January POOL 2013

ISSUE 31 JANUARY 2013

Kunal Khadse

Photographed by Nikita Khadse

pg38

bodw 02 / rajat 08 / Guru Ratikanth Mohapatra 10 / shruti 20 / joshua 30 / sourabh 52 / srinath 62 / anand 70 / CAGRI 77

DISPLAY YOUR CREATIVE WORK ONLY ON THE BEST PAPER.

PRISMPAPYRUS IS YOUR RECOMMENDED SUPPLIER FOR A LARGE CHOICE OF QUALITY PAPER.

MUMBAI HEAD OFFICE PRISM PAPYRUS PVT. LTD, 73 Apsara Building, 4th Floor Opposite Electric House Colaba Cause Way, Mumbai 400039, INDIA Tel No: +9122-61401919 Fax No. +9122-61401900 E-Mail ID: info@prismpapyrus.com

OFFICIAL SUPPLIER OF

www.fedrigoni-india.com

Editor in Chief | sudhir@indidesign.in

January 2013 | # 31

Photo by Kunal Khadse

Sudhir as jury member, ET-Zigwheels Car and Bike Awards

ISSUE 31 JANUARY 2013

ISSUE 31 JANUARY 2013

Kunal Khadse

Photographed by Nikita Khadse

pg30

bodw 02 / rajat 06 / Guru ratikanth Mohapatra 08 / shruti 16 / joshua 24 / sourabh 42 / srinath 50 / anand 56 / CaGri 63

www.poolmagazine.in facebook.com/poolmag twitter.com/poolmagazine info@poolmagazine.in

Designindia was founded in 2002. It was started as a platform for interaction for the design community in India and abroad. Over the years it has grown into a forum spread over many social and professional networking domains, linking design professionals into an active, interactive and thought leading community.

http://in.groups.yahoo.com/group/designindia

Life Cycle...

Like everything else, creative projects have life cycles of their own.

Traditional project life cycles may have a beginning and an end… but it is quite possible to engage in work which may have its own life cycle. As creative people we need to get the pulse of this life cycle and determine at what stage we are entering the project. Not all briefs to us come with a clean slate…often clients have already invested considerable research and thought into them. Sometimes directions are set and the deliverables defined. Not all of us have the luxury of challenging the stage a project might be in. It is imperative that we understand this life cycle and the stage we are in. It will help us chart a better conclusion to the project. It is also better to bring this to the attention of all the stakeholders. It is possible that a few tangles can thus be sorted before they happen.

The best projects result when the basic ideas can be discussed and debated. That is why most student projects make fabulous case studies. This is also why many designers end up doing their own projects. The most that other professionals can hope for is a better understanding of where they are in the project and do justice to that. A better understanding of the life cycle also gives you hints to create your space in the next life cycle or offshoot projects that may happen.

Hoping that 2013 brings us all wider awareness of what is happening around us and how we can direct these changes.

International Design Media Network Participant

Sudhir Endorsed by

Supported by

events

BUSINESS OF DESIGN WEEK LURES THE BEST

Stars of the global design community recently gathered in Hong Kong to network and share ideas

The recently held Business of Design Week (BODW), Asia’s leading annual design event, featured a range of exhibitions, forums and programs that explored the growing business of design, innovation and branding. Organized by the Hong Kong Design Centre (HKDC) since 2002, the week-long conference held from 3-8 December 2012, brought 100,000 members of the global design community to Hong Kong, offering a chance for design experts and executives to network and share innovations and ideas. The premier gathering also encouraged industry and business to unleash the power of design by focusing on their vital relationship and complex interplay. The event has become a vital link in boosting the global value chain for design in the world economy.

www.bodw.com 2 POOL #31

This year’s BODW included a showcase of Danish design with participation from numerous experts and executives from the Scandinavian country. The Danes, known for their functional designs, shared their design culture, philosophies and experiences with the BODW audience. Danish designers shared how they improve the livelihood of Danish people

events

through great design. Among the top Danish design experts that attended were Johannes Torpe (recently named Bang & Olufsen’s creative director), Jacob Holm (president of furniture studio Fritz Hansen), interdisciplinary architect Rosan Bosch (designer of LEGO PMD’s fanciful office), Eva Kruse (founder of the Danish Fashion Institute), Mads Ryder (CEO of porcelain house Royal Copenhagen), and graphics

legend Bo Linnemann (founder of Kontrapunkt) who has contributed to the trademark look of international brands such as Carlsberg, Microsoft, Coca-Cola, and IKEA. Other international creative geniuses that attended BODW this year were top British architect Thomas Heatherwick, who explored his philosophy of space, people’s livelihood and sustainable www.poolmagazine.in 3

events

development; German industrial designer Richard Sapper who shared his experiences on creating functional esthetics; commercial art director Mirko Borsche from Germany; cutting-edge Japanese advertising director Masashi Kawamura (PARTY Creative Lab); tech start-up star Jeremy Fisher of Wander (USA); and rising Chinese architect Ma Yan-song. Topics covered ranged from technology, heritage and culture, to branding, education, product and fashion.

Special events during the week included the popular Detour public exhibits and displays, the BrandAsia Forum, the Technology For Design seminar, and the Hong Kong Design Centre (HKDC) Awards cum 10th Anniversary Gala Dinner. Close to a thousand guests including local and international politicians, business leaders, and design leaders came together to celebrate three highly respected awardees - graphic design legend Henry Steiner, who won the ‘Asian Design Lifetime Achievement Award’; Carlos Ghosn, CEO of Renault-Nissan Alliance, who accepted the ‘Design Leadership Award’; and car designer Anthony Lo, who received the ‘World’s Outstanding Chinese Designer Award’.

After three days of thought provoking content, the warm atmosphere of the BODW Forum brought Business of Design Week 2012 to a close. Delegates left Hong Kong with a promise to meet again in Belgium for Business of Design Week 2013! www.poolmagazine.in 5

installation

Among the many eye-catching displays at the Beijing Design Week 2012 was a strikingly attractive pavilion that looked like a giant, transparent flower hovering in the air above the city’s ancient Hutong roofs. Just as the shape of a flower is created by its bent petals, ‘Ban’ (which means floral petals in Chinese) was constructed from bent polymer sheets which form a self-supporting structure and create shapes and volume from a multitude of leaves.

Ban was created by Orproject, a London-based architecture and design practice (Project Manager - Shuai Yang; and Project Team - Kevin Wang, Marian Ma, and Qiuwen Shi). Sponsored by SK Chemicals and Penghao Theatre, the pavilion was based on Orproject’s research into anisotropic sheet morphologies; the geometries have been used in a structural orthogonal orientation and form a system of columns, arches and vaults, all based on single-curved elements. The resulting field of lines cleverly takes the viewer’s eye across the structure and into the sky.

Set up in 2006 by Francesco Brenta, Christoph Klemmt, Laura Micalizzi, Rajat Sodhi and Renato Papa, Orproject engages in work that ranges from experimental small-scale installations to large realestate developments. The practice produces high-end luxury design, covering all aspects of a project from design and planning to practical completion.

8 POOL #31

FLOWER POWER www.orproject.com

The Delhi office of Orproject is run by architect Rajat Sodhi, whose interest lies in developing computational geometry and exploring material formations inspired by nature’s inherent optimizations. Rajat has earlier worked with 1-to-One for Herzog & de Meuron, Foster + Partners, Morphogenesis Architecture Studio and Le Groupe Arcop.

He has also lectured and given workshops at the Architectural Association, University of Westminster, and the Indian Institute of Technology in New Delhi.

installation

www.poolmagazine.in  9

dance

IN HIS FATHER’S FOOTSTEPS In the first of a series on legends of the eight Indian classical dance styles, Avijit Das turns the spotlight on Odissi Guru Ratikanth Mohapatra

www.avijitdasdance. wordpress.com 10 POOL #31

AD: When did you start learning Odissi dance?

RM: I started my dance career at the age of four under my father, legendary Odissi Guru Kelucharan Mohapatra. He never treated me as special during the dance class. He treated all the students equally and corrected all of us. As a father he was different at home of course, like any other normal father, but he never made me feel that I was the son of a great legend. He always said ‘be simple’ and ‘simplicity makes you beautiful’ and I try to follow these words.

dance AD: How do you feel being the son of a great legend?

Does the audience ever compare you with him?

RM: It is always wonderful being the son of a great legend, but it’s not easy at all to maintain the image.

Once people start comparing you with your father, they forget that you are an individual and you have your own way of doing things. As a male dancer I feel very happy that whatever I have achieved today, it was without the support of my father and my family. I am here to do good work.

AD: Have you ever performed with Guruji on the same stage?

RM: We performed on the same stage so many times. I started performing with him from a very young age and I learned so much from him. My most memorable performance was on 1st April 2004 at Lucknow; my father suddenly told me that the organizer wanted us to perform together, so we decided to do ‘Mangalacharanam’, the beginning item of an Odissi repertoire. We did the whole performance without a rehearsal and it was a wonderful experience! The feedback from the audience was amazing. My father passed away six days later, on 7th April - it was my last performance with my father and the most memorable performance.

AD: Do you feel that you have evolved your own style?

RM: Yes I have, but I have evolved by sticking to the grammar of Odissi. I always love to do creative things but stick to tradition. We all know my father is known as the godfather of Odissi, and there is nothing much to add to what he has done.

Odissi Guru Ratikanth Mohapatra

AD: How would you differentiate the technique and style of Odissi?

RM: It is difficult to describe the difference between the technique and style of any performing art.

Technique is like alphabets that build or create a word, and style is how you use the word to make a beautiful sentence.

AD: What is your opinion about present day Odissi?

RM: Present day Odissi has moved so far from where it started. I feel most Indian classical dances have moved from their origins - it is not possible www.poolmagazine.in 11

dance

to stick to what was done 10 or 15 years back. Every art form has its own growth.

I see so many new dancers doing such great work and I always feel happy to see good work. At Srajan, our institute of Odissi dance, we do so many new productions with new concepts.

AD: What do you think about so-called contemporary dance?

RM: I have great respect for contemporary dance and the dancer. I personally do so much experimental work and I feel it is all about your creativity, what you are and how you relate dance to your life. There is no harm in doing creative work - let people call it contemporary work.

12 POOL #31

AD: Does the audience prefer contemporary dance to traditional dance?

RM: It depends on the audience. There are people who only like to watch the same choreography for years and years and some of them like to watch new things in the dance field and we have a good response for both. There is demand for good work, whether contemporary or traditional dance.

AD: Have you tried contemporary choreography? Would you call your ‘Ravana’ a contemporary or traditional piece?

RM: I do a lot of contemporary choreography using the technique of

dance Odissi and I enjoy it. Contemporary choreography gives me so much freedom to input my own ideas in my creative world, but I never change the costume or techniques. I concentrate more on creating good music using the same traditional instrument; it gives a different feeling to the audience. In ‘Ravana’ I showed the character Ravana as a great yogi taken from a different Ramayana, who fights the Almighty for his salvation rather than doing tapas for years and years. I used a contemporary technique to establish the character but I did not move from the Odissi technique. I worked on the music and the script, and it was a great success. I traveled to so many countries with this particular piece, and got a good response from the audience too.

AD: How do you manage to dance, manage Srajan, and be a part of so many other cultural committees?

RM: It is my love for art and dance that always keeps me busy! I work hard to give something to society and the new generation. I handle all of this very normally. I hadn’t realized I do so much work till you mentioned it!

AD: Arts are said to mould a person’s mind and personality. How has dance helped you?

RM: I was born and bought up in a family where I used to wake up to the sounds of music; without my knowledge I knew so much. We had dance classes every day from morning to late night, so my sense of art became stronger along with my sense of humor.

Odissi Guru Ratikanth Mohapatra during a performance

www.poolmagazine.in 13

dance AD: Do you consider yourself a spiritual person?

RM: No, I never consider myself as a spiritual person, but yes, I believe in a supreme power that protects me and brings me towards my creativity.

AD: How do you see your role in society as a dancer?

RM: Before I am a dancer I am a human being, so as a human being I have some responsibility to society. Apart from being on stage, I try to do as much as I can for the dance fraternity. I am collecting the history of Odissi from different states and putting it together to create a concrete history of the dance form.

AD: Do you think male dancers have fewer opportunities?

RM: Yes, I do believe that female dancers have much more opportunities in the field than male dancers. I believe the audience comes to watch a performance to see beauty; because of pressure from the sponsors, organizers also look for a dancer who is beautiful rather than talented! As a result male dancers tend to lag behind in this competition for performance. However, it is the male dancers who exist in the dance field till the end - after a time most female dancers stop dancing.

AD: Can dancing be a full time profession?

RM: Dancing can be taken as a full time profession like any other art field; it depends on what you expect from dance - money, fame or name. More than money, a dancer earns so much respect from society. For a male dancer it’s not easy to survive only on performances.

Nowadays the dance field has much more competition than before. If you concentrate on the teaching line rather than on performances I feel there is 14  POOL #31

much more scope to sustain in the field. If you have a permanent job then it is alright to only concentrate on performance.

(Avijit Das is an accomplished Bharatanatyam and Kuchipudi dancer, choreographer, journalist and dance critic) Avijit Das

Odissi Dancers

www.poolmagazine.in  15

fashion

PINNACLE OF SUCCESS

Nagpur based fashion designer, Shruti Sancheti shares her remarkable journey with fellow designer Abhijit Saiprem AS: What does fashion mean to you?

SS: Fashion to me means a form of expression. It is a thought process and to be honest, it is an extension of one’s personality. I personally feel fashion is a tangible form of one’s persona.

www.facebook.com/ pages/Pinnacle-by-ShrutiSancheti/220239024669119 20 POOL #31

AS: How would you define your style?

SS: My style is deeply rooted in the city I was bought up in.

They say you can take a person out of Kolkata but you cannot take Kolkata out of the person! Kolkata being a cultural hub, with a vast history and affinity towards Indian crafts and traditions, has defined my sense of style. Being a history

fashion

Hong Kong Fashion Show Winter 2012

student, I am aware of various periods and societies, so my sense of style is reflective of my upbringing and education and as an Indian I take great pride in the unsurpassed legacy of Indian weaves, crafts and surface ornamentation, and feel that instead of blindly aping the West, we should tap the unique and exquisite heritage of our country. From my very first collection called Legacy, which was an amalgamation of various weaves and printing techniques of India, to Zero Mile Legacy (Vidharbha weaves), which I debuted at the Lakme Fashion Week in 2012, Sufianna (Kaleen embroidery and Mughal block prints), and Thar (collection based on Rajasthan, Gujarat and Pakistan), I have worked with Indian themes. My styling is contemporary but the soul of my garments is Indian. www.poolmagazine.in  21

fashion AS: Tell us a little about yourself.

SS: As child in Kolkata I was always drawing croquis! I was curious about fashion design, which was then a very unrecognized vocation, but I was also extremely inclined towards history, and pursued History Honors at Loreto College. I moved to Nagpur after I got married to Anand Sancheti. With the support of my in-laws and husband who felt a career without qualifications did not make sense, I enrolled at JD Institute of Fashion Technology for an advanced diploma in fashion design. My son was born soon after. Then I pursued a diploma in textile design from INIFD and also a diploma in jewelry design from JD Institute. Design elements established, my husband suggested that before taking a leap into the working world, it made sense to understand the commercial aspects and so I did a post graduate diploma in business management from Bhartiya Vidya Bhavan and later an MBA in marketing from IGNOU. I was extremely apprehensive about launching a label so I decided to teach fashion design, jewelry design and design management at INIFD Nagpur and was Head of Department for three years. Then I was approached by LAD College Nagpur to teach and be a module setter for the Master of Fashion Design course and I have been teaching there ever since. In December 2009 I launched my label ‘PinnacleShruti Sancheti’.

Lakme Spring Summer Resort 2012 22 POOL #31

AS: What kind of clothes do you design?

SS: I generally deal with Indian and Indo Western fusion clothes but have done some western outfits in each collection.

I have done a few capsule collections of westerns as well, but feel I do more justice to Indian garments. My USP is

fashion

Lakme Winterfest 2012

restrained, impeccably designed and immaculately finished Indian garments.

AS: How long does it usually take to design a collection?

SS: There is no fixed time span associated with a collection; it is generally the idea or the theme which has to click, but after that it is a quick and a continuous process and till the last day changes and additions are made.

AS: What are your favorite colors and fabrics to work with?

SS: My favorite colors depend on the season. In the festive season, they are warm festive colors like vermillion, saffron, Alphonso yellow, and emerald green. In harsh summers I tend to go for white, off white and pastels. I like pure fabric and I am extremely partial to weaves like patola, ikat, jamdani, benarasi, paithani, etc. and printing

techniques like sanganeri and bhagru along with crafts like shibori, bandhini, leheriya, mothda, etc. These fabrics have a soul and add a unique facet to the personality.

AS: What are your inspirations?

SS: I am a designer who is influenced by history, geography, societies and time periods, all which are tangible and it is difficult for me to get inspired by abstract or intangible ideas.

AS: Do you have a muse? A favorite model?

SS: My muse is the Indian woman who multitasks, who is the focal element of society, takes pride in her legacy and is rooted to traditions. My showstopper, ShainaNC, is a woman of substance - a designer, politician, social activist and mother of two children. She balances all her roles beautifully, has a mind of her own, is well versed, intelligent and impeccably dressed in saris. Even www.poolmagazine.in  23

fashion my favorite models, Shonal Rawat and Anchal Kumar, are not just pretty faces; they have strong personalities and intelligent minds, making them a pleasure to work with.

AS: What is the target market for your clothes?

SS: My target market is India and global citizens who are admirers of the unsurpassed legacy of Indian textiles and crafts and I cater to them. My clothes are meant for people who want to flaunt their heritage.

AS: What matters to you most as a fashion designer?

SS: As a designer, I have had my share of moments, but appreciation from stalwarts of the field and good sales reports are some things I cherish.

Appreciation of my clothes matters but equally important are commercial success and constant growth of the brand.

AS: Where do your collections retail?

SS: Ever since I launched my label, my clothes have been stocked at the best stores all over the country and internationally. I am working with stores like Aza, Fuel, Evoluzione, Atosa, Melange, Mogra, Hue, Vyoym, Rudraksha, Aura, Prana, Sasya, Nautanky, Collage, ffolio, Aranya,2 9hkv, Dressing Room, etc. Very soon my collections will be available at Isarya at the Delhi international airport.

Internationally we are with Phulkari in London, and Anjali Arjun Kapoor in Dubai, among others.

AS: Tell us something about your recent collection for the Lakme Fashion Week.

SS: My collection ‘Thar’, showcased on Indian Textile Day, focused on the vibrant and colorful culture of Rajasthan, Gujarat and Pakistan. It was inspired by the common man who strives in the harsh climatic conditions of the desert region yet is so colorful and vivacious; the music, dance and costumes reflect this passion. The exquisite crafts and tribal embroidery like stitched shibori, Sindhi tanka, negative appliqués, vibrant colors, nomadic and asymmetric silhouettes shaped the collection. I got a fabulous response and commercially it is a sellout!

AS: How do you manage to balance functionality with your personal artistic mix?

SS: Thanks to my MBA degree I am an expert in consumer buying behavior. T he 4 Ps of marketing - product, price, place, and promotion are as important for me as the four Cs of fashion - color, cut, construction and cost. So till a garment does not make commercial sense for me it is a futile exercise. Focusing on wearable timeless garments and accounting for real women having figure flaws and then adding my artistic interpretation to it gives me a high. I believe there should be very little difference from ramp to rack.

AS: What’s your opinion of the recent boom in fashion weeks across the country? Would you like to participate in international fashion weeks?

SS: If there are many fashion weeks happening, I am sure there are takers for them. The market is growing at an alarming pace and there is a place for everyone. City specific fashion weeks are also good platforms for young and budding designers. I took part in the Hong Kong Fashion Week in the emerging category this year and I am open to showcasing abroad, however the platform has to be prestigious and commercially it should make sense.

24 POOL #31

fashion Right now I am tied up with my domestic orders and focusing on the international market as well.

AS: What advice do you have for aspiring fashion designers?

SS: Explore your potential, understand your USP and try to work with someone with similar sensibilities before taking a plunge into this fiercely competitive world of fashion. I would also stress on understanding consumer buying behavior, commerce, and practical aspects and not getting carried away just by illusion and glamour.

AS: Do you enjoy your teaching career?

SS: Teaching is my first love; once a teacher, always a teacher. It is very therapeutic and gives me fresh perspective to interact with young students, guide them and shape their careers. It is also a learning process and teacher’s day gives me the same high as fashion week!

(Fashion Designer Abhijit Saiprem is a partner at Mumbai-based eurasia fashion related services)

Hong Kong Fashion Show Winter 2012 www.poolmagazine.in  25

Jaipur city was designed way ahead of its times in 1727 according to Vastu Shastra, built in the form of an eight-part Mandala known as the ‘Pithapada’.

In 2013, INDI comes to Jaipur to provide global brand creation services to growing businesses and also, to learn Design that is ahead of its time.

BRAND BETTER w w w. indidesign.in

Furniture

A TRIBUTE TO SUSTAINABILITY US educated designer-entrepreneur Joshua P. Hishey went back to his local community to create handcrafted furniture out of natural materials

When did you get into designing?

JPH: As far as I can remember I was naturally inclined towards craft and creating things by hand, and to the arts and music. Over the years, I progressed to taking up design as an academic goal, and opted for a BA in Industrial Design from Kendall College of Art and Design, Michigan, USA. Eventually I took up design as a career.

How has the journey as design entrepreneur been so far?

JPH: Ever since I began working there has been tremendous growth in terms of learning. When I was abroad I worked at corporations as an Industrial Designer.

Now I am working in India with the informal crafts sector. Both experiences are absolutely diverse in terms of work culture and opportunities for instance, but I enjoyed both and have learnt a lot from them.

www.studioalaya.com 30  POOL #31

In this current phase of life, I am a design entrepreneur. A designer and an entrepreneur are two very different hats, and balancing the two has been a challenge at various stages of my

Furniture

Table in solid wood

www.poolmagazine.in  31

furniture growth. At the end of the day it is the close relationships I have with all the people I interact with, my vendors, producers, customers, etc., which inspire me to continue this work.

When did you start your own design studio?

JPH: I started my current venture with my brother in 2005. We began with an informal bamboo based furniture production workshop in a litchi orchard in Dehradun. Our inspiration at that time was provided by the number of unskilled youth in our neighborhood who had dropped out of school to earn a living to support their families. We wanted to link our interest in design with the development of the local community and so the workshop was set up to teach basic skills of furniture making and produce good quality furniture for the local market. With the passing away of my father my brother had to take over his work and I continued to develop the design enterprise. With the support

32 32 POOL #31 POOL #31

of many mentors and the encouraging response from local customers, the design enterprise grew and we registered it formally as ‘Alaya Design Studio’ in 2008. I run it along with my partner and wife Richa, who is a graduate from NID, and has a Masters in Rural Development from the University of Sussex.

What is your design philosophy?

JPH: I believe that when you create value in something as simple as a broomstick, it in turn influences and impacts the user in a profound way. It could be the ease of use, the sensory stimulation (better to touch/feel/see) or the imaginative use of materials. This resonance with human nature is what I try to achieve.

What kind of products does Alaya offer?

JPH: Alaya Design Studio produces a range of handcrafted furniture, lighting, and home accessories made from 100% natural and renewable materials such as bamboo, natural fibers, non-endangered

furniture wood and assorted recycled materials. The word ‘alaya’ means abode in Sanskrit.

Since we are based in the Himalayas (abode of the snow clad mountains), a lot of our products reflect the craft heritage of the region. We work closely with traditional craft communities such as handcrafted copperware made by the Tamta community, hand carving on wood done by Tibetan artists, Aipan hand painting done by Kumaoni women, handloom based textiles made from local natural fibers such as Pashmina and Himalayan nettle, indigenous to Uttarakhand.

How does your business model work?

JPH: We are a for-profit business following a market-

(Top to bottom) 1. Recycled Bamboo Table - two tone 2. Tibetan Art inspired table (Left) Lounge Chair - Bamboo

www.poolmagazine.in 33

furniture led approach. We sell through our own retail store in Rajpur, Dehradun as well as supply to various outlets in the region.

Our clients include individual customers as well as institutions. We have recently been doing a lot of work (furniture and interior accessories made in natural materials) for eco-tourism hospitality projects.

Is sustainability affordable?

JPH: I think sustainability is absolutely affordable. For instance, look at traditional communities and indigenous people who have always led lives where they take only what is needed from the resources around them. They nurture and protect resources for future generations, and minimize waste by effectively utilizing each resource around them. I believe it is a personal as well as collective consciousness, which is demonstrated in each facet of life, be it the architecture of the houses we stay in, the food we grow and eat, the ways in which we work, etc. See traditional houses in Ladakh for instance, where kitchens are built such that they warm up the rooms surrounding them in harsh winters. I believe people have an innate sense of sustainability that just needs to come through more in a collective manner to have a deeper impact on public good. I think we need to be less of an individual and have more of a sense of belonging to our immediate communities to be sustainable.

What are the challenges of working with small-scale mountain based craft communities?

JPH: At Alaya Design Studio, we are acutely aware of the constraints of working in the mountain region, the geographic isolation and remoteness of producer communities, the lack of transportation, communication, 34 POOL #31

infrastructure, income generation opportunities, etc. To counter these challenges, we work closely with all our producers. For instance, our relationship with each of them involves sharing inputs in design, skills, infrastructure information, and financial and business management literacy. While we at Alaya follow a for-profit market led approach, we often collaborate with local nonprofit institutions that promote entrepreneurial acumen and financial literacy among the producers so that they are able to achieve their potential.

What are your inspirations?

JPH: I had always wanted to come back and work within my local community.

I get inspiration from my environment, from the people I interact with, read about and listen to. I am deeply influenced by my parents who have been actively involved in social work among our community. I learnt so much from my father, who strengthened my belief that whatever line of work one is in, the impact one can make on people around us (not only economic impact) is what gives us the sense of fulfillment at the end of the day.

What is the future of contemporary craft in India?

JPH: I think contemporary craft is definitely moving forward with a new identity, where innovative ideas are merging with diverse materials, industrial processes, hand skills and finding new usages and new patrons.

The amount of innovative designs one sees in the current market today is amazing. Also, craft is no more just ‘rural’ by its geographical provenance; it is spread across urban areas as informal sector job work (for instance, metalsmiths, tailors, printers). However I do agree that the most of the informal

furniture

Bamboo natural fibre chair

sector job workers who produce these contemporary crafts do continue to suffer from socio-economic marginalization.

I believe that with the rising appreciation of the potential of the contemporary craft industry among customers today, it is the designers who can consciously work towards lending a supporting hand to their partners in production - the craftsmen and informal sector producers who help transform their ideas into reality. I think the time has come for promoting ethical trade practices even among these producers, such as reducing occupational hazards and providing some sort of risk insurance. This is where design as a tool for human development would really come into being.

What does the future hold for you?

JPH: I hope that every dream I have can turn into a plan, a reality‌ and I have so many dreams! I believe that at the end of the day if there is something you enjoy doing, just go ahead and continue to do so. www.poolmagazine.in  35

cover story

POETRY IN MOTION

Over the past ten years Kunal Khadse has developed his own unique style, taking automotive photography to new levels of excellence www.kunalkhadse.com

How did you get into photography?

KK: An avid artist from childhood, I started painting in school. I used to do modern art, featuring human elements, social relations and emotions. I loved to paint with vibrant colors. When my father visited the USA he got me a camera (Minolta 404Si Film) as a birthday gift. Since I was interested in painting, he thought I would enjoy this new visual medium. It opened a new world to me. Now I had a new medium to paint with. My experience as a painter helped me immensely with photography, as I was able to imagine and perceive the visuals in my head very distinctly. I had a very special relation with this camera and did a lot of shoots with it.

38  POOL #31

cover story

Audi RS 5 - Shoot for Zigwheels www.poolmagazine.in  39

cover story When did you, an Economic major, begin to consider taking up photography as a profession?

KK: When I started photography I did not consider it as a serious career option, but I always knew I wanted to take good photographs. During my explorations with my camera I got a few opportunities which got the wheel rolling.

I got a chance to work with Harpreet Bachcher, the fashion photographer. I had followed his work and was very inspired by it. He gave me a vision of the fashion industry. For three years I learned a lot about shoots, lighting and approach to photography. My family was a pillar of strength for me throughout, helping me to turn my passion into my career.

How did you get drawn to automotive photography?

KK: I had just received my final year results when Adil Jal Darukhanawala, a respected name in automotive journalism, gave me the opportunity to work as an automotive photographer for Car India and Zigwheels magazines. So, I shifted from fashion to automotive photography. Under the leadership of Adil, my mentor, I was able to combine my two most passionate interests – photography and automobiles. I started experimenting with light and 40 POOL #31

Polo in Pune market - shoot for Volkswagen

cover story

cars. I learnt to keep pushing my limits and always aim for excellence.

Car India introduced me to John Sootheran, the then international editor of Car UK, who always appreciated and motivated me. On his visit to India he was surprised to see the conditions we shoot in and truly realized the challenges faced by a photographer.

My fashion background helped me get a certain amount of glamour into the images. I started doing night photography, which was not common www.poolmagazine.in  41

Honda CBR 250 - Shoot for Zigwheels 42 POOL #31

cover story

Mercedes Benz GL - Shoot for Zigwheels

in the Indian automotive industry then.

The reaction to those images made me realize that this was my calling.

How was your first independent shoot?

KK: My first shoot was a long time ago and I can’t remember the details that well. It was a fashion shoot for a magazine at an outdoor location. I was equipped only with a film camera and one lens. It was a huge challenge because on a film camera I could not review the images taken. Plus it was outdoors which did not allow me to control the lighting much. So I had to rely on visualizing the image in my head. When I think about it now, I know that this helped me build a strong base, but at that moment I was a nervous wreck. I managed to complete the shoot. I was on edge till the contact sheet was developed. To my surprise the images I had high hopes for were a disappointment whereas some photos that I had not given a second thought to were really good. The magazine liked

the photos however. The shoot that day taught me a lot.

Is your work influenced by any photographers in particular?

KK: After receiving my first camera, I suddenly became aware of the plethora of images and visuals surrounding me.

I then started studying these images.

I realized that Harpreet’s images were the ones I liked the most, so I started following his work. It was a very happy moment when I got a chance to work with him. He has immensely influenced my work. Among international photographers, Rene Staud has influenced my work. I also admire the work of Easton Change and G F William.

How do you go about a typical automobile shoot?

KK: Once I know which car is scheduled to be shot, it is very important for me to understand the personality of the car. The color of the car is another www.poolmagazine.in 43

cover story

important factor. Taking into account these factors, we decide on the theme and location of the shoot. Then the details of the shoot are planned, such as lighting, car placement, etc. The equipment is packed according to the shoot plan.

Sketches always help us plan better and visualize the shoot better. Once on location the most important thing is to clean and polish the car. Other important factors to remember during a shoot are that the driver should always wear the seat belt/rider should always wear the safety gear, plastic and stickers are to be removed, windows should always be rolled up, etc. Once all this is ready, we get into the groove of the shoot and then it’s like the camera and me are one; we think together to produce the images. But this is not the end of the shoot; there is a lot of work to be done on post production on the editing machine.

How important is the right equipment?

KK: Equipment is as good as the photographer using it. The right equipment can help to create a beautiful image or severely handicap a photographer. There have been occasions where I have created specific lighting equipment for shoots.

Normally I use Cannon equipment – 7D, Mark III with 70 -200 mm lens, 16 -35 mm, 50 mm, etc. I prefer the lighting system by Bowens.

44 POOL #31

cover story

Chevrolet Impala www.poolmagazine.in  45

cover story

Land Rover - Shoot for Zigwheels

Do you recall any truly memorable shoots?

KK: One shoot that stands out in my head is for a car built by DC Design ground up. The entire team was working on the car for months and in the last eight days the people working on it had barely 2-3 hours of sleep! Due to some reason the shoot started at 10 at night. Such studio shoots typically take 8-10 hours, which means it was going to be an all-nighter. I was immensely touched and inspired when Dilip Chhabria, the CEO of the company, stayed up all night with us along with his team. The coffee and jokes were flowing freely. There were a few hiccups at the shoot, but the smiles never left the faces of the team. That night I experienced rare human spirit and comradeship.

And a shoot when everything went wrong?

KK: Surprisingly, I don’t really remember any shoot where everything went wrong! A small incident I remember is that we had planned an outdoor shoot in the evening. A team from the client was to travel from Mumbai to the location and our

46 POOL #31

cover story team was to travel from Pune. We had planned to meet at the location at 4 pm so as to catch the evening light for the shoot.

Due to some miscommunication the Mumbai team reached the location way past the time planned. This made us miss the light we wanted to capture. So we decided to capture the early morning light, which resulted in all of us sleeping in the car, so as not to goof up again. We did catch the early morning light and finished the shoot.

How would you guide newcomers wanting to take up photography?

KK: If one thinks that photography is a short cut to success, I would suggest they think twice. It is as difficult or easy as any other career. My advice would be to first have a strong educational foundation and complete graduation at the minimum. In order to be an automobile photographer, one needs to understand automobiles and cameras intimately.

A basic photography course will help understand the technical aspects of the camera. A creative vision is very

Mini Cooper S Convertible - Shoot for Zigwheels

www.poolmagazine.in  47

Simple & crisp guide for you; to discover the best of what Pune City has to offer !

Now available at www.tadpolestore.com www.puneandbeyond.com

cover story

Kunal, behind the scenes

important to stand out amongst the competition. Experiment a lot and keep learning. The best way to learn is to keep shooting all that you see.

What are your future plans?

KK: I have always been a restless soul, exploring and innovating. When I started automotive photography I explored night photography, then ventured into special effect action shots and had fun with it. I recently attended an automotive studio photography workshop in the UK. It was a great exposure to share notes with some of the renowned photographers from there. I have done some food photography and also worked in landscape, architectural, aviation and interior photography but my specialization remains automotive photography. Now I am exploring the superimposed shot. I would also like to explore the short films genre. Recently I have started making short films on automotive vehicles and automotive factories. www.poolmagazine.in  49

architecture

PUTTING THE FUN INTO ARCHITECTURE Sourabh Gupta, Managing Director of Delhi-based design studio, Archohm Consults Pvt. Ltd. wants to retire at 40. Will he really be able to give up on his passion for architectural exploration in just another three years? www.archohm.com 52 POOL #31

architecture What is it about architecture that fascinates you?

SG: I did my undergraduate degree in architecture from School of Architecture, CEPT, Ahmedabad.

That gave me the necessary skill set to pursue a career in architecture and design. My passion for this field and my understanding of design matured from my exposure at Bouwkunde, the highly acclaimed design school at the Technical University of Delft in the Netherlands. The exposure to another school of thought, internationally, at an impressionable age was invaluable. This is where I was addicted to exploration, architecture and architectural explorations. I perceive that life for me has been a process of continuous evolution and education. With this as my background and a foreground of successful competitions and commissions back in India, Archohm Consults Pvt. Ltd. was established in 1999.

Tell us more about Archohm.

SG: Archohm offers innovative design consultancy for architecture, urban design, interiors, and landscape and product design. It works across a cross section of project types and scales. Its forte has been a design philosophy that propagates a ‘mad and fun’ attitude towards design solutions.

Archohm endeavors to proliferate design within the local and global context. Its vision is design discovery and exposure, and we have several initiatives that work towards that: Archoforum, an annual international design workshop; Archometer, a monthly design newsletter; Archotour, an annual design expedition; and Archontention, a competition for students of design.

‘Residential’ - Villa, Agra

Archohm launched its design studio in the Netherlands in 2002 and established an office in Libya in 2009 for its Middle East operations.

Archohm partners with Zolijns, a lifestyle and product boutique, which brings European manufacturing to the Indian market. In order to augment the design quotient of the country, Archohm has also initiated the development of an interdisciplinary design educational campus that aims to bring Indian design to the global platform and global design education to India. Numerous awards and accolades for its own design studio and www.poolmagazine.in 53

architecture other projects carry forward Archohm’s design philosophy to the next level. Archohm constantly strives to raise the bar to evolve as a design practice.

What is your design philosophy?

SG: Archohm’s design philosophy propagates a ‘mad and fun’ out of the box approach to spatial composition with a play of light and materials. Beg, borrow, steal, kill, but get the job done is the attitude we work with. You should do whatever it takes and the work should take whatever you’ve got. All these initiatives have been possible only because of a mad passion and a fun philosophy.

(Both) ‘Institutional’ - Taurian World School, Ranchi

54 POOL #31

Do you have a signature style?

SG: At Archohm we have our design sensibilities and our broad design directions. To a certain level, the clients need to align themselves to our school of thought, our way of work and our ideas of innovation. We have always wanted to work with like-minded audiences that are there in plenty. From

architecture

young entrepreneurs, evolving developers to foreign firms, all demand a certain degree of fresh professionalism that interests Archohm. They demand more and demand differently. One no longer needs to educate them to cross the line and think beyond. They don’t mind being unique; in fact that’s exactly what they want.

Another clear strength of Archohm is that we always try to put ourselves into our client’s shoes. Our challenge is to get under the skin of our client by bringing him on board while creating the design solution. This brings in the next level of satisfaction for the client and the necessary bonding with the design team. It also gives the comfort and confidence that we will move beyond our professional domain to assist him in his initiative at all levels. Our weakness at times is the speed with which we are growing and the engineering experience we have. This risks our solutions sometimes – to border the fine line between reality and feasibility. A risk that clients so far have acknowledged and accepted well as part of their journey to think beyond.

What inspires your creations and keeps you going?

SG: Archohm is in constant pursuit of cross-cultural dialogue. We are consistently striving to innovate and explore in order to proliferate design within the local and global context. Archohm is a young firm with a fairly 2D organization structure, which is democratic in many ways because of the ‘design’ nature of the practice. I personally lead all design discussions that evolve out of closely held brainstorming sessions. Thereafter, projects are handled by teams, a mix of www.poolmagazine.in 55

architecture

(Both) ‘Corporate Office’ Archohm Design Studio, Noida 56 POOL #31

architecture

architects, interior designers and technical people to facilitate an interesting interdisciplinary flavor which helps to evolve innovative solutions. Project heads take the responsibility, from client interaction to communications and delivery. A separate creative crew adds value to the process through a monthly newsletter, collateral books, and novel product designs with the help of a graphic design team. Accounts and administration are kept separate so that the design team remains insulated from the nuances of a professional practice. Specialists on design and engineering are brought on board through multiple workshops keeping in line with the Archohm philosophy.

Which project are you proudest of?

SG: Studio Archohm is Archohm’s most ambitious project! Our own design studio, a 40,000 sq.ft. facility, it was conceived and constructed in a year. It is an out of the box space, with a play of light and volume…a pure attempt at an environment that evokes creative thought and expression.

What do you think will influence the design of architecture in India in the future?

SG: India is in a fantastic state of flux as far as design is concerned. It is evolving and developing at a furiously fast pace. The exposure level of clients is extremely high courtesy globalization via the Internet and travel culture. This has led to a phenomenal increase in hunger and demand for ‘out of the box’ solutions. www.poolmagazine.in 57

MADE IN INDIA

architecture

‘Retail’ - Zolijns Design Studio, New Delhi

Archohm wants to be an ambassador of India and Indian design on a global platform. In its vision to bring the necessary design exposure to the growing Indian economy, Archohm is embarking on a journey to enter the education space, focused on tapping, exciting and educating the future designers of the country. This would culminate all of our exposure and experience, by building alliances and strengths towards enhancing the design quotient of the country. I have personally seen that creating value pays.

What is your understanding of the term ‘innovation’ with respect to architecture?

SG: Archohm thrives on innovation. We question every rule and ensure we break each one! Clients have done the same in their own right and space and hence synergized with us.

They exude an energy that is well reciprocated at Archohm.

A comprehensive design and engineering solution matches the mad timelines of projects today. The large growth in the construction sector provides enough room for everyone.

If you are fit for the job you are ensured unparalleled growth.

At Archohm, we undertake various initiatives to evolve and create value.

What is your advice to the new generation of architects and designers?

SG: Don’t start your practice too early. Design should be socially responsible. Evolve a thought process, a school of thought, keep it consistent, and then design. www.poolmagazine.in 59

photography

A marketing executive with an oil and gas company, Srinath G.M is also a budding freelance photographer who lets his pictures do most of the talking!

What drew you to photography?

SGM: It all started during the third year of my Bachelor’s (Mechanical) degree course at SRM University in Chennai.

I used my new Kodak M863 to document an NCC trek to the nearby hills, followed by a trip to Pondicherry along the East Coast Road.

www.facebook.com/pages/ Pixel-ArtSrinath-RaoPhotography

62 POOL #31

How have you progressed as a photographer over the years?

SGM: The quest really started when I shifted from Chennai to Dehradun for my Master’s degree in Pipeline Engineering (Oil & Gas). The very first week after joining the University of Petroleum & Energy Studies, I took a bike trip on a Honda Active to Badrinath and the nearby hills,

photography

Humayun Tomb, New Delhi, India www.poolmagazine.in  63

photography

(Top) Rays through the roof of Huyamun Tomb, New Delhi, India (Right) Bangle vendor at Paltan Bazaar (local market), Dehradun, Uttrakhand, India

crossing Haridwar, Rishikesh, Dev Prayag, Rudra Prayag, Nand Prayad, Vishnu Prayag and Joshimath. Later in the term I trekked to Kedarnath, Badrinath, Gangothri, Yamunothri and Devria Tal. I also went to Khajuraho, Agra, and Rajasthan. I took pictures everywhere I went! When I stayed in Delhi I joined various photography clubs. Moving to Ahmedabad for a job made it easier to explore western India. Recently I made my first international trip to Sri Lanka where I visited Tangalle, Unawatuna, Galle, Kandy and Negombo.

So along with a full time job, you also do freelance photography?

SGM: Yes, Srinath Rao Photography is a full-service photography company specializing in architecture, commercial, fashion, travel and living.

64  POOL #31

photography What is your personal choice of subject?

SGM: I can say it is a mix of people and objects. I often travel to places where a different language is spoken, a different culture is followed…personally, I like travel concept portraits.

Have you been influenced by any photographer or would you say you have your own style?

SGM: I like Ansel Adams’ work. I believe the most challenging thing about being a photographer is setting up your own style. I always try to make the best use of the available natural light. At times I use the in-built flash for my natural lighting portraits. Usually I just travel to a place and start clicking.

You may call me a random clicker. People have to decide what makes my photographs stand out.

What camera are you using now?

SGM: Initially I switched from Kodak M863 to Kodak Z915.

Now, I use a Canon 550D along with Tokina 11-16, Canon EF 50mm f/1.8 II, Canon EF 18-55mm IS II and Sony Vaio with Adobe Photoshop Elements 10 and ACD See Pro 5.

What is your favorite lens?

SGM: Canon EF 50mm f/1.8 II so far. I am planning to invest more in prime and telephoto lenses.

www.poolmagazine.in 65

66 POOL #31

photography

Freedom Fly: Early morning at Pushkar Lake, Rajasthan

Indraprastha Park, New Delhi, India

What goes through your head right before you take a picture?

SGM: Perspective and focus.

Has photography helped you evolve as a human being?

SGM: I have developed patience, perseverance and above all started realizing there is life in everything...

What should a fledgling photographer focus on?

SGM: They should learn the art before investing in expensive equipment or lenses.

What do you hope to achieve with your photography?

SGM: I want to travel the world and experience new cultures, meet new people...become a globe trekker! www.poolmagazine.in  67

fashion

MAKING A STYLE STATEMENT Fashion and Lifestyle Designer Anand Bhushan refuses to follow trends, relying instead on his understanding of fashion to make a mark in an increasingly crowded arena Fashion to you is…

AB: A tool to live out a fantasy!

How did you get involved in the world of design and fashion?

AB: After spending 12 monotonous years in school, which were mostly spent in white uniforms in front of the TV watching Barbara Eden in I Dream of Jeannie or Madonna dressed as a material girl, all I wanted to do was design clothes for women. Much to my delight and my mother’s horror, fashion finally happened to me after school. As a kid I used to put things together for myself, not to forget the disasters of the ’90s, à la Madonna, acid washed jacket with loads of badges, MC hammer pants and Elton John’s yellow pants with a floral shirt.

www.anandbhushan.com 70 POOL #31

Who is Anand Bhushan, the designer?

AB: An award winning post graduate from the National Institute of Design, Ahmedabad and a graduate from the National Institute of Fashion Technology, New Delhi. I have a Master’s in Apparel and Textile Design, but more than my formal education informs my training and experience as a designer. An understanding of where fashion and textile has been and where it may be going is vital to my technique and creative process. I am currently based in Noida, and Creative Head at Anand Bhushan, my fashion label. I travel a lot, I hate having my life disrupted by routine. All I need is a little money and music on my iPod and I’m off.

fashion

Anand Bhushan Fall Winter 2012 www.poolmagazine.in  71

fashion

What is your signature style?

AB: The label ‘Anand Bhushan’ makes fashion creative but also able, and continues to cultivate the modern, edgy take on upscale dressing which I have become known for.

Who is your label targeted at?

AB: It’s for women who love to make a statement within a space. I want them to feel strong, glamorous and statement driven in Anand Bhushan clothing.

Where does your label sell?

AB: The label has been showcasing its runway presentation at the Wills Lifestyle India Fashion Week, New Delhi every season. It also retails from stores across India, Dubai, Riyadh, Kuwait, New York, Sydney and South Africa.

What is your inspiration?

AB: I find inspiration all around me - from the patterns in nature, to its beautiful flora and fauna, to music, other art, conversation, food, spaces, everything. Inspiration is everywhere; it is just a question of coaxing it out! It can sometimes be quite shy. www.poolmagazine.in 73

quality printing

Vinayak Arts, 986, Sadashiv Peth, Dnyan Prabodhini Roavd, Pune 411030 (+91 20) 2447 7253, (+91 98) 2275 7538, info.vinayakarts@yahoo.in

www.indidesign.in

fashion

When you create something, what goes through your mind?

AB: A series of fantasy driven images! The colors I put together eventually depend on what mood and technique I want to showcase on the runway. Fashion to me is a blend of style, substance and functionality. The mix of the cocktail depends on a personal choice.

What’s next for the label?

AB: The launch of Anand Bhushan Home and Anand Bhushan Lifestyle.

What has propelled the present international interest in Indian fashion?

AB: A sense of belonging and design intervention.

What do you have to say to the next generation, particularly for those hoping to follow in your footsteps?

AB: When your work speaks for itself, don’t interrupt. Follow your instincts. That’s where true wisdom manifests itself. www.poolmagazine.in 75

designer on the road

Designer on the Road, Cagri Cankaya falls for South Africa in a big way! www.designerontheroad.com

After my eventful visit to Dubai, I returned home to Istanbul for a small rest and almost a month later I was on the road again. My first stop was Cape Town, South Africa, where over the next month I was to work with two companies - Now Boarding and Arctic Circle. I was received at Cape Town airport by Michel Brink and Jacques Oberholzer, founders of Now Boarding, a digital advertising agency. They were my new bosses and soon became my new friends. I worked on two logo projects, one poster and one website project. We did good work and I was quite satisfied. We also enjoyed beautiful Cape Town and the famous street night life! We climbed to Lion’s Head and Table Mountain and went to many other beautiful places such as Boulders Beach. Cape Town is a very nice place in terms of environment, food and living costs. I would rate it among my top three places to live in!

After two weeks I moved to Arctic Circle, one of the biggest and most well known advertising companies in Cape Town. People were very kind and easy to work with, though I didn’t have much free time to bond with co-workers. Sometimes I found myself thinking about my future while I was traveling around the city alone. I realized I couldn’t do this forever. While it’s very challenging, I am already tired of this life style. And I have other dreams to achieve as well. One of my ideas is to turn Designer on the Road (DOTR) into a very innovative design company with many partners and connections around the world.

Another thing I want to do before I die is skydiving. So, I came up with the idea of designing my company’s logo while skydiving! I sent e-mails to skydiving companies located around Cape Town, telling them I couldn’t pay much but it could be a nice method of advertising for their company. Skydiving Africa liked and accepted this idea. We talked about the possibilities of me designing a logo during free fall. After 15 minutes, both sides had answers to questions in their minds.

I set out for my adventure on a bright Saturday morning. I was excited but stressed too. When I arrived at the venue they gave me a quick briefing and I signed some papers to indicate I was responsible for what I was doing. Soon I found myself in the plane, more than 3,000 meters above sea level. I jumped with Blake; Rob also jumped with us to record the jump on video and still camera. When they opened the door of the plane for the jump, it was the scariest moment of my entire life! It was just terrifying, and there was no turning back after that point. I had to do it and I had to do it well. I shouted, “Let’s do this!” One second later

I was in a dream, flying like Superman! It’s an incredible experience and everybody should live through it once! I had so much fun and wasn’t even really afraid during free fall.

I sketched my logo concept on my hand with a simple marker. After 40 minutes of free fall I had four more minutes with the parachute to perfect the sketch or re-do it. I had a special board for that, which Blake gave me when we opened the parachute, and I worked on some details of the logo there. When we landed, I turned on my laptop and finalized the design there. It was a very unique, unforgettable and wonderful experience for me, something I will be proud of all my life!

See you next month in Argentina… www.poolmagazine.in 77

www.poolmagazine.in facebook.com/poolmag

twitter.com/poolmagazine

Media Partners

Publisher INDI Design Pvt Ltd www.indidesign.in

Editor in Chief Sudhir Sharma sudhir@indidesign.in

Digital Manish Kori Marianna Korniienko

Contact us Indi Design Pvt Ltd C-1, Unit No 503-504, Saudamini Commercial Complex, Bhusari Colony-Right, Paud Road, Pune 411038 Tel.: +91 20 2528 1433

Copy Editor Ashvina Vakil

Finance Kuldeep Harit Deepak Gautam

Direct Mails All subscription enquiries to subscribe@poolmagazine.in

Research Team Neha Thakurdesai Triveni Sutar

All sponsorship enquiries to sponsor@poolmagazine.in

Layout & Production Pradeep Arora Satyajeet Harpude

All content related enquiries to content@poolmagazine.in Printing & Binding Vinayak Arts, Pune

Research & Design Coordinator Shriya Nagi shriya@indidesign.in

Art & Design Pradeep Goswami Sayali Lonkar Sayali Shah

Assistants Yamanappa Dodamani Pranil Gaikwad Rafik G Shaikh Subscription & Logistics Seema Sharma subscribe@poolmagazine.in Marketing Arjun Samaddar arjun@indidesign.in Tarun Thakkar tarun@indidesign.in R. Anudeep anudeep@indidesign.in

POOL is printed on Old Mill Stucco Fedrigoni supplied by : Prism Papyrus | Tel: (022) 6140 1919 78  POOL #31

RNI-No. MAHENG12606/13/1/2010-TC

ISSUE 31 JANUARY 2013