. Sanjay Puri 78. Santha Gour & Kalhan Mattoo 79. Seema Puri & Zarir Mullan 80. Sheila Sri Prakash 81. Shibanee & Kamal Sagar 82. Shilpa Gore-Shah & Pinkish Shah 83. Shimul Javeri Kadri 84. Shweta Mewara & Saurabh Ailawadi 85. Sonal Sancheti & Rahul Gore 86. Sonali & Manit Rastogi 87. Sonali Bhagwati 88. Sumessh Menon 89. Sunita & Kohelika Kohli 90. Sunitha Kondur & Bijoy Ramachandran 91. Swapnil & Rahul Dalvi 92. Tallulah D’Silva 93. Tanuja & Sanjay Kanvinde 94. Tony Joseph 95. Uttam C Jain, Shona & Chirag Jain 96. Vikas Dilawari 97. Vivek Bhole 98. Vivek Kishore 99. Yatin Pandya 100. Yatin Patel

Cover: Concept by Francis H D’Sa, executed by Milind Patil.

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

Volume 10 | Issue 04 | July 2018 | `50 ITP Media (India) Pvt Ltd Notan Plaza, 3rd floor, 898 Turner Road Bandra (West), Mumbai – 400050, India T +91 22 6154 6000

93 94 95 96 97 98 99 100 101 102 103 104 105 106 107 108 109 110 111 112 113 114 115 116 117 118 119 120 121 122 123 124 125 126 127 128 129 130 131 132 133 134 135 136 137 138 139 140 141 142 143

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, Rupali Sebastian, Natasha Shah, Deepali Nandwani

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

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

PRODUCTION Deputy production manager Ramesh Kumar

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

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

Printed and Published by Sai Kumar Shanmugam, Flat no 903, Building 47, NRI Colony, Phase – 2, Part -1, Sector 54, 56, 58, Nerul, Navi Mumbai 400706, on behalf of ITP Media (India) Pvt Ltd, printed at Indigo Press India Pvt. Ltd., Plot No. 1C / 716, Off Dadoji Konddeo Cross Road, Between Sussex and Retiwala Ind. Estate, Byculla (East), Mumbai-400 027, India, and published at ITP Media (India), Notan Plaza, 3rd Floor, 898, Turner Road, Bandra (West), Mumbai - 400050, India Editor: Maria Louis

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PRESENTS

2018

DESIGN FORUM POWERED BY

AN EVENT BY

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GLIMPSES OF THE

GRAND GRANDEVENING EVENING

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PRESENTS

2018

DESIGN FORUM POWERED BY

AN EVENT BY

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GLIMPSES GLIMPSESOF OFTHE THE

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NEWS & PEOPLE

The 20th IIID Design Excellence Awards, held at Heritance Kandalama

The winners of the IIID Design Excellence Awards pose with the jury and the Awards Committee at the grand finale, held at the Heritance Kandalama – designed by the legendary Geoffrey Bawa, in Sri Lanka. The 20th IIID Design Excellence Awards 2017, supported by Anchor by Panasonic, concluded with a grand awards function at the Geoffrey Bawa-designed Heritance Kandalama in Sri Lanka. On the occasion, the country’s best talent came together along with the jury that has worked hard to assess the entries. The awards committee of Pratap Jadhav (president, IIID), Tanuja Kanvinde, Gayathri Shetty and Rahul Dalvi, proudly announced, before the selection process began, the magic figure of 801 entries received from the four zones − Zone1 South, Zone 2 Maharashtra, Zone 3 Gujarat, Zone 4 East and North of the country. The zonal jury had quite a mammoth task sifting, analysing and brainstorming in their quest to award the best. They congregated at the Trident Udaipur, over two working days – and a list of awardees under various categories were shortlisted. The jury members were treated to a design walkthrough of the beautiful and iconic Oberoi Udaivilas Resort by architect and

The zonal jury met at the Trident Udaipur. Maria Louis (editor) was part of the IIID awards jury for the third consecutive year.

THE ZONAL JURY 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19 20.

APURVA BOSE AYUSH KASLIWAL HARI AGASHE JEYANTI NADESALINGAM KAIWAN MEHTA DR. KAVITA DARYANI RAO MARIA LOUIS NISHA MATHEW NISHMA PANDIT PARUL ZAVERI PRAMITI MADHAVJI PRATYUSH SHANKAR REKHA RODWITTIYA SANJAY KOTHARI SANJAY PATIL SANDEEP MUKHERJEE SHINY VARGHESE SONALI BHAGWATI TONY JOSEPH VIJAY MATAI

BENGALURU JAIPUR PUNE NEW DELHI MUMBAI HYDERABAD MUMBAI BENGALURU PUNE AHMEDABAD MUMBAI VADODARA VADODARA JAIPUR NASIK BENGALURU NEW DELHI NEW DELHI CALICUT VADODARA

designer of the premises, Parul Zaveri. Dinner along with live traditional music at interesting locations in the beautiful city of Udaipur was a treat that aided interaction and camaraderie. The national jury was thereafter held at Taj West End, Bengaluru, whereby the shortlisted participants from all zones defended their designs before the fraternity and observers from the Anchor team. A final list of winners was announced after much discussion. The invitees, which included the chapter chairmen, EC members, the jury and the awardees enjoyed the fabulous Kandalama and went on a day’s visit to Sigiriya, Dambulla Rock temple, and an

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

The IIID Awards Committee comprised Rahul Dalvi, Pratap Jadhav (president, IIID), Tanuja Kanvinde and Gayathri Shetty.

THE NATIONAL JURY 1. 2. 3. 4. 5. 6. 7. 8 9. 10.

CHANDRA SHEKHAR KANETKAR DEAN D’ CRUZ DIMPLE MITTAL GURDEV SINGH HABEEB KHAN KRISHNA SHASTRI MEENA MANI MADHAV JOSHI NIDHIP MEHTA TIMMY CHOU

MUMBAI GOA BENGALURU VADODARA NAGPUR AHMEDABAD NEW DELHI PUNE NEW DELHI TAIPEI, TAIWAN

enriching visit to the studio of Laki Senanayake – where they were enthralled by the passion and skill of the artist. With such tremendous participation and flawless management from Anchor by Panasonic, IIID Anchor Design Excellence Awards has established a credible platform for the recognition of good interior design from all over the country. A&I

⊲ Abha Narain Lambah ⊲ Abin Chaudhuri ⊲ Abraham John & Alan Abraham ⊲ Akshat Bhatt ⊲ Alfaz Miller ⊲ Alok Shetty ⊲ Ambrish Arora, Ankur Choksi & Sidhartha Talwar ⊲ Amit Khanna ⊲ Amita Kulkarn & Vikrant Tike ⊲ Anamika Prasad, Tanmay Tathagat & Gurneet Singh ⊲ Annkur Khosla ⊲ Anupama 19 Kundoo ⊲ Anuradha Guglani ⊲ Anuradha Puri & Vivek Singh Rathore ⊲ Aparna Dhareshwar & Vam Koticha ⊲ Ashiesh Shah ⊲ Ayaz & Zameer Basrai ⊲ Ayush Kasliwal ⊲ Babu Cherian ⊲ Bharat Patel Dinesh Suthar & Jitendra Sabalapara ⊲ Bobby Mukherjee ⊲ Brijesh Shaijal ⊲ Brinda Somaiya ⊲ Canna Patel ⊲ Chitra Vishwanath ⊲ Christopher Charles Benninger ⊲ Dean D’cruz ⊲ Dikshu Kukreja ⊲ Dimple Mittal & Vijay Narnapatti ⊲ Dipen Gada ⊲ Dominic Dube ⊲ Dulal Mukherjee ⊲ Gayathr Shetty & Namith Varma ⊲ Gurjit Singh Matharoo ⊲ Hafeez Contractor ⊲ Hiren Patel ⊲ Husna Rahaman ⊲ Jaisim Krishna Rao ⊲ Jimmy Mistry ⊲ Kamal & Arjun Malik ⊲ Karan Grover ⊲ Krupa Zubin & Zubin Zainuddin ⊲ Lalita ⊲ Tharani & Mujeeb Ahmed ⊲ Latha R Jaigopal & Jaigopal G Rao ⊲ Linus & Lyle Lopez ⊲ Manish Banker ⊲ Manisha Agarwal & Shantanu Poredi ⊲ Martand Khosla ⊲ Mehul Patel, Prem Chandavarkar & Vikram Desai ⊲ Michael Foley ⊲ Minnie Bhatt ⊲ Mona Doctor-Pingle ⊲ Naren Pirgal Smaran Mallesh & Vikram Rajashekar ⊲ Naresh V Narasimhan ⊲ Ninad Tipnis ⊲ Nisha Mathew-Ghosh & Soumitro Ghosh ⊲ Nithya Srinivasan & Kiran Venkatesh ⊲ Noshir Talati & Nozer Panthaky ⊲ Nuru Karim Parul Zaveri & Nimish Patel ⊲ PK Das ⊲ Ponni & Oscar Concessao ⊲ Pratap Jadhav Prem Nath ⊲ Pronit Nath ⊲ Rahul Kadri ⊲ Rajiv D’Silva ⊲ Rajiv Saini ⊲ Ravi Sarangan & Sanjay Shrinivasan ⊲ Reny Lijo & Lijo Jos ⊲ Reza Kabul ⊲ Rooshad Shroff ⊲ Rupana & Niroop Reddy ⊲ Sabeena Khanna ⊲ Sandeep Khosla & Amaresh Anand ⊲ Sanjay Puri ⊲ Santha Gour & Kalhan Mattoo ⊲ Seema Puri & Zarir Mullan ⊲ Sheila Sri Prakash ⊲ Shibanee & Kamal Sagar ⊲ Shilpa Gore & Pinkish Shah ⊲ Shimu Javeri Kadri ⊲ Shweta Mewara & Saurabh Ailawadi ⊲ Snehal & Bhadri Suthar ⊲ Sonal Sancheti & Rahul Gore ⊲ Sonali & Manit Rastogi ⊲ Sonali Bhagwati ⊲ Sumessh Menon ⊲ Sunita & Kohelika Kohl ⊲ Sunitha Kondur & Bijoy Ramachandran ⊲ Swapnil & Rahul Dalvi ⊲ Tallulah D’silva ⊲ Tanuja & Sanjay Kanvinde ⊲ Tony Joseph ⊲ Uttam C Jain, Shona & Chirag Jain ⊲ Vikas Dilawari ⊲ Vivek Bhole ⊲ Vivek POWERED BY IN ASSOCIATION WITH Kishore ⊲ Yatin Pandya ⊲ Yatin Patel ⊲ Abha Narain Lambah ⊲ Abin Chaudhuri ⊲ Abraham John & Alan Abraham ⊲ Akshat Bhatt ⊲ Alfaz Miller ⊲ Alok Shetty ⊲ Ambrish Arora, Ankur Choksi & Sidhartha Talwar ⊲ Amit Khanna ⊲ Amita Kulkarni & Vikrant Tike ⊲ Anamika Prasad, Tanmay Tathagat & Gurneet Singh ⊲ Annkur Khosla ⊲ Anupama Kundoo ⊲ Anuradha Guglani ⊲ Anuradha Puri & Vivek Singh Rathore ⊲ Aparna Dhareshwar & Vami Koticha ⊲ Ashiesh Shah ⊲ Ayaz & Zameer Basrai ⊲ Ayush Kasliwal ⊲ Babu Cherian ⊲ Bharat Patel, Dinesh Suthar & Jitendra Sabalapara ⊲ Bobby Mukherjee ⊲ Brijesh Shaijal ⊲ Brinda Somaiya ⊲ Canna Patel ⊲ Chitra Vishwanath ⊲ Christopher Charles Benninger ⊲ Dean D’cruz ⊲ Dikshu Kukreja ⊲ Dimple Mittal & Vijay Narnapatti ⊲ Dipen Gada ⊲ Dominic Dube ⊲ Dulal Mukherjee ⊲ Gayathri Shetty & Namith Varma ⊲ Gurjit Singh Matharoo ⊲ Hafeez Contractor ⊲ Hiren Patel ⊲ Husna Rahaman ⊲ Jaisim Krishna Rao ⊲ Jimmy Mistry ⊲ Kamal & Arjun Malik ⊲ Karan Grover ⊲ Krupa Zubin & Zubin Zainuddin ⊲ Lalita ⊲ Tharani & Mujeeb Ahmed ⊲ Latha R Jaigopal & Jaigopal G Rao ⊲ Linus & Lyle Lopez ⊲ Manish Banker ⊲ Manisha Agarwal & Shantanu Poredi ⊲ Martand Khosla ⊲ Mehul Patel, Prem Chandavarkar & Vikram Desai ⊲ Michael Foley ⊲ Minnie Bhatt ⊲ Mona Doctor-Pingle ⊲ Naren Pirgal Smaran Mallesh & Vikram Rajashekar ⊲ Naresh V Narasimhan ⊲ Ninad Tipnis ⊲ |Nisha Mathew-Ghosh & www.architectandinteriorsindia.com | JULY 2018 ARCHITECT and INTERIORS INDIA Soumitro Ghosh ⊲ Nithya Srinivasan & Kiran Venkatesh ⊲ Noshir Talati & Nozer Panthaky ⊲ Nuru Karim

H T 1 O Looking Back LOOKING FORWARD

CELEBRATING THE WHO’S WHO OF CONTEMPORARY INDIAN ARCHITECTURE AND DESIGN

HOT 100

Abha Narain Lambah ABHA NARAIN LAMBAH ASSOCIATES ‘Design in context’ has been her guiding light over the two decades of her practice, as it evolved into one of the country’s foremost guardians of built history. When Delhi-bred and Mumbai-based Abha Narain Lambah founded ANL Associates in 1998, she was driven by the idea of changing the status of conservation from elitist to mainstream. For the DN Road streetscape project, she designed urban conservation and signage guidelines for a commercial street in the historic Fort district of Mumbai, and worked with shopkeepers and commercial establishments to re-organise shop fronts and signage. This was the first ‘heritage main street’ project in India and featured street furniture contributed by local stakeholders. Since then, Lambah has come a long way, working to prove that heritage need not only be ancient and monumental— even a 19th or early 20th century neighbourhood could be worthy of conservation. Or that conservation need not be funded by the government alone — citizens could create new models for public-private initiative to conserve heritage. Among her early projects were the Heritage Mile (DN Road streetscape), restoration of Elphinstone College in consonance with the Kala Ghoda Association, and of JJ School of Art, again a public-private initiative. Fittingly, all three projects won UNESCO Asia-Pacific Heritage awards. As the firm grew, it began to handle corporate restoration for banks such as Tata Palace for Deutsche Bank; private and citizen-funded restoration of 15th century temples in Ladakh and Hampi (supported by Global Heritage Fund and World Monuments Fund); and the conservation of Mani Bhavan Gandhi Sangrahalay. Marking a decade of practice, the atelier began working on government buildings such as Convocation Hall, University of Mumbai and the Brihanmumbai Municipal Corporation head office. Lambah feels “truly blessed to have worked on some of the finest sites — from Ajanta Caves, Mahabodhi Temple and Amber Fort to the Royal Opera House.” Conserving built heritage goes hand-in-hand with sustainability, so her practice is aimed at keeping some of our heritage alive and contextual for both the present and the future. Lambah is looking forward to working on “some amazing historic sites across India and the world,” and exhorts fellow architects and designers to steer away from conjectural restoration that falsifies history and to avoid ‘design overkills’. A&I

LOOKING BACK Every project has impacted her practice, from learning that grassroots approach works best in urban areas (DN Road), the importance of historic research (homes like Mani Bhavan and Anand Bhavan), to understanding the significance of material authenticity in dealing with restoration of palaces (Chowmahalla, Hyderabad).

LOOKING FORWARD ANL Associates has been appointed as consultants to the Punjab Government, and advises the state on its cultural and tourism policies. Lambah is excited about the revival plans for the Mughal caravanserais along the old Mughal highway, from Agra to Lahore, as also about the firm’s projects in the historic city of Amritsar.

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

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IN ASSOCIATION WITH

Abin Chaudhuri ABIN DESIGN STUDIO

It was in early 2006 that Abin Design Studio (ADS) was started as a small three-person firm with the simple objective of exploring the independence of private practice that evolves from conceptualisation, to rendering complete design and management solutions. At the core of the practice is the execution of design solutions through synergy between extensive research and innovation. Founder Abin Chaudhuri’s aspiration, while setting up his firm, was to be involved in the design and construction of a public building, a dream which was realised quite early in his professional journey. “We were fortunate to start off with large-scale institutional buildings in the early days of the practice,” elucidates the alumnus of Kolkata’s Jadhavpur University. These proved to be great training grounds in how to handle large projects and the attention to detail involved in site planning, architecture and interiors. “The economics of architecture involved in such projects is quite different from usual design, in terms of allocation of resources, design intent and manpower,” says the admirer of Charles Correa. ADS is currently focusing on small explorative projects, with an independence to experiment, that offer an oppurtunity to make holistic and inspirational buildings — although, says Chaudhuri, they still do large projects “with a lot of cautiousness.” While the focus may be dynamic, their design philosophy — to provide a “soul in a shell” — has remained constant. “We believe architecture is an artistic expression as far as it transcends its purely utilitarian, technical and rational realm and turns into a metaphoric expression of the lived world, human condition and context,” emphasises Chaudhuri, who has also studied Industrial Design at Domus Academy (2005) as well as attended the Glen Murcutt International Master Class of 2014 to further his education in design. Modest about the diverse and laudable nature of his oeuvre — Ballygunge Place, a villa turned restaurant; the Bamboo Pavilion for a socio-religious festival; International Management Institute, Bhubaneswar, among many others — Chaudhuri calls their work “average” at best, especially in the current economy. However, as their inclination towards creating a socially-responsible design studio grows, he is optimistic that his practice will have a global impact. “Responsible design is the need of the hour, to stay in context, especially with the physical environment. We can contribute towards society in a much bigger way, not only by satisfying the needs of the private client or work within boundaries, but we should be able to act beyond,” he concludes. A&I

LOOKING BACK One of the initial projects, IMI Kolkata had a tremendous impact on the practice, majorly due to its scale and the goodwill gained from its experience. It paved the way for many institutional buildings that were eventually taken up by the studio and pushed them to create a similar impact.

LOOKING FORWARD At the moment, ADS is excited about a few interesting projects which are coming up in Bansberia, in Hooghly district, along with a couple of corporate and training complex assignments, in which they have “pushed the boundaries of architecture”.

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

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Abraham John and Alan Abraham ABRAHAM JOHN ARCHITECTS Is there a greater compliment you can receive as a practice than knowing that most of your clients have not changed the environment you’ve designed for them and are happily inhabiting the same space, years later? Calling your work “innovative, effective and trendsetting” isn’t far off then. It’s impressive to chronicle how far Abraham John Architects has come, a practice established in 1967 by Abraham John that he now co-manages with his son Alan Abhraham — both registered architects with Council of Architecture. Interior projects gave the practice a start, gradually overseeing buildings as well and collaborating with a envious clientele like TCS, Britannia Biscuit Co., Glaxo Laboratories, Canara Bank, United Phosphorous, YMCA, Oxfam International, and several other organisations. “We can proudly say we have had a lot of repeat clients since 1967,” adds Alan Abraham.

LOOKING BACK Charity related architectural work has always given the duo a lot of satisfaction. They have worked in calamity affected areas such as Latur (Maharashtra) and Rajkot (Gujarat) which were devastated by earthquakes, coastal areas of Tamil Nadu and Andhra Pradesh that were affected by the tsunami and various other flood related calamities.

LOOKING FORWARD The practice is “enthusiastically” working on a series of urban renewal plans designed to positively transform the city: among them is Shivaji Park, Carter Road, Mahalaxmi, Saat Rasta, Juhu Beach, Andheri Station, etc. “We are very excited about this initiative for the benefit of the people, which could bring a tremendous change in lifestyle,” says Alan Abraham.

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

This popularity is because the studio combines the strength of experience with a contemporary perspective and a focused attention to detail. Additionally, their design approach is to re-connect architecture with nature, make optimum use of space, natural materials, lighting and landscape — re-invent and transform living environments and urban spaces in the process. This design philosophy has remained constant. “A definite milestone in the growth of the firm was the transition into BIM a few years ago. Working in 3D from the start has allowed us to do more in less time and focus more on design rather than the mere process of drawing. It has enabled faster decision-making, better documentation, and the ability to predict performance before ground is ever broken,” explains Abraham about the evolution of their Mumbai-based practice since its inception. The future plans for the firm include more architectural, landscaping and urban planning projects, mainly because the principals recognise architecture’s ability to make a positive and lasting change. Collaborations and partnerships with fellow colleagues is also on their wishlist because “solidarity is the key to the future of the design environment”. It is our duty as architects, says Abraham, to invest time in areas other than designing buildings. “Educate and prepare clients for a better lifestyle where they can enjoy their environment to the fullest. It is upto us to make them brainstorm, imagine, and give them a product that finally matches their values and (possibly) surpasses their aspirations. Creativity is the watchword.” A&I

HOT 100

Akshat Bhatt

ARCHITECTURE DISCIPLINE

Architecture won over progressive rock when it came to formal education for Akshat Bhatt. And an unsuccessful quest for an ‘equal opportunity architectural practice’ to work with in India resulted in the founding of his practice, Architecture Discipline, in 2007. A multi-disciplinary design studio, it explores architecture through the scales of urban design, architecture, interior and product design. The studio is engaged in the design of building typologies such as town halls, hotels, schools, offices, residences and sound and video production studios. “The result of every commission is determined by a series of critical design processes that result in an architectural expression which is contextually charged and contemporary. Buildings are integrated from conceptual framework to the tactile experience,” says the founder of the firm, who believes that regional expression and progressive construction practices create positive environments. Bhatt consciously opted for complex-programmed, medium-scale projects from the very beginning with the intention of testing their conceptual and technical frameworks. When it comes to describing his work so far, the architect says it has been incremental or evolutionary. His musical studies — which pre-dated his architecture ones – pushed Bhatt towards individual expression within compositional frameworks. At architecture school, he was exposed to the Modernists and British Hi-Tech, philosophy and design theory. “When I started professional practice, I began looking at designers in greater detail and into construction techniques. When you’re intensely involved with one thing, as long as you’re not oblivious to everything else, chances are you’ll find a subject that’ll reveal a new dimension. Every time that happens, it adds to your reference base and influences,” he says. This egoless attitude, which makes him easily turn to more experienced professionals for greater understanding, echoes in his advice to fellow architects. “Ego kills talent. I think there is enough and more to be learnt from good, experienced professionals who have paid their dues,” he adds further, “And most important, choose the firm you want to work with carefully, spend a few years (there) before setting up your own space, do so only if absolutely necessary. Last but not the least — draw, draw, draw!” A&I

LOOKING BACK Make in India pavilion at Hannover Messe 2015 positioned India’s advancements across industrial sectors on the bedrock of its rich culture and idiom. The structure’s geometry was rooted in the Navgriha and Vaastu principles, representing India’s profound tradition of peaceful progress.

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

LOOKING FORWARD The studio is involved in the design of a new brand of hotels, one that will revolutionise the industry. It is also working on the design of a micro-housing brand. The reason they’re looking forward to these is the overall built expression and quality of environment; most significantly, a new construction technology.

HOT 100

Alfaz Miller ABM ARCHITECTS “My aspiration was to make it a large practice that would gain recognition. I also wanted to be rich!” Alfaz Miller has no qualms about speaking his mind. And so he began his journey with a seemingly lofty goal back in 1972, in partnership with a colleague and a two-people staff (an architect and a peon) and couple of interior design projects that paid the bills (“also paid for my first motorcycle!”) He spent those intial years unlearning what he studied in architecture school. “Real projects needed technical and management skills,” he found. As the practice evolved slowly to cater to larger and more complex interior design projects (mainly banks and their branches located all over India), with fewer and smaller building design jobs, his philosophy to create innovative yet functional design that are well detailed and executed, strengthened. “The firm had fewer but satisfied clients,” adds Miller, an alumnus of Sir JJ College of Architecture. “The aspects which have remained constant over the years is the design and the detailing quality, and the support to the execution process to ensure that our design is built well, in time and within the budget.” Ten years ago the work was predominantly interior design, but now it has expanded to include buildings. His work can be best described as being sensible, contextual and relevant to the time and purpose for which it was designed. This is the firm’s contribution to the design environment in India, a portfolio of projects that are “consistently good aesthetically, always keeping the user experience and safety paramount”. Miller is also deeply invested in mentoring — mainly his daughters (also architects) and his associates, so that together they can produce good design but also run the firm efficiently and ethically. “What direction the firm takes in terms of type and the scale of projects will frankly depend on the younger designers, who I am grooming to take over the day-today running of the firm. Personally, I would like to design few projects and review them all; and get enough time to play 18 holes every day!” he quips. His advice to fellow architects is as constructive as it is illuminating. “Based on my experience, I would urge young architects who want to build large practices to go to management schools. For the others, follow your heart. If you want to make lots of money, become a financial professional or a world-class sportsman.” A&I

LOOKING BACK Two past projects that significantly impacted ABM were: Grindlays Bank, Mumbai, in 1989 (won ABM its first design award); and ABN Amro Bank in Baroda, which involved restoration of an 80-year-old house, and construction of an annex building. These projects gave design recognition to the firm and also the confidence to handle larger, complex projects.

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

LOOKING FORWARD Among his upcoming projects, Miller nominates Baroda Crossways, a highstreet shopping and commercial complex that will be part of the palace estate of the Maharaja of Baroda. “The plot is located on the main palace road, opposite an old market. The architecture style is contemporary, with nuances of the old public buildings in the area,” he explains.

HOT 100

Alok Shetty

BHUMIPUTRA ARCHITECTURE Keen competitiveness, ambition and a go-getter attitude are traits Alok Shetty demonstrated early on in his professional life. While at Columbia University for a Master in Advanced Architectural Design, these bagged him the Lucille Smyser Lowenfish Memorial Award for Design Excellence for the Black Box Auditorium, a 250-seater auditorium created from a 40-foot shipping container. He brought the same qualities to the table when he established Bhumiputra Architecture in 2012. “My aspiration has always been to work on projects that add value to their communities, neighbourhoods, cities, etc., based on the scale,” says Shetty. The very first project — a hospital in Jaipur — validated this thought. The assignment brought with it learnings focussed completely on efficiency of a building and ease of use for the various kinds of end-users. Over the past six years, the practice has evolved to work on projects of all scales, genres and typologies — sports infrastructure, hospitality, healthcare, schools and educational institutions, libraries and low-cost housing. However, the design philosophy has remained the same. “To work on value-driven projects and projects that will last,” says Shetty. “The evolution has been in terms of our understanding of how long, how much effort and how much patience is required to see the projects finished as we imagined them. A lot of these projects take over four years to be realised and that has been a learning experience.” Shetty describes his practice as a “work in progress”, with a continually evolving style. “We are a very young firm… We have a long way to go but are very keen to grow.” While Bhumiputra Architecture will continue to operate in the fields of low-cost affordable housing, sanitation and infrastructure facilities for underprivileged communities, Shetty hopes the progress will continue to a point where they have a stronger impact every year. In his experience, the architect has found that patience and a cool head go a long way in streamlining work. “Don’t let your emotions get the better of you. This is a challenging profession and can test your patience,” says Shetty. “As a young architect, it requires tact and foresight to get your desired results. We have made those mistakes in the past and reacted too quickly or with emotion. I’d urge the younger or fellow architects to avoid that route.” A&I

LOOKING BACK The Jaipur hospital, which marked Shetty’s professional debut, definitely moulded the philosophy of the firm, which was to work on solving problems first. Everything else was a consequence of the resolution, rather than aesthetics or anything else.

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

LOOKING FORWARD Two projects, a library and an airport that Bhumiputra Architecture commences work on this year, are proving to be exciting as they haven’t worked on these typologies before. Shetty is looking forward to the lessons and challenges they will bring. “Not to mention, I’m excited to showcase what we’ve come up with,” he says.

HOT 100

Ambrish Arora, Ankur Choksi, Asha Sairam, Pankhuri Goel & Siddhartha Talwar STUDIO LOTUS

Being multi-disciplinary is no lip service at Studio Lotus. The 60-strong team of the 16-year-old studio straddles within its ambit a number of diverse fields: architecture, interior design, exhibition design, furniture design and graphic design. And despite its size, the firm has managed to retain a studioculture obsessed with detail, innovation and craftsmanship, rather than only scale. Founded in 2002, Studio Lotus was seeded with “an aspiration to create a design practice that could add value to each project it undertook. The desire was to create an expression that was global through a language that was contextual and local,” say founders Ambrish Arora, Sidhartha Talwar and Ankur Choksi. In the early days, like any fledgling venture, all was grist to Studio Lotus’s mill. Some of its initial works included a small office space, a gym at the India Habitat Centre and a Crafts Mela. Almost a decade later came the first F&B space, the F Bar at Khaaja Chowk, and the first retail space for Viya Home. The learnings at this stage were that people — teams and artisans — were key-enablers between a concept and its realisation. This current people-centric approach — as opposed to the earlier preoccupation with projects — serves as a bedrock for the practice. This philosophy is perpetuated in social context-based design processes — by drawing and adapting from the local culture, combining traditional wisdom with contemporary technology, and an inclusive methodology that counts clients as valued collaborators. “Looked at in this manner, each new project is a lesson in

waiting,” they tell us. “We have been deeply focussed on the nature of our practice and team — on building a culture of self-initiated learning and innovation that each and every member of the Studio Lotus team is inspired to live by, and takes complete ownership of.” From a project perspective, the studio has now moved from a firm that was adept at interior architecture to one where more than half the work comprises greenfield projects. The leaders-cum-entrepreneurs of the multi-disciplinary team would like to share these findings with fellow practitioners: “Don’t get swayed by the ‘image’ of what ‘you’ want to create — surrender yourself to the client’s need and the context you are building in. Keep pushing what is possible. Question deeply. Focus on people and processes that enable them rather than an obsession with the built-form. Last but not the least, stay humble and ever ready to learn.” A&I

LOOKING BACK Their breakthrough architectural project was Raas Jodhpur, which led to further adaptive reuse projects in the Mehrangarh Museum Fort, the Imagine Studio for Godrej, and the Baradari at the City Palace. In the cultural space, Studio Lotus is proud of the small intervention for Khoj Artists Studio and the Devi Arts Foundation.

LOOKING FORWARD Studio Lotus is excited by several projects because of their demands for innovation. These include the public spaces of a clubhouse of a senior living project in Dehradun; a new restaurant/bar in Dubai; Tech Center for Royal Enfield in Chennai; a new jungle resort for The Oberoi; a 500-acre net zero master plan in Rajasthan…

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

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IN ASSOCIATION WITH

Amisha and Pronit Nath URBAN STUDIO

Like many young, aspiring architects, Amisha and Pronit Nath were keen to start their practice as soon as thy graduated. In 2004, when they were still fresh graduates from Academy of Architecture (Mumbai) with some work experience, they were eager to “pitch for any work and get a chance to build, while learning different aspects of practical working”. Their first break came in the form of a restaurant project that went on to receive tremendous positive feedback. Remembering their learnings from those early days, Nath says, “As we went along, we realised how people really use and/or abuse a space.” In no time, the practice evolved and went on to handle residential, retail, hospitality, institutional and even masterplan projects. From the 5-star Devi Ratn in Jaipur, boutique hotel in

LOOKING BACK Without a doubt, Urban Studio identifies the Devi Ratn hotel as one of its significant past projects. Mainly, because they learned the importance of working with both local and global influences, using traditional craft and blending it with modern methods of conception and production.

LOOKING FORWARD As a team that enjoys a good challenge and is looking to broaden their horizon, both Amisha and Pronit are looking forward to a large mixed-use project, “as it comes with many challenges of design and use.”

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

Chennai, Palladium Mall in Chennai, mixed-use building in Surat, to 50-acres of mixed-use master plan and architecture in Raipur, each work saw a great deal of local influence, making them as distinct as possible. “At the beginning, we were influenced by all the international trends and chain of thought processes. But over the years we have realised the importance of being locally influenced and staying relevant to our culture, use, craft and context,” admits Nath. At their multi-disciplinary studio, they maintain a 360-degree approach and design projects that can stay relevant in perspective of time. They’ve enjoyed the opportunity to oversee varied projects, answering each design with individual solutions. When you ask them about the common thread that ties the projects together, they use the word “hyper local” to describe their work so far — an attribute they strive to see in all their emerging works. As the practice evolves, they hope to engage and tap the wealth of craft and materials that our country offers. “We endeavour to integrate all of that with future sustainable systems. Doing work that is relevant and sustainable at different scales,” shares Nath. The other refreshing take from them? “Our advice after realising our shortfalls for the next gen would be not to get impatient to start your own practice, but to work a bit more with different firms.” A&I

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Amit Khanna

AMIT KHANNA DESIGN STUDIO Over the two decades that Amit Khanna has invested in the profession, he has been a student, an intern, an employee, a consultant, a professor and a manager (eventually becoming a husband and a father, too). Growth has been the only constant. But the defining change came about when he forgo a salaried job to independently design a private residence as a consultant. “It was a difficult process of adjusting to working for oneself, being accountable for decisions, trying to develop a vocabulary (or handwriting, as I like to call it), but eventually rewarding, as one project led to another,” recalls the Delhi-based architect. From then on it was all about designing “whatever clients were brave enough to let us design.” Office interiors, a restaurant, few houses... to eventually designing large commercial spaces. Through it all, the quest was to maintain “a design-centric approach to the business of architecture, rather than giving up and letting the economics of projects dictate the terms.” Since its inception in 2004, Amit Khanna Design Associates has been solving complex, layered problems through a design philosophy that revolves around efficiency, craftsmanship and longevity. “When we design a building, we are much more concerned about how the building will perform, how much energy it will consume, whether the materials will last for the lifetime of the building, whether the maintenance required will be minimal...,” says the alumnus of School of Planning and Architecture (New Delhi). Addressing the global crisis of energy consumption, waste management and wealth inequality is paramount, else Khanna believes, “If we are still talking about personal expression or random inspiration... then we are dinosaurs.” Through his work, the goal is to head a motivated team that is committed to architecture that is deeply rooted in country’s regional vernacular, its craftsmanship and spatial traditions. He hopes to identify key construction issues and project a strong statement — in the form of his work — in answer to those issues. “We need to build to address the materiality of place and the concerns of liveability, but most importantly, we need a building to be sustainable,” says the architect who sees travelling to observe culture, climate and architecture as important to one’s growth. “There is immense diversity and plurality in the world today. (Also) younger people should be willing to work in rural areas, be able to engage with stakeholders at all levels and learn many methods of creating spaces. There are no mistakes, only potential for learning,” he concludes. A&I

LOOKING BACK We designed a warehouse, a non air-conditioned building in Delhi. We had to go back to basics, relearn the jaali, and develop a double skin facade that kept the heat and glare at bay, while allowing light in. This building was good, because the brief demanded we think about a problem more than what was normally accepted.

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

LOOKING FORWARD Our ambition as a practice is to design a net-zero building, one that produces as much energy as it consumes, effectively having no negative impact on the environment it inhabits. We hope to build one such building in this decade and that will certainly be our favourite.

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Amita Kulkarni & Vikrant Tike

SAV ARCHITECTURE + DESIGN SAV Architecture + Design was founded in 2011, and always strove to be a multi-disciplinary studio that worked across design and processes, from an urban scale to a personalised object. The founders, principal architect Amita Kulkarni and principal designer Vikrant Tike, are both alumni of the prestigious AA School of Architecture, London, and bring their varied interests to the table to create a wholistic offering. She obtained a master’s degree in Architecture and Urbanism, while he completed his undergraduate architectural studies and obtained a Post Graduate Diploma in Spatial Performance and Design. “We started the studio with art installations and exhibition designs as that allowed us to define our interests, create our unique design language and execute innovative spatial experiences relatively quickly, while equally allowing us to bridge the boundaries between art, architecture and design,” says Kulkarni, an admirer of cultures that can embrace modern thinking and innovation but still manage to live simply in consideration and compassion towards the surrounding. The practice evolved largely through the founders’ curiosities and interests rather than their projects. “One of the critical aspect of our studio that has remained a constant across the varied scales and projects we do is our ability to create narrative and experiential architecture; one that can weave and tell a web of stories, with a focus on the ‘why’ rather than the ‘what’, to create extraordinary spaces and moments within our designs.” As design practitioners of the 21st century, Kulkarni and Tike believe in design and technological research as well as thinking agility in adapting to the future. “For India, we prefer to think laterally when it comes to designing better built environments as we greatly believe in working with reuse of existing low-tech solutions that work sensitively, and have a more sustainable and longer lasting impact,” reveals Tike, who, along with his partner, is a great believer in the power of mistakes. “As good designers, the difference should be our attitude towards ‘mistakes’; wherein we constantly observe, learn and grow from all our mistakes. Only when one overcomes (fear) of failing and falling, can one fly!” A&I

LOOKING BACK A self-initiated art installation in London, called Textfields, enabled the duo to foresee working as design partners in their own studio . Another key project was the Sopanbag Apartments , significant in its scale as it was a seamless bridge between innovative design techniques, and modular and offsite construction processes.

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

LOOKING FORWARD There are two “amazing” projects Kulkarni and Tike have recently commenced: a large interior project for a communications agency that defines the “future of working environments”, and a high-rise building in South Mumbai for which they will create a unique perforated screen façade inspired by the textile industries.

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Anamika Prasad, Gurneet Singh & Tanmay Tathagat ENVIRONMENTAL DESIGN SOLUTIONS [EDS] Back in 2003, Anamika Prasad saw a gaping hole in the profession — a dearth, so to speak, of analytical expertise for designing energy and environmentally conscious buildings in India. This lacuna offered the alumnus of SPA (B.Arch, Delhi) and Arizona State University (Masters) an impetus to start Environmental Design Solutions (EDS) — but only after investing more than a decade working with a few global cutting-edge architecture firms. Soon she was joined by Gurneet Singh (architecture graduate from Chandigarh College of Architecture and Masters from International Institute of Information Technology, Hyderabad) and Tanmay Tathagat (also from SPA, with a Masters degree from the Arizona State University) as directors. Tathagat reminisces, “EDS started off with offering design assistance and energy modelling as part of some of the first few certified green buildings in the country.” The firm soon became an indispensable part of collaborative design teams, integrating passive design, energy efficiency, daylighting, mechanical system design, and overall thermal comfort for

LOOKING BACK Working with Christopher Benninger and the Suzlon team on the Suzlon One Earth project was of great significance for EDS. “The project resulted in a high performance building, with sensitivity to design, comfort, aesthetics and engineering, (implemented) in a very complex and challenging environment,” explains Tathagat.

LOOKING FORWARD The proposed campus for the Indian Institute for Human Settlements (IIHS) in Bengaluru will have digitallyaugmented buildings and facilities to enable interdisciplinary teaching-learning, research and practice, and demonstrate the best examples of Indian design and traditional crafts.

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

hundreds of buildings in the first five years of EDS’s existence, and their work accounted for over 70% of the buildings certified green in those years. Each project guided them onto the next, creating opportunities of learning and unlearning with each consecutive year. “We now have a tremendous wealth of experience of things that work, and most importantly, of things that don’t. The most important learning is that design matters. Technology is only an add-on to enhance good design, and not the other way round,” says Tathagat, who strongly believes that no amount of technology can make a building efficient or sustainable if the design approach is not appropriate. EDS has ensured a holistic approach to sustainability in projects spanning diverse typologies: from residences, townships, airports to even bicycle tracks. Geographically, the team has worked all over the country as well as in the Middle East, Africa, Southeast Asia, and the US. EDS’s focus on sustainability has been a constant since its inception. They approach all design elements, including materials, energy and other systems as an integrated whole. The benefits of a truly sustainable design can be gauged from the lifecycle of the building. Their passion for all things green is ingrained in their DNA and they have been an intrinsic part of the design of several green building rating systems, such as LEED India, GRIHA, and Eco-Housing Assessment Criteria. The founders also helped develop the Indian Energy Conservation Building Code (ECBC); rating systems for Philippines; and building energy codes for Sri Lanka, Thailand, Vietnam, Guam, California (US) and Cyprus. A&I

HOT 100

Annkur Khosla

ANNKUR KHOSLA DESIGN STUDIO Good creative design was the mandate on which Annkur Khosla set up her Mumbaibased practise in 2009. Small spaces — be it apartments or retail spaces — proved to be a fertile ground to test her skills and get a bearing of the profession. A graduate from Academy of Architecture, Khosla got herself acquainted with varied design thoughts — whether it was learning Indian aesthetics through a post-graduate diploma at Jnanapravaha, or immersing in a distinct design culture at the New York School of Interior Design. Naturally, her understanding of design matured through these processes. “The nature of design keeps evolving and it’s a constant tussle between one’s own ideology and people’s perception. Also, as one matures, one’s priorities in life get questioned. However, I firmly believe that the stand for avant-garde design has remained constant,” she says. Her design sense is growing with an increasing respect for humanity, which has led to creating meaningful spaces that are transformational for the inhabitants. With projects — residential and commercial — in Mumbai, Bengaluru, New York, Connecticut… this exploration of avant-garde design that is also human-centric has made Annkur Khosla Design Studio an award-winning practice. Calling her work a “wonderful journey of creativity”, Khosla feels she is ready to broaden her horizon. More notably she would like to design at a larger government level — “but the direction has unfortunately not taken off”. When it does happen, she will be ready because within her unique path as an architect she is willing to “continuously endeavour to dramatically change lives through the path of design”. That’s why in the next decade or so she sees her firm taking newer directions. “I see partnership and collaboration on the anvil,” says the optimistic architect, who sees mistakes as stepping stones in one’s journey — “and no matter what, each one has their own share to attend to and grow.” A&I

LOOKING BACK The penthouse project in Bengaluru was a defining project for the practice as it set the spirit of avant garde and experimental nature of design for Khosla. “This was a milestone to establish manifestation of thought. It also garnered us domestic and international recognition,” she adds.

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

LOOKING FORWARD Khosla is keen to see how a bungalow project in New York with the challenge to architecturally extend an existing structure will unfold, given that construction techniques differ from India. She also mentions an outstation project, a retail space of four floors, which is interesting because of challenges such as scale and structure.

Anupama Kundoo

ANUPAMA KUNDOO ARCHITECTS

PHOTOGRAPH: JUAN RAYOS

HOT 100

IN ASSOCIATION WITH

Author. Activist. Academician. Anupama Kundoo is a woman of many faces, but it all began with architecture, and an aspiration for “creating and contributing to a humane environment.” Disappointed by the urban scenario of run-of-the-mill architecture, commodification of housing and rapid urbanisation, she landed in Auroville after her graduation from Sir JJ College of Architecture. Here, she discovered that many of her own aspirations were collective aspirations shared by others. In this fecund environment, Anupama Kundoo Architects took root in 1990. “My early projects, beginning with residences and public buildings, and later housing projects and urban design involved extensive material research,” she reminisces. “This included building technologies but also infrastructure like water and energy systems.” The experience of building and living in a thatch hut revealed the climatic, economic and energy-related shortcomings in most conventional contemporary building technologies, as well as the fact that they alienated local craftsmen. “The key learnings were about the big picture and how it is affected by our smaller day-to-day decisions. I realised the importance of integral thinking and understanding of the interconnectedness, among different aspects.” Gradually, the practice evolved into a larger office with commissions related to public buildings — including Auroville’s Townhall Complex — as well as housing projects involving environmental sustainability, and later, social sustainability and affordability issues. Simultaneously, her atelier began to take on urban design projects and thinking on a city scale. “The experience and research driven practice brought me into formal academia and rethinking architectural education on one hand; and the international recognition of the practice opened up a whole other sphere of installations and temporary constructions for exhibitions and temporary pavilions in public space,” says the author of the first comprehensive monograph on visionary French architect Roger Anger, Roger Anger: Research on Beauty: Architecture 1953-2008. The architect, who sees her practice being instrumental in bridging industry, architecture and academia, would like to urge fellow-architect to innovate, and not hold back for the fear of making mistakes. “Mistakes are sometimes necessary steps in the process of innovation and they lead to very deep and effective learning. Current ways of building are creating more problems than they solve, so I would say take the time to rethink! We cannot afford not to.” A&I

LOOKING BACK Wall House was the culmination of the architect’s research on pre-industrial bricks and other fired clay elements, with a range of terracotta roofing systems alongside ferrocement elements that were also tested there. This site was used to test experimental ideas conceived for other projects and served as a ‘laboratory’ of sorts.

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

LOOKING FORWARD Anupama Kundoo Architects are looking forward to developing prototypes for urban, high-density housing that retains human scale and intimacy in small groups. These housing arrangements would rely on new models of collective sharing, innovative collective financing, management and participation opportunities.

HOT 100

Anuradha & Vivek Rathore SALIENT DESIGN STUDIO

“The ability to think disruptive and (find) solutions (that are) well-balanced to the context,“ is how Anuradha and Vivek Rathore describe their design style. Established in June 2005, their Kolkata-based practice has propagated an inclusive design approach, be it architecture, interiors or landscape. They “evolve designs which are sustainable, serve many and reinstate Indian design globally”. From the beginning, the studio worked on projects of varied scales — ranging from a 700sq-ft neighbourhood pub interiors to a 300,000sq-ft mixed-use development in a Class B city. “The big ones came as opportunities from competitions essentially,” they mention. Early on in their

LOOKING BACK Key projects such as Montana Vista, Siliguri, Anaya Kutir and City Centre Raipur helped build the firm’s confidence, particularly in landscape and interior design. “Ecospace (another project) was a brilliant (effort) at evolving our ecological and urban design sensitivities,” say the Rathores.

LOOKING FORWARD With their upcoming trade fair ground and infrastructure project, Milan Mela 2020, Salient could very well be building a new landmark for the city of Kolkata. Meanwhile, Swabhumi 2019 is an urban renewal project set over a former garbage dump, which will celebrate the concept of regenerative reuse.

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

career they learnt that the context is not just related to the site responses, but it needs to address the economic model of development or the affordability in terms of construction technology. Continuous research, humility to learn, and being patient were some of the other takeaways from those years. “Every line we draw, there is a resource consumed at site,” remind Anuradha and Vivek, alumni of CEPT and IIT Roorkee, respectively. Creating honest, inclusive and experimental work has become their benchmark — with projects mostly situated in the states of eastern India. The evolutionary nature of the practice has opened up their minds to new concepts, and they are most eager to explore sustainable designs that are regenerative and give back to the ecology. Their commitment to the future is based on an idealistic approach. “Our efforts in design should significantly resolve urban crisis of environment, ecology, energy footprint, food demand and transport, while reconnecting the lost links of culture, human values and (our) brilliant inheritance of spirituality,” mention the architects, whose only advice to colleagues is to remember that “it is not about scale, but sensitivity; and control the urge to be façade driven”. A&I

HOT 100

Anuradha Guglani INDEPENDENT ARCHITECT

Early on, Anuradha Guglani developed a love for sketching and sculpting, coupled with her fascination with spaces. A B.Arch degree from MSU Baroda seemed just right. Her desire to work with hands and to use clay were not limited to sculptures alone; clay as a building material intrigued her as well. No better place to unearth this new interest than at the Centre for Scientific Research, Auroville, where in the year 1997 she learnt to build walls, arches and domes with stabilised compressed mud blocks. “This experience initiated my interest in alternate building techniques back then,” she states. From receiving her foundation in Gujarat, finding her passion in Auroville, to setting base in Goa, Guglani’s journey as an architect is unconventional as it continued to evolve and find inspiration along the way. “I moved to Goa in 1998. I discovered driftwood on beaches during my nature walks and got into wood sculpting. I also started furniture designing, using found objects. I held a few exhibitions of my works comprising sculptures and furniture,” shares Guglani. Living in Goa also gave her the opportunity to specialise in renovating, restoring, refurbishing, revitalising old structures. “In all the old and the new structures I design, I follow just one principle – the building at every stage should look beautiful even after weathering, year after year,” believes the architect. This design philosophy is made practical by designing in response to the local climate and “using materials true to their nature”. Be it interior or architecture projects, Guglani says one principle remains constant — connect with nature. At this point in her profession, it has become her signature. “By bringing in natural light and cross ventilation, I design buildings which are low on running cost. Emphasis is given on making internal and external spaces interactive. This promotes interaction within family and with neighbours (humans, birds and plants, all included) which I believe is key to retaining our humanness,” she explains. This remarkable passion she has towards a humane architecture has drawn her to teaching. For over a decade now, she has been visiting Goa College of Architecture, conducting Visual Art sessions and Design Studios for formative years and elective workshops in sculpting and furniture designing. When not shaping young minds or busy sculpting, she hopes to devote her time to exploring old and new sustainable materials, and developing building techniques that are specific to Goa’s climate. “A solution to the changing climate, which is sustainable... can be built by anyone,” she jots down about her future endeavour. A&I

LOOKING BACK Twelve years ago, she bought an old dilapidated traditional house in Goa. Its renovation job became the pivotal moment in her practice, defining all future works. Local building technique, traditional architectural elements, spaces and how they respond to the local climate, became her area of interest.

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

LOOKING FORWARD In the coming year, she looks forward to designing and building another home for her and her family, where she will implement all the learnings from the past experiences, and also experiment with newer ideas. With this house, she hopes to explore another new technique of building for Goa’s specific climate.

HOT 100

Aparna Dhareshwar & Vami Koticha SAMEEP PADORA & ASSOCIATES

The work of multiple award-winning Sameep Padora & Associates (sP+a) is anything but typical. The studio — which Padora established in 2006, after his return from the Graduate School of Design, Harvard University — works on projects ranging from small-scale urban interventions to large-scale developments. Each project is aligned with the atelier’s belief that India’s vast breadth of socio-cultural environment requires multifarious means of engaging with the country’s varying contexts. Type, program, design and building processes are subservient to the immediacy of each project’s unique frame of reference. So while Jetavan is a Buddhist Learning Centre in rural Maharashtra, with an exuberant V-shaped roof that allows the sky and the trees into the internal environment, and features rammed walls rendered from a mix of basalt dust and waste fly ash, a Shiv temple — again in rural Maharashtra — is a religious edifice erected with the help of villagers and chiselled from local basalt. The latter’s form evokes the traditional Shikhara (mountain peak) temple silhouette, and is fronted by a mandapa with trees for walls and the sky for the roof. Similarly, while the staggered, stacked form of The Lattice House references the organically developed architecture of the informal settlements in the surrounding, the Host House, a hostel in Kota, is informed partly by the traditional courtyard haveli. These are only a few examples of the endeavour of

founder Sameep Padora and his 30-strong team of architects towards extending the brief beyond its programmatic capacities, in a bid to appropriate techniques beyond their traditional use, to allow them to evolve and persist. Design head Vami Koticha acknowledges this fact when she talks of projecting India’s rich historical antecedents of form, event and networks into their projects. “Our work is, in spirit, more aligned with traditional systemic knowledge and skill rather than a focused architectural agglomeration,” she says. Her colleague Aparna Dhareshwar, Studio Head, highlights the eclectic nature of what inspires them: art, music, theatre, books… perhaps, this is why sP+a creations are more spatial narratives and less architecture. The two team-members emphasise that each project has helped shape their ideologies and design philosophies. Udaan, an affordable housing project, for instance, catalysed the formation of sPare, the studio’s research wing — with an intent to investigate architecture and the city, and contribute to the discourse on built environment through rigorous documentation, analysis and their first publication, In the Name of Housing. All this is in line with their desire to improve quality of living, forging new grounds in research and applying that knowledge to newer ways of approaching projects, as well as collaboration with like-minded design studios to create a platform/institution that performs beyond individuals. A&I

LOOKING BACK The Shiv Temple, Indigo Deli (Palladium, Mumbai) and their publication ‘In the Name of Housing’ are projects that are particularly momentous in the studio’s 12-year-long journey. The housing research, in particular, is significant for its insights into history and culture and is prescriptive of the future.

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

LOOKING FORWARD Among its upcoming projects is a library that team sP+a has just finished for a small school in rural Maharashtra. With this project, the architects hope that the spatial experience, designed with great detail and precision, will create an inspiring space for learning.

HOT 100

Ashiesh Shah

ASHIESH SHAH ARCHITECTURE + DESIGN Established in 2008 by multi-faceted Ashiesh Shah — he’s an architect, interior designer, art collector and writer, all rolled into one — Ashiesh Shah Architecture + Design is the go-to design studio for celebrities, industrialists and other personalities from the elite circle. Shah set up the studio because he was disappointed by the way design was perceived in India. “I wanted to bring forth an aesthetic immersed in simplicity, amalgamating symmetry and balance. I aspired to radiate change, positively translating opinions related to design, making it more widespread,” says the degree-holder in design from the Parsons School of Design, New York. Early on, Shah predominantly worked on residential projects having a relatively personal reach, and every project came with its fair share of learnings, contributing to his growth as a designer. Today, the reach of his practice is further than what he had anticipated. “I have had the opportunity to work on a multitude of diverse projects,” he says. “Having designed custom furniture pieces, I always knew I wanted to foray into product design. Several friends and especially clients for whom I had custom-designed some pieces had been encouraging me to work in this space. They’ve been fantastic patrons, allowing me to push my boundaries and do something different. I think being open to change is the key to evolution, which I try to embrace with every new venture.” Shah’s design philosophy, in conjunction with his aesthetic, is constantly evolving. Although he initially struggled to find his design language, he’s always gravitated towards clean lines, uncluttered spaces and tangible textures. “For the past several years, I have been exploring the Japanese philosophy of WabiSabi, an aesthetic describing beauty that is imperfect, impermanent and incomplete,” discloses the muchpublished, award-winning architect. Being openminded, he says, is key to being a good designer — as that leads to evolution of aesthetic and adaptability. “Given that talent is a prerequisite, the only way to success is hard work. And a little secret that will make it easier is the art of managing your time,” he signs off. A&I

LOOKING BACK It was through commercial projects like Le Mill and Nido that Shah’s work took on public recognition. Prior to this, he was focused on private residences. The transition from a private to a public platform was an important hurdle to cross, opening up opportunities in experimental design exploration in commercial projects.

LOOKING FORWARD Shah’s newest venture is Atelier, a project he is viewing with great interest. A corollary to his design practice, Atelier amalgamates experimentation, ideation and research; it is essentially a think-tank, replete with ideas, that will take shape in the form of tangible products.

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

HOT 100

Ayaz & Zameer Basrai THE BUSRIDE

In 2006, two brothers — one an architect, the other an industrial designer — set out on a figurative journey, imagining their studio while packed into a bus, driving through the countryside, drawing and sketching, parking in the most beautiful locations. “This was our original bus ride,” smiles architect Zameer Basrai, who along with his older sibling Ayaz, run The Busride, one of the ‘coolest’ design firms in the country today. Beginning with their first milestone project — restaurateur Riyaz Amlani’s Smoke House Grill — they’ve delivered space after space of offbeat, eccentric, quirky and hard-to-forget hospitality projects: Caperberry, Café Zoe, Jam Jar, Pizza Express at Colaba, The Daily, Saltwater Cafe, The Bombay Canteen, Smoke House Deli (Mumbai and Delhi), The Grid. “We were introduced to hospitality projects from the beginning. The hospitality space

LOOKING BACK The Folly House has been pivotal as they’ve been able to develop a conceptual approach to home making. It felt like a bunch of disparate experiments, learnings, diagrams, and material details fell into place in this project. It also set the bar very high for other residential projects that The Busride has undertaken since.

LOOKING FORWARD The Basrai brothers are “grappling with a bunch of projects,” which makes it difficult for them to choose one particular assignment. But the brick village at Malshej Ghat would be “somewhere at the top.” The project involves...a very complex experience using curved walls of different heights that mediate the street and room experience.

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

teaches you that if it’s not fun to design and not fun to make, its probably not going to be fun for the user,” says Zameer in his characteristically candid and humorous manner. After putting a solid ten years in hospitality, with a smattering of offices and homes for friends along the way, the duo have been designing and building a much larger range of projects for the last two years — homes, housing, retail stores, malls, cultural institutions, offices… “…and that has been very rewarding,” says the MIT alumnus. “We’re actually actively trying to bring the learnings of the last ten years into projects of a very different nature.” A case in point is the Folly House, lauded for its unique approach to residential design, where the programme was largely crystallised into multi-functional, mobile objects with the remaining untouched space being ‘activated’ on the use of these objects. Zameer describes their work so far as “easy.” The latest development on their timeline is the Busride Lab in Goa, which allows them mental and physical room to do committed research into other aspects of design — something which was not possible while operating solely out of Mumbai. The plan is to run both the Busrides in parallel with different timelines and different project mixes. “We’ve remained committed to having fun. We’ve gradually developed a disrespect and deep suspicion for consistency in aesthetic language. Making mistakes is the best part. Just don’t let anyone find out!” A&I

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The 43rd China International Furniture Fair (Guangzhou)

The 42nd China International Furniture Fair (Shanghai)

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China Import and Export Fair Complex & PWTC Expo

National Exhibition and Convention Center (Shanghai) in Hongqiao

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Ayush Kasliwal

AYUSH KASLIWAL DESIGN PRIVATE LTD [AKDPL] While Jaipur was an ideal place for Ayush Kasliwal to start his practice “celebrating craft and craftsmanship in products and environment”, back in 1998 there wasn’t much prospects for a furniture designer in the city. So the NID (National Institute of Design, Ahmedabad) graduate had to humbly start off as a contractor and a general handyman. Fortunately, it benefited him in the end because he discovered that “there is design in everything, not only in the end product, but also in the process and in this context — (a fact that) is quite significant and critical for a design practice.” His first project — that prompted him to formally establish Ayush Kasliwal Design Private Ltd. — was for a project in Lunkaransar, where he developed products using

LOOKING BACK One of his milestone projects was in 2004 for the Folk Life Festival, that was held in Washington and organised by the Asian Heritage Foundation headed by Rajeev Sethi. “Working with Sethi was instrumental in our being able to appreciate, and get knowledge from the vast cultural resources around us,” says Kasliwal.

LOOKING FORWARD One of their current project the firm is excited about is the design and delivery of a fine-dining restaurant in Washington, which is due to open in September. “I am looking forward to this as it seamlessly blends fine craftsmanship, which is typical of our subcontinent, with contemporary hospitality design,” explains the designer.

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

the charpai weaving technique. This experience eventually led Kasliwal across the globe, as the “handyman” went on to design homes in New York, a mosque in Boston, and undertook many product development projects in small villages in Rajasthan. He even started a craft retail firm called Anantaya with architect Geetanjali Kasliwal with the aim to make crafts relevant to contemporary lifestyle. “Since then, it has gained global recognition and a dedicated following among connoisseurs of craft. We extended our footprint into the USA in 2011 by establishing brand AKMD in partnership with Michael Dreeben, a longtime friend and designer. We were trying out a cross continent collaboration with products designed in India being made in the US, and vice versa,” adds Ayush, who has also collaborated with Scandinavian brand Mater and with French brand Eno. No matter what the scale or location, Kasliwal aims to provide examples of contextual design through his work. Instead of imposing a certain design style, he and his team choose to interpret what is available and what is appropriate — and in the process raise everyone’s expectations about what a good design should be and what it can do. In the same spirit, Kasliwal would like to urge designers to step out of their comfort zone, “do things that you are not comfortable doing, take the risk of appearing foolish, and then do whatever it takes to do it well!” A&I

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HOT 100

Babu Cherian BCA ARCHITECTURE

Given that he has always loved everything traditional about Kerala, from its cuisine and culture to its climate, language and literature, working to make an impact with vernacular architecture seemed an obvious choice for Babu Cherian. His practice, founded in 1995, had humble beginnings — he converted the living room of his home into a makeshift office space. Countless projects later, it has grown into a 45-man strong team of professionals who are committed to creating dynamic solutions with versatile, adaptive and creative designs. “Initially, I played it safe, since the vernacular architecture of Kerala was a tried and tested way of building,” he explains. While this type of design hasn’t evolved much in the period of 20-odd years, the firm’s way of approaching it has. Architecturally, their style is now always contextually responsive, responding favourably to climate, culture, social psyche and local resources. The evolution truly shows in the change in material palette. Where vernacular architecture sticks to a few basic elements, Cherian began experimenting with varied types of materials and finishes. “I have always believed that architecture is just a physical manifestation of culture,” he articulates. The maestro’s design philosophy is an interpretation of ‘form follows function’. From the beginning, the importance of climatology was driven into him quite strongly, and he asserts that traditional architecture has solved all the basic architectural tenets. From creating spectacular living spaces to protection from the elements, vernacular architecture, to him, is truly an organic development of the needs of architecture that also incorporates the nuances of tradition, art and culture. “Most of my traditional projects are more a celebration of the craftsmen than of the architect,” he explains. Cherian has tried to cultivate a work culture centred on learning in his studio; one which focusses on realisation of a truth—that creating good design is always an agonising process. He urges all young architects and designers to devote their formative years to working with knowledgeable architects. The experienced creator muses, “Many countless hours spent in developing a detail or concept might be completely discarded for a better solution, which is a painful experience that young designers should go through. But the point to be noted is that those countless hours spent on an abandoned plan is what ultimately leads us to a better design.” A&I

LOOKING BACK A project called Camelot (a residence built in Thrissur, Kerala) had a major impact on the practice. Designing a home with modern design and glass roofs marked a definite break in Cherian’s mindset, which has, in the long run, helped him throughout his career.

LOOKING FORWARD Cherian is excited to work on the RIT Hospital in Calicut. The site’s sharp ridges and valleys creates challenge of bringing in the type of function, order and control that a hospital needs while also presenting a lesson in campus planning. Moreover, emphasis is being placed on making the design as sustainable as possible.

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Bhadri & Snehal Suthar THE GRID ARCHITECTS

Learning is a life-long process for designer Bhadri Suthar and architect Snehal Suthar. Their formal education culminated in a Master in Sustainability from the San Francisco Institute of Architecture (for Snehal) and a diploma in interior design from Institute of Environmental Design, Vallabh Vidyanagar (for Bhadri). When they established their practice, The Grid Architects, in 2002, the learnings continued, especially in materials explorations, site and office management, economics, understanding of spaces and built environments and, later, the connection to nature. And there’s more. “We learnt to appreciate our relationship with clients, giving and inviting loyalty,” say the business partners and spouses. This is why their approach and work processes are inclusive, as they believe in “working with the client, rather than for the client.” Starting with small renovations and refurbishment projects, the Suthars gradually progressed to small residential architecture. Today, they handle a variety of scales and typologies — corporate houses, residential communities, commercial complexes, educational institutes, hospitality spaces and private villas — unified by the common thread of sustainability. “This is a constant philosophy: being close to nature and to design with a purpose,” says the team whose work for residential complexes Sangath Posh and Sangath Terraces has received Platinum and Gold ratings from IGBC, respectively.“Through this journey, we’ve always looked forward to keep on exceeding ourselves. Our belief is to add value every time, compared to the previous project.” These principles translate into honest designs that shun excesses and are minimal in terms of materials, colours and forms. When we ask

the Suthars to indulge in a bit of crystal-gazing, both the principals agree that being environment-conscious will continue to be the guiding star of the practice. In this process, they also hope to forge a team of like-minded and dedicated individuals who will help them in the goal of being specialists in sustainable and organic architecture. Their advice to fellow practitioners? “Be open to new learnings. Avoid dependency on artificial intelligence like softwares and eye-catching images on media. Always rely on your instincts.” A&I

LOOKING BACK Some of the community housing projects, such as Terraces and Posh for developer Sangath Infrastructure, have refined their thinking process (by inspiring the Suthars to integrate nature and landscape with the builtform) and sensitised them to biodiversity.

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

LOOKING FORWARD The team at The Grid Architects is working on a house made from rock. The interiors and landscape have been integrated so as to retain all the trees and rocks (granite boulders of various sizes) on site, and still have a functional and aesthetically appealing design.

HOT 100

Bharat Patel, Dinesh Suthar & Jitendra Sabalapara DESIGN WORK GROUP

In 2012, three young architects got together with a common understanding that they would design spaces that would make people happy. They called their firm Design Work Group (.DWG). “We wanted to take things in our hands with the full responsibility of making the design process better, efficient, transparent, productive and beneficial for all stakeholders,” says Dinesh Suthar, who met fellow-founder of .DWG, Jitendra Sabalapara at SCET, Surat, where both of them had enrolled for a bachelor’s degree in architecture. Sabalapara, in turn, met Bharat Patel — .DWG’s third pillar — at SCET again, at the Master in City Design class. The trio, with their individual strong points — Sabalapara is a people’s person and oversees .DWG’s performance as a corporate entrepreneur; Suthar is keenly interested in residential design and urban masterplanning; while Patel focuses on concepts and the design process — provide wholistic expertise to their clients. The early projects — centred mostly around residential interiors, master plans and residential architecture — taught them that transparent communication was key to everything they practiced. “The key learning was to understand the client well. It was all about what their requirements were. We had to transform their dreams into reality through design by doing it in the right context,” says Suthar, who also obtained a degree in Master of Arts in Urban Design from Cardiff University,

Wales. While projects such as Brick Curtain House, Surat (residence); Vanvaaso, Surat (farmhouse); Pramukh House, Vapi (corporate office); Tropical House, Surat (residence); Radhika House, Kankroli (residence); Broadway School, Surat (institute); Rivera Estilo, Surat (apartment); and On the Hills, Khapoli (weekend home masterplan), have contributed to the firm’s incremental evolution, responsiveness to climate and context have remained constant. This is aligned to the practice’s heightened interest in “real” green buildings which are local in terms of design, material, appeal and performance. The trio’s advice to the design fraternity is to treat local projects in the same way we look at international projects: “All of us architects keep an eye on global trends. We should look at our own architecture and our regional design and culture in the same way,” they sign off. A&I

LOOKING BACK Brick Curtain was the first time .DWG had to work on a façade which would help to combat the climate. It was also a first, for them, where they used parametric modelling to achieve the curvilinear wall. This marked the practice’s leap from using conventional methods to those involving extensive 3D modelling.

LOOKING FORWARD The Broadway School, built on a small site, seeks to give students from various age groups spaces relevant to them. The architects’ aspiration is to generate more interaction between teachers and students. The team is also working on Rivera Estilo, one of Surat’s first five projects to scale a height of 77m, a new experience for them.

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

HOT 100

Bobby Mukherji

BOBBY MUKHERJI & ASSOCIATES When he was just 25, Bobby Mukherji won The Aamby Valley City project in Lonavala. Not every young entrepreneur can share that one of their earliest projects was a 9,000-acre township, a first of its kind in India that would go on to win several awards. The fortunate streak didn’t stop there. An international competition to redesign Le Meridien, New Delhi, saw him not only competing with the stalwarts in the field but eventually winning the project! “This marked our foray into hospitality in a big way. It gave us the confidence to take on projects of that nature and scale. They were also significant public showcases for the practice,” remembers Mukherji. While his practice Bobby Mukherji & Associates has evolved since 1993, his design philosophy is still guided by a blend of innovation, practicality and superlative design aesthetics. Appreciation for their design sense — which often fuses classic design elements with a contemporary approach — has taken them world over, from The Middle East, Thailand, The United Kingdom, The USA, Indonesia, Bhutan, China, New Zealand, Caribbean Islands (British West Indies) to Nigeria, among others. “As a practice, we are pluralistic in nature. We believe that design is an organic entity, which should speak to the soul, even as it reflects a global outlook… We are devoted to creating unique experiences, environments and cityscapes for the end consumer,” shares the alumnus of Academy of Architecture (Mumbai). In the country alone, BMA has enjoyed working on large scale projects that has/is aiding change in the city’s skyline. “Integrated township projects with high-end infrastructure, facilities and a generous amount of open spaces, we believe, are the answer to India’s urban planning woes. We hope, with our township projects and skill set, to help address some of the (urban) issues by creating the right kind of social, residential and entertainment infrastructure in integrated townships,” says Mukherji who sees the practice as a globally established design atelier, extending its footprint on the world map. “Through our practice, we would like to demonstrate that Indians are perfectly capable of taking a holistic and luxurious approach to design,” he adds. He also hopes to dispel some myths surrounding interior design. “A lot of design professionals today make the mistake of believing that interior design is all about decorating and any housewife or professional can become an interior designer. Any kind of design is a lot of hard work and requires immense technical knowledge and the ability to convert that knowledge into practical application.” A&I

LOOKING BACK The Aamby Valley City and Le Meridien, New Delhi, will always be significant projects for us. Another project we are proud to be associated with is the private jet terminal at St. Kitts, in the Caribbean islands, a first for any Indian architect. It has been operational for the last two years and was very well received by the who’s who.

LOOKING FORWARD We are working on another aviation assignment in the French West Indies, along with several other hospitality projects for eminent brands. Our work in the real estate segment, too, has helped us create lifestyles flanked by luxury, whether affordable or high-end, which is a mandate of sorts for the end user today.

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

HOT 100

Brijesh Shaijal

DESIGN ART & CULTURE [DAC] Architect Brijesh Shaijal began his career at Sanjay Puri Architects, following which he set up Briijesh Shaijal Architects (BSA) in his hometown, Manjeri, in the Malappuram district of Kerala, in 2005. A decade of practice, scores of projects and numerous accolades later, BSA evolved into Design Art & Culture, branching out into Calicut district. “DAC emphasises design practices that deviate from the norm and has carved a niche in the fields of architecture, interior design and urban design. The firm has done pioneering work, recognised for retaining authentic heritage augmented with contemporary models in architecture,” says the B. Arch from BLDEA’s Dr PG Halakatti college of Engg. & Tech, Bijapur. The vision was to preserve traditional art forms and cultural ethos by blending them with modern principles. Shaijal started off with mostly residential projects, and gradually moved towards commercial ones. Lately at DAC, they have been stepping out into the realm of urban design and public projects — such as the Karaparamba School, a government project. The evolution in terms of projects is the result of a change in design philosophy and marks a shift towards architecture that empowers social change. “What has become increasingly important to the practice is contextuality, inclusivity and building for social change, which is why we branched out into public projects,” says the architect, a firm believer in the phrase ‘quality over quantity’. The firm would also like to create a sense of ownership of public spaces, by designing projects that resonate with the social context — which, they believe, will contribute to a better design environment. DAC is currently working on projects in Oman and other countries. “We think that making connections and sustaining them within the architect fraternity will complement the kind of design practices we indulge in respectively, by opening up doors to mutually benefitting collaborations,” says Shaijal. The staunch supporter of global networking within the architecture fraternity also feels that every designer should set a value to their work and make sure they get the right remuneration for it. “Too often, architects who are just starting up tend to forego remuneration in order to get more work,” he rues, “but according to my opinion, it is a cycle that will be very hard to break out of.” A&I

LOOKING BACK Different projects have impacted the practice in different ways. Uber-luxurious residential projects like the Hidden House, Calicut; and the smaller, but just as luxurious Kiora Amorez jewellery, Calicut; or the Clarus Jewellery in Perinthalmanna have made a difference in the scale of projects the firm works with.

LOOKING FORWARD Shaijal and his team are quite excited about the Karaparambu School project, being one of the first major public projects the firm has taken up, and one they are immensely proud of.

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

HOT 100

Brinda Somaya SOMAYA AND KALAPPA CONSULTANTS

Designing international projects is a matter of pride, but for Brinda Somaya that quest is met right here. When people ask if she has worked abroad, she is quick to explain, “Working in India is like working in a new country with every project!” An alumnus of Sir JJ College of Architecture and Smith College (USA), she set up Somaya and Kalappa (SNK) in 1978 with her sister Ranjini Kalappa (who later moved out of India). Her studio back then was actually an old maali’s shed and one her earliest projects was for the owners of Parle Products, which enabled her to set up the practice. She proudly says, “They have been my clients now for 40 years. So, for me, industrial work and patronage from an industrial family like theirs was only possible in a city like Mumbai. In those days, who would give a young woman an industrial project?” A optimistic attitude kept her going — and still does. “I didn’t begin my practice thinking about difficulties. I don’t think we should worry about the negatives but focus on how to move ahead in a positive manner.” The outcome was a diversity in projects that came her way because no job or project was too small or big for her. “It didn’t matter if it was a paid project or pro bono. I believed that one will balance the other and that is why we have a huge diversity of work,” says Somaya whose work includes corporate, industrial, institutional design and public spaces. Her buildings speak about her beliefs and ideas of sustainability— but more prominently, they speak of their Indian heritage. “It is an intrinsic part of my being... I see myself and hence my work straddling the old and the new, the large and the small. I don’t think I can separate India and the Indianess from myself.” If there’s one way SNK has truly grown is by making pragmatic research an important part of their practice. “This aspect of our work has grown considerably with Nandini’s (daughter and director at SNK) enormous interest and abilities in systematic research and the analytical tools she has created in the studio. Everything begins with a thorough process of documentation, research and analysis,” discloses Somaya. A pure personification of optimism, she is convinced that young architects in the country will take India on to the world map of architecture. “I just hope that everybody keeps their feet on the ground... I believe that an inclusive practice that spans our diverse population, be it economic or cultural, provides us with great satisfaction.” A&I

LOOKING BACK SNK is known for Rajabai Tower and TCS House in Fort. But the recent ‘India and the World: A history in nine stories’ exhibition design was truly special for them. “The design primarily focused on the visitor’s experience of aesthetic enjoyment with a robust academic underpinning,” explains Somaya.

LOOKING FORWARD The Tata Consultancy Services Campus in Indore is a project to watch out for. An IT facility located on the outskirts of the city, its conceptual planning is based on the Narmada River. The architectural forms are derived from the physical features it creates as it winds its way down from its source and through the campus.

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

HCP INTERIOR DESIGN PVT LTD [HCPID]

HOT 100

Canna Patel

Architect, interior designer, educationist and visionary thinker, Canna Patel’s role in the field goes beyond just design and running projects. “Building the professional design service for interior architecture has been the underlying motivation from day one,” insists Patel, disclosing that the seeds of design were sown early on through her architect father [Hasmukh Patel], though her own practice began in 1993 within his larger architecture firm. Thereafter, she worked towards establishing an independent practice. Having completed her Bachelor’s in Architecture at CEPT, Ahmedabad, she did her Master’s at UC Berkeley. She is the chairperson, HCP Interior Design Pvt Ltd (HCPID), widely regarded as a reputable and professionally managed firm. Patel’s practice spans three decades, each one being a concerted effort towards setting a fairly indigenous signature style. Working within a relatively disorganised and nascent off-shoot of architecture, she found that the interior design profession required a large leap to become a professionally-managed design practice. So, she spent the major part of her first decade of practice setting standards for the quality of interior drawings as well as concepts that were at par with architectural approaches during that time. Conceptual presentations, story boards and material trays have since remained the USP of her firm that excels in communicating design. Backed by her experience and rigour to create the finest, an emotive language in interiors developed during the second decade. “We, as a firm, consciously question design over its exposure to the international market, economic constraints, and environmental and social responsibilities,” she says, disclosing that their ‘conscious’ design ideology, ’We are from here and we belong here’, remains a driving force in their creation of timeless design. A woman plays many roles in her life. While Patel’s practice made an impact through its work, she herself diversified on the educational front through hardcore design workshops and lectures during her ongoing third decade. Her experience as a professional in the interior design field allows her to target and approach students on topics related to textiles, professional practice, flooring in interiors…that are beyond ‘text-book knowledge’. A successful deviation for this pioneering architect and designer, has been in establishing the Ahmedabad chapter of IIID in the architecture-centric city that she calls home. A&I

LOOKING BACK HCPID made significant strides through projects like the interiors of Additional Blocks for the Government of Gujarat in Sachivalaya campus, Gandhinagar, in 2013. This was a large-scale government project that required prowess not just in its scope of work, but in also building standards comparable to private institutions.

LOOKING FORWARD While Patel’s passion as an interior designer and architect has been to create dynamic spaces, her quest has always been to excel in a career that can inspire others. She hopes that, with time, she will spread her wings further to engulf as many experiences as life can offer, with the ultimate goal “to soar higher than yesterday.”

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

HOT 100

Chitra Vishwanath BIOME ENVIRONMENTAL SOLUTIONS

PHOTOGRAPH: DR. VIVEK MUTHURAMLINGAM

When in 1990, Chitra Vishwanath started her practice — at that time called Chitra Vishwanath Architects — her aspirations were rather straightforward and simple. Her main focus was to learn to build structures economically, understand the clients, and deliver an honest product. This exploration began predominantly with independent residential homes where she learned about materials and, most importantly, the inner dynamics of working as a team. As the practice evolved so did its projects — from schools, resorts, to now factories, offices and hospitals. Most of these projects are located across India, but the architect has also executed a project in Nigeria. Her practice has moved away from a personality driven firm to one that is driven by ideas. Biome Environmental Solutions saw the merger of her architecture practice with her husband S Vishwanath’s NGO Rainwater Club, which specialises in water and sanitation issues. In the midst of this transition, her understanding of ecological design has also evolved. “My practice is a constant learning exercise. The works are evolving in terms of design, complicated briefs, scale and locales. For us, it is increasingly an obsession to tackle these challenges — not something unique to our practice alone. This is common to most evolving offices,” admits the Bengaluru-based architect, an alumnus of CEPT, Ahmedabad. As you glance through Biome’s work, you can’t help but admire how each project respectfully communicates with the surroundings. It goes to show that a successful practice need not give in to the trend of ‘iconic’ architecture to truly make a mark. Iconic is definitely not on the architect’s radar; she wishes that her practice is known for making ecological architecture a mainstream phenomenon. That’s why, in the coming decade or so, she sees her practice continuing to become a lot more relevant to the changing times. Having mentored many young architects — including international students, Vishwanath’s advice to the fraternity is rather sympathetic. “Everybody makes mistakes and it is a natural order of things. Mistakes are good and what one needs to do is to learn from them and avoid them in the future.” A&I

LOOKING BACK The architect’s own home has left an impact on the practice. “We call it a workshop of ideas. It is a very calming place for us,” she says. The house was built using earth construction techniques and has extensive infrastructure to conserve rainwater. It encouraged their neighbours to build sustainably too.

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

LOOKING FORWARD Every project, small or large, brings with it unique challenges, but the architect has her heart set on other opportunities. “I am personally looking forward to a larger interaction with the student community and taking forward the idea of ecological architecture,” says Vishwanath.

Christopher Charles Benninger

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IN ASSOCIATION WITH

CCBA DESIGNS

When the teenage Christopher Benninger was gifted The Natural House — a book by Frank Lloyd Wright — by his aunt, who would have thought it would set in motion a cosmic chain reaction that would eventually lead him to the hot and dusty lanes of Bangladesh and, finally, India. “I opened the first page, and I did not put down the book until I completed the last page. Having read Wright’s Credo, and accepting it as my own, I began the practice of architecture then and there,” says the seasoned architect and a Harvard graduate. By practice, he means the practice of “truth-seeking” — a quest for truth in the things around you and in the things people say and do. Benninger sees architecture as merely one of the many tools, or path, through or along which one can explore and seek knowledge, and in the process discover more about oneself. “I was keen on finding my reality — my truth — through building things, and I immediately designed a house for my parents that they never built!” he shares. Not giving up on that initial enthusiasm, his inherent need for truth-seeking got him to India where his first project — the Alliance Française de Ahmedabad — was built in 1973. “In that design, I practised the honest expression of materials, human scale, integration with the context, finding order through construction modules, and I practised my duty to create public domains and meeting places,” recalls Benninger. What an eventful journey it has been since, for the architect — now also an author — ended up making India his home and establishing Christopher Charles Benninger Architects in Pune. Today, it’s a practice known not just for building award-winning projects, but structures that are at home in the local context and culture in the most remarkable ways. Look closer and a common thread stands out in his projects, as Benninger eleborates, “Be it the Centre for Development Studies and Activities, or (a project) as small as India House, or as large as Suzlon One Earth, all have major public domains or gathering spaces, that are central to the designs. People meeting [each other] is what civilisation is all about, and it is through architecture that the civil society evolves through ‘meeting’ and debating what truth is, and discussing the truth! It is architecture that triumphs over barbarism, and nurtures civility and intelligence!” A&I

LOOKING BACK The Centre for Development Studies and Activities “lives” all of the firm’s principles, like human scale, honest expression of materials, following a proportionate modular system, integration with nature, employment of local materials and crafts, harmony with the site, and meeting places one within the other.

LOOKING FORWARD The architect identifies The Bajaj Institute of Technology as his most important current work. “This project is highly significant because it expresses the ‘truth’ of my patron, Rahul Bajaj. He has a vision of a new India, realised through educated youth who are armed with technological knowledge and a love of truth!”

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

HOT 100

Dean D’Cruz MOZAIC

Sensibility and sensitivity have always been the driving principles of Dean D’Cruz’s work. Before he could set up Mozaic, he worked in partnership with Gerard da Cunha under the banner of Natural Architecture for seven years. After the transition, the passion for creating sensible spaces using local materials and reinterpreting traditional architecture stayed on. He implemented these ideas early on in his low-cost home projects. Slowly, he graduated to small boutique hotels. “Since we built the homes we designed, almost acting as contractors, we gained experience in understanding the materials, their properties, costs, longevity, etc. This low-cost approach, along with a high degree of personlisation for each house, gave us the experience to work with different design approaches,” discloses D’Cruz. His projects moved from residential to hospitality and institutional in a seamless manner from there on. Each project was built on some key principles: relying on local materials and craftsmanship, or being experimental without getting anchored to a fixed vocabulary. His architecture has now evolved, moving away from an

LOOKING BACK The boutique hotel Nilaya, rated as one of the 100 best small hotels in the world, brought Mozaic into the limelight and opened up opportunities in other locations, allowing their creativity and expression to flourish. “Nilaya’s free-flowing lines and organic character had a freshness that is lacking in today’s angular space definers,” explains D’Cruz.

LOOKING FORWARD Mozaic is most thrilled about completing an on-going house project that is completely prefab, has a low footprint and is off-the-grid, running on DC power. It will also recycle water in the premises and grows its own food. Architecturally, it is designed with strong visual connection to maintain family bonds.

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

enclosed sculptural approach to lighter, pavilion-like solutions. “In this amazing climate that we have in most parts of India and for most times of the year, it seems a pity not to use our open spaces. (Instead we) hole ourselves in air-conditioned boxes while all we need is passive cooling/ warming systems,” he contends. Maintaining an experimental approach and pushing the boundaries of design is what makes the profession joyous for D’Cruz, an alumnus of Sir JJ College of Architecture. “Most architects tend to get stuck in a style and one can almost figure the name of the architect by simply seeing a building. While such architects may be masters at what they do, there is a certain joy in trying something new.” As the Design Chair at the Goa College of Architecture, D’Cruz is also passionate about architectural education — it’s essential that professionals actively contribute to design education, he believes. “We have recently constructed a new building (The Design Centre) that is running workshops, anchoring lectures, organising exhibitions, promoting design dialogue and engaging in local social/environmental issues.” He encourages an advocacy approach, inviting architects to use their visionary skills to influence change. The architect would like to encourage fellow creatives to spend enough time envisioning a project, going through options and possibilities before freezing on a design. “One usually dives straight into design and construction with little exploration, but it is important to take the views of other professionals and end users. The rigorous design processes that one sees in parallel design professions, like product design, is what we miss as architects, and with the enormous impact that our buildings can have on people, we should place a bigger responsibility on our methodologies.” A&I

HOT 100

Dikshu Kukreja CP KUKREJA ARCHITECTS

“The opportunity to attend the Taliesin Fellowship, which was created by the legendary Frank Lloyd Wright, gave an absolutely new dimension to my architectural thinking,” says Dikshu Kukreja. “His mantra of ‘Learning by Doing’ has helped me shape my personality.” Studying at Harvard for a Master in Urban Design, working in Paris, and then the US with the legendary architect Kevin Roche, taught him many aspects of how a globally successful architectural practice is run. Enriched and thrilled with these experiences, he returned to India to work with CP Kukreja Architects (CPKA) , the eponymous 49-year-old practice set up by his father in 1969. The two initial projects which Kukreja handled at CPKA were the renovation of the prestigious Delhi Gymkhana Club and the restoration as well as addition to the iconic Oberoi Hotel property in Srinagar, which was taken over by the LaLit Hotel Group. “These two projects brought new learnings beyond just architecture, (learnings on how to) deal with clients, both private and government,” he reminisces. Kukreja has always felt that as an architect, one can play a powerful role in creating meaningful spaces. “It is our professional pursuit to foresee the future and analyse the needs of the citizens and create an environment which is conducive to metamorphosis of society. The firm’s practice has always evolved in its forward-thinking and future-seeking approach and understanding,” he elucidates, adding that an important aspect of the design process involves reading the silent gestures of forms and spaces, conversing with the natural environment and then translating those gestures into architectural ensembles. Kukreja says the spaces that he create reflects ‘happiness’ as a state of mind. “I believe that spaces should be airy, well-lit, with adequate volume, flow into one another, thereby conversing with each other. As one experiences these spaces, there should be an emotion of celebration. I believe a responsible architect is one who designs what ‘can’ be built. I believe that my work is contextual and belongs to the time we live in, contextual to the requirement of the client and to the physical setting. It has to be timeless.” A&I

LOOKING BACK The 500-acre Gautam Buddha University represents a significant turning point in the practice of the firm, not only because of its sheer scale but also for the ideology that was embodied in the design. It involved producing over 20,000 drawings and coordinating with 400 small and mediumsized construction companies.

LOOKING FORWARD The pilot Transit Oriented Development (TOD) project in the capital city is a major breakthrough in bringing new ideas to city planning. The TOD spolicy will interlink the different parts of the city, and also emphasise the need for high density growth..., thus reconciling the two sides of Delhi’s city-shaping.

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

HOT 100

Dimple Mittal & Vijay Narnapatti MAYAPRAXIS

After working for a few years in the San Francisco Bay Area, Dimple Mittal and Vijay Narnapatti aspired to come back to India and “get our hands dirty” in the material and craft-rich environment of the country. Bengaluru, with its cosmopolitan character and professional design environment, seemed like an ideal place for their craft-based practice and, thus, mayaPRAXIS was founded in 2001. “We wished to bring our modern, critical thinking to the vernacular and traditional spirit of architecture in India,” explain the architects who have a masters in History and Theory of Architecture from the University of Cincinnati. From the start, an experimental approach was maintained. Their first project was a house renovation for a family member where they incorporated corrugated galvanised aluminium roof, a composite structure of steel and concrete, exterior wooden partition and an interesting staircase. It helped them meet good consultants and experiment with material structure and form. For a few years, they were “stuck” with interior projects; the ideas, however, remained architectural — “we resisted the decorative tone of interior projects”. Soon they were approached with a 100-acre masterplan by a developer, which was in collaboration with Dr. Ken Yeang. “Gradually we focused on increasing the range of projects — schools, hotel, resort, yoga retreat, footbridges, etc. Now the practice has matured into an exciting set of works — we have curated exhibitions and events, and are working on participatory design projects,” disclose the architects. Through all these projects, their philosophy has revolved around certain fixed ideas: tradition is never constant, design does not need to be a spectacle, and architectural space is meaningless without context and material form. “We introspect these ideas in every work,” say the duo who are eager participants and activists, convinced that architects and designers have what it takes to shape a better urban environment. It’s not just a dream or a wish, they actively pursue these roles. Their Gandhi Bazaar Project, a participatory project, is bottoms-up inclusive. Narnapatti is also the founding faculty of the School of Architecture, Christ Bangalore, and is working with others in the team to restructure and energise design education. In this context, they prefer advising fellow architect about opportunities instead of mistakes to avoid. “The idea of practice needs to be adventurous — and one needs to take on the challenge of difficult works, socially relevant projects and research. This will inform us on the strength of our ideas.” A&I

LOOKING BACK The architects learnings from The Lighting Museum and Energy Center competition project and the House Triangle have guided them in their later work. The former was an exploration of a stronger theoretical approach, and the latter maintained a more material and tectonic approach.

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

LOOKING FORWARD A few interesting projects are in the pipeline for MayaPRAXIS: a Botanical Garden and Exploration Center, a resort in Coorg, and Gandhi Bazaar Street Market. These projects are different in contexts and need varied collaborations. “That is what excites us,” say the architects.

HOT 100

Dipen Gada

DIPEN GADA & ASSOCIATES Epiphanies, as is their wont, happen suddenly. But it takes courage to act upon these moments of realisation, especially if it means you have to change something after having worked on it for a considerable amount of time. So it happened to Dipen Gada, who, after having headed his practice Dipen Gada & Associates for seven years, listened to the experiences of a Swedish firm who was still going strong after the demise of its principal and decided it was time to change. “The firm operated years after the demise of the principal designer, based on the goodwill, values, reputation, philosophies and the work culture put into practice decades ago,” he reminisces. “It marked a change in the design ethos of my firm. And I made a conscious effort to shift towards a more simple, minimal and ‘back to basics’ kind of design sensibility.” He is no stranger to quirks of fate. His graduation in civil engineering — so closely allied to architecture — came about when he tried — unsuccessfully — to enrol for mechanical engineering, the subject of his choice. “Initially, I strove for knowledge and exposure which set me off on a path of self-learning,” discloses the designer-by-chance. “Intense travelling, study and seminars helped me to create a boutique identity for my practice.” Today, DGA is the proud winner of several awards and commendations. Though the firm strives to maintain a balance between aesthetics and functionality in all its designs by amalgamating architecture, art and design, Gada believes that the roots of his design ideology lies in functionality. “All my designs are developed with function as the base module and they emerge progressively, depending on site context and climate,” he says. “Classic minimalism is what we follow and maintain in each project we undertake,” he says of his broad design style. “We also believe in respecting the natural materials and uniqueness of each element. We like to explore each element with its qualities and adapt it to our client’s requirement.” All this takes is keeping one’s eyes, mind and senses open — a trait Gada swears by. He also lays great emphasis on experimentation. “I believe that the new generation of designers should always do a ‘trial and error’ in each work they undertake. I believe that mistakes are the proof that you are continuously engaged in the task.” A&I

LOOKING BACK There are two projects which are dear to Gada’s heart: the Madav residence and Sanket India. The first saved 17 trees out of 20 on site; today, the house is cocooned in greenery. Sanket India is a huge electronics showroom near Baroda, developed on a green concept and realised after overcoming several challenges.

LOOKING FORWARD DGA consciously works on limited projects so that they can deliver out-ofthe box design solutions. One residence that they are particularly excited about, is being developed for a doctor couple who wanted a home that was close to nature. The designer is optimistic about delivering something that they will cherish for a long time.

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

HOT 100

Dominic Dube

DDIR ARCHITECTURE STUDIO “Serene and peaceful with always a drop of serious playfulness,” is how French-Canadian architect Dominic Dube describes his work. There’s a beguiling simplicity in this response to our questions, simplicity that is based on deep philosophical thoughts. For instance, he knew “it was all about manifestation” when he started his practice. His love for architecture itself has sprung from pleasant childhood pursuits: designing and constructing furniture in the backyard of his home; dismantling his 10-speed bicycle to re-paint it the way he wanted; sketching the dogs on his father’s native island… While formal education is represented by a degree in architecture at Laval University School of Architecture, Quebec, Canada, Dube’s sensibilities are informed by a multitude of things: mainly, people, moments, culture, art, and travel. In fact, the last is how he made India his home, first in Ahmedabad (1993), then in Auroville (1996), and now in Bengaluru (2003), from where he runs award-winning DDIR Architecture Studio along with Inge Reick. The studio’s vision is the integration of architecture and design with art (nature), technology (structure), life (light) and culture (spirit). “I’ve come to architecture now,” says Dube about his journey, “earlier it was only homes for close family members. There was, I remember, the reshaping of a cemetery where I designed a beautiful Christian chapel and re-did my family cemetery… Small but of great consequence to me as these are very important subjects to reflect upon, almost philosophical — which are seen even now in my thinking process,” reveals the architect who seeks equilibrium in everything. In addition to architecture, Dube and his team are parallely working on international competitions, which have always been “a great force” for the prolific architect. While the nature of his practice may have changed, the attitude with which it is run remains the same. “What I realised through passion is the way I have integrated art and culture into all design processes and for always a greater accomplishment…,” says the architect who pinpoints travel as the root for his philosophy. “I have once said how it is important to become the place you live in, and to live in many places is always a plus to one’s philosophy,” says the designpractitioner who feels one can’t make mistakes as long as one travels and is genuine. Though Dube is not clear about how his practice will contribute to a better design environment, he hopes for one thing: “The path I am walking on and the research I am doing is about manifesting world peace. I hope with this attitude it can contribute to something…” A&I

LOOKING BACK Among the many projects Dube has designed, his last project, the Hyde Park Library in London, has been memorable. Another project is the Christian chapel he designed while reshaping a cemetery. Both these projects are “rich”, often referred to philosophically.

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

LOOKING FORWARD Dube looks forward to Ephemere, a journey (in the form of an artistic book) through the last ten international architecture competitions undertaken at his office, revolving around how the absence of materials is reaching “The Divinity of Space… Like Space for The Grace…,” says the architect.

HOT 100

Dulal Mukherjee

DULAL MUKHERJEE AND ASSOCIATES Dulal Mukherjee is a child of nature, growing up as he did amidst trees and rural settlements of Bengal, touched by the sun and the wind. This experience has engraved in his mind a respect for nature and informs his architectural principles. He creates built-forms in harmony with its natural surroundings. Post a lectureship at his alma mater and a short collaboration with a self-taught interior designer, Mukherjee established his independent practice — the multi-disciplinary Dulal Mukherjee and Associates, in 1969. “The overriding philosophy of the company can be summed up succinctly in the phrase ‘form follows function’,” says the alumnus of Bengal Engineering College, where he obtained both, his graduate (architecture) and post-graduate (master in town and regional planning) degrees. “The recurrent use of strong geometric forms in their purest sense is also predominant. Co-defining and putting flesh on the bones of these principles is an inherent passion for the magnanimity of nature, something I have imbibed from my childhood.” Nature is a recurring theme in Mukherjee’s work. “I make a conscious effort of maintaining the natural assets of the site and surroundings by steering my design to accommodate the natural existing vegetation, so that the building mass seems (like an) extension of the surroundings,” says the architect, who strongly feels that a built-form is only complete with its surroundings. Notable examples of the symbiotic relationship between the manmade and the natural are Mukherjee’s projects in Santiniketan, viz. the Patha Bhavan Girls’ Hostel and Kala Bhavan; both buildings have been oriented to retain existing trees. One of the dream projects of this prolific architect is the development and upgradation of the city of Kolkata, including the renewal of major public spaces such as the proposal for the redevelopment of Curzon Park, a major and complicated intersection in the heart of the CBD area of Dalhousie. “The realisation of my unfulfilled dreams is one of the guiding forces that drives me forward since I never give up hope,” he signs off. A&I

LOOKING BACK Mukerjee’s first completed project, the Birla Temple at Barasat, in West Bengal, posed a number of challenges. The architect’s proposal was a judicious blend of modern form with traditional motifs in bass relief to create the mood of a holy ambience. The project taught him how to balance expectations and reality.

LOOKING FORWARD The upcoming projects Mukherjee is most looking forward to are the Spiritual Centre and the completion of the Assam Legislative State Assembly, both in Guwahati. The design scheme will take into account surrounding “marvellous features”, such as the Brahmaputra river in the first project, to create a relevant built form.

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

HOT 100

Gayathri Shetty & Namith Varma

GAYATHRI & NAMITH ARCHITECTS Twenty-five years of practice puts you on solid ground, especially when it’s a successful practice like Gayathri & Namith Architects (GNA). In this context, any professional advice from the principals, Gayathri Shetty and Namith Varma (architecture graduates from BMS College of Engineering, Bengaluru; & MIT, Manipal, respectively) is worth heeding. “Avoid getting into a repetitive and mundane way of doing things. Rather, be innovative, push the boundaries for designing, make creative mistakes which aid and improve your work as a designer,” urge the duo. A similar drive enabled them to take their Bengaluru-based practice — established in 1993, in a neighbour’s garage — to great heights. From the start, GNA has experimented with sustainable architecture, the Sanskrit Patshala being one of their notable early projects. Located in a thickly forested hill, the structure had to co-exist with the local ecology. “Sensitivity to environment and surroundings, and using locally available materials contributed significantly in adding (native) character to the building,” add the architects. “Our designs almost always have nature wrapped around the built spaces with no clear boundaries, where one flows into the other. Interior spaces converse with nature and are drenched in natural light. Our aesthetic approach and design sensibilities are deeply rooted in ‘Indianness’.” As the practice evolved, the need for experimentation — and constant pursuit of pushing the envelope in terms of design — enabled GNA to create diverse, awardwinning residential, commercial, institutional, hospitality and industrial spaces. “We started out using a lot of nature to bring the outdoors in. That still remains — but over the years, we have evolved into a more Indian contemporary style. We are deep-rooted in India, but not completely traditional,” maintain Shetty and Varma. The coming years are going to see GNA take up a more participatory role in Bengaluru’s urban design. “India is on the brink of an interesting and exciting phase of development, and the firm is excited about performing its role in responsible architecture as part of the country’s dynamic growth. Innovation in project typology and creativity for multi-functional spaces seem to be the journey ahead,” say the architects, who are involved in giving back to the city through projects such as the revitalisation of MG Road Boulevard as well as a few state housing projects. A&I

LOOKING BACK The Global HQ for Jaquar at Manesar was a big leap, and challenged GNA to deliver a unique design. Thus was born an iconic structure that represented Jaquar’s brand value. “We wanted to redefine a corporate space that is intimate in feeling and iconic in its presence,” explain the architects.

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

LOOKING FORWARD Designing the Divya Rasa school for autistic children, Thiruvannamalai, needs special care and attention, making it a definite project to watch out for from GNA. “Being sensitive to user needs while creating a beautiful spatial and emotional experience for them,” are some of the parameters they are addressing here.

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HOT 100

Gurjit Singh Matharoo

MATHAROO ASSOCIATES Mat haroo. Never lose. An unrelenting spirit resides in his name (as his friends reinterpret his name, and his practice), multiple award-winning architect Gurjit Singh Matharoo tells us humorously. He would have needed a lot of that attitude when the very first project he and his team at the newly-minted Matharoo Associates (then operating from a 10’ x 10’ room with just two drawing boards) slaved over, was first enthusiastically approved by the client and then, within the course of a lunch, rejected on an off-hand comment made by the client’s friend during his ill-timed visit. That “friendly statement” brought in them an awakening: “So flimsy are the apparent grounds of our beloved profession, that any passerby can demolish our most sincere efforts and dampen the morale of the most spirited,” says the International Fellow of the Royal Institute of British Architects, only the third Indian to win this distinction after stalwarts Charles Correa and BV Doshi. The firm’s work has gone on to win many national and international accolades — from the award for the massive Curtain Door made of thick Burma sections that are carved to incorporate, collectively, 160 pulleys, 80 ball bearings and a wire rope passing through all those, besides a moving counterweight; to another for the Net House, a weekend home that references childhood summer nights spent slumbering al fresco under mosquito nets. “We take failure as a norm and success as an exception. Maybe that is what makes our work exceptional,” suggests Matharoo. The two pillars that define Matharoo Associates’ fundamental philosophy are functionality of program and efficiency of services. Beyond that, innovation and wit are essential ingredients of their soulful creations. Materiality is expressed in its natural form. “With a harsh sun falling on wood, concrete, brick, stone or metal, we are able to get profound textures — much like carvings in a temple in tropical light,” says the architect who views design discipline as one without boundaries. “There has been a symbiotic relationship between structure and architecture ever since the firm’s inception. While our buildings remain embedded in nature, we approach them with extreme clarity and utmost restraint.” The Studio Matharoo team confesses to having an inner urge to make buildings that elevate one from a normal plane of existence to a higher level; buildings with high emotive content that are meant to be discovered. “People often call us eccentric mavericks, and it is this mad way that allows us to get our seemingly wild ideas across to clients,” shares Matharoo. “We like to call ourselves romantics, people governed by emotion over calculation. Our off-the-mark trajectories are followed up by solid reason and research.” A&I

LOOKING BACK At the turn of century, the much-feted Prathama Blood Centre, Ahmedabad, and Ashwinikumar Crematorium, Surat (both of which they won through competitions) marked Studio Matharoo’s foray into institutional projects. “We call them our life and death projects,” says Matharoo.

LOOKING FORWARD The studio is working on a beautiful home stay on the fringes of a tiger reserve in Ranthambore, meant for hardcore wildlife researchers who spend months tracking and filming the beasts. That a tiger has already been spotted on the site has made this project all the more exciting for the team.

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

PRESENTS

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HOT 100

Hafeez Contractor

ARCHITECT HAFEEZ CONTRACTOR As a school kid, Hafeez Contractor considered himself to be quite mediocre. His first exposure to the world of design and architecture was at his uncle’s architectural firm, where his innate sense of design was discovered. “Before that, I wanted to join the army,” he remembers. An alumnus of Academy of Architecture, Mumbai, he went on to receive his post-graduate degree from Columbia University, New York. When he founded Architect Hafeez Contractor (AHC) in 1982, it was a modest three-person office dedicated to design excellence, efficient delivery and sophistication in building technology as its hallmarks. Today, the establishment has expanded to a wholesome team strength of 550, successfully designing and executing works for clients such as real estate developers, public sector undertakings, large corporations and institutions for healthcare entrepreneurs. Through almost 45 years of his flourishing and famed practice, his constant belief is that architecture should be honest and respond to the spirit of the time, characterised by distinct ideas, disparate missions, contrasting convictions, and divergent preferences. His design philosophy is not restricted to one — but varies from project to project, construction sites, clients’ demand, budget, etc. He asserts, “I am an architect who always feels that the need of a client is of paramount significance, as it comes out of necessity; and my role is to satisfy that need rationally.” Favouring green construction, he says, “I’m not against the green building construction or development. My only concern is that green or sustainable construction means not just to use energy-efficient building materials and products in your projects, but it should also be in your design. The emphasis should be on a judicious use of land to save it as much as possible. After all, once exhausted, land cannot be produced or replenished.” Architects should design for today, keeping the future in mind — this is the mantra by which AHC functions. “Change is the only constant. People are more accepting of innovative ideas and are ready to experiment. Also, since new materials have come, construction is faster.” Therefore, demands and the design briefs have also evolved at a fast pace and, as AHC believes, it is important to adapt. A&I

LOOKING BACK AHC is proud of Vastu Building, Mumbai for its unorthodox flamboyant form; Osho Ashram, Pune for its pure simplistic nature; DLF Phase 5, Gurgaon for being an urban green oasis; Infosys Campus, Mysore with its striking Software Development Blocks and Hiranadani Gardens, Powai for being a classical style township in Mumbai.

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

LOOKING FORWARD The firm has been working on a project they call ‘A house for every Indian’, which they hope can be a reality soon. It aims at providing affordable housing for all by bringing down costs by means of unconventional designs, policy recommendations, new construction technologies and innovative use of materials.

HIREN PATEL ARCHITECTS

HOT 100

Hiren Patel

Hiren Patel’s work motto hasn’t changed since he established his practice, Hiren Patel Architects (HPA) in 1990; it has always been “hard work is fun”. And even now, after almost 30 years of being an independent design practitioner, he says he wants to “work, work, work and work.” A graduated of CEPT — “one of the finest architectural schools across the globe”, he started off solo with a few real estate projects and interior design assignments. “Both were looked down upon then… but for me, work was work. I told myself, if I don’t do it, someone else, maybe (someone) less educated, will, and overall, the city will not gain anything good.” So he persisted. It was tough, but he proved to be resilient. From architectural and interior design projects — which sensitised him to smaller details — his firm forayed into renovation and hospitality segments when they got the opportunity to work on renovation of heritage properties. Then came landscaping and landscape design. A small sample house designed with beautiful landscaping was a lesson in the impact of the surroundings on a space. “It was an open house… and people loved it. I often wondered why. It brought new wisdom to me. Another landscaping major was a township undertaken for a spiritual sect. I realised that was the right approach to design; all the dots connected well. Apart from this, my fondness for art remains an integrated part of the projects we undertake. Now we are exploring urban and town planning (projects),” reveals the architect who values work process greatly. “It has to be honest even if you fail in design,” he says. While the architect says he is still in the learning stage, there is one thing he’d like to teach design students of today: “Do only the best. I love giving keynote presentations on this aspect,” says the founder of HPA. There’s something else the leader of “a small but sensitive practice” would like to share with the design fraternity. “Never take any project as unwanted. Take criticism as a way to learn. People may criticise your work but don’t let that get you down. Be courageous, come out of the Third World mentally and do international work with absolute pride in Indian regionality.” A&I

LOOKING BACK Small apartment projects have given Patel more satisfaction than sprawling villas, as they have had a larger impact on society and future generations. For example, the architect included a social kitchen and a garage band space in housing projects in the hope of motivating a child to become a musician or a master chef.

LOOKING FORWARD The architect is greatly excited about a community centre project that he and his team are currently working on in France, an assignment that, he tells us, is “full of positive vibes.”

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

HOT 100

Husna Rahaman FULCRUM STUDIO

“I started 15 years ago, and it seems like just the other day. That is a function of no two days ever posing the same questions,” recalls designer Husna Rahaman about the day she established Fulcrum Studio. She had just returned from foreign shores: design studies at the Inchbald School of Design, London and Parsons School of Design, New York; a stint at Parsons, Paris, and an internship in Dubai. “The aspiration was to create in as true a manner as only creation allows. I was consumed by the belief that places needed to evolve into emotionally vibrant spaces.” She worked on projects that came her way, making an earnest difference to everything she touched. The response from clients and beholders — even the media — came in strong and fast. “Spatial volumes that create a deep intervention and interaction with the human spirit, has always been our signature,’’ says Rahaman. “Using materials, forms and juxtapositions that evoke and provoke is the response I enjoy eliciting from the built space.” The design philosophy of the firm is to create three-dimensional sculptures with a function. It is to ensure that a brick has a voice, stone has a heartbeat, and fabric has the operatic rendition of your favourite soprano. Fulcrum Studio’s founder firmly believes in the statement, ‘What you shape, shapes you’. “It is the responsibility of design to affect mood, mind and behavioural pattern,” says Rahaman. “Unintellectualised beauty is shortsighted and the true power of creation comes from the elevation of self and surroundings, within and without, spiritual as well as physical.” The designer is currently incredibly inspired to create with limited resources, as it is aligned to her belief of living with a conscience and living consciously. As for some learnings she would like to share with fellow designers: “Each one’s mistakes are the biggest learning device. Take your chances and burn when they fail. Just remember to rise from the ashes. Allow for the sun and stars to be residents in your spaces; the sensitivity will flow.” A&I

LOOKING BACK Every project makes its contribution to her odyssey, and Rahaman’s own home was designed to be just that. However, it was the early days in her career and walking people through the space that elicited a visceral response. A surge was generated right there, she says, and every project thereafter has had a spin-off impact.

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

LOOKING FORWARD Upcoming projects are always like the arrival of a newborn, says the intrepid designer. “Each one is birthed from you, of you, but independently distinct,” she believes. An architectural residential project, which should be ready sometime this year, brings forth the “expected unexpectedness.”

HOT 100

Jimmy Mistry DELLA GROUP

Design, according to this maverick, has many forms — it can arrive as a conception, grow as a possibility and manifest as a breathtaking reality. This philosophy is evident in every avenue of the Della Group, formerly Della Tecnica, which Jimmy Mistry created in 1991 with just two employees, when he was merely 19 years old. Today, it is an award-winning company with over 1,500 employees, six offices, design studios, factories, warehousing and logistics across the country. “I have zero qualifications in design,” he admitted to us, but the mechanical engineering student is knowledgeable in the areas of finishes, materials, optimisation of materials, hydraulics and electricals. Despite dropping out of engineering studies in the final year, he credits it for his understanding of drawings, perspective and scale. His company’s ability to integrate all design services under one roof and yet operate them as individual profit centres has propelled them forward as leaders in turnkey design in India. Today, its two-and-a-half decades of legacy has laid a strong foundation of goodwill and trust, and the Della Group continues to surge ahead, venturing into new avenues of creation and design. A passionate biker and adventure-lover, Mistry got instant recognition as a gen-next entrepreneur in the Indian hospitality industry by pioneering, conceptualising, designing and operating India’s first and largest adventure-themed resort. This model has even been selected as a case study for the New York Stern School of Business. His vision to equip Indians with mental conditioning and survival skills has led him to create DATA — Della Adventure Training Academy. Motivated by the 26/11 Mumbai terrorist attack, it was created to prepare and train every man, woman and child with survival techniques for any adverse situation, with the help of the finest handpicked X special forces from the Indian Army. Mistry affirms, “I dedicate DATA as a tribute, in memory of every single innocent life taken by terrorists.” Driven by a thirst for innovation and sustainability, Mistry’s rare talent for perfectly comprehending a client’s needs allows him to manoeuvre robust conceptual plans, alongside a strong analytical ability to enhance or optimise products. Whether he’s managing a small, medium or large multi-disciplinary squad, the pioneer manages to maximise the strengths and skills of each team member as he continues to strive to create unique, inspirational and path-breaking landmarks that he hopes will stand the test of time. A&I

LOOKING BACK The architectural design and development of Della Tower, a landmark residential tower in Mumbai, marked the turning point in Mistry’s career. The 21-storey tower, adorned with Avestan prayers and massive reliefs of Prophet Zarathustra, is an ode to ancient Persian architecture and Zoroastrian faith.

LOOKING FORWARD Mistry sees 2018 as one of the biggest landmark years of his design life. Besides DATA, he is working on projects like Della stores and a villa resort. But his most challenging project to date is a first-of-its-kind 20-storey residential tower in Matunga, Mumbai, that will be a representation of iconic architect Antoni Gaudi’s design.

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

Heading this workshop is Michael Wang, who has been with Marriott for over 20 years, and is currently responsible for design and project management related activities for Marriott International’s portfolio of 30 brands (Luxury, Premium and Select) in Asia Pacific. Michael is also responsible for the development and execution of strategies to effectively respond to the changing development and business needs of Marriott International brands in the region. Michael has grown the continent’s portfolio from 16 hotels to 560. He is also leading the integration of the Starwood technical service team in Asia Pacific, and the Global Design team is currently working on over 600 signed projects under Michael’s leadership. GOLD PARTNERS

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HOT 100

Kamal & Arjun Malik MALIK ARCHITECTURE

Four decades ago, Kamal Malik switched over from a major in structural engineering to architecture (SPA, Delhi) because of his quest to embrace science and the arts equally. “This tabula rasa between head and heart is where I finally found my calling,” he recalls. For his son Arjun Malik, the ability of this “paradoxical” profession to be a medium of commentary and self-expression was too captivating to ignore, leading him to acquire a Master of Science in Advanced Architectural Design from Columbia University, New York. The dynamic father-son duo, with their almost poetic approach to architecture, have made Malik Architecture more than an awardwinning practice; it is a learning ground for excellence in design. Established in 1976, the practice won two competitions at a fairly early stage of its existence — one for a housing complex in Delhi and the other, a medical centre expansion in Mumbai. The Delhi project provided Kamal with an opportunity to explore the realm of brick load-bearing architecture. A collaborative effort ensued between him and an engineer who had a Master’s in load-bearing structures, resulting in an exploratory and experimental work. This, Kamal states, set the tone for future projects while providing a sharp learning curve in the understanding of materiality as well as the aspect of precise detailing essential in exposed brick-work. “The fusion of the architect and engineer at an early stage in the design process was also an invaluable lesson that was an intrinsic part of the initial learning curve,” he adds. Their learnings and overall holistic design sense are at work in a wide range of projects — private residences, institutional and corporate projects, research facilities, residential complexes, healthcare and educational projects, even hotels and museums. “Evolution is continuous, and is aptly described by the Sanskrit word ‘Manthan’ or the churning — which is the assimilation of factors, be it social, geopolitical, climate, technology, regional context, etc,” says Malik senior who identifies sustainability as a key issue that simply cannot be seen or addressed on a superficial plane. Use of local materials/artisans coupled with innovative and relevant technology, and a deeper, more sensitive understanding of real human needs — physical and emotional — are key issues that should form an intrinsic component of the design process, he explains.

LOOKING BACK The Lupin Research Centre near Pune gave the Maliks an opportunity for interpretation and expression in the field of medical research through a built-form. “Here, abstract subjects like intuition and the metaphysical were added as layers to the design matrix,” explains Malik senior.

LOOKING FORWARD Malik Architectutre is thrilled to be working on the Matrubhumi complex in Kochi. “Even though it is a corporate office, we have opened up the entire site at the ground level to the public realm. This creation of civic spaces, we hope, will lead to other projects following this model,” says Kamal.

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

To that effect, Kamal has cast away all dogmas, doctrines, theories and, to an extent, ‘philosophy’. “My journey, that began with the Himalayas as my cradle, the deep respect and reverence for nature, the need to discover a language for a deeper communion with nature and the grace of the sages (who made this journey possible), brought about an entire change in the very ‘gestalt’... I was introduced to the language of ‘silence’, which is an intrinsic aspect of ‘nature’. With the passage of time, my role has become that of a catalyst more than a doer.” A&I

HOT 100

Karan Grover

KARAN GROVER ASSOCIATES For Karan Grover, architecture is a verb. As an explanation, the principal of Karan Grover Associates offers the ideology of his tutor John Turner, whose mentorship he enjoyed at Architectural Association, London. “Turner, whose claim to fame was his book Housing as a Verb, taught me that when you looked at housing as a number — which we did at that time in India, architecture was a noun; but if we talked about the act of building a home, it became a verb.” Grover recalls that the time he decided he wanted to be an architect, he was at Mayo College and had opted for cardboard modelling as an elective. While he graduated as an architect from MSU Baroda, he believes he received his true grounding at Architectural Association. As a result, even though he aped the West in his design ideologies at that time, he ironically picked ‘Housing the urban poor in India’ as his post-graduate thesis. Now, KGA — established in 1985 — has been a fervent believer that one’s culture and heritage provides clues to contemporary architecture and sustainable development that is relevant to the Indian context. From practising architects, students to young children, Grover continues to enthusiastically teach and recruit them into his social endeavour of culturally relevant and sustainable architecture and conservation of our Indian architectural heritage. His studio is, thus, a consortium of like-minded professionals who offer structure, landscaping and services as a single window service — where “interpretations of tradition” became the overarching design philosophy. Grover is a frequent speaker at various national and international forums, annually addressing over 20,000 professionals and students pro bono, mostly on topics pertaining to sustainability and green architecture — a personal commitment he made to President Bill Clinton at the Clinton Global Initiative, New York, in 2006. He has been the keynote speaker at the India Green Building Congress for eight consecutive years. The academician in Grover hopes to continue to inspire young students and architects with his national and international lectures on the importance of tradition, working with the climate, and building people-responsive environments. “That is my goal! And I pray for the strength and ability to extend and promote the notion.” A&I

LOOKING BACK The Bhasha Tribal Centre in Jaspur is a project that Grover considers a milestone for KGA. Grover shares that this all-brick complex provides a culturally relevant platform for the 9 million tribals in Gujarat to showcase their extraordinary work in embroidery, terracotta and metal.

LOOKING FORWARD The Vidhan Sabha at Naya Raipur is a project that KGA is most excited by. Having designed the Goa and Bihar Vidhan Sabhas, the firm has coalesced all their learnings and designed a powerful building that truly reflects the culture and purpose of the state of Chhattisgarh.

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

HOT 100

Krishna Rao Jaisim JAISIM FOUNTAINHEAD

“Make mistakes,” says Krishna Rao Jaisim, an architect who needs no introduction. “I started (with) personal disasters and failures — and they have made me bolder, stronger with the mind and spirit to conquer.” Backed by this fearless attitude, he set up Jaisim Fountainhead in 1970, and soon an experimental approach to design became his forte. His own house in Chennai was his first independent project, where he invested not only all of his early savings, but everything he believed about space and dimension. He embraced every project that came his way, giving each project its depth of comprehension. “My only objective was, and is, in (creating) spaces conforming to time, playing with technology to make the arts perform to their spiritual

LOOKING BACK In the ’70s, Jaisim designed the small industries pavilion in Delhi, inspired by Buckminster Fuller’s Geodesic Domes; and the 15,000sq-ft Cochin Football Stadia with four inverted shells and just four columns, which stands even today. “I sometimes wonder how I had the guts to do these,” reminisces Jaisim about these projects.

LOOKING FORWARD Through an invitation-based competition, Jaisim was awarded the SSU University in Bhubaneswar. Located in the midst of abandoned open mines, the buildings will be placed within the pits of mined spaces, “floating” over a man-made lake. “The project has started with deviations, but I hope someday it will see some light,” muses Jaisim.

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

dimension, keeping in mind the raga of objectivity,” says the architect. So unconventional was his work that students (“they are big names today”) flocked to the practice and preferred it over their classrooms. Within two years, the practice leaped beyond boundaries, winning awards and handling projects of varied scale, from homes, international stadiums, auditoriums, beach resorts, luxury hotels to industries. “Originality without being different for the sake of being different; every material researched to discover new avataars; going beyond the specifications; every step an adventure,” is how Jaisim approached these projects. It has been five decades now, and the architect prefers to spend time with young minds — as a design chair, visiting professor and advisor at many schools of architecture. “I seek amongst the youth those few scattered ones who (are looking for) new dimensions, and guide them towards a future across set syllabuses that will make them proud of finding their own direction.” For Jaisim, the real reward of all these years of practice is to see his philosophy come alive in other practices all over the world. “When I get a call for some advice or hand holding, it brings great joy and the sense of having achieved (something),” says the architect, whose next best contribution to the design community will be as a mentor. A&I

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Krupa Zubin & Zubin Zainuddin ZZ ARCHITECTS

For Krupa Zubin & Zubin Zainuddin, it was a personal project that started it all. “The staircase we designed for our own house won an award and got a lot of recognition. It led to a few small private commissions and, later on, we decided to formalise our setup.” That was the genesis of ZZ Architects (ZZA) in 2002. This experience cemented the idea that every single opportunity counts. This humble start, along with their self-discipline and determination , has been instrumental in helping the architects run a successful practice. Now the ZZA team — of around 75 members — has evolved. The unusually diverse work in the firm’s repertoire includes award-winning private residences, corporate spaces, hotels, hospitals, large master planning projects, and commercial, industrial and institutional facilities. The duo believes that design cannot be categorised; it is a result of the clients’ needs and a response to the environment. “Our work is very personal and process driven. We ensure that all our projects have their individual identities,” say the architecture graduates who studied at Mumbai University. The underlying philosophy has always been to ensure that the projects have a timeless appeal. It isn’t a far-fetched aspiration, because their clients remain content with their designs even decades later. Creating designs that could be assets to the clients and the city as a whole is paramount to them. “We need to make sure that the structures that are built today are well-designed assets for the city. This would clearly define the way forward,” express the duo. The future is exciting and ZZA is looking at expanding their space, with some challenging and exciting work on the boards. And for the rest braving a similar future, they say, “It’s important not to be blinded by current trends. Have clarity on what’s best for the work you do — that is what makes every project unique. We would recommend that every designer read Bruce Mau’s Incomplete Manifesto for Growth and make their own version based on it. It has heavily inspired and influenced us in the past too.” A&I

LOOKING BACK ZZA’s first few large-scale private homes made them serious contenders in the luxury space. “All of them were such eye-openers and changed the way we approach homes... It was a period of constant learning and exciting exploration,” remember the architects.

LOOKING FORWARD Among the 50 projects ZZA is currently overseeing, they are gearing up for the completion of a few hotels in the coming year. A ‘yet to be named’ luxury hotel in Pushkar, Rajasthan, and The World in Surat, a high-end luxury service apartment project, are among them.

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

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Lalita Tharani & Mujib Ahmed COLLABORATIVE ARCHITECTURE

Vigour and passion were the foundation stones on which Lalita Tharani and Mujib Ahmed built Collaborative Architecture in Mumbai, in 2002. They aspired to take the firm to greater heights by working on projects that they hoped would be recognised for design innovation. The practice evolved in the ensuing years with the duo bagging multiple national and international awards for their built design. Considering their global ambitions, they have pursued perfection by choosing to compete with the best in the world, not only in terms of physical form but notably, in their contribution to the architecture narrative. Their work has been sculpted by trial and error, with the belief that one person’s mistakes can be another’s success, and architects have to tread their own path to discover what works for them. “For us, architecture falls at the intersection of informed decisions and speculative hypothesis,” they say, highlighting that their own designs are often not a result of a rational process, “but intuitive, often layered palimpsests of logical, irrational, bizarre, poetic, and impossible thoughts. “We still have loads of scope to improve,” insist Tharani and Ahmed — alumni of Sophia Polytechnic, Mumbai, and National Institute of Technology, Calicut, respectively. With technology evolving every day, their possibilities expand too. It’s a constant attempt to experiment with the new and to better the old. “Innovation is the key. And we try to fit this key into every lock we encounter!” A&I

LOOKING BACK Starting with the Wrap series that came early on in their career, they consider each project to be a milestone. Stacked Tectonics, a primary school designed for an orphanage, calibrated their architectural response on a shoe-string budget. Inverted Topography and Reflected Topography proved their brilliance in lighting design.

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LOOKING FORWARD House of Cantilevers is a unique response to a distinct site, with living pods cantilevered at a height of eight to 10 metres within a valley. This exciting new project, currently under construction, is located at the Israeli lounge in Kennedy Centre, Washington DC, and has been shortlisted for an international competition.

INSPIRATION

As early as 1988, Jaigopal G Rao started out on his own, passionately influenced by his interactions with Laurie Baker. His venture quickly evolved as an NGO pioneering sustainable development — a number of architects and engineers joined him and it became a ‘design-build’ group. This group broke away to create a number of now wellknown groups, prominent among them Inspiration, headed by Jaigopal and his partner and wife, Latha R Jaigopal. “While the core idea still remains, the approach is now better defined and details better refined,” discloses Jaigopal. Inspiration has proved its mettle with projects in Kashmir, Madhya Pradesh, Maharashtra, Tamil Nadu, Karnataka and their home-state Kerala. The firm has an interdisciplinary strength in planning, architectural design, structural design, utilities design, interiors, landscape, project management, crafts and artisanal skills. Their in-house capabilities are augmented by an extensive network of eminent professionals from all over the country and abroad in a wide range of

LOOKING BACK Swa Swara, a high-end yoga retreat and spa in Gokarna, North Karnataka, brought Inspiration a number of accolades. It proved that simple local materials (laterite, coconut thatch, red oxide and terracotta), implemented with superior artisanal skills and scientific methods, can help create world-class living spaces.

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Latha R Jaigopal & Jaigopal G Rao subjects — from total water management, renewable energy, bamboo construction, adaptive restoration of heritage buildings and environs, etc. “Moving forward, we hope to trend pioneering participative and inclusive projects in the sector of sustainable built environment in varied locations and contexts,” says Latha. “We shall also continue bettering our core area of expertise in ‘design-build’ which, in context of bigger projects, would be by setting standards through small pilot interventions…” And what kind of mistakes would they urge fellow architects and/or designers to avoid within the sustainable genre? “Avoid looking at sustainable development superficially — and avoid making it a mere fad.” A&I

LOOKING FORWARD Inspiration is working with the decision makers and community of the town of Alappuzha in coastal Kerala (Alleppey) to rejuvenate the canal network through an approach integrating water management, storm water drainage, sanitation, solid and liquid waste management, and needs of the deprived sections of the population.

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

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Linus & Lyle Lopez LIRIO LOPEZ

What began as an electrical consulting firm, Lirio Lopez, gradually transformed into a prominent lighting design firm in India because founders (and brothers) Linus and Lyle Lopez approached their work “with the absolute humility and energy of the utterly untrained”. The firm was founded in 1995 — the year their father, whose name they chose to retain, retired. In 2000, the desire to pursue creative projects made them sidestep into lighting design. “We took on whatever was offered, and went at it with everything we had, hammer, tongs and complete faith that every kink in the tube would get unkinked if you hung in there long enough with the right attitude,” shares Lyle. Interesting works followed, from restaurants to nightclubs, and finally, few prominent art galleries and homes of art collectors. “Working with artists, curators and designers in gallery environments is a great opportunity to try out new ideas and the best way to get your hands dirty,” explains Lyle. They also had to keep up with changing technology as

LOOKING BACK There have been several great opportunities that have influenced the firm’s trajectory: Delhi Metro, The Kingdom of Dreams, Lebua resort, Gyan Museum, the Jawahar Kala Kendra renewal, offices for Sugal & Damani and Greenply.

LOOKING FORWARD The Lopez brothers are excited about the National Museum in Bhutan, another one that they are working on in Goa, some signature façades with prominent developers and, “fingers crossed,” are looking forward to a great heritage opportunity.

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they began to grow. “The tools and toys in the basket now are exciting and the society is changing too — buildings get taller and nighttime visibility takes on a new importance. Public spaces, particularly in dense urban environments, invite people to congregate for social events, art festivals, retail therapy, nightlife… These are all beautiful new canvasses to work with, and in all these cases, I believe we’ve only just begun. There’s bound to be some recklessness — and mistakes — as we explore these opportunities, but I think that’s part of the societal growing up that India has to do.” Moving forward, they are keen to delve more into environmental conscience in the sphere of lighting design — the rule book is open, full of caveats, cautions and blanks that need to be filled, they say. “I think lighting is adding a graphic dimension to building forms and interiors that also demands exploration, and we’d certainly like to be a large part of this journey. Another aspect of societal maturity is visible in the growth of museum culture. Some of our best work has been, and will continue to be in museums and galleries,” Lyle adds. Recognising the need for greater indigenisation, they are making efforts to build and craft locally, but the technology gap is huge. They believe the graphic potential that lighting brings is almost of the same magnitude as the architectural form — in the way it impacts the space and the experience. While they say ‘mistakes’ is a subjective term, their advice to the fraternity is to build great teams, share knowledge and keep your environmental conscience as sound as your ethical conscience — both should be set to maximum gain. A&I

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Manish Banker TAO ARCHITECTURE

What began as an experiment soon laid the foundation for an inspiring practice. Manish Banker’s creative inputs for a friend’s house, particularly his suggestion that the design be approached from the inside out, not only resulted in a cozy retreat that was appreciated by his friend’s family but also landed him a project — thus laying the foundation of Tao Architecture in 1994. “My first project integrated architecture, interiors and landscape, resulting in a coherent living space, connecting the inhabitants with their natural environment, an experimental solution that would continue to evolve and mature over the coming years,” says the alumnus of Institute of Environmental Design, Gujarat, who put down roots in Pune while working with The Osho Commune International. Banker sees architecture as a device to connect man with nature, “and ultimately with himself.” An ideology that he has successfully replicated all over the country. However, each project is unique to its context. “In Pune, the climatic conditions (are) suitable for opening out the architecture toward the landscape by incorporating transitional and adaptable spaces. However, when our clients in Jodhpur asked for a similar architectural language in their city, we (adopted) a fresh approach towards the ‘intexterior’ context, in keeping with the climatic challenges faced in Rajasthan,” he explains. Besides positive spatial experiences, the firm lays emphasis on sustainability in terms of resource management, building operations and maintenance, and the conservation of natural environment. “We have tried to refine our approach and process to greater levels of efficiency,” shares the architect. And with clients, friends, as well as state and country-wide design associations (“our projects have been awarded by the AESA Pune, IIID and IIA”), all commending their efforts, we know that in keeping with their philosophy, they are positively transforming the built-environment in the country. Success has been possible because “the realisation and correction of a failure” is of utmost importance to the growth of a design practice, according to the architect. “We would urge fellow designers to not make the mistake of ‘not making’ mistakes’!” He also urges peers and young students to value our design heritage, while being open to new technology, materials and methods. “Moreover, be observant of the huge knowledge bank of architecture and space psychology all around, in the form of people and their interaction with space.” A&I

LOOKING BACK The ‘Nest’ residence was an exploration into materials, art, furniture and landscape, resulting in a hierarchy of various interconnected spaces, all interwoven with nature and the landscape. “In residential projects of this lavish scale, the primary goal is of achieving harmonious human-nature interaction,” discloses Banker.

LOOKING FORWARD Tao is enthused about a residential bungalow, where the entire roof is an interconnected garden dropping to the ground at strategic points, while connecting all levels of the property through nature and greenery. The project, currently halfway through completion, epitomises the firm’s design philosophy.

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

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Manisha Agarwal & Shantanu Poredi MO-OF/MOBILE OFFICES

As practitioners and teachers, both Manisha Agarwal and Shantanu Poredi, co-founders and principal architects of MO-OF/Mobile Offices, believe that the future of design depends on the symbiotic relationship between academia and architectural practice. Their own grounding is thanks to CEPT, Ahmedabad, the foundation on which Agarwal and Poredi started their studio in 2001, after completing their masters at Cornell, New York, and Architectural Association, London, respectively. Their practice began with aplomb, with the duo winning a national open competition to master plan and construct the Mahatma Gandhi Antarrashtriya Hindi Vishwavidyalaya campus in Wardha, a 212-acre site envisioned to accomodate 3,000 students, complete with housing for them, the faculty and staff. As the firm grew, they continued to participate in competitions regularly and engaged with varied genres of work. As the time cycle of architectural projects is much

LOOKING BACK The School of Planning and Architecture at Vijayawada is MO-OF’s most significant and largest project till date. The firm was successful in delivering a high-density built program on a humane scale. This exercise also helped them question and brainstorm on the ideal teaching and learning environments for architectural design.

LOOKING FORWARD MO-OF is most looking forward to the upcoming Bombay International School project. It will help convert a traditional educational environment into a contemporary networked learning environment, which is more immersive and flexible.

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longer, MO-OF found the opportunity to simultaneously work on art installations/exhibitions and interior projects at multiple scales. The firm today has completed projects in various program categories such as educational campus, hospitality, residential communities, offices, exhibitions and healthcare across the country. Since initiation, MO-OF has strived to engage with the communities they have designed for, thus allowing the cultural and topographical contexts create the framework for the architectural expression. The primary issues they focus on addressing through their design include social, cultural and environmental sustainability — thus ushering explorations that transform building types and typologies. “Our work stems from the debate on the evolving cities and the potential it offers a designer. It can be categorised as ‘contextual in nature’ as it draws reference from the immediate site surroundings and the specificities of the climate that define the articulation of the built form.” As aspiration for the near future, Agarwal and Poredi look forward to contributing to the country’s housing and infrastructure needs. Developing a knowledge base for affordable housing and super-specialty health care, they feel confident they can disseminate their ideas for the upcoming habitats. Also, since they are both passionate about transforming the education scenario in the country, they envisage the firm playing an active role in bridging the gap between academic theory and professional practice. A&I

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Martand Khosla ROMI KHOSLA DESIGN STUDIO

A dormitory for a government hospital, a cafeteria in a university, a mud brick factory for home furnishings — Martand Khosla’s first few projects reflect just the kind of studio he wanted to set up. While growing up, he saw his dad Romi Khosla successfully run a large architectural practice (of about 60 professionals), but Martand had other aspirations. When he started Romi Khosla Design Studio (RKDS) in 2002, he was content with a considerably smaller studio where he could be more involved in the design development — a model he has maintained for the last 15 years now. For this graduate from Architectural Association, London, the changes in project profiles since then has kept the work interesting and the studio “on its toes”. Eight odd years into the practice, Khosla was overseeing larger townships and industrial projects. Recently, they have been more involved in corporate and residential projects, and less in institutional ones. Through all this, their approach has remained constant. “RKDS has, by and large, been influenced by a modernist architectural approach. Our attempt (has been) to find a balance between the theoretical and the lived reality of where we practice. As such, the studio attempts to balance a modernist approach with regional materialism,” he explains. Staying away from “formalist fads”, his focus has been on program and environment-driven architecture. This has eventually led him to broaden the studio’s portfolio with interior design work. “We like to design the interiors of our home projects as well as corporate offices, and a limited amount of hospitality work,” he shares. In the coming years, the studio would like to participate in more international competitions —which, in the past, have yielded favourable results for the studio. They are also actively looking for opportunities to design low-income housing projects in India. Khosla’s experience has reinforced one crucial fact: mistakes are indeed the best teachers. “Only when you make your own mistake, do you evolve. The only bit of advice: try and not make them twice!” he quips. A&I

LOOKING BACK With projects like the Castro Cafeteria (2007), Volvo-Eicher Corporate HQ (2015), and, more recently, the brick house (2018), the studio began exploring different typologies. Among them, a low-cost public building, a steel fabricated LEED platinum rate corporate office, and a modernist high-end private dwelling.

LOOKING FORWARD Khosla is particularly looking forward to the embassy that the firm is currently designing. “The opportunity to be able to design for two cultural identities (the host country as well as the represented country) is a design challenge that appeals to me,” explains the architect.

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

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Michael Foley FOLEY DESIGNS

Back in 2006 when Foley Designs was founded, the potential of industrial design was relatively little known. Hence Michael Foley dedicated his efforts towards propagating the idea that industrial design bestows long-term value on any company. His 13-year stint at Titan — and his degree from NID, Ahmedabad — ensured that he was on solid ground as far as his aspiration for creating a world-class design consulting firm in India was concerned. “India has great talent and design is now coming of age. Ten years back, risk taking was lower, thus translating into less challenging projects, pushing the studio to widen its width of expertise,” recalls Foley. While their strength lies in industrial and environment design, and packaging identity, the studio’s design specialisations are not constrained, but driven by a problemsolving mindset. “I have been pushing the idea of collaborative thinking, cross-functional problem solving and building a greater depth of expertise in fields that are closely allied to

LOOKING BACK The Commonwealth Games Queen’s Baton brought the studio closer to ‘executing’ innovation. Foley explains, “It was the first large-scale collaborative effort (that unravelled an) opportunity in product innovation, melding craftsmanship, material and process innovation, and technology customisation.”

LOOKING FORWARD Currently, Foley Designs is building brands within the studio that create an impact on people’s lives. “We have incubated ‘Tilt’, a brand that combines sensible craftsmanship with intelligent design and are looking to roll out more such initiatives from the studio in the near future,” shares the designer.

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industrial design. As a consequence, companies are today seeing a greater opportunity in approaching us with ideas at the germination stage that we handhold till the pilot launch. This is a promising ‘perspective change’ and hopefully will transform the way we work in the future,” shares Foley. For this Bengaluru-based designer, simplicity of thought and “not being afraid of doing something I haven’t done before” has been a constant. It has helped the studio take on new challenges and learn new domains in a shorter time frame. With each new project, the need to innovate (“and not imitate”) has made the process more challenging, he admits. Reflecting over his decade-long practice, Foley believes he has only touched the surface when it comes to problem-solving through design — “given that India is a vast country with enormous opportunity for design intervention”. He sees the past as nurturing expectations and establishing credibility. “I do believe (in) making systemic change through design. We look forward to projects that influence such fundamental change. Areas such as public design, solving the problem of waste, simple solutions for environmental challenges, making cities better, are a few that we are attempting as opportunities and solutions within the studio.” As for mistakes, while they are part of the process, Foley advises that one should try and avoid them at the cost of a client or a project. He suggests, “A simple rule to follow — believe in the iterative process and the pre-emptive nature of creative problem solving, which allows you to take risks and gauge them early on, without impacting a customer.” A&I

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Minnie Bhatt

MINNIE BHATT DESIGN Since the inception of Minnie Bhatt Design in 2008, founder and principal Minnie Bhatt has always maintained a strong belief that every project is unique in its own right. While the firm has evolved from its humble beginnings ten years ago, it still remains resolute in its versatility. While her designs are eclectic, timeless and discerning in style, Bhatt insists that with every project the studio undertakes, the finest of details which adhere to the design language of the space. “From the beginning, my design philosophy has been to give the client or brand a distinct personality, bearing in mind the client’s taste and aesthetic sensibilities,” says the alumnus of Sophia Polytechnic, Mumbai. Having grown up in South Mumbai, the exposure to heritage structures and the charm of vintage buildings and old-world neighbourhoods is deeply embedded in her design sensibilities. In a subconscious way, these often find their way subtly into the spaces she creates. She has worked on residences of some renowned names from the entertainment industry and a whole lot of popular restaurants and bars in Mumbai, Delhi and Bengaluru. As for the future, Bhatt is optimistic about the possibilities in design that have opened up with travel and the internet revolution. Even in terms of client response, there is a greater receptivity to ideas, and many are steering clear of the generic. Avoiding the hunt for definitive goals, Bhatt insists that only truth, passion and integrity are the magnets that have brought in the tides of success in her career, and it will be these core values that will continue to lead her on. “I intend to continue working with the same ethos and philosophy and allow my practice to be steered by putting up good work consistently. A decade into the future would hopefully mean a lot of additions to the body of good work we have done so far,” she envisages. In conclusion, she believes it is imperative for budding designers to find their own niche in the field of design and be true to it. “After all, it’s important to be resolute in creating spaces that are original and distinct ive in personality – rather than just alternative versions of another designer’s work.” A&I

LOOKING BACK Bhatt notes that past projects like the Silver Beach Café, Burma Burma, Fable and True Tramm Trunk were significant. These were bagged after proving their mettle with a number of celebrity residences and premium residential projects. But these hospitality projects established the firm’s position in the field of design.

LOOKING FORWARD Presently, the designer and her team are focusing their efforts on exciting projects like the experience centres for the Kanakia Group’s Powai projects (Mumbai) and Shapoorji Pallonji’s project at Sewri. They are also looking forward to the villas project for Isprava developers in Goa.

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

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Mona Doctor-Pingel STUDIO NAQSHBANDI

When Mona Doctor-Pingel started practising architecture in 1995, her ambition was to simply design and execute “healthy” buildings based on the principles of Building Biology — her Master’s thesis at the University of Flensburg, Germany (1992-94). She recounts being fortunate enough to design residential projects for clients who were open to her experimental ideas — only naturally ventilated buildings (with just 12-volt table fans); a minimum use of concrete; solar PV for electricity; solar water heaters; landscaping using indigenous and waterresistant plants; and designing around the existing trees on the site. She stresses that sustainability has to be a way of life and “not just one more word added to (enhance) the salability (quotient) of a project.” Her idealist aspirations proved to be a fertile ground for new learnings — and she was open to the idea of course correction. “I learnt that earth blocks have other inherent problems. For example, an ant or termite infestation in the mortar joints which are not compressed by machine, or (a chance that) cracks (may develop in the façades) due to uneven settlement. Besides, building with mud is not necessarily cheaper. If you don’t have good quality soil, it is better not to opt for mud construction,” says the CEPT alumnus, adding that in the initial days she ended by educating clients. “I have always seen my work in Auroville as a response to a deeper aspiration (sometimes not even consciously formulated) and therefore, any kind of work that came to the studio — from designing a chair, landscape, small extensions or bigger planning projects — was seen as a stepping stone to inner and outer growth.” Her work can be described as sensorial, rustic and handcrafted, with respect for local context and climate at its core. Through the years, her design philosophy has focused on innovation and experimentation. She adopts an uncompromising approach to quality, working on interiors, landscape and architecture in tandem, creating buildings that are rich in detail but not ostentatious, simple but not austere. There has also been a certain evolution in her approach: “My idea that the architect is the conductor of an orchestra has undergone a major change.” Doctor-Pingel is keen on achieving a building solution that is cost-effective, affordable and yet rich in aesthetics. She is also passionate about the state of education in India and is involved in several educational and training programs that address crucial issues affecting the current state of architecture. Her advice to fresh graduates is to work with a firm of choice for at least two to three years, so as to get a good hands-on experience of the profession. For other architects? “Don’t get stuck in boxes!” A&I

LOOKING BACK Instead of identifying one of her built projects as impactful on the firm, Doctor-Pingel says that if she has to account for projects that truly impacted her thinking, it would be the buildings that have not been built, even “after a lot of investment of time, passion and research.”

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LOOKING FORWARD The construction of Sri Aurobindo Integral Life Centre, part of the AURO University in Surat, has been on the cards over the past five years, but will finally take off now. “Working from so far and trying to achieve the same level of detailing and perfection will be a major challenge,” she envisages.

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Narendra Pirgal, Smaran Mallesh & Vikram Rajashekar CADENCE ARCHITECTS

Right from the outset, Smaran Mallesh, Vikram Rajshekar and Narendra Pirgal — college mates at RV College of Engineering, Bengaluru, were clear about one thing: to establish a firm that would operate like a studio — a speculative practice. At Cadence Architects, which they founded in 2005, the spirit of speculation manifests itself into strategic processes that enable projects to transform/evolve from conceptual ideas to sophisticated finished products. This process-based rigour is laced with a certain sensibility to achieve new spatial and formal effects, a sensibility to transform existing lifestyles or spawn new ones. The initial projects were mostly interior design ones, tight on space and budget. “These helped us understand how to work with clients and contractors. We learnt early on that collaboration was key to realising projects,” they state. Over the years, this design philosophy combined with an efficient management system and pragmatic approach has enabled the team to handle projects of varying scales, complexities and diverse typologies. Today, Cadence is able to accommodate greater climatic, economic and social constraints and incorporate futuristic visions of communities “to create neoteric environments that are deeply rooted in the local culture but portray a global outlook and trend.” The premise of their work is influenced by what the German philosopher Walter Benjamin says: Architecture is absorbed in a state of distraction. “Our

interest in experience and effects is a counterpoint to this phenomenon. We believe that one can produce new experiences/effects when you question clichés. This whole process of identifying clichés in a certain build type and speculating alternate solutions and formulations is fundamental to our design process,” they explain. Pirgal, Mallesh and Rajashekhar say that any architectural practice, which is speculative in nature and aspires to be a cultural practice, needs to be structured around specific architectural and cultural issues. “The practice needs to formulate its own set of techniques and with an idiosyncratic sensibility, conceive architecture that is culturally relevant,” they state. “This also implies that architects should not blindly follow ‘trends’ unless it contributes to the ’conceptual project’ of the firm.” A&I

LOOKING BACK Every project at Cadence has augmented the collective wisdom guiding the practice. The principals vote for Elastica, an unusual home that challenged the norms of a conventional residence design. The client asked them to customise almost everything, with a brief that said, “nothing should look like anything they have ever seen.”

LOOKING FORWARD Team Cadence is very excited about Java Rain, a resort in Chikmagalur that is in the process of completion. It is their first hospitality project. The scenic setting and the design, which is fairly unconventional, make it an exciting prospect for them.

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

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Naresh V Narasimhan VENKATARAMANAN ASSOCIATES

When your lineage is as noteworthy as Naresh V Narasimhan’s, your architectural journey is bound to leave a significant impact — both on you as a person and on society as a whole. Narasimhan’s father PK Venkataramanan established his practice in 1969 — an era between post-independence and globalisation, when attempts were being made to create a design identity for the nation. While very few architectural practices were enthused by this mission, Venkataramanan Associates (VA) was keen on meeting this challenge head-on. “We have always believed in combining aesthetic modernity [rooted] within the complex cultural context of India, with a utilitarian focus on the functioning of a building,” What started out as a small office — with its early work in real estate and scientific institutions widening its reach, has now transformed into a 180-person firm servicing reputed clients from several of India’s largest corporates and Fortune 500 companies. Their portfolio spans multiple sectors and geographies, ranging from complex research and development facilities, manufacturing units and IT parks, to public institutions and real estate. Over the years, they have created several benchmarks for the above-mentioned typologies in India. No matter the scale or type, Narasimhan says their intention is to realise more than a building — “we aim to create a place, a destination.” Aspects such as lifecycle design, energy conservation, recycling of resources, usage of locally available materials, and space management help them reach that destination. Narasimhan and his team believe that, as architects, they have a responsibility towards envisioning and designing their cities. “However, considering the challenges involved in solving urban problems, we are [making] a Sisyphean attempt to transform chaotic urban infrastructure [and make it more] people friendly,” he adds. But this hasn’t prevented the studio from taking on several urban projects that help create liveable cities, among them the Church Street Redevelopment Project, MOD Institute and Bangalore Agenda Task Force (BATF). For this graduate from Manipal Institute of Technology (with a Project and Appraisal Management degree from Harvard University) designing Indian cities is of utmost importance. “There is a need for architects to engage in broad conversations with the cityscape,” he says, adding that architects now understand the significance of sourcing relevant materials found within a certain radius distance if a project has to remain sustainable. “This outlook, coupled with eco-friendly construction processes, can [help] weave in sustainability [in the initial stages of the] project. And finally, architects should learn business management.” Continuing education, he says, is imperative and not a choice anymore. A&I

LOOKING BACK VA made a breakthrough with a multimillion dollar R&D facility in Bengaluru for General Electric. The John F Welch Technology Centre catapulted them onto the global arena and established their credentials to take on large R&D and commercial projects.

LOOKING F ORWARD Currently, Bengaluru-based VA is designing a highly confidential research centre for a global major. “Fuelled by the acceleration of technology and material science, this design is set to change the face of R&D facility design,” says Narasimhan.

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

HOT 100

Ninad Tipnis JTCPL DESIGNS

Ninad Tipnis put in a solid 10 years of work with his architect father’s firm — Jayant Tipnis Consultants Private Limited, before setting up his own practice, JTCPL Designs, in 2002. The idea was to “bridge the prevailing gap between commitment and quality in the industry.” The objective was to build a studio that offered cutting-edge solutions, modelled on global trends, to quality-conscious clients in India, says the alumnus of Academy of Architecture, Mumbai. Right from the start, six values have remained central to JTCPL Designs’ design philosophy — partnership, responsiveness, timely deliveries, on budget, discipline and teamwork. The early years were a struggle and the studio took up every workspace design and build project that came its way. “One of our most crucial learnings was that, as architects, we lacked financial education. Managing cash flow and project finances became a key learning from our preliminary projects,” recalls Tipnis. In fact, his advice to other architects/designers also revolves around business competency that they need to acquire to run a successful practice. “Be it managing finances and teams or creating client delight with excellent service, focus on the smaller things that contribute to sustaining and growing an enterprise,” he says. In a little over 15 years of business, JTCPL Designs have grown in terms of reach, exposure and the scale of projects they handle. “Presently, we associate with projects that scale from 2,000sq-ft to a million square feet and execute them with equal passion and attention,” reveals Tipnis, who also highlights the customer-centric nature of their work. “As architects, it is never easy to let others take the lead on decisions about design and aesthetics. However, as part of our design philosophy, we are committed to being attentive listeners. Each of our projects reflects this philosophy.” Despite having achieved appreciable success, the ambition to do something better and bigger still runs strong in JTCPL Designs’ lead architect. “We want to grow as master collaborators at a global level. We are already working with global partners in India. Over the next few years, we believe growth will come from working in different geographies and collaborating with different stakeholders. It will be interesting to learn from their individual styles and preferences.” A&I

LOOKING BACK Tipnis votes for a project they undertook for Deutsche Bank in Pune as the one that changed the trajectory of his practice. It was 10 times the size of any project they had handled before, and saw them rising to the challenges because they had “no option but to perform to the best of our ability.”

LOOKING FORWARD The Deutsche Bank service centre that JTCPL Designs is working on in Bengaluru’s Electronic City involves an ambitious refurbishment, turning around the 40,000sq-ft facility while some portions of it are still operational.

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

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Nisha Mathew & Soumitro Ghosh MATHEW & GHOSH ARCHITECTS

A few weeks after a 63-hour-long train journey filled with several brainstorming sessions and the realisation of common aspirations, Nisha Mathew and Soumitro Ghosh — alumni of CEPT, Ahmedabad — founded Mathew & Ghosh Architects in 1995. “Our first patron was my mother-in-law,” recalls Ghosh, reminiscing about the project that presented the freshly founded design endeavour their first architectural challenge. They remember it as a time of immense handson learning, responsibility and “nervous excitement” while working every day with the contractor and workers on site. Since then, they have consciously looked for challenging projects, irrespective of scale and typology. Instead of becoming specialists in one design language, MGA veered towards prototyping unusual situations and coming up with divergent strategies for each new condition.

LOOKING BACK Ghosh insists that, since the practice charts a course of destiny unknown, each work has provided new learning opportunities. However, The House of Stories, a residential project, is a notable feat for the firm. The hierarchy of spaces and play of sunlight creates poetic transitions between the open and the intimate.

LOOKING FORWARD MGA is currently involved in designing the Museum of Art and Photography in Bengaluru, where the attempt is to bridge and balance the project’s “publicness and privacy”, and create open accessibility. “Finding an appropriate balance and negotiating that is an interesting process,” notes Ghosh.

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

As a design philosophy that has guided them through the years, one that stands out is the awareness of how the value of humanism relates strongest to architecture. They began to compare the growth of self as individuals with that of the designer in the field of architecture. Looking at the process from this fresh point of view brought them a deeper understanding over time — through the mediums of work, teaching and learning. Admirers of Rem Koolhaas, the duo honestly accept that architects can be exceptionally vulnerable due to the negligible level of control over their ambitions for a project. Finding that balance is, thus, crucial. Armed with the necessary skills and evolved understanding, MGA has found that they are capable of contributing to the architectural wealth of the country through more than one discipline. Their work is as diverse as it is unique. From the largest brew pub in Asia to the conversion of a 125-year-old orphanage into a design store, from the National Martyrs memorial to the transformation of a 150-year-old jail into an urban park, the firm has seen challenges and opportunities across the canvas. Thoughts and action are in constant synergy at MGA. The curiosity of finding newer techniques and testing them is fuel for the motor that keeps them going. When asked how they would describe their work, as any artist respectful of their art, the architects humbly reply, “That is for you to decipher.” A&I

HOT 100

Nithya Srinivasan & Kiran Venkatesh INFORM ARCHITECTS

With a focus on intent and quality — as opposed to the size of the projects or the practice, Nithya Srinivasan and Kiran Venkatesh established InFORM Architects in Bengaluru, in 1997. A renovation project was followed by a house on a 60’x40’ site. Then came InCITE, their fine arts museum and gallery, and Indian Institute for Journalism and New Media. “All these projects came in quick succession, and the clients were very open to us leading the design process completely,” share the duo, both graduates from IIT Kharagpur. While their portfolio grew, their approach to each of their projects didn’t change much. “Hard work, perfecting design by development and iteration, multiple modes of production [we now work with 3D renders, VR visualisations, physical models using CNC laser cutting and 3D printing, etc], use of technology in design delivery [our practice works on BIM, using REVIT as the primary tool] remain the key aspects of our modus operandi,” explains Venkatesh. From working with individual clients to collaborating with developers and corporate clients (in 2007) — as well as winning several competitions for larger projects, their atelier has grown in size, from a 15 to 20-member team, to about 45 today. It has always been a design-driven studio, regardless of the scale and number of projects being handled. But now, systems, technology and approaches have been put in place to safeguard the smooth delivery of projects without compromising the creative environment in the studio. “Along the way, we have picked up several interests and newer projects/building types.

Residential projects, especially affordable housing, is one of our core strengths. Now, we are [also] focused on healthcare projects,” discloses the architect. The many years spent building the practice has taught them key lessons. Fot one, they strongly advise new architects against taking up projects without an appointment and an advance fee. They also warn about unprofessionally conducted competitions, where clients exploit younger practices to obtain free designs — “usually, the final decision in the competition is made on an adhoc basis and does not befit the competition submissions.” With your clients, communicate constantly, they suggest. “In a few cases where I lost touch with the client, though I was apprised of the work progress, there were always crises on the project/s. It is better to communicate constantly and stay in touch. Tackle issues head on; ignoring the elephant [or the ant] in the room helps no one,” advises Venkatesh. A&I

LOOKING BACK The Tillany Fine Arts Museum & Gallery and KS Residence are projects that have greatly influenced the practice. Tillany set the tone for lofty design ambitions, whereas KS explored structural and construction techniques to develop precise details for cast-in-place concrete, including shuttering for corrugated concrete.

LOOKING FORWARD InFORM’s most challenging building type till date is an upcoming large hospital project, where the architects are learning to balance the deeply technical and demanding design services, with the need to create healing spaces that promote recovery, even as they keep an eye out for the total cost.

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

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Noshir Talati & Nozer Panthaky TALATI AND PANTHAKY ASSOCIATED DESIGNERS LLP (TPA) With just two desks in a 100sq-ft office, and armed “with a lot of passion,” Noshir Talati started his practice over 50 years ago . As a young architect, he had a simple aspiration (“I didn’t really envision too much”). He desired to work hard and create a design repertoire that would speak for itself. “Life and hard work have got me to where I am today. In the beginning, the projects were small and mostly interior projects. A few people gave me a chance and let me show them what I was able to create and deliver. In India at that time, there was no professionalism — either [from] the trade or the contractors,” shares the architect about the odds he had to brave. As the practice evolved, Talati had to hire more people and, over time, these “immensely talented” colleagues became his partners. Now, the atelier rests on the shoulders of six partners and over 20 associates who oversee interior and architecture works in the fields of education, healthcare, hospitality, residential and commercial spaces spanning the entire country. The firm grew in size and reach, but it didn’t change TPA’s rather simple design philosophy is governed by the classic dictum of ‘form follows function’. “We will always design keeping the functionality of the project in mind. We approach the design in a practical way, by paying close attention to the details and the durability, allowing [our] creativity to organically grow as the project evolves,” says Talati, who prefers authentic designs that are simple, elegant and practical, over theatrics. A humble beginning and an equally humble approach to work didn’t stop TPA from a being a sought-after firm in the country. The alumnus of Academy of Architecture, Mumbai and University of Michigan hopes that the company continues to be involved in projects across the country while never losing sight of its culture of hard work and core values of quality, practicality and durability. “The world has changed since I was a young designer. There is so much exposure and so many new materials, styles and possibilities now. I would suggest that younger architects stay true to their design and [keep] away from fads that come and go. “For a true and usable space, always think of the user first and never compromise on quality and detail,” advises Talati. A&I

LOOKING BACK TPA’s first architecture project was Cadbury House on Peddar Road. “It is unfortunately being redeveloped decades later. But it was the first landmark architecture project that changed the scale and the optics of the firm. After that, I received so many architectural projects and things grew from there,” says Talati.

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

LOOKING FORWARD “There are so many that we are working on, it wouldn’t feel right to single out any one in particular. At TPA, every project is as exciting and as important as the next,” insists Talati, like many of the other architecture and design firms we have featured. And they remained resolute in not citing any particular project.

HOT 100

Nuru Karim NU.DE

Envisaging his atelier at a crossroad between public art, architecture, urbanism and design optimisation, Nuru Karim encourages his team to learn, trip, fall, rise and evolve all the time. “Innovate or die, is a maxim we live by,” says the founder and principal of NU.DE. An alumnus of KRVIA, Mumbai, and the Architectural Association, London, Karim believes that the studio’s design language has been built over sound architecture education and has evolved through travel, reading and exploring — both art and architecture — across Mumbai, Montreal and New York. Karim observes that the most amazing aspect of establishing a practice in India is that “we get to experience the richness and cultural diversity across various states.” Working in states such as Maharashtra, Karnataka, Andhra Pradesh, Kerala, Kashmir, Rajasthan and Gujarat has been a humbling experience for the team, leaving its members yearning for more knowledge. NU.DE’s core design philosophy revolves around research, observation, analysis, inspiration and representation. “Education is a continual process. Research and collaboration are fundamental core values. We define our practice as multidisciplinary. We collaborate not only with architects and engineers, but also with writers, artists, sculptors, product designers, robotic engineers, chemical engineers, mechanical engineers — to name a few,” discloses Karim. As a constantly evolving practice in a scenario where demands keep changing with every passing season, Karim insists that sustainability, contextual relevance and environmental sensitivity are of utmost value. Since architecture is a complex organism working in sync with economic and political forces, amongst others, he adds that adaptability and agility in design is as critical as the need to innovate for survival. “There are several moving parts working in harmony or violently opposing each other. Both conditions are equally important. A designer must see the forest for the trees.” A&I

LOOKING BACK From their notable projects, Karim cites his art installation Charkha, in Mumbai, as a project he is personally attached to. He believes this was the project that led to the evolution of the practice by staging a sustained inquiry into the domains of public art, architecture and computational design.

LOOKING FORWARD Some of Karim’s upcoming projects will explore the cultural and social diversity of India through research and education. This includes the Rath Pavilion for Tata Steel in Bhubaneswar and a mosque in Pune. NU.DE is also attempting to break the Guinness World Record for the world’s largest cardboard sculpture with its Paper Boat project.

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

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Parul Zaveri & Nimish Patel ABHIKRAM

Parul Zaveri and Nimish Patel founded Abhikram in October 1979, with no rigid idea of the direction the practice ought to take. The initial years were about exploring multiple design directions as long as they made the built environment functionally, psychologically, environmentally and spiritually contextual and comfortable for all — a dhyeya (goal) Abhikram holds sacred till date. They believe that the strength of Indian architecture lies is in its variety, and confining themselves to a particular ‘style’ of building only reduces possibilities. “Since our practice was based on dhyeya, convictions and beliefs, we were unable to approach anyone to seek projects. We waited for them to come to us,”say the founders. And while in the beginning they worked on a few residences, they believe that creativity has no boundaries, not even of scale. It is driven by a desire for a responsible outcome — to make the space comfortable for end users. They also maintain that they derive more pleasure from the process of learning when it came from practice, rather than if it was achieved in the confines of a classroom.

LOOKING BACK Bagore ki Haveli in Udaipur is one of Abhikram’s favourite heritage conservation projects. The Cosmoville row houses in Ahmedabad, on the other hand, called for innovative approach in addressing the end user’s need for comfort and achieving better sales for their clients.

LOOKING FORWARD Of the few projects Abhikram is currently involved in, they are looking forward to their work on the Fort Barwara Resort, at Chauth ka Barwara, near Sawai Madhopur in Rajasthan. This conservation and adaptive reuse project will be operated by Six Senses.

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

While their core beliefs were clear right from the beginning, what evolved, as Abhikram grew, was the understanding of its applications. From the smallest classroom to the largest mall in Udaipur, the use of passive cooling systems, adaptive reuse, heritage conservation, and access to contextual and traditional materials and crafts afforded richness to the resultant product. Such a project did not just find cultural favour, but also turned out to be more cost-effective financially. With 39 years of architectural practice to back them, Zaveri (an alumnus and visiting faculty of CEPT, Ahmedabad) and Patel (an alumnus of CEPT, Ahmedabad and MIT, Cambridge) continue to strive towards contextually relevant architecture. With their design approaches and solutions, Abhikram encourages the use of traditional knowledge in construction techniques and contemporary crafts and design, thus making the architectural inserts culturally, socially and economically sustainable — and in effect, contributing to the sustainability of the immediate neighbourhoods. As their contribution to their contemporaries, Abhikram intends to lead by example in avoiding excess use of design elements that are unsustainable, maintaining electrical and mechanical energies to optimum needs, and reducing wastage in construction. Parallel to their hectic and passionate architectural practice, they endeavour to spread awareness about sustainable design at macro and micro levels, and regularly conduct seminars and workshops. A&I

HOT 100

PK Das

PK DAS & ASSOCIATES Starting his career with meagre earnings, PK Das established his practice in 1980, nurturing it as a forerunner in the world of architectural and social design. An alumnus of Sir JJ College of Architecture, Das had an “abundance of ambitions” that he wanted to address. “On one hand, it was an aspiration that was hammered into me through formal education and examples of successful architectural works. On the other hand, it was the complex situation in Mumbai where the poor and the working class lived miserably.” Since earnings were limited, which did not dampen his enthusiasm, he took on all kinds of projects such as kitchen interiors, a multi-purpose unit, a tailoring shop, and residential interiors of diamond traders. “Fortunately, the nature of jobs and clients evolved. I was able to move on from diamond merchants as my clients, to corporates,” mentions Das. Over time, establishing a close relationship between architecture and people, placing a strong emphasis on participatory planning from the very beginning and at every stage, became the keynotes of the firm’s approach. Das believes that the democratisation of urban planning and design would be a significant step towards the achievement of just and equal cities, and he strives to bring about much-needed socio-environmental change. The activist architect reiterates the need to develop Indian cities in their entirety, and not by following fragmented goals of exclusivity and competitive construction turnovers and delivery time. “A process, whereby a design evolves as a result of people’s participation, is extremely important. Architects ought to be activists if they understand the relevance of architecture to social, cultural and environmental ethos,” advocates Das. A&I

LOOKING BACK Driven by varied aspirations, PK Das & Associates has grown in an exponential manner, rather than linearly. Of note are their efforts and achievements in reclaiming the seafronts of Mumbai, the rehabilitation and redevelopment of slums, and the expanding of public spaces.

LOOKING FORWARD The Open Mumbai Exhibition, curated by Das, presented mapping of open spaces and the natural areas of the city that account for approximately 50% of Mumbai city. “My idea is to integrate vital assets [of the exhibition] into the development plan of the city. In short, democratise public spaces and the city,” explains the architect.

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

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Ponni & Oscar Concessao

OSCAR & PONNI ARCHITECTS Chennai-based husband and wife architect-duo Oscar and Ponni Concessao proclaim they are “together by design”. They established Oscar & Ponni Architects in 1996, on their return from the USA where they had individually pursued a Master’s degree — Oscar studied urban design at the University of Oklahoma, while Ponni opted for architecture from Cornell University. “We were fortunate enough to work on large-scale educational campuses, IT parks, hotels, resorts and townships quite early in our practice. As principal architects, the key learnings revolved around coping with the day-to-day demands of projects, contractors, clients and staff. Most importantly, we gained experience in business management,” recalls Oscar. In fact, he cautions, a financial and business approach to projects is the need of the hour so that Indian architects can effectively compete in a global market and work with financially savvy mega-consultancies. “In addition to financial literacy, client-savvy architects must be able to see beyond ‘building a building’ and offer a service that embraces the client’s broader aims,” add the duo. Oscar and Ponni have always believed in a three-pronged approach to design: the community, site and program should seamlessly integrate in a compelling building, with equal emphasis paid to both design and function. “A timeless design is built on intangible factors such as dreams and inspiration,” says Ponni. “Truly great architecture is not controlled by catchphrases of the times. It transcends time and space.” Their design philosophy —a blend of timelessness, simplicity and functionality — has remained unchanged over the past 20 years, and the firm considers ‘less is more’ to be its guiding principle. “Design excellence and problem solving are at the heart of everything we do. We promote creativity with a disciplined design process,” say the principals of a studio that has won over 91 awards. The architects see an increased engagement with sustainable design. “We must minimise the use of energy- and-carbonintensive technologies, and revive low-tech solutions such as passive ventilation. Technology’s role ought to grow in some areas, given recent advances in building design, analysis, materials, systems, construction, and operations that help mitigate climate change,” they say. A&I

LOOKING BACK The 256-room Le Meridien hotel at Coimbatore has significantly impacted Oscar & Ponni Architects’ trajectory. It was a huge learning experience and involved working with several international consultants, global branding teams, the operator chain and other collaborators.

LOOKING FORWARD Sandy Waves Resort on Andaman’s Havelock island is an interesting project in the making. The resort uses timber for flooring, interior and exterior cladding . The challenge is to ensure that the architecture blends in with the environment and caters to every guest’s functional needs.

Pratap Jadhav

PRATAP JADHAV & ASSOCIATES Twenty years ago, Pratap Jadhav started his practice from a friend’s small garage. He was inspired by the work done by older practices — especially by his architect father, Vasant Jadhav’s studio. He started off with small residential and office projects. “We evolved a questionnaire to define our client’s needs on paper. That became our signature [style] and [we] are still known [for our extensive questionnaires],” he shares. Probably the biggest indication of his success is the clients he has bagged on the recommendation of his previous clients . As this network got bigger, so did the projects — hospitals, small and large offices, residences, restaurants, etc. His firm’s design philosophy — “timeless design solutions” — has remained steadfast. “It got refined with every project we designed, [but] hasn’t changed. What has evolved is our understanding and ability to handle spaces,” shares Jadhav, who received a Diploma in Interior Design from the Maharashtra State Board of Technical Education. Jadhav is focussed on capturing a sense of ‘Indianness’ in his works. “I have never been swayed by the influx of materials from the West or the influence that the Orient has had on the kind of readymade furniture [we use],” he explains. Now, as his 25 years of participation in IIID comes to an end and a new chapter begins (“I cannot think of my life without IIID”), he is looking forward to upending his design practice to a whole new level. His advice to young architects is manifold. “Do not copy — recipes are for poor cooks, great chefs create them. Be Indian at heart and reference our culture for the spaces you deal with. Your design should reflect your client’s needs and likings, not yours. Remember we understand better what good design is, so educate your client and gift him a happy, healthy life.” A&I

LOOKING BACK A corporate office project for German company, KSB Pumps, left a significant impact on his practice and catapulted it into a larger orbit.

LOOKING FORWARD The atelier has received an enquiry to design schools for a big institute. The need is to create an identity for the school that could be implemented across all their eight schools. The practice is keen to see how this project unfolds.

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First row (L-R): Amit Rastogi, Mehul Patel, Vamsi Verma, Sreenath Vinaykumar, Vikram Desai and Prem Chandavarkar. Second row (L-R): Prashant Kulkarni, A Pratyusha, Chaitanya BK and Manickvel GK.

Prem Chandavarkar, Mehul Patel & Vikram Desai CNT ARCHITECTS

CnT Architects (Chandavarkar & Thacker) is a legacy practice that enjoys the distinction of being Bengaluru’s first architecture firm. Established by the late Narayan Chandavarkar in 1947, it was reorganised as Chandavarkar & Thacker by Tara Chandavarkar and the late Pesi Thacker. When the current leadership — Prem Chandavarkar (managing partner), Mehul Patel (principal) and Vikram Desai (principal) — took over the reins of the firm, they decided “to extend this legacy to create a practice that did not revolve around dominant personalities, but drew its energy from a spirit of collaborative and creative inquiry that involved all members of the firm, as well as clients and other collaborators.” This is why the design and project leadership of the six associates — Amit Rastogi, Chaitanya BK, Manickvel GK, Prashant Kulkarni, Sreenath Vinaykumar,

LOOKING BACK Instead of choosing a project, the firm would like to single out a project type: single family homes. Being a firm whose economics depend on designing larger projects, private residences are not profitable undertakings. However, they continue to do at least one home per year to retain sensitivity to people and stay grounded.

LOOKING FORWARD They are in the midst of many exciting projects and would prefer to focus on the journey and not on a single project. But the team is excited about the recent opportunity to break out into some new areas of work: mainly, urban design and healthcare projects.

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

and Vamsi Verma — and their Hyderabad representative (A Pratyusha) is equally recognised and feted. From close to two-thirds of the practice being devoted to the design of industrial buildings and campuses for the first few decades, emerged a value system that discouraged “form for form’s sake” — strengthening the founding philosophy of eschewing an “architect’s architecture” or architecture for visual impact. From the ‘90s, the tilt towards industrial design decreased with the inclusion of multi-family residences, institutional buildings and campuses, corporate offices and interiors, and commercial architecture. The practice, which is as old as independent India, would like to urge the design fraternity to discard the four beliefs that dominate the profession: the meaning of an architectural work springs from the intentions or philosophy of the architect; the best way to validate your work is through peer review; theory is foundational to practice, and, finally, the creative cutting-edge of architectural practice is the result of individual genius. Moving forward, team CnT Architects would like to improve its abilities in sustainable design; offer a model of design practice that is not personality-driven; and focus on imagining cities and thinking about how individual projects affect the shaping of our cities. And the joy, they say, lies in the journey rather than chasing pre-defined goals. A&I

HOT 100

Prem Nath

PREM NATH & ASSOCIATES For a man who never imagined himself as an architect, let alone one of India’s top architects, Prem Nath is aware that life can leave you surprised. His vernacular education and humble start as a blueprinting boy in an engineering firm did not prevent him from graduating with honours from Sir JJ School of Architecture, Mumbai. His drive to learn more meant he spent most of his time sightseeing and socialising, which led to a chance encounter with influential people, such as actor Dharmendra and the MD of Britannia Biscuit Company. He eventually designed projects for them soon after graduation. “This was a life-changing experience and [inspired me to] start my own firm, Prem Nath and Associates (PNA), in 1967,” says Nath, adding that he was eager to make a mark in the world of architecture, while embracing new challenges and opportunities. What started off as a firm designing celebrity homes, private villas and offices, made way for a practice that experimented with newer concepts in architecture in India, including the first revolving restaurant for Ambassador hotel. “The technology we used was different from any conventional structure. It made me realise that, as an architect, one has to stay ahead of time, think out-of-the-box, and be open to all kinds of projects,” discloses Nath who, in his initial years, worked nearly 18 to 20 hours a day. Today, PNA is adept at handling versatile projects, encompassing different typologies. Currently, the practice is investing its time and creativity in smart developments, including the Smart Tower for GIFT City, Gujarat. In his 50 years of “glorious practice,” Nath has maintained a design philosophy that is focused on “staying ahead of time” and “keeping work simple and non-acrobatic.” His idea of design is rooted in functionality, and he strongly believes that design that displays a lot of “acrobatics” always fails the test of time — while simple design and forms are always liked by people. Within this simple approach, he makes it a point to reinvent himself. “Architecture is getting smarter. I can foresee 3D printing architecture in the coming years,” he says. He advises young designers to persevere and stay focused. “Who knows what great developments (will change) our future, so we keep up the pace and ensure we are up-to-date.” A&I

LOOKING BACK The country’s first fast-track IT building designed for Morgan Stanley at Mindspace, Mumbai, proved to be a significant one for PNA. The entire project was completed in a record time of eight months. “Innovative techniques of construction were applied. Latest path-breaking technologies were put into place,” says Nath.

LOOKING FORWARD Nath is excited about The Smart Tower at GIFT City in Gujarat, an intelligent building he intends to build using sustainable technologies. Apart from intelligent solutions and building automation, the Smart Tower will focus on clean energy generation using rooftop solar panels.

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

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Rahul Kadri

IM KADRI ARCHITECTS

Almost 15 years ago, in 2003, Rahul Kadri found himself spearheading his first project at IM Kadri Architects, a practice famous for designing landmarks in Mumbai and Muscat since its inception in 1960. When he joined his father IM Kadri’s practice in the late ‘80s, Kadri was focused on creating projects that lifted the soul — “places where people would be at home and in touch with their better self.” The design community and the people who visit Club Mahindra resort in Coorg and the university campus of Symbiosis — his few first projects — will attest to the fruition of these noble aspirations. For this alumnus of Academy of Architecture, Mumbai, who also holds a Master’s in Urban Planning from the University of Michigan (USA), experiences drawn from these early projects engendered in him a humble and collaborative view of the profession. “The entire team should be aligned with the same goals, and should share the vision and participate in the process together. Do not rely on an architect as a heroic leader,” says the architect, who describes his work as “focused on the client’s highest needs, sustainability, and a social focus that is deeply embedded in consciousness.” Over the years, Kadri’s philosophy has been rooted in a non-pretentious approach (to projects), in which form follows the client’s highest aspiration — “making real the highest potential for the emerging future.” As the practice continued to evolve, he began to recognise the power of a team; good design, he says, relies on the intelligence and ownership of everyone involved. “We have processes, and we work with our clients very closely to develop intelligent design briefs. Our philosophy has remained constant. We now have more effective processes to fulfill them,” shares Kadri. Through their shared vision, Kadri and his team successfully demonstrate that sustainable design can encompass a variety of programs, ranging from urban planning, universities, resorts, commercial, cultural projects and even community development, among others. He is a firm believer in their design processes, maintaining that, if they are used more, “the country’s priorities will be addressed and the design environment will blossom.” Kadri wishes to work more closely with the government and a close circle of clients who deeply desire meaningful architecture. His advice to fellow architects and designers? “Search for meaning, not just form.” A&I

LOOKING BACK For Club Mahindra (Coorg) and Symbiosis International University (Lavale), Kadri tested many of the studio’s set processes and broke away from their past design language. The IMK team was far more experimental and learnt to rely on innovating as the project progressed.

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

LOOKING FORWARD Kadri is working on AURIC, a greenfield smart city in Aurangabad, which, he says, will prove that the government can build high-quality buildings. A skill centre at Symbiosis and the Symbiosis School of Banking and Finance that incorporates rammed earth, are other projects he is enthused about.

STUDIO 1573

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Rajiv D’Silva

When Rajiv D’Silva began his first practice in 2001 — four years after graduating from Goa College of Architecture, his aspirations weren’t too high, he modestly admits. “Possibly they aren’t too high even today. I just wanted to design buildings that were simple and beautiful, enjoy the process of building them, and build a sustainable practice in the bargain,” he says. Through his early projects — largely private houses and a few larger public buildings, he learnt that people-management is key to successful implementation of one’s creative goals, and that a good architect must necessarily be a good manager. Most of those early projects were designand-build, and the immediacy and hands-on approach they required seemed very exciting at first. Gradually, he found the process too timeconsuming and not scalable — and that better design can be achieved when one focused purely on the design. An ardent admirer of Laurie Baker, his aesthetics gravitated towards the vernacular (“most of our early projects catered to middle-class clients, and were built on tight budgets”). In its new avatar, his practice, Studio 1573, has evolved with a more contemporary bent, and responds to design cues that are more global. “One principle that has remained a constant was inspired by Baker — use materials honestly,” says the architect. “What has changed, perhaps, is the specific way in which we juxtapose building material, which is hopefully more mature now.” With most of his projects located in Goa, the Goan landscape and social context has always been an important factor in how he approaches building design. True to his Goan roots, he harbours no desire to “be a hugely successful mega-practice”. Instead, he continues doing work that makes his firm and clients happy − “and maybe build some buildings in the process, which my peers will also regard as good [design].” He advises young architects to not short-change themselves. “Only do work that you will enjoy doing, on your own terms. And maintain a work-life balance. Architecture is a beautiful profession, but there’s more to life than your profession. Don’t lose yourself in your work. Spend time with your family and friends. Happy architects design better buildings.” A&I

LOOKING BACK Our Lady of Perpetual Succour Chapel in Canacona, Goa, completed in 2006, was a breakthrough project for D’Silva. “I think we arrived at an aesthetic that was a departure from our earlier work, and one that we were excited by,” says the architect.

LOOKING FORWARD D’Silva says an upcoming house that they are designing in Kotagiri, Tamil Nadu, is the most exciting project for the atelier at the moment. “We are so rooted in Goa, that it is very interesting for us to be able to work in a completely new context,” he explains.

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

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Rajiv Saini

RAJIV SAINI + ASSOCIATES Call it fate or circumstance, but it is fascinating to see how a chance encounter with the design world has resulted in transforming Rajiv Saini’s life. A computer science graduate, Saini happened to meet noted designer Rajeev Sethi, and this encounter unearthed his own passion for art and design. In subsequent years, he has had the privilege of being trained by Sethi himself, learning the nuances of design firsthand — armed only with his inherent interest in the field. On this rock-solid foundation, he began to build Rajiv Saini + Associates (RSA) from 1995 onwards. Now a leading interior designer, Saini began his career by working for a select group of people. Each of these works were governed by simple principles. In fact, even today his work is known for its crisp, pure lines and restrained material palette , besides their economical and subtle textural tactility. “We don’t think so much in terms of obvious patterns,” says the designer who focuses instead on diversity of colours, textures and materials. Most notably, Saini is known for creating spaces that celebrate art in every form. This formula has helped them acquire newer commissions, even globally in countries like Singapore, Dubai, Thailand and the UK, besides winning multiple awards. Over the years, his expertise has evolved from strictly interiors, and now includes some remarkable, contemporary architectural projects. His upcoming projects are a good indication of where RSA is headed and how it will impact the design scene in the country. There is a corporate staff housing in the making, a project commissioned by an old client. It will be interesting to see Saini’s design philosophy inform this project, a complex housing seven-storeyed buildings along with an office complex, in the small town of Dhampur (three hours from Delhi). “The other is a holiday home, about 100kms from Mumbai, located in the midst of a forest, overlooking a lake. It’s being built entirely in exposed concrete, with sculptural forms and spaces within,” shares the designer, as he offers a glimpse into RSA’s future. A&I

LOOKING BACK Devigarh Hotel ( Udaipur), one of RSA’s earliest and most widely recognised projects, not only challenged his team as designers but also taught them some valuable lessons. “It made us constantly innovate and dynamically rethink our approach to the entire project,” says Saini.

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LOOKING FORWARD RSA has been working on a large-scale residential project in London for over two years. “Blame it [the delays] on London’s planning regulations,” says Saini. “Once complete, it will be filled with big names in international art and furnished with an eclectic mix of design pieces, some vintage and others new,” he adds.

HOT 100

Ravi Sarangan & Sanjay Srinivasan EDIFICE

With a desire to practise architecture in a manner that would be distinct from the prevalent traditional firms, Sanjay Srinivasan and Ravi Sarangan started Edifice in 1990, armed with their degrees from Sir JJ College of Architecture. “We saw Edifice as a creative hotspot which encouraged collaboration and contribution, and questioned tradition. We also wanted to be a large-format practice,” share the Mumbaibased architects. Small commercial interior projects made way for bigger things. Twenty-five years and 1,200 projects later, they now handle projects across different scales — from urban design to architecture and interior design. “We have ensured, through each of these projects, that our idealism remains untarnished. We have been blessed with a like-minded team. Our people are our best strategy,” they say, adding that they have retained talent over the years and have been grooming leaders within the firm. Consistent delivery has ensured that their design and documentation goes through an internal review system that filters out errors, translating into precise and relevant deliverables every time. With offices in eight cities — Mumbai, Chennai, Hyderabad, Kolkata, Pune, Delhi, Bengaluru and Kochi — the duo asserts that they see themselves as a collective. Therefore, they have as many design philosophies as designers. ”Ultimately, we believe that sensitivity should be the one quality that distinguishes our designs. Keep It Simple Stupid (KISS) has been our mantra — in words, in thoughts and in action, which means relying on common sense at all times.”

Every design is a concerted effort to improve the immediate environs of the project and contribute to the well-being of its occupants and its social context. The firm is interested in genuine sustainable goals that go beyond mere green certifications. “India has been blinded by the [rapid] pace of growth over the last two decades and is re-learning/rediscovering the three principles of conservation — Reduce, Reuse & Recycle, something that came naturally to us because we lived frugally,” explain the duo, who are constantly looking for newer challenges. Now that they have made significant inroads in the healthcare sector, they are keen on building similar capabilities in the science and technology space, as well as in transit architecture. What can young and fellow architects learn from their experiences? “Never compromise on your core value — namely, integrity. This has guided our internal conduct as well as our relationship with the external world.” A&I

LOOKING BACK The duo says that every project has impacted their practice, mainly because their stringent design documentation process records and analyses lessons from each project they undertake. These inferences are routed back into the system at the design stage for future projects.

LOOKING FORWARD Both architects are looking forward to the completion of several projects at the moment, particularly three hospital campuses: AIIMS in Guntur, Nagpur and Kalyani (West Bengal), and a 400-bed cancer hospital for Tata Trust at Banaras Hindu University, Varanasi.

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

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Reny Lijo & Lijo Jos LIJO.RENY ARCHITECTS

In architecture, success is measured based on a firm’s vision and growth — more projects, more locations, more personnel. But not for Lijo.Reny.architects. They are taking a whole different route to success. But a quick trip down memory lane will help put their future plans in context. Architects Reny Lijo and Lijo Jos — graduates from Siddaganga Institute of Technology, Karnataka, and BVBCET, Karnataka, respectively — founded their practice in 2005, in Kerala, where the ground reality of architecture differed from what they wanted to offer. “For a very long time it was traditional architecture, and for a brief period it was pseudo-traditional. Now, we are breaking free from the shackles and exploring architecture of different magnitude and dimensions,” says Jos. While they have worked on varied typologies, the residential segment remains their favourite. “It is one of the

LOOKING BACK One of the significant projects to impact the practice was The Walls and Vaults residence. Previous projects did bring recognition for them, but this project also brought them critical acclaim. Their work took different direction following this, mention the architects.

LOOKING FORWARD The studio has about four ongoing residential projects in Kerala, where they continue to explore a new architecture language that is context-and-client specific. The Dappled Light House is one of the most complicated projects from the lot they are eagerly waiting to complete this year.

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toughest. Desspite having the same set of requirements, the site, climatology and the client’s lifestyle will be different for each site,” explains Jos. These complexities are handled in innovative ways, by creating designs that are a complete departure from generic Kerala architecture, even as they remain extremely responsive to the local context. This approach has made Lio.Reny.architects an influential practice in the state, and younger practices keenly follow their work. The two approach this reality with a sense of responsibility as opposed to a sign of fame. Their design philosophy hasn’t changed much, but one thing has evolved — their understanding of a successful quality practice. When they started off, they took up every project that came their way, handling almost 40 projects a year. But that’s going to change. “Rather than [our] philosophy, the way we work has changed. We have started putting more time in less number of projects in order to increase the quality of the projects,” says Lijo, who has now decided to work on four projects a year — and eventually bring it down to one or two a year. “We have been trying to distill the quality of our work since the beginning. It’s like this decoction — we want to get rid of excesses in architecture, and refine our practice. In the process, we are also trying to push the boundaries of the way architecture is practised in Kerala,” says Lijo, who believes he needs to practise for another 15 years or so before he can offer any constructive advice to the fraternity. A&I

ARK REZA KABUL ARCHITECTS

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Reza Kabul

A young Reza Kabul approached every project — from a bedroom to even a bathroom — with dedication and hard work. This was way back in 1988, when Kabul set up his practice, Architect Reza Kabul. He ran his practice from the mezzanine floor of his father’s Irani restaurant in Mumbai, with no staff or clients, just him juggling between “being the gopher, the secretary, and the boss.” Gradually, small independent room designs gave way to apartments, and then to low-rise buildings on the outskirts of Mumbai. “I was, and still am, eager to try new things every day, as well as learn with each project,” adds the alumnus of MSU of Baroda. Hard work pays off. In just four years, Kabul accepted his first international project based in Dubai, a 4-star hotel with 80 rooms. His next project, a 5-star property in Mauritius, he says, was just the first of his “life’s many great moments.” His projects have grown in scale and reached far-off shores, but his design vocabulary has remained firm. “I don’t believe in confining spaces within four walls. On the contrary, I believe in open spaces — both for the interiors and exteriors,” he discloses. Today, Kabul is known for his award-winning tall buildings that have changed the city’s skyline — and he considers it his contribution to the country. “With arterial cities like Mumbai witnessing a boom in tall buildings — and several older properties being redeveloped to accommodate more people and a better standard of living — we strive to ensure that the design solutions [we offer] are more than just real estate developments; they are also social upliftment [projects]. While this vision is executed easily by a collaborative effort between the government and developers, with every chance we get, we ensure efficient reuse of land mass, energy efficiency, and provisions for future expansions,” says Kabul, who dreams of re-designing Mumbai with well-organised infrastructure. According to him, his 30 years of practice is testimony to two important constants: great clients and great design. For a man who has maintained a thriving practice in an industry that is in a constant flux, given emerging technologies, he gratefully acknowledges everyone who has supported him. “Our sincere thanks to all those who have granted us the privilege of influencing and serving them for the last 30 years,” he adds gratefully. It doesn’t come as a surprise, then, that he advises fellow professionals to remember that the end user is the most significant aspect of any design or project. “You have to keep that in mind. If you don’t, that can be the biggest mistake of any design. While the beauty and aesthetics of design are important, the functionality should be vital.” A&I

LOOKING BACK Kabul’s big break came with Sagar Classic, an 18-storeyed tower in Byculla, Mumbai. “We made the model and a perspective, which itself achieved an overwhelming response. It was the first time my name flashed across the newspapers, a great turning point. There has been no looking back since then.”

LOOKING FORWARD ARK is in the midst of some exciting ongoing residential projects in Mumbai, including Transcon Triumph, Ekta Tripolis, Joy Legend, and South Bay. “Two of our highrise developments in the pipeline are Kukreja Infinity (Nagpur) , which will be the tallest [building] in the city, and 96 Legends Square (Colombo).”

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

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Rooshad Shroff ROOSHAD SHROFF

Architect Rooshad Shroff set up his eponymous design practice in 2011, after working with Zaha Hadid Architects on diverse projects, such as the Dubai Opera, a seventower residential complex at Farrer Court (Singapore), and the Zoerkler Tower in Vienna (Austria). Notwithstanding his education and professional experience as an architect, Shroff has been always interested in design across segments — interiors to product design, landscape design to visual merchandising. Rooshad Shroff (the practice), while remaining dedicated to the realisation of interiors and buildings, also operates in areas beyond the traditional boundaries of architecture, including furniture, product, fashion and graphic design. One of the earliest projects Shroff handled was as a local architect for luxury shoe brand, Christian Louboutin. It taught him important lessons in luxury design — and also paved the way for a niche specialisation. Subsequently, he worked on the luxury giant’s Bangkok store as design architect, where his love for craftsmanship was evident in the yantra tattoos embroidered on leather, which are part of the decor. “The practice is very interested in handmade, artisanal work. It is quite a key aspect of our work, as these crafts contribute to the bespoke quality that we strive for. We also believe in problemsolving, and our approach is processoriented — never mind the outcome. It’s what I would tell my fellow designers, too. There’s nothing wrong in making happy mistakes,” says the young achiever, who has received an undergraduate degree in architecture from Cornell University, and obtained Master’s in Architecture from the Graduate School of Design at Harvard University. When asked about how he sees his practice contributing to a better design environment in the country, Shroff is characteristically modest. “I don’t know about impacting the country, but I do think that recognising and engaging with local artisans add a level of sophistication to our projects. Most importantly, gives them a unique Indian identity.” A&I

LOOKING BACK The practice is too young to have path-changing projects, says Shroff, but Christian Louboutin is a milestone, because it marked the studio’s foray into luxury retail design. It educated him on the finer details connected with the luxury niche, and also marked his studio’s entry into this specialised segment.

LOOKING FORWARD There are a couple of projects currently under way that represent significant scale shift for the practice, from 2,000sq-ft to 25,000sq-ft in size. One is an interior design project for the Phoenix Group in Bengaluru, while the others are landscape assignments for a few Mumbai-based realtors.

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

PHOTOGRAPH: NEVILLE SUKHIA

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Rupana & Niroop Reddy NA ARCHITECTS

“Being an architect is a really interesting job. It’s rare that you do the exact same thing week after week, especially as you gain more experience. It’s creative and challenging,” enthuses Niroop Reddy, an alumnus of College of Architecture, Chennai. The intangibles that go into the making of such a tangible creation — meeting a client’s needs and fulfilling his wishes, even as you adhere to building and accessibility codes, as well as budgets and schedule — are also aspects that he finds interesting. Niroop leads NA Architects, the practice he set up in 2002, along with his partner and wife, Rupana. “We dreamt of establishing a firm that would provide state-of-the-art, turnkey architectural, structural and interior design services under one roof,” he elaborates on their early aspirations. “Hyderabad had space to accommodate and welcome new ideas and concepts in architecture and interior design.” The early days were challenging, mainly owing to fierce competition and the market’s resistance to something new. A short 12 years later, in 2014, NA Architects expanded to Bengaluru and Dubai. The firm’s design philosophy revolves around bringing together light, space, materials, form, function and environment — and blending them with the client’s preferences and timelines. “For us, design marks out a vision for what can be. The act of designing is to move with intent to close the gap between existing conditions and that vision,” say the architects. Several of their projects, the culmination of their holistic approach, have been recognised for the superiority of

design, which Niroop and Rupana large-heartedly attribute to “amazing” clients and well-oiled execution teams. “Rather than focusing on a signature style, we pride ourselves on ‘our signature ability’, or our ability to reach beyond our comfort zone. We are always ready to challenge ourselves and aim at incorporating latest ideas, concepts and technologies into the client’s requirements so that we are able to deliver our services in collaborative, creative and open association with our clients,” is how Rupana describes their work so far. Team NA Architects is aware of the challenges posed by climate change, a shrinking competent workforce, and problems that riddle the industry with respect to information-sharing and the economy in general. Yet, they are positive in their outlook. “We hope we become a go-to destination for creating sensitive, sensible and sustainable design. We aim to bring Indian influences to our international projects,”says Niroop. A&I

LOOKING BACK The official residence and camp office of the chief minister of Andhra Pradesh, in 2004, catapulted the practice into the limelight, owing to the project’s scale. The site area measures about 80,000sq-ft and the project took six months to complete, from the stage of designing to execution.

LOOKING FORWARD NA Architects’ upcoming works are game-changers in terms of their scale. DSR FIRST will be one of the first buildings in India to have all apartments of similar size (6,666sq-ft). The 1,500-bed CMC Hospital at Vellore will be one of the largest hospitals to be built, while the Palm Deira Mall in Dubai has a built-up area of 8,00,000sq-m.

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

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Sabeena Khanna STUDIO KIA

Studio KIA was established in 1981 by Rajiv Khanna, a graduate from the Chandigarh College of Architecture. Three years later, fellow collegian and wife, Sabeena, joined him on his professional journey. Design was a familiar concept for Sabeena, who was introduced to it at a young age thanks to an architect father. “We are lucky to have been able to get wide and varied projects of large magnitude early in the profession,” recalls Khanna, adding that they sought inspiration from anything and everything. “Rendering turnkey services to high-end airlines and prestigious banks, and designing largescale residential developments for government authorities gave us parallel insights into the working of the corporate sector and government bodies. In the initial stages of the practice, we learnt the importance of quality management, matching timelines and adhering to project costs, things that have held us in good stead.” Over the last 35 years, KIA has worked on a variety of scales and typologies. “While working with international designers on global assignments, the importance of interactive workshops and charrette sessions was a wonderful learning. Team KIA believes in delivering good projects through a collective, collaborative effort,” reveals Khanna. This inclusive approach creates spaces that are peoplecentric and developed from their perspective. “As architects, we design for people. Our creations have to be used and seen by people for years to come,” she declares. Khanna attributes their success to a variety of principles they adhere to: aesthetically strong and functionally honest architecture which is welldetailed, sustainable and useful; and values of sensitivity, sensibility and meaningfulness. While this definitely gives her a personal high, she is quick to point out that good architecture, at the end of the day, is the result of good teamwork. “Architects and designers must rise above personal egos to work in a collaborative process and deliver good architecture. “Learning is an ongoing process, and one must continue to do so. Be open to it always and keep challenging yourself,” urges Khanna. A&I

LOOKING BACK A project Khanna mentions as memorable, is the interior design of the Central Cottage Industries Emporium at Janpath, Delhi. A prestigious project won purely on design merit, it furthered the firm’s journey into the world of Indian arts, crafts and culture.

LOOKING FORWARD Studio KIA’s upcoming project, The Estate, in Kasauli, is a villa community comprising 20 villas for a select few, as well as a wellness resort. The hill development will be luxurious in its offerings, with each villa built to enable one to commune with nature.

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

HOT 100

Sandeep Khosla & Amaresh Anand KHOSLA ASSOCIATES Projects that are contextual and rooted in our environment, yet bold and innovative — this is the vision with which Sandeep Khosla established Khosla Associates two decades ago. A vision that endures till date — as the firm’s oeuvre, with its wonderfully narrative spatial programmes, illustrates. The practice, which Kholsa now leads with co-principal Amaresh Anand, has inevitably evolved in skills and techniques. But the DNA of the atelier has not changed since its inception. “I founded the firm based on a certain philosophy and. when Amaresh joined, the philosophy resonated with him too. We have, therefore, only strengthened our beliefs. “Some of our initial projects included small retail and office spaces, and the interiors of bars and restaurants. I was also commissioned a few houses,” Khosla, a product of Pratt Institute, New York, tells us of the initial days of the practice. “I was trained as an architect and had little knowledge of the world of interiors. However, intuitively, I felt I would be good at interiors. These initial projects honed my skills in interior design. Architecturally, I started to develop a vocabulary that made sense in our climate, culture and environment.” The portfolio, which continued to show a dominance of residential architecture and interiors, as well as hospitality projects, slowly changed with the addition of larger-scale projects such as institutional buildings and larger developments.

Hallmarked by a rigour in contextual thinking, work discipline and problem-solving, Khosla Associates’ compelling, sensitive environments have been noticed and feted both in India and abroad. While Khosla and Anand attribute the lion’s share of their firm’s national and international reach to the internet, they caution against its onslaught of seductive imagery that can easily snare designers into the trap of image-making, rather than “creating design that is socially and culturally relevant and reflective of the end user’s needs.” And where do Khosla and Anand see their firm in the next decade or so? “Continuing to explore unchartered territory, continuing to think of out-of-the-box solutions, and continuing to create sensitive environments for the users of our spaces,” they declare. A&I

LOOKING BACK A few standout projects that have propelled Khosla Associates to international recognition are the DPS Kindergarten School, Cliff House, and Retreat in the Sahyadris. The latter was the winner of ‘House of the Year, 2017’ at the World Architecture News (WAN) awards held in London, in March this year.

LOOKING FORWARD Kholsa Associates name a new hotel building for the Park Hotel, Visakhapatnam; a 40-acre villa development in Raipur; and an exciting office interior for Westbridge Capital as particularly exciting. “All three clients have been thoroughly supportive of our vision, and these are all fairly new typologies for us,” say the duo.

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

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Sanjay Puri

SANJAY PURI ARCHITECTS He may be internationally renowned thanks to his unparalleled winning streak at global design awards in different parts of the world, but Sanjay Puri commenced his practice in 1992 with a 54-acre township called Vasant Nagari in Vasai, a far-flung suburb of India’s financial capital. “It was a lucky break, as it involved master planning, details of 4,000 apartments, schools, club, shopping areas and other facilities,” recalls Puri. “At that time, the only concern was to create an environment like no other in Mumbai with this project.” A graduate of architecture from Rachana Sansad’s Academy of Architecture, Puri holds the lessons learnt in the very first two years dear, and they still direct his design approach. For inspiration, he turns to any project that has created a new vocabulary of space, as also historic traditional buildings. His mentor, he maintains, is Hafeez Contractor — with whom he worked through five years of college and four years after graduating. Since Sanjay Puri Architects (SPA) started with a large residential township of 22,00,000sq-ft, they soon bagged several other residential projects in the city. The learning came in many ways. It taught them the key aspects of residential layouts and what people desire from a home as well as a layout. They also learnt how services had to be integrated and what configurations create large landscaped spaces, among other important lessons. Today, SPA has over 40 million sq-ft in various typologies of architectural projects under its belt. The firm has worked in over 40 Indian cities so far, and each location has allowed them to create a contextual response to the climate, tradition and other local factors. They have designed housing projects of all kinds — from 300-acre layouts with 15,000 apartments to individual buildings and homes. Other projects include hotels, entertainment centres, schools, office buildings, retail malls, temples, clubs, art galleries and cinema complexes. Over a period of time, the consciousness towards sustainability and context has increased manifold and the firm’s designs have become more meaningful. The principal of SPA is proud that each of their projects is driven by the need to create a strong contextual response and evolve a new experience of spaces. They are deliberately doing fewer projects at this time than in the past, with an increased focus on sustainability and generating energy-efficient architecture that does not draw parallels with anything created prior to them. Puri hopes that the continuity in this approach will contribute to an architecture that is rooted in India and simultaneously unique. Based on his formidable experience, he urges fellow architects not to give in to commercial needs of clients, but to focus on creating good design. A&I

LOOKING BACK Puri handpicks an entertainment centre in Lonavala, Chrome Hotel in Kolkata, The Courtyard House in Beawar, The Streets in Mathura, and Ishatvam 9 in Ranchi – because each of these award-winning projects was dramatically different from the work the firm had done before.

LOOKING FORWARD SPA is enthused about completing a wine resort in Nasik, a hotel in Ranchi, a school in Rajasthan, and another school in Raipur. “All four projects are unique in the perception of spaces within them,” explains Puri, whose dream project, not yet realised, is a 100-acre development in Montenegro.

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

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Santha Gour & Kalhan Mattoo PLANET 3 STUDIOS

When Santha Gour and Kalhan Mattoo recall their early days in the profession, they talk about how the learning process involved getting their hands dirty — an idiom that best describes the genesis of Planet 3 Studios. Set up in 1998, they specialise in design-build projects, handling a small 600sq-ft office space to start with, and moving on to offices for clients such as Rio Tinto Diamonds, Steel Age, RPG Group, and Godrej, among others. “We started with interior [projects], built up our experience and expertise, and finally stepped into architecture. We aspired to do work that would make us happy at the end of the day, work we would be proud of,” says Gour. Besides being a fantastic experience for the alumni of Sir JJ College of Architecture, Mumbai, the design-build model encapsulated the practical side of design — from costing to dealing with limited time frames. “We learnt the business side of the profession, and how to retain and have a repeat clientele. Most importantly, we learnt there is no perfect client, nor project or budget. We have to make it perfect in the given parameters,” shares Gour, who strongly believes that no two clients/projects should be treated in a similar fashion. Pursue every project with a beginner’s mind and always share new ideas with the client, she adds. Creating “honest and brave” work has been their strength, and they recognise evolution is key to one’s survival. Each project enjoys its own distinct flair because it is in keeping with a client’s needs, an approach that has kept the practice fresh and exciting. “We have also made continuous attempts to refine our presentation skills

through newer software adaptations that helped us present our ideas more clearly. We also tried to evolve skills of not only our professional employees in office, but even the contractual labourers. We have slowly tried to [put in] systems to ensure safety and security for people on site,” notes the architect. Gour and Mattoo believe that one person with one idea can transform an entire civilisation, but they admit it is quite an enormous expectation from a practice to contribute to the larger good. Instead, they are committed to working with intensity and honesty, delivering designs to the best of their abilities, and growing personally and professionally. These efforts, they hope, will eventually culminate in a better design environment for the future. They wish to place themselves firmly on the international design map. For a profession that needs constant evolution and complete surrender, their advice is succinct: “No half hearted efforts are going to win the game.” A&I

LOOKING BACK Gour believes that not only has every project added value to their practice, “every person, every day has been significant.” But one past project that got them due recognition is the Vidyalankar Institute of Technology in Mumbai. “It made us who we are today,” she acknowledges.

LOOKING FORWARD The Mumbai International Cruise Terminal, the first of its kind for the country, is quite an overwhelming experience, admit the architects. But it’s a project to watch out for. A Nursing College in Jammu, another exciting project, is just as challenging because of its location on a hilly terrain in a seismically active zone.

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

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Seema Puri & Zarir Mullan

SEEMA PURI & ZARIR MULLAN ARCHITECTS & INTERIOR DESIGNERS The musical, wonderful, narrative qualities of architecture drew Seema Puri and Zarir Mullan to this profession. After graduating from Mumbai’s Academy of Architecture, with stints at well-regarded architectural firms, they embarked on an independent career with their practice, Seema Puri & Zarir Mullan Architects & Interior Designers, in 1995. “We started by doing architecture as well as interiors for bungalows – and we realised that no project was too small, and that there was something to learn from every job, every work. These projects taught us patience; they taught us how to deal with all kinds of people; they taught us to respect clients because, without them, we were nothing,” they say. Thei duo’s trajectory changed when they got recommended to a new builder, who gave them three days to come up with a proposal for a commercial building in Bandra, Mumbai. “We competed with a few other architects,” reveals Puri. “Naturally, we were both thrilled and anxious, but we also knew in our hearts that it was now or never. Thankfully, we made the cut.” Since then, though it has been an eventful journey, they say the quest for design that would stretch their imagination is never-ending. The architects consider each project as a dialogue between art and architecture. “Each project is finally like an art installation,” say the founders. “It is important not to doubt that architecture is art. It is art because there is a need to go beyond function. It’s about provocation, emotion and sensitivity.” They work with space, light, materiality and elements such as shadows and wind, to construct spaces that people have to spend their lives in. “Nothing could be more important than that,” they declare. The two of them would like to contribute to creating a better design environment by abolishing “extreme compartmentalisation, increasingly referenced with contemporary yearnings and demands. Today, more fluid and integrated spaces that allow greater coexistence between residents and their visitors are desired, and we would like to believe that we try and achieve this more often than not,” say the architects, who like to fuse the vernacular with the contemporary in their work. Their advice to fellowarchitects? “If you’re not failing every now and then, it’s a sign that you are not doing anything very innovative. Don’t be afraid to go where no one has [been] before.” A&I

LOOKING BACK The commercial and award-winning building, Notan Heights in Bandra, was a turning point in Puri and Mullan’s career. “We dared to be different and it paid off,” they say. The Leed-certified project caught the eye of almost everyone passing by, people appreciated it and the architects’ popularity grew.

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

LOOKING FORWARD The duo is working on a vocational training institute, still in the planning stage. “Our aim is to create a dynamic yet protected community for student trainees,” they say. “By segregating main uses into different blocks, and creating transitional pathways throughout, we tried to create a sense of society.”

HOT 100

Sheila Sri Prakash SHILPA ARCHITECTS

As a new entrant in the world of architecture in 1979, when Shilpa Architects came into existence, principal Sheila Sri Prakash had to strive hard to continue designing in an environment that was hostile to women. Irrespective of the situation, she nurtured every project with a lot of emotion and care — most of her early projects were independent homes, small offices, nursery schools, neighbourhood clinics and industrial manufacturing units. “My designs were appreciated as unique and responsive. My office grew with the scale of the projects. We started designing for multiple families who opted to live in a community, as in apartments and row houses. Contractors and corporates found it lucrative to develop land parcels to maximise returns on their investment,” recalls Sri Prakash, whose practice grew with the real estate industry. She designed projects in Tamil Nadu as well as pan-India. As the practice began to grow, their focus on being responsive to location and people became more challenging and satisfying to achieve. Sri Prakash, who studied architecture at the Anna University School of Architecture and Planning (and also attended the Executive Education Program at Harvard University’s Graduate School of Design), remembers, “I was not given a chance to design glitzy and glamorous projects due to a gender bias. In retrospect (it was) a blessing in disguise.” Thus, opportunities to work on projects like homes for the economically weaker sections under the World Bank’s ‘Shelter for the Shelterless’ scheme came her way. Through it all, “responsive and sensitive architecture that reciprocates to all concerned” remained at the core of her practice. Sri Prakash is no stranger to the idea that change is the only constant, and she is gearing up for the next wave of change that will dominate the architecture scene. “We are in the midst of the fourth industrial revolution and are experiencing the disruptive energies. The rapid pace of technological advances in IOT, AI, 3D Printing, Machine Learning, etc, is rapidly influencing living. We will be balancing the technological advances with our core learnings, and exploring new design solutions for humanity [that are] in sync with our planet,” she expounds on the future direction her practice will take. The architect exhibits no aversion to technology, but she urges fellow architects to not get carried away by trends and fads, or swayed by peer pressure. Instead, she recommends that they interpret the client’s vision “through the prism of the values you hold dear to your heart, heritage and culture.” A&I

LOOKING BACK There are many projects that encouraged Sri Prakash to work with “inspired vigour.” A model EWS (Economically Weaker Section) house, a factory for her husband, her own office space in Chennai, and a family home, “every milestone set a target to pursue more,” she explains.

LOOKING FORWARD In their upcoming township project, the firm is working on a design that blends spiritually empowering spaces with efficient and sustainable conveniences. “The museum for the Cholamandal Artists’ Village, built around a banyan tree which forms its anchor element, is also special,” adds the architect.

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

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Shibanee & Kamal Sagar TOTAL ENVIRONMENT

Backed by a good mix of inquisitiveness and idealism, Shibanee and Kamal Sagar — alumni from Sir JJ College of Architecture and IIT Kharagpur, respectively, started Total Environment in 1996. They aimed to find their design style and direction in architecture, “and create buildings that add some value to the architectural heritage of the country, and the world.” From the beginning, they were clear about certain variables, mainly that they wanted to work with natural materials extensively. They started off by experimenting with individual home projects in Bengaluru and Pune. During those early days, Kamal was unhappy with certain practices in architecture — such as clients awarding projects to cheaper contractors, which affected the final outcome of the designs. This probably explains his exploration into design-build projects. Along with a couple of friends, he began designing and building unique residential apartment buildings in Bengaluru. It was an intensely proactive effort that required him to find the appropriate land, purchase it, design it, and then sell the individual apartments — all from an architect’s perspective and not a developer’s. They barely broke even with their first attempt, but it didn’t prevent

LOOKING BACK For Windmills of Your Mind, the firm designed earth-sheltered homes, large duplex apartments and singlelevel apartments in a manner that was unconventional in large-scale housing projects. “It got us nationwide recognition and helped us get great talent to join us,” says Kamal.

LOOKING FORWARD Total Environment’s upcoming naturecentric project, A Saucerful of Secrets, in the Ooty hills, is a secluded resort with an area for live music performances. The firm is working with National Geographic, Cleveland Zoo and Auroville to ensure that the wildlife in the area is not affected by the resort.

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Kamal from creating Windmills of Your Mind, a premium residential development, also in Bengaluru, using the same design-build format. If anything, this exercise speaks of their resilient pursuit of good design — even if it means being extremely proactive in pursuing projects. While they went on to explore other typologies besides housing, their design language remained constant, with an emphasis on a natural material palette and spatial planning that is characterised by an open layout with minimum walls — aspects they maintained for small and large projects alike. What has evolved are the finer details, from masonry to individual elements such as fenestrations. One of their significant explorations has been in the housing space. “There are a few things we incorporated that didn’t exist before, like the idea of having a garden for every apartment, on every floor. We began incorporating this concept in ‘96, from our second housing project onwards,” discloses Kamal. They began building a 10x10 private garden for a 1,200sq-ft apartment, and the concept now spawns duplex and double-height gardens, as well as 1,000-1,400sq-ft individual gardens in apartment buildings. There is more innovation on the horizon for Total Environment. “With the advent of 3D printing and other technology, it is possible to do a lot more in terms of details,” says Kamal, who wants to completely break away from historical motifs and decorative elements. True to its initial quest, Total Environment’s future projects will also integrate more of nature. “For two of our projects, we have created a sense of nature by taking over the built environment and having trees grow out of the walls,” explains Kamal, who — interestingly— had pitched a similar idea for his thesis project, but was met with utmost scepticism. A&I

HOT 100

Shilpa Gore-Shah & Pinkish Shah S+PS ARCHITECTS

Shilpa Gore-Shah and Pinkish Shah have always looked at design as being free from the straitjacket of labels, and their practice, S+PS Architects (which they established in 1997, post their Master’s from the University of New Mexico and work stints abroad) doesn’t accept traditional boundaries between various creative fields. They have intentionally chosen not to focus on any one particular area, say the founders of S+PS, but use their generalist training as architects to successfully operate across all these scales, bringing their own personal vision and attitude to each project that they take on. The firm, which is greatly concerned about placemaking and has stayed “small by design”, is influenced by the principals’ interest in history, pedagogy, travel and common sense. Each project is a manifestation of deliberation, contemplation and intuition: careful study and research, combined with technical knowledge and balanced by richness that results through the examination of “random and unforeseen events.” The various national and international awards, publications, lectures and exhibitions are a by-product of the above and testify to their evolving design sensibilities. Two of their recent projects, in particular, Collage House and Design.I.Y Housing, represent shifts in thinking on design and the notion of an architect as omniscient. “We are questioning the idea of the architect as

Mr.Know-it-All. [One needs to know] where and when to let go, to be able to become more inclusive in the processes and making of architecture,” says Pinkish. “Both projects demonstrate this idea in very different ways, and it certainly [marks] a shift in our thinking.” Shilpa and Pinkish’s vision for the future of their practice is governed by the importance of “doing the right things, as opposed to only doing things right.” Especially when it comes to projects that make a difference in people’s lives: mass housing, public spaces in the city, and spaces for learning. With Pinkish’s role as Dean of Academic Affairs at KRVIA, one of Mumbai’s leading architectural schools, the “difference” comes through, shaping young minds and affecting pedagogy. A&I

LOOKING BACK The firm’s Collage House project has got them tremendous exposure, including being featured on the BBC-Netflix series, ‘World’s Most Extraordinary Homes’. Though not all the feedback on social media has been positive, it has brought to the fore an important discussion on waste and recycling (inspired by Mumbai’s informal settlements).

LOOKING FORWARD The architects have spent the past few months working on a large affordable housing project, which includes design of public amenities on a complex site on a slope. Both Pinkish and Shilpa hope that the project will take off soon, as it has the potential to affect the lives of a large number of people.

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

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Shimul Javeri Kadri SJK ARCHITECTS

During the first phase of SJK Architects, which began with liberalisation in 1990, Shimul Javeri Kadri immersed herself in creating design that was “crafted, earthy and climatically sensitive.” In the next phase, the practice matured, as did the marketplace, with new materials and technologies coming in. “We experimented with form and hardware. The Leaf House at Alibaug and the Nirvana Films office were watershed projects,” says the alumnus of Academy of Architecture, Mumbai. From then on, Kadri and her team began to take contemporary design and ‘craft’ to another level, most notably in projects like Tirupati Hotel and the Mahindra Design Studio. An inspiration to many architects, especially women architects, Kadri has worked across the length and breadth of India, making sure local culture, climate and history are imbibed in each design. “Projects in the office look very different, depending on where and what they are doing. We

LOOKING BACK Of the several projects they have built across the country, SJK’s work for a school and college in Warangal and a factory in Karur were important in the way the naturally-ventilated spaces interpreted the vernacular idiom.

LOOKING FORWARD “Clarity of thought and contemporary well-detailed expressions derived from historical wisdom,” are guiding Kadri’s current projects: a museum for Jainism in Ahmedabad, an Agricultural Training and Research Centre in Latur, a hotel in Bodhgaya and a hospital in Alibaug.

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

are working on a hotel in Bodhgaya for a client, for whom we have designed another hotel in Tirupati. The difference in the expression of both projects is remarkable. In Bodhgaya, gentle Buddhist practices, as well as the brick building traditions of the area provided the impetus for design. In Tirupati, a strong orthogonal geometry that came from temple architecture drove the design. However, what could be common to both projects is the desire to connect with nature at every point,” explains the architect. Infusing each project with natural elements — be it covered walkways, water bodies, courtyards — is key to the practice, which recognises the ability of skylights and light-wells to modulate not just light but also emotions. These simple elements are symbiotic to civilisations, and have been for a long time. “Our practice draws from Indian historical elements at all times. As with music, one may know the notes, but the stringing together of the notes is critical to good music. The pauses, the rhythm, the high points – all well-timed — create a classic,” says Kadri. The realisation of good design requires not only a thoughtout approach, but also collaborative effort, and SJK Architects functions on these principles. The architect explains, “We believe that thought generates a project of sublime beauty. The clarity of an idea is what holds a project together — not materials or money or twists and turns of form. This clarity of purpose is also what generates and holds together a large collaborative team needed to create an architecture that endures — both physically and spiritually.” A&I

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Shweta Mewara & Saurabh Ailawadi GULMOHAR LANE

Evocatively named design atelier Gulmohar Lane is the result of that fundamental emotion which goes into making a home: being house-proud. For corporate couple Shweta Mewara and Saurabh Ailawadi — one, a fashion designer, the other a visual merchandiser, both from NIFT (National Institute of Fashion Technology) — an unfruitful quest for affordable, aesthetically-pleasing home products inspired them to set up the studio. They spent two years in developing the product range for Gulmohar Lane, which was finally launched in 2015. The response they received was encouraging, and their choice of aesthetics was endorsed by celebrities like Parineeti Chopra, Kareena Kapoor, and businessmen such as Shamit Bhartiya, as well as corporate entities such as Nandos India and the Adani Group. “With every project, the learnings are unique. Each client comes with their specific requirements, and that called for customisation and new development,” the duo tells us. For example, Parineeti Chopra’s large-size custom sofa had to be made in two parts, and it proved to be a precursor to their sectional sofas line. “Recently, we did a project for Anil Kapoor Production’s Veere Di Wedding. Working with set designers to design furniture based on each character was a fun experience.” The roll-out offering of upholstered furniture for the living room was later augmented with the addition of products for bedrooms, dining rooms, offices, etc. This gradual unfolding is deliberate. While Gulmohar Lane’s founders refocused on becoming a complete home lifestyle brand, they were also aware of the time that goes into developing an impeccable product. “We are not in a hurry,” they maintain. “Whatever we offer should make aesthetic sense.” Whether it is new launches or initial designs, the one common vein that runs through their work is world-class design aesthetics and quality. “We invest a great deal in creating products and print designs that are timeless and find a deeper connect,” reveal Mewara and Ailawadi. “We have a bigger list of don’ts than do’s in terms of product design philosophy.” Using classic silhouettes, traditional techniques such as the eight-way hand-tied suspension system for sofas and Tarkashi inlay work, and natural materials, they aim to create products that combine nostalgic charm with contemporary nuances. A&I

LOOKING BACK Mihir Shah’s Vadodara residence, designed in collaboration with MSA Architects, stands out in their portfolio. Every corner of this abode reflects Mewara and Ailawadi’s fondness for natural materials and warm, comfortable homes, where design solutions emerge from form, function and context.

LOOKING FORWARD Gulmohar Lane is excited about their soon-to-be-launched wallpapers. “It will exhibit our brand ethos of creating designs that are not bound by time,” state the duo. They are also working on WeWork’s co-working shared offices, Isprava Luxury Villas, Goa, and Reliance Brands Limited’s head office in Gurgaon.

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

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Sonal Sancheti & Rahul Gore OPOLIS

New years are always full of hope and promise of good things. January of 2001 is particularly memorable for Sonal Sancheti and Rahul Gore — for this is when they became principals of their firm, Opolis. The manifesto which was penned down then (based on a write-up by architects Tod Williams and Billie Tsien) remains the same till date. “Whatever we design must be of use, but at the same time transcend its use. It must be rooted in time and site and client needs, but it must transcend time and site and client needs. We do not want to develop a style or specialise in any project type… We want the studio to be a good place to work, and learn, and grow, both for the people who work in the office and for ourselves…” reads out Gore. The partners in life and work started with great enthusiasm,

LOOKING BACK The Bihar Museum, which has been recently completed, has obviously had the largest impact on the practice, as the team has been working on it for the past six years. Also, the complexity it entailed, including dealing with a government project, has been a great learning experience for the firm.

LOOKING FORWARD Among the many projects in the pipeline for Team Opolis, a hospital project is one they are most keen about. Not only is it a new genre for them, it is made further interesting by the severe site restrictions, challenges that will only help them to achieve a better design in the end.

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focusing with concentration on whatever comes their way. “Maintaining that enthusiasm through the years is the real test for the practice,” say the alumni of CEPT, “and we hope to keep looking at every project as our first.” Over time, the projects got larger and more complex, and the practice evolved by developing more interests. Work started primarily in Mumbai and Pune, and gradually extended pan-India. Private homes have been a constant, and that is one genre that the architects enjoy as it allows them to explore an architectural philosophy with minimal “external forces.” But they hope to work more on public and institutional projects due to the impact they have where social context is concerned. Though 17 years have earned the firm a reputation of being qualified, committed and sensitive professionals offering innovative design solutions in architectural, interior and urban projects, the duo admits that they have never attempted to describe their work. “We only hope it counts in the current architectural discourse. We’ve tried to maintain our philosophy of keeping things simple. The pursuit for a timeless quality to the space, as against being fashionable, has been a constant — and this means every project is an evolution from past projects.”And what ‘mistakes’ would Sancheti ad Gore urge fellow-architects to avoid? “Mistakes are only realised in hindsight, but trying should never stop. In fact, making mistakes is fine, but repeating a mistake is not acceptable.” A&I

Sonali & Manit Rastogi

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MORPHOGENESIS Working out of a garage with no certainty of how the future would unravel, Sonali and Manit Rastogi started Morphogenesis in 1996 after a brief stint in London. For the duo − both alumni of Delhi’s SPA (graduation) and Architecture Association, London (Master’s), this promising start came with complete clarity of purpose: “to contribute to the definition of and the building of a global discourse on contemporary Indian Architecture.” To this end projects of varying scales were welcomed — be it a small 400sq-ft office or remodelling of a single screen cinema into a multiplexe, the architects were hungry to experiment. Soon they were exploring the evolution of the ‘mall’ typology, working with educational institutes that were pushing the boundaries for new forms of education, and projects in holistic health facilities, IT campuses, and others followed. “We were privileged to be the first entrants into many such typologies. Working across multiple skills and typologies allows for cross-pollination of ideas across this pool, which is crucial to stimulating new thought,” Sonali shares. Having designed the first net-zero energy enabled school and first Indian building to win at the World Architecture Festival (WAF), this ‘first’ ethos has become synonymous with the way Morphogenesis works. In the last 22 years, the Morphogenesis philosophy has not changed — but has evolved. “The vision stays the same, yet the tools keep evolving, where experience adds to thought and the canvases grow larger,” says Sonali. These “fruitful, rewarding years” have now made Morphogenesis a collaborative of over 150 people with projects spread across South Asia and Africa. Moving forward, they will continue to address the need for optimisation in deployment of limited resources. “As a rapidly developing nation with the urbanised population set to grow 30-50% over the next two decades, this approach becomes even more critical in urban and public projects in India. Sustainable urbanism is imperative, but can only mitigate environmental impacts so long as it is conceived with economic adequacy,” asserts Sonali, who believes affordability derived from resource optimisation is as crucial to sustainable urbanism as environmental protection and socio-cultural sustainability. Functioning as an architectural laboratory and not just a practice, the Rastogis hope to expand the precincts of architecture and environmental design in India. “We shall continue on this pursuit of excellence in architecture while setting higher benchmarks of best practices as an organisation.” A&I

LOOKING BACK Pearl Academy, Jaipur, was a milestone, as budgetary constraints required them to critically re-evaluate their approach, forcing them to rigorously apply a ‘No is More’ philosophy. The project successfully dispels the myth of high cost being an intrinsic part of sustainable building design.

LOOKING FORWARD Particularly exciting for the firm are projects exploring new geographies, hence new local contexts that push their understanding of sustainability, including a college in Bhutan and a residential township in Johannesburg. They are also designing one of the world’s largest office spaces for the Surat Diamond Bourse.

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

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Sonali Bhagwati

DESIGN PLUS ARCHITECTURE A clubhouse in Madhya Pradesh as the first project. A garage that could fit in all of three desks as the first office. Sonali Bhagwati, president of Design Plus Architecture, involved in projects across India and in six countries, has certainly come a long way. “We always wanted to build a design firm which explored out-of-the-box concepts and successfully integrated global trends with the Indian ethos,” says the architect who first set up shop with Sohrab Dalal (subsequently her husband) and another partner, Khushroo Kalyanwala. Spazzio Design was formed after a restructuring, with Dalal and she as partners.“To work with honesty and integrity was the foundation of our practice,” says the architecture graduate (with honours) from CEPT. “We took whatever came our way as long as we were in sync with the aspirations of the client,” recalls Bhagwati of those early days. “Each project was viewed as a design opportunity. The time and effort invested in a project is directly proportionate to the quality of the end product. This was a learning that made our firm stand apart in the professional world.” The liberalisation of the Indian economy in the early ‘90s marked a major shift in the nature of projects, and also in how the firm responded to them. “We started to integrate with the world. However, we never lost sight of the ethos of the Indian user. We became a sort of multi-disciplinary firm doing a wide variety of projects, including residential, commercial, industrial, corporate, retail, mixed use, hospitality, etc.” In 2010, Spazzio Design merged with Mohit Gujral’s Designplus to create the present entity. In the backdrop of such sweeping changes, the fundamental principles continued to be the same. What changed, however, was the approach to a project. “We do not live in the era of master builders, where one architect was singularly responsible for a project. We live in the age of teamwork, where various disciplines contribute to the design process,” she says. Bhagwati dreams of fixing cities and contributing to nation-building. “The quality of a city is always described by the quality of the pedestrian experience. Regrettably, the pedestrian is completely ignored as the public spaces in our cities are occupied by city services, squatters, garbage dumps, street vendors or parked vehicles. We need to…bring back the pedestrian and reclaim our public spaces,” she concludes. A&I

LOOKING BACK Rather than a project, Bhagwati attributes the evolution of her firm to a series of events such as the opening up of the Indian economy in the ’90s; the growth of the IT sector; the formulation of SEZs…These events marked a quantum shift in the way they thought, in the way they designed and what the user aspired to.

LOOKING FORWARD They are currently involved in the expansion of a large university where, on the interior front, the firm is exploring new and innovative work environments that stimulate the mind and increase productivity. However, the project she is personally looking forward to, is unique and has no commercial implications: re-pedestrianising her city.

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

HOT 100

Sumessh Menon

SUMESSH MENON ASSOCIATES

“Right from the beginning and even today, my team and I have aspired to continuously reinvent our design and make a conscious effort to keep design and monetary aspects of a project exclusive from each other,” says Sumessh Menon, of the aspiration with which he started Sumessh Menon Associates (SMA). He’s thankful that he was blessed enough to start off with international projects — which gave him insights into the importance of discipline and work norms. “Another key design lesson was to understand the importance of customisation and bespoke design,” says Menon, who has honed his innate creativity with a course at New York’s NYIT School of Architecture and Design. Menon calls the journey so far both challenging and fruitful, and is pleased that he has carved a niche for himself in the industry with a unique style, “to an extent that when potential clients approach us, they expect us to dish out bespoke homes and signature-style hospitality projects,” says the designer whose aim has always been to strive towards cutting-edge, innovative design, with each project enjoying a distinct identity. “Each project must have…a timeless characteristic that retains its novelty for a good five to six years, and this design viewpoint remains constant for our practice.” While the environments they create may be distinctive, bespoke and luxurious, SMA also takes sustainability seriously. “Clients are being more open to the positive impacts of sustainable designs— which makes our work easier. Convincing clients to go in for sustainable design used to be difficult,” he reveals, citing an upcoming private villa in Pawna, near Mumbai, which incorporates a lot of natural light and ventilation, and is designed along the existing land contours. The learning of the principal and his 15-year-old studio continues even today, with each project adding incrementally to the way they work, their understanding of a client’s requirements and their design sensibility. “Designing is always a challenging path and comes with equal measures of experience and complications. Through the hard way, we have learnt that it’s not just enough to adhere to regulations — but to see to it that clients do not take them lightly either,” says Menon. In fact, he can’t stress the latter point enough. “We also need to make sure that they are implemented thoroughly even long after we have moved out of the project. Accepting client’s demands without questioning them or the legal aspects of it, is also a major tendency to avoid.” A&I

LOOKING BACK From his firm’s many landmarks, Menon picks out Koko as a game changer. “This was some years ago when I had just completed one of my first international hospitality projects in Manhattan, New York. It was a visit by one of the Tham brothers to this restaurant that set things rolling, and the result was Koko,” he reveals.

LOOKING FORWARD An ongoing project called Dragonfly located in Aerocity, one of Delhi’s most upscale localities, is something Menon is looking forward to with great interest. The project’s most unique aspect is that the existing site is a theatre, complete with a magnificent 40ft-high ceiling, that’s being converted into a high-energy bar.

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

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Sunita & Kohelika Kohli K2INDIA

Being a self-taught designer has never been a limitation for Sunita Kohli. After all, she was the first interior designer to be conferred the Padma Shri in 1992 and the first Indian designer/ architect to be invited to give an illustrated lecture at the prestigious National Building Museum in Washington DC in 2003. For daughter Kohelika Kohli, who studied architecture at the Pratt Institute of Design (New York), this cemented the belief that an architect/designer cannot simply rely on their credentials or academic qualifications – but exposure to people, places and culture make the real difference. Kohelika, therefore, immersed herself in work and design cultures around the world — in New York, Italy and England. In 2010, the mother-daughter team consolidated their many design practices into K2India, a multi–disciplinary design and architectural and design firm in New Delhi. Established as a brand, it brought all the design disciplines together − Kohelika Kohli Architects (est. 2004), the architecture and project management cell of K2India, known for its creative

LOOKING BACK A home designed in Colombo, Sri Lanka (“in its toniest area”) was a collaborative architectural and design project for an urbane, well-travelled and sophisticated client. “This project seeded the idea of K2India, and of Kohelika and I merging our respective companies. The rest is history...” states Sunita.

LOOKING FORWARD The Kohlis have an impressive new project in the making: a Museum of Transport, a first such museum for a passionate and erudite collector of vintage cars and 19th century furniture and artefacts. “This museum, once completed, will be quite unique and the research for it has certainly added to our learning curve!”

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

and contemporary buildings; Sunita Kohli Interior Designs Pvt. Ltd. (est. 1972), the interior design cell of K2India which is research-based and concerned with the physical context of a project and its cultural millieu; and Sunita Kohli & Co. (est. 1971), the furniture manufacturing cell of the company, whose range extends from contemporary to classical. This transition into a brand is, probably, one of their most significant evolutions as a practice. At K2India, the endeavour is to provide clients with the most cutting-edge designs that are also cost-effective. “Internationally, today, all major projects are driven by interior architecture and design, to their final architectural forms. These are the strengths of K2India,” note the Kohlis. Their numerous turnkey projects offer comprehensive solutions — be it architectural, structural, MEP services, landscape, interior architectural and interior design projects. But what sets them apart is that each space can also enjoy their own refined and customised furniture. This personalised approach to architecture and design has been instrumental in creating many successfully projects — not just in India, but also in Egypt, England, Bhutan and Sri Lanka. Driven by the pursuit of excellence and quality, the duo strongly believe that one’s surroundings directly influences the quality of one’s lives — whether in the workplace, at home or in the public spaces in between. For years their design approach and philosophy has been constant and rooted in a firm belief that “design is fundamental to improving the quality of life; and with an integrated and unified approach, it can become a functional and living work of art.” A&I

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Sunitha Kondur & Bijoy Ramachandran HUNDREDHANDS

Bijoy Ramachandran and Sunitha Kondur established Hundredhands in 2003, on their return to India after finishing their Master’s program at MIT, Cambridge, and working with US firms for a couple of years. “The aspirations of the practice have always been the same: to do responsible architecture that’s true to its context in terms of design, material and details; to question scale, character, spatial and visual impact and its effects on the public domain,” reveals Ramachandran. “We were really lucky to start with institutional work for Hope Foundation, an NGO, to build a school and orphanage where the budgets were very limited. It made us think a lot about local materials, local weather patterns and, above all, to design a building that was cost-effective, but had details that still made the building interesting. It led us to approach all projects more consciously in making responsible choices for the project and the client.” Their work for institutions and hotels from very early on in the practice, along with a few special interior projects, taught them enduring lessons. “During the process, we were able to articulate the work more with details that were developed very specific to our practice. We also got to explore a lot more materials and crafts that could be integrated into both, our architecture and interiors projects,” recalls Kondur. Hundredhands’ design philosophy has remained constant, but the way they approach different scales keeps evolving with time. “The effort it takes to

design a small house, compared to a large school — both still need the same attention to detail, but on different scales,” Ramachandran emphasises. Both architects, who value ‘mistakes’ for their ability to make one grow, take the betterment of the design environment seriously. They are involved in conducting an annual design workshop for students and young professionals (in association with the Vimal Jain Foundation and the Indian Institute of Management). They also hope to get opportunities to do some urban design projects that can impact the city at a larger level. “We hope we will keep on getting projects and clients who continue to inspire us to do great work and support our design philosophy,” they state. “We also hope that we can grow to be a well-respected medium-sized practice in the country.” A&I

LOOKING BACK The Alila Bengaluru, one of Hundredhands’ first large projects, gave them an opportunity to work with Allies and Morrison from London (Hundredhands is an associated practice with Allies and Morrison). It was a wonderful experience to learn from the London firm’s keen sense of design and simplicity of work.

LOOKING FORWARD The Bangalore International Centre is a project that Hundredhands won in a competition almost five years ego and is now nearing completion. It has been a “challenging project,” admit the architects, but one they look forward to finishing soon.

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Swapnil & Rahul Dalvi DALVI ASSOCIATES As first-generation design entrepreneurs, Rahul and Swapnil Dalvi’s aim, when they set up their practice in 1997, was laced with pragmatism: “First to get some work and then to give our 100%. Our focus was to build up our identity, as we had no legacy to bank on,” say the alumni of MSU of Baroda. The break — after a slew of residential projects — luckily came almost immediately, in the form of an urban design project in Vadodara. “With no major jobs on hand, we worked 24x7 and deliberated with authorities and town planners more than required,” recalls Rahul. “Our hard work paid off when we eventually bagged the project after competing with 11 other senior firms.” The assignment turned out to be a great teacher: the duo honed their communication skills — whilst interacting with engineers, project managers, bureaucrats and politicians — as well as learnt an important lesson in expecting the unexpected. “An unlikely project may get executed before time, while the most sure-shot one may not see the light of the day. Hence remaining serious about all projects…was another important learning,” says Swapnil. With a growing portfolio came an increased sense of responsibility for every line drawn and every call taken. “Handling a project as a project head for some firm and doing so as the appointed architect was way different… With time, logic got sharpened and the sense of gauging creativity and aesthetics to functionality got better,” disclose the architects, who condemn the cut-copy-paste culture. “[The] search for shortcuts and, hence, cloning or mimicking design is…killing one’s originality. This is the single largest mistake that any architect/designer, irrespective of age, can commit,” they caution. Labelling their earlier work as “logically correct and quite conventional” — tailored to a ‘just born India’, Swapnil and Rahul believe that now is the time to challenge stereotypes in order to arrive at a new option for a fast developing nation. “We were the last generation to have drafting boards. Earlier, low budget projects on large land challenged clarity in engineering and design to reduce construction cost....today, projects consume small land packets with very high budgets, an evolution in itself. Our experience of seeing the changing times with conceptual clarity of logic and details is what we cherish and enjoy.” A&I

LOOKING BACK Designing schools across the country for the same promoter became interesting, as the Dalvis derived customised designs based on location. At the Vadodara school, limitations posed by a tight plot resulted in creatively carved out spaces that facilitate apt light filtering, while also enabling cross ventilation for the whole structure.

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

LOOKING FORWARD The architects are hoping that a mass housing scheme with 3500+ apartment units sees the light of day. “We have handled luxurious projects,” they say, “but to focus on the last square inch of space for its usage and, thereby, touch the lives of the masses with good design, reminds us of our responsibility towards society.”

ARCHITECTURE T

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Tallulah D’silva That Tallulah D’Silva has won several awards for her work and even been a speaker for a TEDx event fades in comparison to her other achievements as a passionate environmentalist and architect — and a catalyst for change. From working on initiatives such as the ‘Kids for Tigers’ project, Global Shapers; powering urban interventions such as NoMoZo, Black Spot Fixes and, now, the Travelling Dome; to even developing ecological projects such as the EcoLoo and bio-remediation systems, D’Silva’s life as an architect is as unique as it gets. Back in 1998, she started off by handling residential projects from individual houses to house extensions with a design and build module, experimenting with contemporary design, minimalism, and traditional building systems. She simply wanted to design for the locals, where the budget was a constraint and eco-friendly design the norm. Her takeaway from that experience? “A better building could be made by simpler design, where the natural surroundings could be integrated with the new indoor spaces,” says the architect who sees her work as sensitive, warm, natural, and celebrating the outdoors. As she continued to grow as an architect, collaborations opened up newer experiences. Working on residential and institutional projects in Goa with architect Rajiv D’Silva brought in many accolades; and a collaboration with a team of consultants for Panjim city under the JNNURM in 2008 got her interested in other community initiatives, including some with Richa Narvekar (urban designer), Titus Fernandes (urban designer) and Vishal Rawlley (designer and filmmaker). “These collaborations taught me many lessons in the importance of public participation, inclusive design and community needs,” acknowledges D’Silva. Her commitment to the greater good has led her to encourage all trainees and architects/urban designers in her office to lead a community project where they take complete responsibility — even it means making mistakes along the way. This process educates all young architects to be curious and thirsty to learn more, which can only happen if the fear of failure is overcomed. “I remember all my mistakes. When I was experimenting with brick arches on my first project, a brick house, it collapsed as we de-shuttered too early! I simply built it again,” she states matter-of-factly. Moving forward, the architect hopes to come up with solutions that address climate change. “I am so excited to experiment with the temporal. Perhaps in a few years or sooner, you’ll see me in a work space that’s portable, mobile,” shares D’Silva, adding that she wishes to design sustainable livelihoods on water for all of us when we become climate refugees. A&I

LOOKING BACK When working on the Moira House, D’Silva convinced the client to adopt simple design aspects: linear form with a courtyard, load-bearing construction, local and natural building materials. “This, in a way, helped me define what really is Goan and local, and how this can be done in a subtle manner,” says the architect.

LOOKING FORWARD “My recent tryst...with temporary structures, emergency boat-making is something I’m looking forward to make bigger and better,” says D’Silva, who is also working on a Tree House and an outdoor learning module...with a portable lightweight geodesic dome; which is a collaboration with Vishal Rawlley.

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Tanuja & Sanjay Kanvinde

KANVINDE RAI & CHOUDHURY

Tanuja Kanvinde’s induction into the illustrious Kanvinde Rai & Chowdhury (KRC) happened gradually, graduating from employee to associate to partner. Her husband colleague had a similar trajectory — except that he began as a consultant before making it to partner. “The aspirations for the practice have been to remain rooted yet innovative in creating a built environment, and also to be able to contribute at a policy-making level with a reach to impact society,” they explain. Their organic rise in the company gave both Tanuja and Sanjay the opportunity to understand the various nuances related to the creation of a project, the layers at which a design gets conceived and translated into reality. Aside from formal education, travel, observation and interaction with peers result in the evolution of an individual — and so it was for the both of them, but the core design philosophy remained steadfast. “Every project that is designed has the underlying principle of creating an environment that is ecologically balanced, contextual and responsive to the program brief, while providing a variation in the spatial quality,” reveal the duo. “Response to the physical and cultural context; maintaining the human scale irrespective of the scale of the project; integrating technological advances in materials and construction; having a dialogue with the users; and giving shape to their aspirations…are all various aspects which are integral to the practice.” Tanuja, who has co-authored the monograph Achyut Kanvinde – Ākār, on Achyut Kanvinde, modernist master and KRC’s co-founder, highlights the challenge that a practice such as theirs faces in the present ‘bigger the better’ culture. “Boutique practices like ours, with personal involvement in projects, face a big challenge. But maintaining the essence and offering an integrated service of a high level, should overcome this. We are very hopeful that quality and merit of design, would eventually prevail.” And based on their experience, what kind of ‘mistakes’ would Tanuja and Sanjay urge fellow architects and/or designers to avoid? “A certain amount of self-discipline and unity is essential on the part of architects. Avoid the practice of undercutting fellow professionals, as this eventually affects the quality of design and the level of service that the architect can provide,” they warn. A&I

LOOKING BACK In the late ’90s, one significant project was the expansion of the academic buildings at IIT Kanpur, which gave a thrust to the practice. The challenge of adding to an existing landmark campus, integrating latest technology, energy-efficiency features, judicious use of materials, considering issues of maintenance and lifecycle.

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LOOKING FORWARD Among their future projects to watch our for, is the design for the Research Park at IIT Gandhinagar. It involves negotiating a constrained site marked by ravines, resulting in a limited footprint with vertical development. The structure has been scaled by the use of terrace gardens at several levels.

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Standing: (L-R) Devaraj M, Rajesh KA and Anupama. Kneeling: (L-R) Mohandas P, Tony Joseph and George Seemon.

Tony Joseph STAPATI

Tony Joseph-founded Stapati’s design philosophy is short and succinct: ‘Be sincere’— to the client, to the environment, to the end user and to the larger context. “Stapati’s architecture emerges from a sensitive understanding of the context,” says its founder, “one where the evolution of design is firmly rooted in the region’s traditional narratives, while interpreting the elements in a modern language.” The architectural firm came into being in 1989, on Joseph’s return from the University of Texas, where he had enrolled for a Master’s in Design in the Charles Moore program. The debut was a residence in Calicut, in which the young architect, influenced by Laurie Baker, employed a lot of the icon’s techniques and language. “I think the biggest learning from that initial phase was about responding to the context and dealing with the nuances of the site,” says Joseph, who also admits to being influenced by (Charles) Moore’s views on regional architecture. While the core philosophy is a common denominator between multifarious projects in a diverse range of locations across India and abroad, Stapati, with its never-ending quest for new directions in architecture, is an entity that is constantly evolving. “One always has to react to the ever evolving concerns of our built environment and the newer challenges that come up, to stay relevant,” opines Joseph. The structure of the practice itself underwent a change, when in 2007, it became a partnership with offices in Calicut, Kochi and Bengaluru, with Mohandas P, Devaraj M, Rajesh

KA, George Seemon and Anupama as partners. Now, the fourth prong of its ‘Be sincere’ mandate — the larger context — is something the award-winning firm is increasingly concerned about. “As a practice, we are… looking more at the larger picture and not seeing projects in isolation,” reveals the architect. “We feel that this is very important in the present scenario, where there is a lot of cosmopolitan thinking with increased exposure to global ideas. This is something our practice is responding to.” However, with global exposure comes a glut of visual seduction. “Practitioners get…influenced by the imagery alone, without understanding the concepts behind the designs and the context it responds to,” says Joseph. “The challenge would be to ensure that all of us take inspiration from the underlying ideas and thought processes and not merely follow the imagery alone.” A&I

LOOKING BACK The Kumarakom Lake Resort and the Vythiri resort were two projects which had a significant impact on the practice. Kumarakom Lake Resort was an attempt to showcase the splendour of traditional Kerala architecture. Vythiri resort, on the other hand, was a harbinger in developing Wayanad as a tourist destination.

LOOKING FORWARD Stapati is working on the masterplanning of townships as well as designing some interesting hospitality projects where they are able to explore new concepts and experiment with newer materials. They are also designing a boutique art hotel in Kochi in collaboration with artist Bose Krishnamachari.

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Uttam C Jain, Chirag Jain & Shona Jain UCJ ARCHITECTURE & ENVIRONMENT At 57, UCJ Architecture & Environment still hasn’t lost focus. The practice, which was established in 1961 by Uttam C Jain, still engages — as it did in the beginning — in educational, institutional and public projects, and has always aspired to produce contextually-rooted and people-centric work. “Architecture…touches the lives of one and all in such an intimate manner, that it is imperative for it to benefit and improve the quality of life. Our constant endeavour is toward this — be it the use of material, quality of spaces we create or technology we employ. Working with local craftsmen, regionally available materials, and a variety of clients – which varied from region to region — provided us with a great learning opportunity whilst making the work contextually relevant,” says Chirag Jain, who joined his father’s practice in 2000 along with wife Shona.

LOOKING BACK The University of Jodhpur, with a number of buildings built over a span of 30-odd years, continues to be a constant reference point for the practice, for its enduring relevance to the work they seek to produce and a truly sustainable built-form (that did not need modern gadgets in order to prop it up).

LOOKING FORWARD The IIT campus in Mandi, Himachal Pradesh, on which team UCJ Architecture & Environment has been working on for the last six years, is now in its final phase of construction, much to their delight. The complexities of the programme itself, the hilly terrain and logistics of accessibility have all contributed to the learning curve.

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

While the firm’s core principles and project focus remain constant, the scale of projects has certainly magnified, and the pace at which projects are expected to be delivered has increased. “Future developments in architecture and interior design shall be driven by the information technology age… Understanding and accepting these ever-changing scenarios, while interpreting them toward a better design without losing sight of the context — be it architectural, climatic, social or cultural — will determine how successful we are,” says the post-graduate from Architectural Association, London. However, although the practice does depend on technological tools and resources to accelerate timelines and provide a sustainable response, “at the centre of our efforts is a thrust to handcraft the projects we build,” says Shona, a Master of Architecture in Architectural Design (Distinction) from The Bartlett School of Architecture. UCJ Architecture & Environment’s recent projects have been located across geographically and culturally diverse territories – Himachal Pradesh, Chhattisgarh and Andhra Pradesh, in addition to continued projects in western and central India. And although these may be unified by sustainability and the use of technology, “these are not ends in themselves,” exhorts the duo. “The experience one provides to the end user needs to be at the core of how we shape the built-environment.” A&I

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Vikas Dilawari

VIKAS DILAWARI ARCHITECTS To conserve India’s built urban heritage through activism and legislation. To set a high benchmark of international standards in architectural conservation. These were the aspirations with which architect Vikas Dilawari established his modest practice in 1990 in a small, family-owned office space at the insistence of his mother. Early breaks were small, such as the American Express Bank at Oriental Buildings in Fort area, which started with its outdoor pavement and eventually wound up as an interior refurbishment in a sensitive manner with conservation as its lynch pin. The big break came in the form of the repair and restoration of Army & Navy Building for Tata Sons Ltd in 1997, to celebrate 50 years of India’s independence. This, then, led other buildings in the area to follow the same path, thereby gentrifying the entire Kala Ghoda precinct of South Mumbai. Dilawari’s work reached its “zenith” with the restoration of Dr Bhau Daji Lad Museum. “The key learning [from these projects] was to find craftsmen and traditional materials, and convince the good clients for conservation. It also taught that conservation in India would be experimental in nature and had to be executed carefully following the accepted standards internationally,” discloses the architect. Given that Dilawari’s practice spans almost three decades, it is natural for some things to have changed. But some have also remained steadfastly constant. “The first is to do minimum intervention — not only to retain authenticity as they do in the West, but to make it economical, which is

the need of the hour in our country. The second is to revive traditional arts, craft and materials wherever possible; ant the third is to integrate the present needs of infrastructure, services and technology discreetly. The last one is to keep our (designers’) ego at its lowest (so as) to respect the first person’s creation,” says the M.Arch in Architectural Conservation, SPA. What has evolved, however, is the nature of the team — it is now a multidisciplinary entity with MEP consultants, structural engineers, landscape architects, etc. “I don’t see myself growing too much in size of practice,” he says of the future of his firm, “but certainly every decade involves a shift…” His advice to fellow architects is as honest as his approach to work: “Follow your heart…take your stand and stick to it. If it is the right stand, then you will be victorious in the long run. Don’t go for short-term gains, but see the long-term benefits.” A&I

LOOKING BACK The restoration of Dr Bhau Daji Lad Museum (2003-2005/2010-2012) was like a dream come true for Dilawari. With a Public Private Parternship module and team leader Tasneem Mehta, this was one of the first holistic projects in the country where the building was vacated prior to being revived with an integrated approach.

LOOKING FORWARD The restoration of Flora Fountain is currently something Dilawari is looking forward to most. Done in collaboration with INTACH (Delhi and Mumbai), it involves the scientific cleaning of the monument, restoring its water engineering, conjecturing, re-fixing missing sculptural details and marblecladding the main water trough.

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Vivek Bhole VIVEK BHOLE ARCHITECTS Vivek Bhole’s now eponymous firm started off as Neomodern Architects in 1996 from the living room of his rented apartment in a Mumbai suburb. His prediction that proficiency in planning, designing and execution along with expertise in digital architecture would prove to be the critical ingredients in the recipe for success, was absolutely right — though one would never have guessed it at the time he set off solo. Those were recessionary days, and the projects that came were small. “Nobody knew us in the city, hence I accepted every opportunity which came to me,” he says. “Most of my initial projects were slum redevelopment projects.” By 2000, the tide had turned definitively. The firm bagged a number of malls and commercial projects. This was the time when Bhole developed his own style of design and working methodology. Today, Vivek Bhole Architects enjoys a sprawling 25,000sq-ft studio equipped with high-end software and the latest technology, where its 250-strong team works on over 500 projects across the globe, straddling segments such as healthcare, townships, mixed-use developments, commercial complexes, sports facilities, cultural centres and religious structures. “I have always believed that buildings should be like a human body,” says the alumnus of Sir JJ College of Architecture, about his design philosophy. “All the parts should have a function and should work in synchronisation with each other. My designs are always very practical, functional and without redundancies.” He goes on to add that there’s always scope for improvement in the work they’ve done. “We keep on experimenting; few experiments fail, but most succeeded and have been appreciated.” Currently, the firm’s work is based on extensive research in planning, parametric and algorithmic softwares, various simulations and presentation techniques. “With (our) set-up and the volume of work we are doing, it is very easy to judge our position in the next decade,” replies Bhole to the question of where he sees his firm in the next ten years. “The target is to do more prestigious projects abroad.” His advice to his professional brothers is to be selective about projects based on their expertise and experience in a certain type of architecture — and to set a certain value to their work. “Charging less fees and participating in a rat race is a crime,” he emphasises. “To give good service to your client ethically, one needs to get enough fees.” A&I

LOOKING BACK While there have been many careershaping projects, Bhole picks a recent one, One Avighna Park, for the exposure to the latest technologies, materials and international consultants and contractors. “This project has started a new avenue for us,” maintains the architect.

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LOOKING FORWARD Vivek Bhole Architects have just embarked on the biggest urban renewal project, the redevelopment of BDD Chawl at Worli, Mumbai. It is one-of-its-kind, involving the re-housing of more than 10,000 families. This pilot project for the state government will open huge opportunities for everybody, according to Bhole.

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Vivek Kishore FINER EDGE While working with architect Sanjay Puri for 10 years, Vivek Kishore acquired a vast experience designing malls, townships, office interiors, residential towers, clubs, and a host of other projects. But the desire to establish his own practice led him to start Finer Edge in June 2004. Given his extensive experience, he was hoping for a “big project” to jet-start his independent venture, but he had to embrace smaller interior projects — residences, office and a gymnasium. It wasn’t all in vain, because these initial projects taught him the invaluable lesson to give your best to every project, however small. Humility can be a wonderful teacher, as Kishore now oversees diverse projects, viz. university campus, schools, hotels, convention centre, stadium, malls and multiplexes, residential townships, corporate offices, high-end residential bungalows, toll plazas, among others. “We have projects across the globe. Having won some international and national design competitions gives our confidence a boost; most satisfying being winning a stadium project in Russia against 13 international firms from Europe and America,” states the architecture graduate from Government College of Architecture, Lucknow. This credible development in his practice is because their designs are responsive to site and client brief, and Kishore strongly believes that “thought in the right direction can give amazing architectural results at reasonable cost.” Designing to meet the client’s requirements without compromising on the end user’s experience has been a constant in his designs. Making the landscape as well as the interior design an integral part of the architectural design process is another aspect that has been a constant in their design philosophy. “What has evolved is my effort towards creating sustainable structures and campuses; evolving the façade of the buildings with the changing times, as well as playing with new products in the market,” notes the Mumbai-based architect. Educating clients to build sustainably and Vastucompliant structures is something Kishore is most passionate about. ”Other than creating awareness about Vastu, it is our continuous endeavour to make the existing trees a part of the project’s ambience, designing to minimise the heat gains; and a minimalistic design approach to the façade elements that meet the climatic response and minimum maintenance, retaining their impact for years to come — and that is our contribution to the country’s design environment.” A&I

LOOKING BACK Ekaant Resort at Lavasa made Finer Edge popular, says the architect. ”Impactful elements incorporated to respect the scenic site was much appreciated and helped build our confidence for future designs. Very soon, Ekaant became a sought-after resort for many.”

LOOKING FORWARD An upcoming project, DPS at Rudrapur has already won the prestigious Delhi Architectural Festival Award (organised by SPA Delhi). Another project that Kishore is keen about is The Convention Centre in Khajuraho, which may soon add another dimension to Khajuraho’s tourism.

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

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Yatin Pandya FOOTPRINTS EARTH

“Life is a journey, and each meander provides newer nuances in life. The construction of the family home, the CEPT campus design and the urge for creativity through constrained family resources led to architectural studies,” discloses Yatin Pandya when asked about the reason for selecting architecture as his career choice. Architectural studies culminated into various incarnations as designer, academician, researcher, writer and proprietor of current practice Footprints EARTH, which was established in 2008. A professional life spanning three decades has given Pandya opportunities to deal with different dimensions of design — ranging from city planning, urban design, mass housing and architecture to interior design, product design and conservation projects. The learnings were varied and insightful, from traditional design wisdom; solutions within frugal resources; and interconnectedness between the built, natural, social and political systems; to sensitivity towards materials and a panache for details. Research has been the big backbone for clarity and conviction, while teaching added to the depth of knowledge and constant updating. Writing gave freedom to voice concerns and contemplate alternative development approaches for societal good and environmental sustainability. Timeless aesthetics, environmental sustainability, socio-cultural appropriateness, and economic affordability have been the key aspects of Pandya’s interest, research, writings and designs. Aranya, a low-cost housing township right at the start of his career was instrumental in understanding economic and cultural issues. The planning of Vidyadharnagar area in Jaipur resulted in a grasp of larger-scale projects and traditional tenets of planning. Post-earthquake housing gave cultural insights into architecture. Environmental Sanitation Institute at Sughad (realised over a decade ago) taught lessons in sustainability, while the Manavsadhna activity centre, rendered using recycled waste materials, gave an overview of city systems and alternative materials. And there are many more. “These have given me the conviction for an exploratory and research-based practice and to evolve contextually relevant and alternative approaches rather than having pre-defined fixed frames of design…” And his advice to fellow architects? True to his philosophical outlook, he believes it’s fulfilling to simply traverse the path rather than conquer milestones. A&I

LOOKING BACK Environmental Sanitation Institute design has been fulfilling in environmental, constructional, societal, spatial as well as philosophical dimensions. It demonstrated the application of traditional wisdom for sustainability and climate comfort. It proved that cost is a creative challenge rather than a constraint.

LOOKING FORWARD Shantivan and Temple Teerth Memorial at Dholka, in memory of a corporate pioneering couple, is the project-in progress that Pandya is looking forward to, as it ably demonstrates that architecture can emote. It can inform and indulge. As memorial, it has emotional and philosophical quotient. It also relies on elements of nature.

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

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Yatin Patel DSP DESIGN

With absolutely no lineage in the field and labelled as an ‘overambitious young lad’, Yatin Patel started his practice Yatin Patel & Associates in Mumbai three decades ago (1989). An “archipreneur” as he likes to call himself, he began with aspirations that were sky-high; after, all he believes it takes a dream to build a dream. For this architecture graduate from Manipal University, that meant working tirelessly, even putting in 48-72 hours shifts, to turn around a project. It paid off because those initial retail projects won him more business purely from word-of-mouth — including one by a multinational corporation. If the growing scale and projects weren’t enough to strengthen his drive, he also found himself in the middle of the software boom, which he credits played a major part in the success of his design practice — re-christened to DSP Design after partnering with Bimal Desai and Mehul Shah. “The key learnings from the initial projects were that executing a noted brief is exactly ‘not’ the job of an architect or designer. The curiosity and willingness to explore the true potential of the space is what puts you ahead,” shares Patel, who is definitely charging ahead with multidisciplinary studios across Mumbai, Bengaluru, Pune, Gurgaon and Hyderabad with projects accomplished in over 40 cities. As the practice aims to achieve a global foothold, Patel sees them as change-makers creating designs that will impact the way people live, work and inhabit spaces. “While bespoke, agile, sustainable are serious enablers of our design strategy; ‘wellness’ is what sets our designs apart,” he adds. The emphasis on being a research-intensive design practice, thus, becomes clear. “All our design decisions are informed by data. We have a well-established core group within the organisation − The Design Cell, which dedicatedly data mines design trends globally and how that can translate into delivering real value to the inhabitants of the spaces we design, making ourselves more useful as architects to our clients.” Along the same lines, he wants to urge architects to not “fall prey to initial ideas, as it is believed that they tend to be the best ones.” Many a time, the design research methodology doesn’t reach its full potential due to various factors — be it the lack of understanding of the brief, or the context, or the understanding of applicable building bye-laws, or sometimes the paucity of time given to the design evolution process. “Often, architects leave the interpretation of the bye-laws to the liaison consultants, especially in cities like Mumbai, where it takes a lot of perseverance and in-depth study of historical and current bye-laws to evolve an apt design solution,” Patel states, adding that it helps to have a desire to challenge the unchallenged. A&I

LOOKING BACK Oracle Financial Services in Bengaluru was designed with a simple brief: it needs to be iconic in its form and impression. “The project is a standing testimony to how challenging the brief can help us exploit the design potential of a space that, till date, wins DSP Design business for its design acumen globally,” says Patel.

LOOKING FORWARD Patel says they have a project on the drawing board that is a mixed-use development in a city that is at the top of the development agenda in the country. The endeavour is to provide a perfectly ‘glocal’ essence to the project in terms of environmental sensitivity, employment opportunities and [drive] social change.

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