Kiến trúc châu á ấn độ 2016

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Total number of pages 80

Inspiration and insight for architects and interior designers

Volume 8 | Issue 01 | April 2016 | `50

Published by ITP Publishing India

Fort Tiracol Secret Seven

Restobars Celebrating 7

SEVEN WONDERS

OUR CURATED LIST OF CONTEMPORARY ARCHITECTURAL MARVELS IN INDIA

KANCHANJUNGA APARTMENTS CENTRE FOR DEVELOPMENT STUDIES CEPT UNIVERSITY IIM AHMEDABAD BAHA’I HOUSE OF WORSHIP MATRIMANDIR PALACE OF ASSEMBLY

EDITOR’S LETTER

6

THE MAGNIFICENT 7

WE NOW TURN THE SPOTLIGHT ON THE PROJECTS IN INDIA THAT HAVE INSPIRED AND INFLUENCED MANY OF OUR HOT 100

Seven is a milestone that needs to be marked in an extra special way, so we do it with two special issues. Our anniversary issue is still a hotstepper on social media, thanks to the number of architects and interior designers ™˜œÂ?’—Â?ČąÂ˜ÂžÂ›Čą ˜Â?ČąĹ—Ĺ–Ĺ–ČąÂŒÂ˜Â&#x;Ž›ȹŠ—Â?ČąÂ™ÂŠÂ’Â—ÂœÂ?Š”’—Â?•¢ȏ›ŽœŽŠ›Œ‘ŽÂ?ČąÂ™Â›Â˜Ä™Â•ÂŽÂœČąÂ˜Â—Čą Facebook...and their many ‘followers’ liking, sharing and commenting on Â?Â‘ÂŽÂœÂŽČąÂ“ÂžÂœÂ?’ꊋ•¢ȹ™›˜žÂ?ČąÂ™Â˜ÂœÂ?ÂœÇŻČą Â˜Â–ÂŽČąÂ˜Â?ČąÂ?Â‘ÂŽÂ–ČąÂŠÂ›ÂŽČąÂŒÂ•ÂŠÂ’Â–Â’Â—Â?ČąÂ?Â˜ČąÂ‹ÂŽČąČ Â?Â˜Â™ČąÂ˜Â?ČąÂ?‘Žȹ •’œÂ?Č‚ǰȹ Â‘Â’Â•ÂŽČąÂ˜Â?Â‘ÂŽÂ›ÂœČąÂŠÂ›ÂŽČąÄšÂŠÂžÂ—Â?’—Â?ČąÂ?‘ŽȹÂ?ŠŒÂ?ČąÂ?‘ŠÂ?ČąÂ?Â‘ÂŽÂ’Â›ČąÂ™Â˜Â›Â?›Š’Â?ÂœČąÂŠÂ›ÂŽČąÂ™Â›Â˜Â–Â’Â—ÂŽÂ—Â?•¢ȹ seen on the cover. We are thrilled about the accolades pouring in for what has predictably turned out to be a collector’s item for its celebration of the inspirations and views of the who’s who in the industry, but we must clarify that our listing is in alphabetical order. Â’Â—ÂŒÂŽČąÂ˜ÂžÂ›Čą ÂŠÂ›ÂŒÂ‘ČąÂ’ÂœÂœÂžÂŽȹ ÂŠÂœČąÂŒÂŽÂ—Â?›ŽÂ?ČąÂ˜Â—ČąÂ?Â‘ÂŽČąÂ™ÂŽÂ˜Â™Â•ÂŽȹ Â‘Â˜ČąÂ–ÂŠÄ´ÂŽÂ›ČąÂ’Â—ČąÂ?‘Žȹ context of Indian architecture and design, we now turn the spotlight on the ™›˜“ŽŒÂ?ÂœČąÂ’Â—Čą —Â?’ŠȹÂ?‘ŠÂ?ȹ‘ŠÂ&#x;ÂŽČąÂ’Â—ÂœÂ™Â’Â›ÂŽÂ?ȹŠ—Â?ČąÂ’Â—ÄšÂžÂŽÂ—ÂŒÂŽÂ?ȹ–Š—¢ȹ˜Â?ČąÂ˜ÂžÂ›Čą ˜Â?ȹŗŖŖǯȹ While a few have been designed and executed by international architects who worked here, there are also those that are the work of Indian architects who have shaped our post-Independence urbanscape and made a name for themselves internationally. All these structures have been listed as ’—œ™’›ŠÂ?Â’Â˜Â—ÂŠÂ•ČąÂ‹¢ȹÂ?Ž—ȏ—Ž¥Â?ČąÂ?Â˜Â›ČąÂ?’쎛Ž—Â?ČąÂ›ÂŽÂŠÂœÂ˜Â—ÂœÇ°ČąÂŠÂ?ČąÂ?’쎛Ž—Â?ČąÂ?’–ŽœȹȎȹŠ—Â?ȹ ÂŽČą pay tribute to them in our cover story this month. Called Seven Wonders, our curated list of inspirational structures in India includes Kanchanjunga Apartments by Charles Correa; Indian Institute of Management by Louis Kahn; Palace of Assembly by Le Corbusier; CEPT University by BV Doshi; Centre for Development Studies by Laurie Baker; Baha’i House of Worship by Fariborz Sahba; Matrimandir ŠÂ?Čą ž›˜Â&#x;’••Žȹ‹¢ȹ ˜Â?Ž›ȹ —Â?Ž›ǯȹ Â‘ÂŽÂœÂŽČąÂŠÂ›ÂŽČąÂ˜ÂžÂ›ČąÂ–ÂŠÂ?—’ęŒŽ—Â?ČąÂœÂŽÂ&#x;Ž—ȹÂ?‘ŠÂ?ȹšžŠ•’Â?¢ȹ for the title of ‘wonder’. Do write and tell us what you think are the seven wonders of Indian architecture. As we go to press, we are stunned by the tragic passing away of Š›Œ‘’Â?ÂŽÂŒÂ?Čą Š‘Šȹ ŠÂ?Â’Â?ȹȎȹŠȹ‹›’••’Š—Â?ČąÂ?Â˜Â›ÂŒÂŽČąÂ?Â˜ČąÂ›ÂŽÂŒÂ”Â˜Â—ȹ Â’Â?Â‘ČąÂ˜Â—ČąÂ?‘Žȹ’—Â?Ž›—ŠÂ?Â’Â˜Â—ÂŠÂ•Čą ꛖŠ–Ž—Â?ÇŻČą Š—¢ȹ˜Â?ČąÂ?Â‘ÂŽČąÂ™Â›Â˜Â“ÂŽÂŒÂ?ÂœČąÂ›ÂŽÂŠÂ•Â’ÂœÂŽÂ?ȹ‹¢ȹ‘Ž›ȹ Â˜ÂžÂ•Â?ȹšžŠ•’Â?¢ȹŠœȹ Â˜Â—Â?ÂŽÂ›ÂœČą of architecture, and we are grateful for her inspiring life and work. We also celebrate our heritage with an account of the historical Fort Â’Â›ÂŠÂŒÂ˜Â•ČąÂ’Â—Čą ˜Šǰȹ Â‘Â’ÂŒÂ‘ČąÂ’ÂœČąÂ—Â˜ ȹÂŠČąÂ‹Â˜ÂžÂ?Â’ÂšÂžÂŽČąÂ‘Â˜Â?Ž•ȹ Â’Â?Â‘ČąÂ“ÂžÂœÂ?ČąÂœÂŽÂ&#x;ÂŽÂ—ČąÂ›Â˜Â˜Â–ÂœÇŻČą Â?ČąÂ‘ÂŠÂœČą ‹ŽŽ—ȹ›Ž’—Â?˜›ŒŽÂ?ČąÂ?Â˜ČąÂœÂ?Š—Â?ČąÂ?‘ŽȹÂ?ÂŽÂœÂ?ČąÂ˜Â?ČąÂ?’–ŽǰȹŠ—Â?ČąÂ›ÂŽÂ—Â˜Â&#x;ŠÂ?ÂŽÂ?ČąÂ?Â˜ČąÂ˜Ä›ÂŽÂ›ČąÂ?›ŠÂ&#x;ÂŽÂ•Â•ÂŽÂ›ÂœČą a comfortable stay. With case studies of seven new outlets, our focus Â˜Â—ČąÂ›ÂŽÂœÂ?Â˜Â‹ÂŠÂ›ÂœČąÂžÂ—Â?ÂŽÂ›Â•Â’Â—ÂŽÂœČąÂ?Â‘ÂŽČąÂŒÂ˜Â—Â?›’‹žÂ?Â’Â˜Â—ČąÂŠÂ—Â?ČąÂœÂ’Â?Â—Â’Ä™ÂŒÂŠÂ—ÂŒÂŽČąÂ˜Â?ČąÂ?‘ŽȹÂ?Žœ’Â?—ȹ concept to the success of hospitality ventures. And with that, let’s raise a toast to the number 7. Cheers!

Maria Louis, Editor maria.louis@itp.com

ARCHITECT and INTERIORS INDIA | APRIL 2016 | www.architectandinteriorsindia.com

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CONTENTS

8

APRIL 2016 VOLUME 8 ISSUE 01

26 18

SOAPBOX

Sanjay Puri questions the archaic rules that are impediments to architecture in India. 20

PROFILE

Designer Minnie Bhatt’s work shows a love for detail and depth in aesthetic concepts. 26

FEATURE

Celebrating seven structures and their creators for their iconic contribution to India.

20 48

PRODUCT SPOTLIGHT

Interesting line-up of products with Green ratings LV JLYLQJ +9$& DQ HQHUJ\ HIÀFLHQW PDNHRYHU

48 56

HERITAGE

With its complex history, old-world charm and seven secret retreats, Fort Tiracol in Goa makes for an interesting getaway. 60

78 56 ARCHITECT and INTERIORS INDIA | APRIL 2016 | www.architectandinteriorsindia.com

FOCUS

Seven restobars where interior design takes centrestage in the translation of the concept. 70

VIEWPOINT

Sadhguru Jaggi Vasudev speaks about building a ‘designer life’ and the potential that exists within architects and designers. 78

THE BIG PICTURE

A tribute to contemporary Indian artist Rajan Krishnan, who passed away earlier this year.

10

60-SECOND INTERVIEW

JABEEN ZACHARIAS, SECRETARY, IIID

Volume 8 | Issue 1| April 2016 | `50 ITP Publishing India Pvt Ltd Notan Plaza, 3rd floor, 898 Turner Road Bandra (West), Mumbai – 400050 T +91 22 6154 6000

Deputy managing director S Saikumar Group publishing director Bibhor Srivastava

EDITORIAL Editor Maria Louis T +91 22 6154 6037 maria.louis@itp.com Contributors Carol Ferrao,Natasha Shah

The Institute of Indian Interior Designers (IIID) is on an ambitious journey called T Žœ’Â?—ȹ ŠÂ?Â›ÂŠČąÂŠÂŒÂ›Â˜ÂœÂœČąÂ?’쎛Ž—Â?ČąÂŒÂ’Â?Â’ÂŽÂœČąÂ’Â—Čą —Â?’Šǰȹ Â’Â?Â‘ČąÂŽÂŠÂŒÂ‘ČąÂ™Â’Â?ČąÂœÂ?Â˜Â™ČąÂŠ ÂŠÂ”Ž—’—Â?ȹ’—ȹÂ?‘Žȹ ŒŒ˜––ž—’Â?¢ȹÂ?Â‘ÂŽČąÂ›ÂŽÂŠÂ•Â’ÂœÂŠÂ?Â’Â˜Â—ČąÂ˜Â?ČąÂŠČąČ Â?Žœ’Â?—ŽÂ?Č‚ČąÂ?žÂ?ž›Žǯȹ Š•”’—Â?ČąÂžÂœČąÂ?‘›˜žÂ?‘ȹÂ?Â‘Â’ÂœČąÂ?›Š—Â?Čą ™ Â™Â•ÂŠÂ—ČąÂ’ÂœČą Č‚ ČąÂœÂŽÂŒÂ›ÂŽÂ?Š›¢ȹ Š‹ŽŽ—ȹ ŠŒ‘Š›’Šœǰȹ Â‘Â˜ČąÂ’ÂœČąÂŒÂ˜Â—Ä™Â?Ž—Â?ČąÂ?‘ŠÂ?ČąÂ?Â‘ÂŽČąÂ–Â’ÂœÂœÂ’Â˜Â—ČąÂ˜Â?Čą Č Č ÂŠÂ”Â’Â—Â?Čą Žœ’Â?—ȹÂ?Â˜ČąÂ?‘Žȹ ÂŠÂœÂœÂŽÂœČ‚ȹ Â’Â•Â•ČąÂ›ÂŽÂœÂžÂ•Â?ȹ’—ȹŠȹÂ?Žœ’Â?Â—ČŹÂŒÂ˜Â—ÂœÂŒÂ’Â˜ÂžÂœČąÂ?Ž—Ž›ŠÂ?Â’Â˜Â—ÇŻČą

ADVERTISING Director Indrajeet Saoji T +91 22 6154 6024 indrajeet.saoji@itp.com South India Director Sanjay Bhan

W What would IIID like to achieve through ‘Taking Design to the Masses’? ‘ŽȹÂ?Â›ÂžÂŽČąÂ™ÂžÂ›Â™Â˜ÂœÂŽČąÂ˜Â?ČąÂ?Žœ’Â?Â—ČąÂ’ÂœČąÂ?Â˜ČąÂŽÂ—Â‘ÂŠÂ—ÂŒÂŽČąÂ•Â’Â?ÂŽÂœÂ?¢Â•ÂŽČąÂŠÂ—Â?ČąÂ—Â˜Â?ČąÂ’Â—ÂŒÂ›ÂŽÂŠÂœÂŽČąÂŒÂ˜Â—ÂœÂžÂ–ÂŽÂ›Â’ÂœÂ–ÇŻČą Â‘Â’ÂœČąÂ›ÂŽÂŠÂ•Â’ÂœÂŠÂ?Â’Â˜Â—ČąÂ’Â–Â™Â˜ÂœÂŽÂœČąÂžÂ—Â™Â›ÂŽÂŒÂŽÂ?Ž—Â?ÂŽÂ?ČąÂ›ÂŽÂœÂ™Â˜Â—ÂœÂ’Â‹Â’Â•Â’Â?¢ȹÂ˜Â—ČąÂ™Â•ÂŠÂ?Â?Â˜Â›Â–ÂœČąÂ•Â’Â”ÂŽČąÂ?‘Žȹ Ç°Čą Â?Â˜ČąÂ–Â˜Â?Â’Â&#x;ŠÂ?Žȹ’Â?ÂœČąÂœÂ?Š”Ž‘˜•Â?ÂŽÂ›ÂœÇ°ČąÂ?Â‘ÂŽČąÂ™Â›Â˜Â?ÂŽÂœÂœÂ’Â˜Â—ÂŠÂ•ČąÂ?Žœ’Â?—Ž›ȹŠ—Â?ČąÂ?Â‘Â˜ÂœÂŽČąÂŠÂœÂœÂ˜ÂŒÂ’ÂŠÂ?ÂŽÂ?ȹ Â’Â?‘ȹ ’–™•Ž–Ž—Â?ŠÂ?Â’Â˜Â—ČąÂŠÂ—Â?ȹ–Š—ŠÂ?Ž–Ž—Â?ČąÂ˜Â?ČąÂ?Žœ’Â?—ǰȹÂ?Â˜ČąÂ?Š”ŽȹÂ?Â‘ÂŽÂ’Â›ČąÂœÂŽÂ›Â&#x;Â’ÂŒÂŽÂœČąÂ?Â˜ČąÂŠÂ•Â•ČąÂœÂŽÂ?–Ž—Â?ÂœČą ˜Â?ČąÂ˜ÂžÂ›ČąÂ–ÂžÂ•Â?Â’ČŹÂŒÂžÂ•Â?ž›Š•ǰȹ–ž•Â?Â’ČŹÂŽÂŒÂ˜Â—Â˜Â–Â’ÂŒČąÂŠÂ—Â?ČąÂ’Â—ÂŒÂ›ÂŽÂŠÂœÂ’Â—Â?•¢ȹ¢Â˜ÂžÂ—Â?Ç°ČąÂ?Ž–˜Â?Â›ÂŠÂ™Â‘Â’ÂŒÇŻČą Čą  Â˜ÂžÂ•Â?ȹ•’”ŽȹÂ?Â˜ČąÂ‹ÂŽČąÂ?Â‘ÂŽČąÂŒÂŠÂ?Š•¢ÂœÂ?ȹ’—ȹŽÂ&#x;˜•Â&#x;’—Â?ȹŠȹÂ?Žœ’Â?Â—ČŹÂŒÂ˜Â—ÂœÂŒÂ’Â˜ÂžÂœČąĹ—ÇŻĹ˜ČąÂ‹Â’Â•Â•Â’Â˜Â—ČąÂ—ÂŠÂ?’˜—Š•’Â?¢ȹ  Â’Â?‘ȹŠȹ—Ž ȹ–ŠÂ?Â›Â’ÂĄČąÂ˜Â?ČąÂŒÂ’Â&#x;’•’œŠÂ?Â’Â˜Â—ČąÂŠÂœČą —Â?’ŠȹŽ–Ž›Â?ÂŽÂœČąÂŠÂœČąÂŠČąÂœÂžÂ™ÂŽÂ›ČąÂ™Â˜ ÂŽÂ›ČąÂ’Â—ČąĹ˜Ĺ–Ĺ˜Ĺ–ÇŻ What can the architecture and design community expect from Design Yatra? Žœ’Â?Â—ÂŽÂ›ÂœČąÂŠÂ—Â?ČąÂŠÂ›ÂŒÂ‘Â’Â?ÂŽÂŒÂ?ÂœČąÂŒÂŠÂ—ČąÂŽÂĄÂ™ÂŽÂŒÂ?ČąÂ?Â˜ČąÂœÂŽÂŽČąÂŠÂ—ČąÂŠ ÂŠÂ›ÂŽÂ—ÂŽÂœÂœČąÂ?‘ŠÂ?ȹ Â’Â•Â•ČąÂ‹ÂŽČąÂŒÂ˜Â—Â&#x;Ž›Â?ÂŽÂ?Čą ’—Â?Â˜ČąÂ?Ž–Š—Â?Âœǰȹ Â‘Ž›Ž’—ȹÂ?‘Ž¢ȹŒŠ—ȹ Â˜Â›Â”ȹŠÂ?ȹŠ—Â?ČąÂŒÂŠÂ?Ž›ȹÂ?Â˜ČąÂ?‘›ŽŽȹÂ?’쎛Ž—Â?ČąÂ&#x;Ž›Â?Â’ÂŒÂŠÂ•ÂœÇą

T +91 9845722377 sanjay.bhan@itp.com

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

PRODUCTION Deputy production manager Ramesh Kumar

CIRCULATION

Žœ’Â?Â—ÂœČą Â?Â˜Â›Čą Â?Â‘Â˜ÂœÂŽČą Â˜Â—Čą Â?‘Žȹ Â?›’—Â?ÂŽÂœǹȹ Â‘Â’ÂœČą Â?Â˜ÂŽÂœČą —˜Â?Čą ˜—•¢ȹ ’—Œ•žÂ?ÂŽČą Â˜ÂžÂ›Čą ÂžÂœÂžÂŠÂ•Čą ™Ž›ŒŽ™Â?Â’Â˜Â—Čą ˜Â?Čą Â?‘Žȹ –Š›Â?’—Š•’œŽÂ?Ç°Čą ‹žÂ?Čą ÂŠÂ•ÂœÂ˜Čą •’Â&#x;’—Â?Čą ÂœÂ™ÂŠÂŒÂŽÂœČą Â?Â˜Â›Čą ¢Â˜ÂžÂ?‘Â?ž•ȹ —Â?’Šȹ Œ˜–™Ž••ŽÂ?ČąÂ?Â˜ČąÂ•Â’Â&#x;ÂŽČąÂ’Â—ČąÂœÂ‘ÂŠÂ›ÂŽÂ?ČąÂ˜Â›ČąÂ›ÂŽÂ—Â?ÂŽÂ?ČąÂœÂ™ÂŠÂŒÂŽÂœǰȹ Â˜Â›Â”ČąÂœÂ™ÂŠÂŒÂŽÂœČąÂ?Â˜Â›ČąÂœÂ?Š›Â?ÂžÂ™ÂœČąÂ•Â˜Â˜Â”Â’Â—Â?ȹŠÂ?Čą ÂŒÂ˜ČŹÂ˜ Â—ÂŽÂ?ȹŽ—Â&#x;’›˜—–Ž—Â?ÂœČąÂ˜Â›ČąÂ–Â’Â—Â’Â–ÂžÂ–ČąÂ’Â—Â&#x;ÂŽÂœÂ?–Ž—Â?ČąÂ–Â˜Â?ÂŽÂ•ÂœÇ°ČąÂŽÂ?ÂŒÇŻČą Žœ’Â?Â—ÂœČą Â?Â˜Â›Čą Â?‘Žȹ ‘’Â?‘ȏŽ—Â?Čą žœŽ›ǹȹ Â?Čą ›Ž™›ŽœŽ—Â?ÂœČą Â?‘Žȹ ‹ž•”ȹ ˜Â?Čą Â?Žœ’Â?—ȹ œŽ›Â&#x;Â’ÂŒÂŽÂœČą

Distribution manager James D’Souza

›Ž—Â?Ž›ŽÂ?ČąÂ?˜Â?Š¢ǰȹŠ—Â?ČąÂ’ÂœČąÂŽÂœÂœÂŽÂ—Â?’Š•ȹÂ?Â˜ČąÂŒÂ‘ÂŠÂ•Â•ÂŽÂ—Â?ŽȹŠ—Â?ČąÂ?›˜ ȹ’—ȹÂ?‘ŽȹÂ?ŽŒ‘—˜•˜Â?¢ȹŠ—Â?Čą

those of the publishers. Readers are advised to seek specialist advice before acting on information

aesthetics of the design requirements here. Žœ’Â?Â—ÂœČąÂ?Â˜Â›ČąÂ?‘Žȹ—ŠÂ?’˜—ǹȹ ÂŒÂ˜Â—Â’ÂŒČąÂ™ÂžÂ‹Â•Â’ÂŒČąÂŽÂ?Â’Ä™ÂŒÂŽÂœČąÂ™Â›Â˜Â&#x;Â’Â?ÂŽČąÂŠČąÂœÂŽÂ—ÂœÂŽČąÂ˜Â?ȹ’Â?Ž—Â?Â’Â?¢ǰȹ™›’Â?ÂŽČą Š—Â?ČąÂ‹ÂŽÂ•Â˜Â—Â?’—Â?ČąÂ?Â˜ČąÂŽÂ&#x;Ž›¢Â˜Â—ÂŽČąÂ’Â—ČąÂŠČąÂœÂ˜ÂŒÂ’ÂŽÂ?¢DzȹÂ?‘Ž¢ȹÂŠÂ•ÂœÂ˜ČąÂœÂ?Š—Â?ČąÂ?Š••ȹ’—ȹÂ?Â‘ÂŽČąÂŒÂ˜Â—Â?Ž–™˜›Š›¢ȹ

contained in this publication, which is provided for general use and may not be appropriate for the

focus of blurring economic and cultural boundaries. How will this endeavour create a lasting impact on the design scene? ÂŠÂŒÂ‘ČąÂŒÂ’Â?¢ȹÂ’ÂœČąÂœÂŽÂŽÂ’Â—Â?ČąÂŠČąÂ–Â’Â—Â’Â–ÂžÂ–ČąÂ˜Â?ȹęÂ&#x;ÂŽČąÂ™Â›Â˜Â?›Š––ŽœȹȎȹÂ?˜ŒžœŽÂ?ČąÂ?Â˜ČąÂŠÂ?Â?Â›ÂŽÂœÂœČąÂ?‘ŽȹŽ—Â?’›Žȹ Œ˜ž—Â?›¢ȹȎȹÂ?‘›˜žÂ?‘ȹŠȹÂ?Žœ’Â?—ȹÂ?›’Â&#x;ÂŽČąÂŒÂ˜Â&#x;Ž›’—Â?ČąĹ—Ĺ›Ç°Ĺ–Ĺ–Ĺ–Â”Â–ÂœÇ°ČąÂ?˜žŒ‘’—Â?ČąĹ™Ĺ–ČąÂŒÂ’Â?Â’ÂŽÂœČąÂ?Â›Â˜Â–Čą Ž‹›žŠ›¢ȹĹ˜Ĺ–Ĺ—ĹœČŹĹ˜Ĺ–Ĺ—Ĺ?ÇŻČą Â?ČąÂ’Â—ÂŒÂ•ÂžÂ?ÂŽÂœČąÂŠȹ ÂŽÂ•ÂŒÂ˜Â–ÂŽČąÂŒÂŽÂ›ÂŽÂ–Â˜Â—¢ǰȹ Â‘Â’ÂŒÂ‘ČąÂ’ÂœČąÂŠÂ—ČąÂŠÂ—Â—Â˜ÂžÂ—ÂŒÂŽÂ–ÂŽÂ—Â?Čą —˜Â?ČąÂ˜Â—Â•¢ȹŠ‹˜žÂ?ČąÂ?‘ŽȹŠ››’Â&#x;ÂŠÂ•ČąÂ˜Â?ČąÂ?Â‘ÂŽČąÂŒÂ˜Â—Â&#x;˜¢ȹȎȹ‹žÂ?ČąÂŠÂ•ÂœÂ˜ČąÂ’Â?ÂœČąÂ–Â’ÂœÂœÂ’Â˜Â—ÇŻČą Â—ČąÂ˜Â™ÂŽÂ—ČąÂ?Â˜Â›ÂžÂ–Čą  Â’Â?‘ȹ Â?‘Žȹ Œ’Â?Â’ÂŁÂŽÂ—ÂœČą  Â’••ȹ ‹Žȹ Œ˜—Â?žŒÂ?ÂŽÂ?Čą Â?Â˜Čą ‘Ž•™ȹ Â?ÂŽÂ?Čą Â?‘Ž’›ȹ ™Ž›œ™ŽŒÂ?Â’Â&#x;ÂŽÇŻČą Â’Â?¢ȏÂœÂ™ÂŽÂŒÂ’Ä™ÂŒČą Â?’œŒžœœ’˜—œȹ Â’••ȹ‹Žȹ‘Ž•Â?ȹ Â’Â?Â‘ČąÂ•Â˜ÂŒÂŠÂ•ČąÂŠÂžÂ?‘˜›’Â?Â’ÂŽÂœČąÂ?Â˜ČąÂ’Â—Â’Â?’ŠÂ?ÂŽČąÂœÂ˜ÂŒÂ’ÂŠÂ•Â•¢ȏ›Ž•ŽÂ&#x;Š—Â?ČąÂ?Žœ’Â?—ȹ ™›˜“ŽŒÂ?ÂœČąÂ•Â’Â”ÂŽČąÂœÂ?›ŽŽÂ?ÂœÂŒÂŠÂ™ÂŽÂœÇ°ČąÂ“ÂžÂ—ÂŒÂ?Â’Â˜Â—ÂœÇ°ČąÂ™ÂŠÂ›Â”ÂœÇ°ČąÂŽÂ?ÂŒÇŻ ȹ Â’Â•Â•ČąÂ‘Â˜Â•Â?ȹ–ŽŽÂ?’—Â?Âœȹ Â’Â?‘ȹÂ?Žœ’Â?Â—ČąÂ™Â›Â˜Â?ÂŽÂœÂœÂ’Â˜Â—ÂŠÂ•ÂœÇ°ČąÂ›ÂŽÂ™Â›ÂŽÂœÂŽÂ—Â?ŠÂ?Â’Â&#x;ÂŽÂœČąÂ?Â›Â˜Â–ČąÂ™ÂŠÂ›ÂŠÂ•Â•ÂŽÂ•Čą ˜›Â?Š—’œŠÂ?Â’Â˜Â—ÂœČąÂŠÂ—Â?ČąÂ—Â˜Â?ÂŠÂ‹Â•ÂŽČąÂ™ÂžÂ‹Â•Â’ÂŒČąÄ™Â?ÂžÂ›ÂŽÂœÇ°ČąÂŠÂ—Â?ČąÂ›ÂŽÂ—Â˜ Â—ÂŽÂ?ČąÂœÂ™ÂŽÂŠÂ”ÂŽÂ›Âœȹ Â’••ȹŠÂ?Â?Â›ÂŽÂœÂœČą Â?‘ŽȹÂ?ŠÂ?‘Ž›’—Â?ÇŻČą —Â?Ž›ŠŒÂ?’˜—ȹ Â’Â?‘ȹÂ?Žœ’Â?Â—ČąÂœÂ?žÂ?Ž—Â?ÂœČąÂ’ÂœČąÂŠÂ•ÂœÂ˜ČąÂ’Â—ČąÂ?‘Žȹ™•Š—ǰȹÂ?Â˜ČąÂŽÂ—ÂœÂžÂ›ÂŽČąÂ?‘ŠÂ?Čą Â?‘ŽȹÂ?žÂ?ÂžÂ›ÂŽČąÂ’ÂœČąÂ’Â—ČąÂ?˜˜Â?ȹ‘Š—Â?ÂœÇŻČą ‘Ž›Žȹ Â’••ȹ‹ŽȹÂ&#x;’œ’Â?ÂœČąÂ?Â˜ČąÂ›ÂŽÂ–Â˜Â?ÂŽČąÂ&#x;’••ŠÂ?ÂŽÂœȹ Â’Â?Â‘ČąÂ™Â›ÂŽÂœÂœÂ’Â—Â?Čą —ŽŽÂ?ÂœÇ°ČąÂ?Â˜ČąÂœÂ?žÂ?¢ȹŠ—Â?ČąÂ?ŠÂ?‘Ž›ȹÂ?Â‘ÂŽČąÂ™Â˜ÂœÂœÂ’Â‹Â’Â•Â’Â?¢ȹ˜Â?ČąÂ?Žœ’Â?—ȹ’—Â?Ž›Â&#x;Ž—Â?Â’Â˜Â—ÂœČąÂ?Â˜Â›ČąÂ‹ÂŽÄ´ÂŽÂ›ČąÂ•Â’Â&#x;’—Â?Čą Œ˜—Â?Â’Â?’˜—œDzȹÂŽÂ&#x;Ž—ȹ•ŽŠ›—ȹÂ?Â›Â˜Â–ČąÂ?Â‘ÂŽÂ–ČąÂŠÂ‹Â˜ÂžÂ?ȹ’—Â?Â’Â?ÂŽÂ—Â˜ÂžÂœČąÂ?Žœ’Â?Â—ČąÂ›ÂŽÂœÂ™Â˜Â—ÂœÂŽÂœÇŻČą Â&#x;Ž›Š••ǰȹ Â?Â‘Â’ÂœČąÂŽÄ›Â˜Â›Â?ČąÂ’ÂœČąÂ?˜’—Â?ČąÂ?Â˜ČąÂŠ ÂŠÂ”Ž—ȹŠȹ—Ž ȹÂ?Žœ’Â?Â—ČŹÂŒÂ˜Â—ÂœÂŒÂ’Â˜ÂžÂœČąÂŒÂ˜ÂžÂ—Â?›¢ǯ

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INDUSTRY DATA

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INDUSTRY DATA SERPENTINE GALLERIES’ ambitious plan for its 16th edition, to be held from June-October, is bringing together architects of international renown, aged between 36 and 93. Julia PeytonJones, director, Serpentine Galleries, said, “The Pavilion will be joined by four 25sq-m Summer Houses designed in response to Queen Caroline’s Temple, a classical-style summer house built in 1734.â€? The pavilion will be designed by Bjarke Ingels Group (Copenhagen/New York); while the four Summer Houses will be designed by KunlĂŠ Adeyemi – NLÉ (Amsterdam/Lagos); Barkow Leibinger (Berlin/New York); Yona Friedman (Paris); and Asif Khan (London). THE SMART CITIES COUNCIL INDIA launched its promised ‘India Readiness Guide’ at its 3rd Smart Cities Summit held in Mumbai. “The council launched this to help cities plan their ‹•žŽ™›’—Â?ȹ‹ŽĴŽ›ǯȹ Â?ČąÂ’ÂœČąÂ?ž›Â?Â‘ÂŽÂ›ČąÂ˜Ä›ÂŽÂ›Â’Â—Â?ČąČ ÂŽÂŠÂ?Â’Â—ÂŽÂœÂœČą Â˜Â›Â”ÂœÂ‘Â˜Â™ÂœČ‚Čą for municipalities seeking training and capacity building,â€? stated Pratap Padode, founder and director, Smart Cities Council India. The India Readiness Guide has more than 80 relevant case studies, and captures the relationship between a city’s responsibilities and its enablers (Smart technologies that can make those tasks easier).

SUB-ZERO AND WOLF is inviting Indian interiors designers to participate in its renowned Kitchen Design Contest (KDC) 2015Ĺ˜Ĺ–Ĺ—ĹœÇŻČą ‘ŽȹÂ?Â˜Â™ČąĹ˜Ĺ›ČąÄ™Â—ÂŠÂ•Â’ÂœÂ?Âœȹ Â’••ȹ‹Žȹ’—Â&#x;Â’Â?ÂŽÂ?ČąÂ?Â˜ČąÂŠÂ•Â•ČŹÂŽÂĄÂ™ÂŽÂ—ÂœÂŽÂœČŹÂ™ÂŠÂ’Â?ČąÂ?›’™ȹ Â?Â˜Â›ČąÂ? Â˜ČąÂ?Â˜ČąÂ?‘Žȹ ÂŽÂœÂ?ČąÂ˜Â?ČąÂ?‘Žȹ ÂŽÂœÂ?Čą ž––’Â?ȹŠ—Â?Čą Š•Šǰȹ Â‘Ž›ŽȹÂ?‘ŽȹŗŖȹ Â?•˜‹Š•ȹ Â’——Ž›œȹ Â’Â•Â•ČąÂ‹ÂŽČąÂŠÂ—Â—Â˜ÂžÂ—ÂŒÂŽÂ?ÇŻČą ‘ŽȹÂ?Žœ’Â?—ȹŠ—Â?ČąÂŒÂ˜Â—ÂœÂ?›žŒÂ?Â’Â˜Â—Čą ˜Â?Čą Â?‘Žȹ ™›˜“ŽŒÂ?Čą –žœÂ?Čą ‘ŠÂ&#x;ÂŽČą ‹ŽŽ—ȹ Œ˜–™•ŽÂ?ÂŽÂ?Čą ’—ȹ Ĺ˜Ĺ–Ĺ—Ĺ›ČŹĹ˜Ĺ–Ĺ—ĹœÇŻČą ‘Žȹ Œ˜—Â?ÂŽÂœÂ?Čą Â’ÂœČą ÂŠÂ•ÂœÂ˜Čą Â˜Â™ÂŽÂ—Čą Â?Â˜Čą ÂœÂ?žÂ?Ž—Â?ÂœČą Â?Â›Â˜Â–Čą Š—ȹ ŠŒŒ›ŽÂ?Â’Â?ÂŽÂ?Čą Œ˜••ŽÂ?ÂŽČą Â˜Â›Čą ž—’Â&#x;Ž›œ’Â?¢ǯȹ Â‘ÂŽČąÂœÂžÂ‹Â–Â’Ä´ÂŽÂ?ȹŽ—Â?›¢ȹ–žœÂ?ČąÂ’Â—ÂŒÂ•ÂžÂ?ÂŽČąÂŠČąÂ–Â’Â—Â’Â–ÂžÂ–ČąÂ˜Â?ČąÂ˜Â—ÂŽČą ÂŠÂ™Â™Â•Â’ÂŠÂ—ÂŒÂŽČąÂ?Â›Â˜Â–Čą ž‹ȏ ÂŽÂ›Â˜ČąÂŠÂ—Â?Čą ˜•Â?ÇŻČą —Â?Â›Â’ÂŽÂœČąÂ–ÂžÂœÂ?ČąÂ‹ÂŽČąÂœÂžÂ‹Â–Â’Ä´ÂŽÂ?Čą Â˜Â—Â•Â’Â—ÂŽČąÂŠÂ?ȹ   ǯÂœÂžÂ‹ÂŁÂŽÂ›Â˜ÇŻÂŒÂ˜Â–ČŚÂŒÂ˜Â—Â?ÂŽÂœÂ?ȹ‹¢ȹ Š—žŠ›¢ȹĹ™Ĺ—Ç°ČąĹ˜Ĺ–Ĺ—Ĺ?ÇŻČą

Čą Čą Čą Â‘ÂŠÂœČą ž—Â&#x;Ž’•ŽÂ?Čą Šȹ ™›’—Â?ČŹ ž––Ž›ȹ Ĺ˜Ĺ–Ĺ—ĹœČąÂŒÂ˜Â•Â˜ÂžÂ›ČąÂ™ÂŠÂ•ÂŽÄ´ÂŽČąÂ?‘ŠÂ?ČąÂŒÂŠÂ™Â?ÂžÂ›ÂŽÂœČąÂ?‘Žȹ‹›ŽŽ£¢ǰȹÂŒÂŠÂœÂžÂŠÂ•ČąÂœÂ™Â’Â›Â’Â?ČąÂ˜Â?ČąÂ?Â‘Â’ÂœČą ÂœÂŽÂŠÂœÂ˜Â—ÇŻČą Â‘ÂŽČąÂ™ÂŠÂ•ÂŽÄ´ÂŽČąÂ’ÂœČąÂ?Ž›’Â&#x;ÂŽÂ?ČąÂ?Â›Â˜Â–ČąÄ™Â&#x;ÂŽČąÂœÂ‘ÂŠÂ?ÂŽÂœÇ°ČąÂ–ÂŠÂ’Â—Â•¢ǹȹ¢ÂŽÂ•Â•Â˜ ǰȹ ›ŽÂ?ǰȹ‹•žŽǰȹÂ?›ŽŽ—ȹŠ—Â?Čą ’•Â?Čą Ž››’Žœȹǝ ÂŠÂ—ÂœÂŠÂ’Č‚ÂœČą Â˜Â•Â˜ÂžÂ›ČąÂ˜Â?ČąÂ?‘Žȹ ŽŠ›ǟǯȹ ’•Â?Čą ÂŽÂ›Â›Â’ÂŽÂœČąÂ’ÂœČąÂ’Â—ÂœÂ™Â’Â›ÂŽÂ?ȹ‹¢ȹÂ?‘Žȹ —Â?Â’ÂŠÂ—ČąÂœÂžÂ–Â–ÂŽÂ›ČąÂ?›ž’Â?ČąÂ”Â—Â˜ Â—ČąÂŠÂœČą Č Â‹Â˜Â›Č‚Čą Š—Â?Čą Â?‘Žȹ ŽŠ›Â?‘¢ȹ œ‘ŠÂ?ÂŽČą •Ž—Â?ÂœČą Â’Â?œŽ•Â?Čą œŽŠ–•Žœœ•¢ȹ Â?Â˜Čą Â&#x;ÂŠÂ›Â’Â˜ÂžÂœČą Â™ÂŠÂ•ÂŽÄ´ÂŽÂœÇŻČą ŠÂ?Â’Â&#x;ÂŽČąÂ?Â˜Čą —Â?’ŠǰȹÂ?Â‘Â’ÂœČąÂœÂ‘ÂŠÂ?ÂŽČąÂŠÂ•ÂœÂ˜ČąÂ?›Š ÂœČąÂ›ÂŽÂ?ÂŽÂ›ÂŽÂ—ÂŒÂŽČąÂ?Â›Â˜Â–Čą Â?‘Žȹ ›ŽÂ?Čą ÂœÂ˜Â’Â•Čą ˜Â?Čą Â?‘Žȹ ÂŽÂœÂ?Ž›—ȹ ‘ŠÂ?ÂœÇ°Čą Â?›ŠÂ?Â’Â?Â’Â˜Â—ÂŠÂ•Čą —Â?’Š—ȹ ™˜ĴŽ›¢ȹ Š—Â?Čą Â?‘Žȹ œ•˜™’—Â?Čą Â?’•ŽÂ?Čą ›˜˜Â?ÂœČą ˜Â?Čą ˜žÂ?‘ȹ —Â?’Šȹ ČŽČą –Š”’—Â?Čą Â’Â?Čą Šȹ Â?˜˜Â?Čą Œ˜—Â?ÂŽÂĄÂ?žŠ•ȹ Â˜Â•Â˜ÂžÂ›ČąÂ˜Â?ČąÂ?‘Žȹ ÂŽÂŠÂ›ČąÂŒÂ‘Â˜Â’ÂŒÂŽǯȹȹ

GROHE unveiled its new Rainshower SmartControl 360 shower system that gives a personalised showering experience. ‘Žȹ ’——˜Â&#x;ŠÂ?Â’Â&#x;ÂŽČą Œ˜—Â?Â›Â˜Â•ÂœČą Â˜Ä›ÂŽÂ›Čą Â?’›ŽŒÂ?Čą ’—Â?ž’Â?Â’Â&#x;ÂŽČą œ™›Š¢ȏ™ŠĴŽ›—ȹ œŽ•ŽŒÂ?Â’Â˜Â—Čą  Â’Â?‘ȹ Šȹ ™Ž›œ˜—Š•’œŽÂ?Čą Â&#x;Â˜Â•ÂžÂ–ÂŽČą œŽĴ’—Â?Čą Š—Â?Čą –Ž–˜›¢ȹ function. The thermo-element in this control system delivers water at the desired temperature within a fraction of a second – and keeps it consistent for the duration of the shower. The Grohe SmartControl technology can customise the preferred œ™›Š¢ȹ™ŠĴŽ›—ȹŠ—Â?ȹŠÂ?“žœÂ?ČąÂ?‘Žȹ ÂŠÂ?ÂŽÂ›ČąÄšÂ˜ ȹÂŠÂœČąÂ?Žœ’›ŽÂ?ÇŻČą

Čą Čą Čą Čą Čą (AHEC) has outlined its strategy to open up new market opportunities for American hardwoods in 2016. The campaign will involve collaborations, installations, seminars, workshops and sustainable design initiatives across both established and emerging markets in India, South Africa, the Middle East and North Africa. In terms of the timber trade, one of the key activities for the year include AHEC’s participation at Indiawood in Bengaluru. The council is also positive about potential collaborations in India and Turkey in the second half of 2016, and it will continue its technical and educational seminars across all markets. Čą ČąÂ‘ÂŠÂœČąÂŒÂ˜Â–Â™Â•ÂŽÂ?ÂŽÂ?Čą Â‘ÂŠÂœÂŽČą ČąÂ˜Â?ȹ’Â?ÂœČąČ Ĺ—Ĺ–Ĺ–Čą Â™ÂžÂ–Â™ÂœČą Ĺ—Ĺ–Ĺ–Čą Â&#x;’••ŠÂ?ÂŽÂœČ‚Čą ™›˜“ŽŒÂ?Ç°Čą ‹›’—Â?’—Â?Čą ÂŒÂ•ÂŽÂŠÂ—Čą  ÂŠÂ?Ž›ȹ Â?Â˜Čą ›Ž–˜Â?ÂŽČą •˜ŒŠÂ?Â’Â˜Â—ÂœČą ’—ȹ —Â?’Šǯȹ ž›’—Â?Čą Â?Â‘Â’ÂœČą Â™Â‘ÂŠÂœÂŽÇ°Čą Ĺ™Ĺ˜Čą ÂœÂ˜Â•ÂŠÂ›Čą Â™ÂžÂ–Â™ÂœČą  ÂŽÂ›ÂŽČą ’—œÂ?Š••ŽÂ?Čą ’—ȹ Â&#x;’••ŠÂ?ÂŽÂœČą ÂŠÂŒÂ›Â˜ÂœÂœČą Â›Â’ÂœÂœÂŠČą Š—Â?Čą Š‘Š›Šœ‘Â?›Šǯȹ ‘›’œÂ?’Š—ȹ

Š›Â?Â&#x;Â’Â?Ç°ČąÂŽÂĄÂŽÂŒÂžÂ?Â’Â&#x;ÂŽČąÂ?’›ŽŒÂ?Â˜Â›Ç°Čą ›ž—Â?Â?Â˜ÂœČą ˜ž—Â?ŠÂ?Â’Â˜Â—Ç°ČąÂœÂŠÂ’Â?Ç°ČąČƒ Â’Â?‘ȹ Â™Â‘ÂŠÂœÂŽČą Ç°Čą  ÂŽČą ‘ŠÂ&#x;ÂŽČą ›ŽŠ™ŽÂ?Čą ™˜œ’Â?Â’Â&#x;ÂŽČą ˜žÂ?ÂŒÂ˜Â–ÂŽÂœÇ°Čą ‹›’—Â?’—Â?Čą ÂœÂ˜ÂŒÂ’ÂŠÂ•Čą Â?›Š—œÂ?˜›–ŠÂ?Â’Â˜Â—Čą Â?Â˜Čą Š•–˜œÂ?Čą řŖǰŖŖŖȹ Â™ÂŽÂ˜Â™Â•ÂŽČą ÂŠÂŒÂ›Â˜ÂœÂœČą ĹœĹ–Čą ›Ž–˜Â?ÂŽČą Â&#x;’••ŠÂ?ÂŽÂœÇŻČ„Čą Â˜ČąÂŽÂ—ÂœÂžÂ›ÂŽČąÂŒÂ˜Â—Â?’—ž˜žœȹ ÂŠÂ?ÂŽÂ›ČąÂœÂžÂ™Â™Â•¢ȹÂŠÂŒÂ›Â˜ÂœÂœČąÂ›ÂžÂ›ÂŠÂ•ČąÂŠÂ›ÂŽÂŠÂœÇ°Čą Â?‘Žȹ Čą •Ž¥ȹŽ—Ž›Â?¢ȏŽĜŒ’Ž—Â?ČąÂœÂ˜Â•ÂŠÂ›ČąÂ™ÂžÂ–Â™Âœȹ ÂŽÂ›ÂŽČąÂ’—œÂ?Š••ŽÂ?ÇŻČą Â‘ÂŽÂœÂŽČą Â™ÂžÂ–Â™ÂœČąÂŠÂ›ÂŽČąÂœÂ™ÂŽÂŒÂ’ÂŠÂ•Â•¢ȹÂ?Žœ’Â?—ŽÂ?ČąÂ?Â˜Â›ČąÂ›ÂŽÂ–Â˜Â?ÂŽČąÂŠÂ›ÂŽÂŠÂœȹ Â’Â?Â‘ČąÂ™Â˜Â˜Â›ČąÂ˜Â›ČąÂ—Â˜Čą ÂŠÂŒÂŒÂŽÂœÂœČąÂ?Â˜ČąÂ?Â‘ÂŽČąÂŽÂ•ÂŽÂŒÂ?›’Œ’Â?¢ȹÂ?›’Â?ÇŻČą ‘ŽȹÂ&#x;’••ŠÂ?Ž›œȹ ÂŽÂ›ÂŽČąÂŠÂ•ÂœÂ˜ČąÂŽÂ?žŒŠÂ?ÂŽÂ?ČąÂ˜Â—Čą Â?‘Žȹ‘¢Â?Â’ÂŽÂ—Â’ÂŒČąÂ‹ÂŽÂ—ÂŽÄ™Â?ÂœČąÂ˜Â?ČąÂ?˜’•ŽÂ?ÂœÇŻ

ARCHITECT and INTERIORS INDIA | APRIL 2016 | www.architectandinteriorsindia.com

COCOON FINE RUGS in association with architect Rooshad Â‘Â›Â˜Ä›Čą Â‘ÂŠÂœČą •Šž—Œ‘ŽÂ?Čą Â’Â?ÂœČą •ŠÂ?ÂŽÂœÂ?Čą Œ˜••ŽŒÂ?Â’Â˜Â—Čą ČŽČą ŽœœŽ••ŠÂ?Â’Â˜Â—ÂœÇŻČą ŠÂ?ÂŽČą  Â’Â?‘ȹ Â‘Â›Â˜Ä›Č‚ÂœČą ”ŽŽ—ȹ ÂŽ¢ÂŽČą Â?Â˜Â›Čą Â?›ŠÂ?Â’Â?Â’Â˜Â—ÂŠÂ•Čą Â?Žœ’Â?Â—ÂœČą Š—Â?Čą Â˜ÂŒÂ˜Â˜Â—Č‚ÂœČą ™›˜ęŒ’Ž—Œ¢ȹ  Â’Â?‘ȹ ›žÂ?ÂœÇ°Čą Â?‘Žȹ Œ˜••ŽŒÂ?Â’Â˜Â—Čą Žě˜›Â?•Žœœ•¢ȹ –Ž›Â?ÂŽÂœČą Â?‘Žȹ –˜Â?Ž›—ȹ Â’Â?‘ȹÂ?‘ŽȹÂ?›ŠÂ?Â’Â?Â’Â˜Â—ÂŠÂ•ÇŻČą Â‘Â›Â˜Ä›ČąÂœÂŠÂ’Â?Ç°ČąČƒ Â?ČąÂŒÂŽÂ•ÂŽÂ‹Â›ÂŠÂ?ÂŽÂœČąÂ?Â‘Â’ÂœČąÂ’Â?ŽŠȹ  Â‘Ž›ŽȹÂ?›ŠÂ?Â’Â?Â’Â˜Â—ÂŠÂ•ČąÄšÂ˜Â˜Â›Â’Â—Â?ČąÂ™ÂŠÄ´ÂŽÂ›Â—ÂœČąÂŠÂ›ÂŽČąÂ?ÂŠÂ”ÂŽÂ—ČąÂŠÂœČąÂŠČąÂœÂ?Š›Â?’—Â?ČąÂ™Â˜Â’Â—Â?Čą Š—Â?Čą –˜›™‘ŽÂ?Čą Â?Â›Â˜Â–Čą Â˜Â—ÂŽČą ÂœÂ‘ÂŠÂ™ÂŽČą Â?Â˜Čą Š—˜Â?‘Ž›ǰȹ ’—Â?žœŽÂ?Čą ‹¢ȹ ‹›’Â?‘Â?Čą ÂŒÂ˜Â•Â˜ÂžÂ›ÂœÇŻČ„Čą ¢ÂžÂœÂ‘Čą ‘˜žÂ?‘Š›¢ǰȹ ȹǭȹŒ›ŽŠÂ?Â’Â&#x;ÂŽČąÂ?’›ŽŒÂ?Â˜Â›ČąÂ˜Â?Čą Â˜ÂŒÂ˜Â˜Â—Čą ’—Žȹ žÂ?ÂœÇ°ČąÂŠÂ?Â?ÂŽÂ?Ç°ČąČƒ Â’Â?Â‘ČąÂ˜ÂžÂ›ČąÂŒÂ˜Â•Â•ÂŠÂ‹Â˜Â›ÂŠÂ?’˜—ȹ Â’Â?‘ȹ ‘›˜ěǰȹ ÂŽČąÂ‹Â›Â’—Â?Čą Šȹ ›ŽÂ?›Žœ‘’—Â?Čą ›Š—Â?ÂŽČą  Â‘Â’ÂŒÂ‘Čą ‹˜ŠœÂ?ÂœČą ˜Â?Čą ‹›’Â?‘Â?Čą ÂŒÂ˜Â•Â˜ÂžÂ›ÂœÇ°Čą Â?›ŠÂ?Â’Â?Â’Â˜Â—ÂŠÂ•Čą Â?Žœ’Â?Â—ÂœČąÂŠÂ—Â?ČąÂ–Â˜Â?Ž›—ȹÂ?ÂŽÂŒÂ‘Â—Â’ÂšÂžÂŽÂœÇŻČą Â?ČąÂ‘ÂŠÂœČąÂ?ÂŠÂ”ÂŽÂ—ČąÂžÂœČąÂ˜Â&#x;Ž›ȹŠȹ¢ÂŽÂŠÂ›Ç°ČąÂŠÂ—Â?Čą Â?Â‘Â’ÂœČąÂ‘ÂŠÂœČąÂ‹ÂŽÂŽÂ—ČąÂŠÂ—ČąÂŽÂ—Â›Â’ÂŒÂ‘Â’Â—Â?ȹŠ—Â?ČąÂ’Â—ÂœÂ’Â?‘Â?Â?ÂžÂ•ČąÂ“Â˜ÂžÂ›Â—ÂŽ¢ȹÂ?Â˜Â›ČąÂžÂœÇŻČ„

NEWS & PEOPLE

14

Decowood inspires Indore designers

At the launch of its new collection, Decowood Veneers from Greenlam Industries chose to inspire the architecture and design community in Indore by taking them back to their roots. Decowood Veneers launched its new premium veneer collection at Hotel Fortune Landmark in the presence of leading interior designers and Š›Œ‘’Â?ÂŽÂŒÂ?ÂœČąÂ˜Â?Čą —Â?Â˜Â›ÂŽÇŻČą Â‘ÂŽČąÂœÂ?ÂŠÂ›ČąÂŠÄ´Â›ÂŠÂŒÂ?Â’Â˜Â—ČąÂ˜Â?ČąÂ?‘Žȹ evening was architect Karan Grover’s address to the invitees on ‘timelessness in designs’, which

urged designers to look for inspiration from within our heritage, culture and tradition. Given the multitude of inspirations available in our country, Grover questioned the reliance on ÂŽÂœÂ?ÂŽÂ›Â—ČąÂŒÂ˜ÂžÂ—Â?Â›Â’ÂŽÂœČąÂ?Â˜Â›ČąÂŒÂ˜Â—ÂœÂ?Š—Â?ČąÂ’Â—ÄšÂžÂŽÂ—ÂŒÂŽČą in design. One has to have an eye for those details that are woven into our daily lives, religion and culture, he pointed out. Adding to the inspirational quotient of the event, Decowood showcased some stunning veneers – viz, Oxidised veneers, Digital veneers, Masterstroke Handcrafted veneers, Non-Polished UV veneers and Impression range of veneers, to name a few. The event was ÂŠÂ•ÂœÂ˜ČąÂŠÄ´ÂŽÂ—Â?ÂŽÂ?ȹ‹¢ȹ Š‘ž•ȹ Š”‘’“Šȹǝ ČąÂŒÂ‘ÂŠÂ’Â›Â–ÂŠÂ—ǟǰȹ Pragati Jain (chairperson, IIID Indore), Manish Kumat (founder chairman, IIID Indore), and Arjun Hablani (past chairman, IIID Indore). Shivaji Mohinta, country head of Decorative Veneers, led a walkthrough of the new collection, which was very well received. During the afternoon session, Grover interacted with students and gave them tips on changing their lives through architecture and design.

JK Cement honours the best in the industry At the 24th edition of Annual Architect of the Year Award (AYA), held in Bengaluru, young and seasoned professionals alike, were honoured for their outstanding talent in architecture. Eleven recipients were selected out of 153 entries by an esteemed jury that was chaired by Yadupati Singhania, chairman and managing director, JK Cement. “I congratulate the winners, who truly deserve every bit of adulation coming their way for raising the bar in architecture. AYA is amongst the most credible recognition in the industry, and we look forward to greater success in the years to come,â€? expressed Singhania. Pune’s Madhav Joshi won the Green Architecture award for the project, Center for •’–ŠÂ?ÂŽČą ‘Š—Â?ÂŽȹǭȹ ÂŽÂœÂŽÂŠÂ›ÂŒÂ‘Čą ÄœÂŒÂŽČą ž’•Â?’—Â?Ç°Čą

Design is not making beauty; beauty emerges from selection, afďŹ nities, integration, love.â€? LOUIS KAHN

IITM Campus, Pune. Sunil Kulkarni won the Architect of the Year ward (Indian category), specially recognised for his work – Elantas Beck India, Pune. AYA also recognised talents from the neighbouring countries, awarding Sri Lanka’s Palinda Kannangara and Tin Tsin Fong Kee Shui from Mauritius. Overall, AYA highlighted the great work being undertaken by architects in the mega cities.

Godrej makes AC greener Godrej Appliances has stepped up its game with the introduction of India’s most Ž—Ž›Â?¢ȏŽĜŒ’Ž—Â?Čą air conditioner under its premium sub-brand NXW with ISEER 5.2 Çť —Â?’Š—ȹ ÂŽÂŠÂœÂ˜Â—ÂŠÂ•Čą —Ž›Â?¢ȹ ĜŒ’Ž—Œ¢ȹ ŠÂ?’˜ǟǯȹ Anup Bhargava, product group head – Air Conditioners, Godrej Appliances, said, “NXW has been specially designed to suit the Indian climatic conditions while delivering high ŽĜŒ’Ž—Œ¢ȹȎȹŠ—Â?Ç°ČąÂ?‘Ž›ŽÂ?Â˜Â›ÂŽÇ°ČąÂŒÂ˜Â–ÂŽÂœČąÂ™ÂŠÂŒÂ”ÂŽÂ?Čą with advanced technology and features such ÂŠÂœČąĹ™ Čą ČąÂ–Â˜Â?Â˜Â›ČąÂ?ŽŒ‘—˜•˜Â?¢ǰȹÂ™ÂŠÂ›ÂŠÂ•Â•ÂŽÂ•ČąÄšÂ˜ ȹ condenser with nano-coating technology... along with many other features.â€? Godrej Â™Â™Â•Â’ÂŠÂ—ÂŒÂŽÂœČąÂ’ÂœČąÂ˜Ä›ÂŽÂ›Â’Â—Â?ȹŠȹŗŖȏ¢ÂŽÂŠÂ›ČąÂŒÂ˜Â–Â™Â›ÂŽÂœÂœÂ˜Â›Čą warranty and a 5-year condenser warranty.

Smart furniture at Guangzhou fair The furniture industry witnessed the 37th edition of China International Furniture Fair (CIFF) held at Guangzhou. The fair took Â™Â•ÂŠÂŒÂŽČąÂ’Â—ČąÂ? Â˜ČąÂ™Â‘ŠœŽœȹȎȹꛜÂ?Ç°ČąÂ?Â›Â˜Â–Čą ÂŠÂ›ÂŒÂ‘ČąĹ—ĹžČŹĹ˜Ĺ—Ç°Čą Š—Â?ČąÂœÂŽÂŒÂ˜Â—Â?Ç°ČąÂ?Â›Â˜Â–Čą ÂŠÂ›ÂŒÂ‘ČąĹ˜ĹžČŹĹ™Ĺ—ÇŻČą Â‘ÂŠÂœÂŽČąÂ˜Â—ÂŽČą showcased products in various styles and typologies: home furniture, home decor, home textiles, outdoor furniture and leisure products; along with a host of interesting forums and interactive sessions. During the second phase ˜Â?Čą ČąĹ˜Ĺ–Ĺ—ĹœÇ°ČąÂ?‘ŽȹÂ?˜Œžœȹ ÂŠÂœČąÂ˜Â—ČąÂ?Â‘ÂŽČąÂ˜ÄœÂŒÂŽČą environment and public spaces. A special ÂŽÂ&#x;Ž—Â?Ç°Čą ‘Žȹ ÄœÂŒÂŽČą —Â&#x;’›˜—–Ž—Â?Čą ‘Ž–Žȹ ŠÂ&#x;Â’Â•Â’Â˜Â—Ç°Čą  ÂŠÂœČąÂ?ÂŽÂ?’ŒŠÂ?ÂŽÂ?ČąÂ?Â˜ČąÂ?‘Žȹ ÂŽÂ•Â•ČŹÂ‹ÂŽÂ’—Â?ČąÂ˜Â?ČąÂ?Â‘ÂŽČąÂ˜ÄœÂŒÂŽČą environment and to solutions for improving the quality of work. The 37th edition of CIFF also focussed on the concept of Smart and custom-made furniture.

Our habitat is not created in a vacuum – it is the compulsive expression of beliefs and aspirations.�

There’s an old saying: manners maketh the man. I think they also make good architecture.�

CHARLES CORREA

LAURIE BAKER

ARCHITECT and INTERIORS INDIA | APRIL 2016 | www.architectandinteriorsindia.com

NEWS & PEOPLE

16

Vitra and IIID take design to the masses

/ 5 6HUKDQ $WHÄš <DĂ‚Ă—] (%3' 3UDWDS -DGKDY SUHVLGHQW ,,,' 0XNXQG 3DWHO 9LWUD ,QGLD 0DQLVK .XPDW ,,,' ,QGRUH Joining forces with the Institute of Indian Interior Designers (IIID), Vitra will aid the organisation’s aim to “take designs to the masses.â€? The bathroom œ˜•žÂ?Â’Â˜Â—ÂœČąÂ‹Â›ÂŠÂ—Â?ČąÂ?Â›Â˜Â–Čą ÂŒÂŁÂŠÂŒĂ?‹ŠóĂ?Čą ž’•Â?’—Â?Čą ›˜Â?žŒÂ?ÂœČą Â’Â&#x;’œ’˜—ȹǝ ǟȹÂ?˜›Â?ÂŽÂ?ČąÂ?Â‘Â’ÂœČąÂ™ÂŠÂ›Â?Â—ÂŽÂ›ÂœÂ‘Â’Â™ČąÂ‹¢ȹ

participating at Natcon 2016, which was held in Indore. With 2,000 delegates, Natcon 2016 was a grand event gathering professionals from the design industry. Team Vitra, along with the chief guest, inaugurated the event. Commenting on Â?Â‘ÂŽČąÂŠÂœÂœÂ˜ÂŒÂ’ÂŠÂ?’˜—ȹ Â’Â?‘ȹ Čą ŠÂ?ÂŒÂ˜Â—Ç°Čą Ž›‘Š—ȹ Â?ÂŽóȹ ŠÂĂ?ÂŁÇ°Čą —Â?Â’ÂŠČąÂŒÂ˜ÂžÂ—Â?›¢ȹ–Š—ŠÂ?Ž›ǰȹ ÂŒÂŁÂŠÂŒĂ?‹ŠóĂ?Čą ž’•Â?’—Â?Čą ›˜Â?žŒÂ?ÂœČą Â’Â&#x;Â’ÂœÂ’Â˜Â—Ç°ČąÂœÂŠÂ’Â?Ç°ČąČƒ ÂœČąÂ™ÂŠÂ›Â?ČąÂ˜Â?ČąÂ˜ÂžÂ›ČąÂ?Žœ’Â?—ȹ excellence, we develop products in collaboration  Â’Â?‘ȹ•ŽŠÂ?’—Â?ČąÂ?Žœ’Â?Â—ÂŽÂ›ÂœČąÂ•Â’Â”ÂŽČą ‘›’œÂ?Â˜Â™Â‘ÂŽČą ’••ŽÂ?Ç°Čą Â˜ÂœÂœČą ˜Â&#x;ÂŽÂ?›˜Â&#x;ŽȹŠ—Â?Čą Ž—Â?ŠÂ?Â˜Â—Čą Žœ’Â?—ǰȹÂ?Â˜ČąÂ—ÂŠÂ–ÂŽČąÂŠČąÂ?ÂŽ ǯȹ We believe our association with IIID will help us pursue our philosophy of design excellence by reaching out to the apex professional body of designers, architects and related trade personnel in the country.â€? Vitra aims to bring internationallyacclaimed and innovative bathroom culture across India and be amongst the top three global brands in the sector. “Associating with IIID will enable us to strengthen our local organisation, our distribution channels, and our brand investment – and thereby help us achieve our target to bring bathroom design culture to every Indian ‘˜žœŽ‘˜•Â?ǰȄȹŠÂ?Â?ÂŽÂ?Čą Â?ÂŽóȹ ŠÂĂ?ÂŁÇŻČą

Nouveaux Classiques comes to Mumbai The renowned French luxury furniture brand, Roche Bobois launched an exclusive store in Mumbai dedicated to its Nouveaux Classiques collection. Located at the India Bulls Finance Centre in Mumbai, this store is spread across 4,000sq-ft and showcases the collection through living room, Â?’—’—Â?ČąÂ›Â˜Â˜Â–ČąÂŠÂ—Â?ȹ‹ŽÂ?Â›Â˜Â˜Â–ČąÂœÂŽÄ´Â’Â—Â?ÂœÇŻČą Samvit Tara, managing director, Roche Bobois India, said, “Over the past 18 months, Roche Bobois has gained immense popularity here and we are delighted to launch our third store in the country. The new store, dedicated to the authentically Â›ÂŽÂ—ÂŒÂ‘Čą ˜žÂ&#x;ŽŠž¥ȹ Â•ÂŠÂœÂœÂ’ÂšÂžÂŽÂœČąÂŒÂ˜Â•Â•ÂŽÂŒÂ?Â’Â˜Â—Ç°ČąÂ˜Ä›ÂŽÂ›ÂœČą customers another beautiful brand experience.’’ On display is impeccably-crafted furniture that includes luxurious sofas, elegant armchairs, chaise longues and chic beds, detailed and hand-carved in solid walnut and oak and

Architecture is the learned game, correct and magniďŹ cent, of forms assembled in the light.â€?

ž™‘˜•œÂ?Ž›ŽÂ?ČąÂ’Â—ČąÂ›Â’ÂŒÂ‘ČąÂ?ÂŠÂ‹Â›Â’ÂŒÂœČąÂŠÂ—Â?ČąÂ?Â‘ÂŽČąÄ™Â—ÂŽÂœÂ?ȹ•ŽŠÂ?‘Ž›ǯȹ The collection also includes elegant centre tables, dining tables, cabinets, bookshelves and occasional furniture. Other interior objects, including stunning mirrors, decor accessories, rugs and lighting, complete the collection. The Nouveaux Classiques collection moves beyond the reproduction of traditional pieces and is endowed with the charm of the old, reinterpreted with the comfort of the new.

Anchor’s solar roof is on top

Â—ÂŒÂ‘Â˜Â›ČąÂ‹¢ȹ Š—Šœ˜—’Œȹ ÂŠÂœČąÂ?ŽŒ•Š›ŽÂ?ȹ Â’——Ž›ȹ in the category of Rooftop Solar Module Company in recognition of its contribution towards the development of rooftop solar industry. Krishnan Rajagopalan, head of Â˜Â•ÂŠÂ›Čą ÂžÂœÂ’Â—ÂŽÂœÂœČąÂ?Â˜Â›Čą ÂŠÂ—ÂŠÂœÂ˜Â—Â’ÂŒČąÂ’Â—Čą —Â?Â’ÂŠÇ°ČąÂœÂŠÂ’Â?Ç°Čą “The need of the hour is to deploy high ŽĜŒ’Ž—Œ¢ȹ–˜Â?ÂžÂ•ÂŽÂœČąÂ?‘ŠÂ?ČąÂ˜Ä›ÂŽÂ›ČąÂ‹ÂŽÄ´ÂŽÂ›ČąÂ›ÂŽÂœÂ™Â˜Â—ÂœÂŽČą to environmental conditions in the rooftop segment. Customers are now opting to pay the extra premium, to have long-term cash ̘ ÂœÇŻČ„Čą ÂŠÂ—ÂŠÂœÂ˜Â—Â’ÂŒČą ÂŒÂ˜Čą ˜•žÂ?Â’Â˜Â—ÂœČąÂ—Â˜ ȹÂ™Â•ÂŠÂ—ÂœČą to increase the energy generation capacity of Â’Â?ÂœČą Â’Â?‘ȹ ĜŒ’Ž—Œ¢ȹ ‘˜Â?˜Â&#x;˜•Â?ÂŠÂ’ÂŒČą ˜Â?ž•Žȹ Â’Â?ÇŻČą

Griha hopes for a Green 2030 Griha Summit 2016 organised, by The Energy and Resources Institute (TERI) and Ministry of New and Renewable Energy (MNRE), ™˜ ÂŽÂ›ÂŽÂ?ȹ‹¢ȹ Š››¢ ÂŠÂ›ÂŽÇ°ČąÂ?’œŒžœœŽÂ?ČąÂ’ÂœÂœÂžÂŽÂœČą ranging from combating climate change to our sustainable future. Dr Ajay Mathur, president of Griha Council, said, “The dovetailing ‹ŽÂ? ÂŽÂŽÂ—Čą ÂžÂ›ÂŽÂŠÂžČąÂ˜Â?Čą —Ž›Â?¢ȹ ĜŒ’Ž—Œ¢ȹǝ ǟȹŠ—Â?Čą Griha’s works has led us to a process where we have an example of what liveable buildings can be like. Considering that two-thirds of infrastructure to exist in 2030 is yet to be built, it presents us with an opportunity to ensure that all new buildings are Green.â€? As a part of the œž––’Â?Ç°Čą Š››¢ ÂŠÂ›ÂŽČąÂœÂ‘˜ ÂŒÂŠÂœÂŽÂ?ȹ’Â?ÂœČąÂŽÂŒÂ˜ČŹÂ?›’Ž—Â?•¢ȹ products: Niagara series and other Green bath products and collections.

For me, it’s a search‌search for the unknown‌That’s actually the essence of my work.�

Architecture (is) an art; and no matter how practical or technical it becomes, in essence it is art that communicates.�

BV DOSHI

FARIBORZ SAHBA

LE CORBUSIER

ARCHITECT and INTERIORS INDIA | APRIL 2016 | www.architectandinteriorsindia.com

ADVISORY BOARD

SOAPBOX

18

Dikshu C. Kukreja

Namita Singh

Varun Kohli

Bo Boje Larsen

Karan Grover

Prof. Mustansir Dalvi

Niranjan Hiranandani

Manit Rastogi

Conrad Gonsalves

CN Raghavendran

Sandeep Khosla

Jürgen Wolf

Reza Kabul

OBSTACLE RACE

THE SOAPBOX IS AN OPPORTUNITY FOR EACH OF OUR ADVISORY BOARD MEMBERS TO EXPRESS THEIR OPINION ON AN IMPORTANT INDUSTRY ISSUE. THIS MONTH, SANJAY PURI QUESTIONS THE ARCHAIC RULES THAT ARE IMPEDIMENTS TO THE CREATION OF SPECTACULAR ARCHITECTURE IN INDIA.

W

SANJAY PURI principal, Sanjay Puri Architects.

hile India is a haven for opportunities to create spectacular architecture that is meaningful, there are many factors that stand as obstacles in the path. The ę ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ governing architecture. Recent amendments in the Mumbai rules, for example, do not permit cantilevers beyond 2m. How does one create large landscaped balconies in a residential ǰȱ ȱ ȱ ǵȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Ĝ ȱ building create a large public space at the ground level with ȱĚ ȱ ȱ ǰȱ ȱ ǵ Why should a landscaped courtyard within a building at an elevated level or open-to-sky landscaped terrace be counted in the built-up area of the project? With the increase in density, it is all the more imperative to create open spaces of a large magnitude for social interaction and sporting activities; open spaces for each family in an apartment building as well ȱ ȱ ȱ ȱ Ĝ ȱ ȱ ȱ ǯȱ ȱ cities have less than one tenth the open space per person as compared to global standards. This scarcity can be overcome if the rules allow the creation of open terraces without it being counted in the built-up area of the building. The second obstacle involves the thinking of private developers. Unlike other countries where most architectural projects are government funded, in India most projects are built by private developers. These developers live in the illusion that hiring foreign architects makes their projects more marketable. Over the last few years, a large number of projects have been awarded to foreign architects, who are designing buildings in India in the same manner as they do internationally. Many of these projects are currently underway. When they are completed, people will realise that the planning is not conducive to the Indian style of living. Most of these projects, for example, have toilets and kitchens that do not open to the outside and are mechanically ventilated. These toilets and kitchens do not have any natural light. Another aspect is that international consultants often plan open kitchens. In the Indian style of cooking with heavy smoke and strong smells, this aspect is not desirable in Indian homes.

ARCHITECT and INTERIORS INDIA | APRIL 2016 | www.architectandinteriorsindia.com

Buildings in London and most parts of Europe have less exposure to natural light due to the climate, but Indian cities have natural light throughout the year. Therefore, there is no reason to plan any room without natural light. The planning done by foreign architects does not take cognizance of this – apart from other factors, and they are designing buildings which are more energy consuming at a time when everyone should be creating ¢Ȭ Ĝ ȱ ȱ ȱ ǯ Traditional Indian architecture has several planning principles and design elements that are contextual to our climate, and architects in India should imbibe these to create contextual architecture that belongs to India. Moreover, these traditional design principles allow the buildings to be more ¢Ȭ Ĝ ȱ ȱ ǯ If this is not done, our country – which is witnessing a large magnitude of new projects – will lose its character and become ¢ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ Ĵ ȱ ȱ ȱ visible in all new cities in China as well as the Middle East; countries that no longer have a ‘genius loci’ or sense of place. The third obstacle is the way most Indian architects are Ě ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ and are designing projects in India without any reference to context. One has to visit the Bandra-Kurla Complex in Mumbai, or Gurgaon and Noida in the Delhi NCR, or even the new developments in any city like Jaipur, Indore, Bengaluru, Kolkata or Chennai to see what has been built in the last two decades. Complete glass façade buildings dominate the skylines of these areas. Why would one build all glass buildings in cities that have average temperatures of 35 degrees Celsius? Why are Indian architects increasing the energy consumption required in buildings in a country that has less resources? The need of the hour is for all architects to dwell on their designs and evolve coherent design solutions that are contextual to our climate. We need to overcome all these primary ȱ ȱ ȱ ȱ Ĵ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ architectural character as well as a sustainable environment. Architects in India need to evolve design solutions that imbibe tradition and social responses while simultaneously charting new directions in the perception of spaces. A&I

PROFILE MINNIE BHATT

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MINNIE BHATT FUSES FORM AND FUNCTION USING MATERIALS THAT SPEAK OF NATURE AND HERITAGE BY MARIA LOUIS

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1. Lume, the restaurant at the Aureole hotel in Mumbai. Minnie Bhatt Design specialises in hospitality projects like this one. 2. Interior designer Minnie Bhatt, who heads the studio.

lthough she entered the world of design by ÂŒÂ‘ÂŠÂ—ÂŒÂŽÇ°ČąÂ’Â?ȹ ÂŠÂœÂ—Č‚Â?ČąÂ•Â˜Â—Â?ȹ‹ŽÂ?Â˜Â›ÂŽČą ’——’Žȹ ‘ŠĴȹ found her groove. Endowed with both rational and lateral thinking and keen on pursuing a career in interior design once she stumbled upon it, she opted to hone her innate skills with a diploma in Interior Design from Sophia Polytechnic in Mumbai, where she lives. It was sheer serendipity that Â?Â˜Â˜Â”Čą ‘ŠĴȹ’—ȹÂ?Â‘Â’ÂœČąÂ?’›ŽŒÂ?Â’Â˜Â—ÇŻČąČƒ Â—ÂŽČąÂ˜Â?ȹ–¢ȹÂœÂŒÂ‘Â˜Â˜Â•ČąÂ?›’Ž—Â?Âœȹ ÂŠÂœČą applying for the course in interior design, and that piqued my interest. I decided to apply along with her,â€? she recalls. ˜ǰȹ Â‘Â’Â•ÂŽČąÂœÂ?žÂ?¢Â’—Â?ČąÂŒÂ˜Â–Â–ÂŽÂ›ÂŒÂŽČąÂŠÂ?Čą Čą ˜••ŽÂ?ÂŽÇ°Čą ‘ŠĴȹÂ?ŠÂ&#x;ÂŽČąÂ?‘Žȹ entrance exam, got selected, completed the course and quickly earned an enviable reputation. Her success mantra, one could œŠ¢ǰȹÂ’ÂœČąÂ‘ÂŽÂ›ČąÂ‹ÂŽÂ•Â’ÂŽÂ?ČąÂ?‘ŠÂ?ČąČƒÂŽÂ&#x;Ž›¢Â?‘’—Â?ČąÂ’ÂœČąÂ?Žœ’Â?—ŽÂ?ǰȹ‹žÂ?ČąÂ?ÂŽ ȹÂ?‘’—Â?ÂœČą are designed well.â€? Completely in tune with client and project needs, she infuses her work with an artistic sensibility that blends seamlessly with utility. Â’Â?Â‘Â’Â—ČąÂŠČąÂœÂ‘Â˜Â›Â?ČąÂ™ÂŽÂ›Â’Â˜Â?Ç°Čą Â‘ÂŠÄ´ČąÂ‘ÂŠÂœČąÂ?›˜ Â—ȹ’—Â?Â˜ČąÂŠČąÂ›ÂŽÂœÂ™ÂŽÂŒÂ?ÂŽÂ?ČąÂ?ÂŽsigner who is sought-after for both commercial and residential

ARCHITECT and INTERIORS INDIA | APRIL 2016 | www.architectandinteriorsindia.com

projects. Her explanation for her growing maturity as a design ™›˜Â?Žœœ’˜—Š•ǹȹČƒ ž›’—Â?ČąÂ˜ÂžÂ›ČąÂœÂ?žÂ?Ž—Â?ČąÂ?Š¢Âœǰȹ ÂŽČąÂœÂ™ÂŽÂ—Â?ȹŠȹÂ?›ŽŠÂ?ČąÂ?ŽŠ•ȹ of time researching spaces and the works of design greats.â€? But it was when she stepped out of the classroom, that the šžŠ—Â?ž–ȹ•ŽŠ™ȹ‘Š™™Ž—ŽÂ?ÇŻČąČƒ ‘Ž—ȹ ČąÂ?Â˜Â˜Â”ČąÂžÂ™ČąÂ–¢ȹꛜÂ?ČąÂ“Â˜Â‹Ç°Čą ȹ ÂŠÂœČą sent straight to a residential project site. Though it was a bit unnerving, that hands-on experience was my greatest learn’—Â?Ç°Č„ČąÂœÂ‘ÂŽČąÂŠÂ?–’Â?ÂœÇŻČąČƒ ȹ•ŽŠ›—Â?ČąÂ‘Â˜ ȹÂ?Â˜ČąÂ?ŽŠ•ȹ Â’Â?Â‘ČąÂŒÂ˜Â—Â?›ŠŒÂ?Â˜Â›ÂœČąÂŠÂ—Â?Čą Â?Â‘ÂŽÂ’Â›ČąÂ•ÂŠÂ‹Â˜ÂžÂ›Dzȹ‘˜ ȹÂ?Â˜ČąÂŒÂ‘Â˜Â˜ÂœÂŽČąÄ™Â—Â’ÂœÂ‘ÂŽÂœDzȹ‘˜ ȹÂ?Â˜ČąÂŒÂ‘ÂŽÂŒÂ”ČąÂ?‘’—Â?ÂœČąÂ•Â’Â”ÂŽČą Â?‘Žȹ•’—Žǰȹ•ŽÂ&#x;Ž•ȹŠ—Â?ȹ›’Â?‘Â?ȹŠ—Â?Â•ÂŽÂœÇŻČą —Â?ČąÂ?Â‘ÂŽČąÄ™Â›ÂœÂ?ČąÂ?˜ž›ȹ¢ÂŽÂŠÂ›ÂœČąÂ’—ȹ–¢ȹ Â“Â˜Â‹ČąÂ?ŠÂ&#x;Žȹ–ŽȹŠȹꛖȹÂ?˜ž—Â?ŠÂ?Â’Â˜Â—ČąÂ’Â—ČąÂ?‘ŽȹꎕÂ?ÇŻČ„ Â‘ÂŠÄ´Č‚ÂœČąÂ’Â–ÂŠÂ?’—ŠÂ?Â’Â˜Â—ČąÂŠÂ—Â?ČąÂ?ÂŽÂœÂ’Â›ÂŽČąÂ?Â˜ČąÂ?Â˜ČąÂœÂ˜Â–ÂŽÂ?‘’—Â?ČąÂ˜Â—ČąÂ‘ÂŽÂ›Čą own pushed her into breaking free from the straitlaced conÂœÂ?›Š’—Â?ÂœČąÂ˜Â?ȹŠȹę¥ŽÂ?ČąÂ“Â˜Â‹ÇŻČą Â‘ÂŽČąÂŒÂ‘Â˜ÂœÂŽČąÂ?Â˜ČąÂ?›ŽŽ•Š—ŒŽȹ Â’Â?‘ȹŠȹÂ&#x;Š›’ŽÂ?¢ȹ˜Â?Čą established architects, and this enabled her to garner diverse experiences in a short span of time. The designer admits that Â?Â‘Â’ÂœČąÂ™ÂŽÂ›Â’Â˜Â?ȹ’—Â?žœŽÂ?ČąÂ’Â—ČąÂ‘ÂŽÂ›ČąČƒÂŠČąÂ™ÂŠÂœÂœÂ’Â˜Â—ČąÂ?Â˜Â›ČąÂ?˜˜Â?ČąÂ?Žœ’Â?—ȹŠ—Â?ČąÂ?‘Žȹ appreciation of unique and timeless spaces.â€?

ŠÂ&#x;’—Â?ČąÂ?Š’—ŽÂ?ČąÂœÂžÄœÂŒÂ’ÂŽÂ—Â?ČąÂ”Â—Â˜ Â•ÂŽÂ?Â?ÂŽȹȎȹŠœȹ ÂŽÂ•Â•ČąÂŠÂœČąÂ&#x;Š•žŠ‹•Žȹ ÂŽÂĄÂ™ÂŽÂ›Â’ÂŽÂ—ÂŒÂŽȹȎȹ ‘ŠĴȹÂ?ŽŒ’Â?ÂŽÂ?ČąÂ?Â˜ČąÄš¢ȹÂœÂ˜Â•Â˜ČąÂŠÂ—Â?ČąÂœÂŽÂ?ČąÂžÂ™ČąÂ‘ÂŽÂ›ČąÂ˜ Â—Čą

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Â?Žœ’Â?Â—ČąÂœÂ?žÂ?Â’Â˜Ç°Čą ’——’Žȹ ‘ŠĴȹ Žœ’Â?—ǰȹŽ’Â?‘Â?ȹ¢ÂŽÂŠÂ›ÂœČąÂŠÂ?Â˜ÇŻČą Â?ÂœČą ČąÂ’ÂœČą ÂœÂ’Â–Â™Â•ÂŽČąÂŠÂ—Â?ČąÂœÂ?›Š’Â?‘Â?Â?˜› ÂŠÂ›Â?ÇŻČą ÂœČąÂœÂ‘ÂŽČąÂŽÂ–Â™Â‘ÂŠÂœÂ’ÂœÂŽÂœÇ°ČąČƒ Â?ČąÂ’ÂœČąÂŒÂ˜Â–Â–Â’Â?ted to doing quality work which isn’t repetitive, and adheres to our design philosophy of timelessness and versatility.â€? Â&#x;Ž›ȹÂ?‘Žȹ¢ÂŽÂŠÂ›ÂœÇ°ČąÂ‘Ž›ȹ–’—Â?ČąÂ‘ÂŠÂœČąÂŠÂ‹ÂœÂ˜Â›Â‹ÂŽÂ?ČąÂ?Â‘ÂŽČąÂ’Â—ÄšÂžÂŽÂ—ÂŒÂŽČąÂ˜Â?Čą œŽÂ&#x;Ž›Š•ȹÂ?Žœ’Â?Â—ČąÂ’ÂŒÂ˜Â—ÂœȹȎȹÂ™ÂŽÂ˜Â™Â•ÂŽČąÂŠÂ—Â?ČąÂœÂ?›žŒÂ?ž›ŽœȹȎȹ Â‘Â’ÂŒÂ‘ČąÂ‘ÂŠÂ&#x;ÂŽČą gone a long way towards shaping her sensibility. Rewind’—Â?ČąÂ?Â˜ČąÂ?Â‘ÂŽČąÂœÂ’Â?—’ęŒŠ—Â?ČąÂ˜Â—ÂŽÂœÇ°ČąÂœÂ‘ÂŽČąÂœÂŠ¢ÂœÇ°ČąČƒ Â‘ÂŽČąÂ˜Â—ÂŽȹ Â‘Â˜ČąÂ’Â—ÂœÂ™Â’Â›ÂŽÂ?Čą me the most is Spanish architect Antoni Gaudi. Among my favourite structures are the ones he has created in Barcelona: ŠÂ?›ŠÂ?Šȹ Š–’•’Šȹ Â‘ÂžÂ›ÂŒÂ‘Ç°Čą Š›”ȹ ݎ••ȹŠ—Â?Čą ÂŠÂœÂŠČą ’•Šǯȹ Â’ÂœČąÄšÂŠÂ’Â›Čą for organic architecture, irreverent and unique visuals, and use of China mosaic and colour is unmatched till date.â€? Â‘ÂŠÄ´ČąÂŠÂ•ÂœÂ˜ČąÂŠÂ?Â–Â’Â›ÂŽÂœČąÂ?‘Žȹ—Ž ȏŠÂ?ÂŽČąÂ–Â˜Â?Ž›—ȹ¢ÂŽÂ?ČąÂœÂ’Â–Â™Â•Â’ÂœÂ?Â’ÂŒČąÂ•Â’Â—ÂŽÂœČą ˜Â?ČąÂ?‘Žȹ¢Â˜ÂžÂ—Â?Čą ÂŠÂ™ÂŠÂ—ÂŽÂœÂŽČąÂ?Žœ’Â?Â—ČąÂœÂ?žÂ?Â’Â˜Ç°Čą Ž—Â?˜ȹȎȹ Â‘Â’ÂŒÂ‘Ç°ČąÂœÂ‘ÂŽČą feels, creates interesting spaces and products. Although the designer prefers hospitality projects over resiÂ?Ž—Â?Â’ÂŠÂ•ČąÂ˜Â—ÂŽÂœÇ°ČąÂŠÂœČąÂ?‘Ž¢ȹÂ˜Ä›ÂŽÂ›ČąÂ–Â˜Â›ÂŽČąÂœÂŒÂ˜Â™ÂŽČąÂ?Â˜Â›ČąÂŒÂ›ÂŽÂŠÂ?Â’Â&#x;Â’Â?¢ǰȹÂœÂ‘ÂŽČąÂŒÂŠÂ—Čą —ŽÂ&#x;Ž›ȹÂ?˜›Â?ÂŽÂ?ČąÂ‘ÂŽÂ›ČąÄ™Â›ÂœÂ?ȹ’—Â?Ž™Ž—Â?Ž—Â?ČąÂŠÂœÂœÂ’Â?—–Ž—Â?ȹȎȹÂŠČąÂ›ÂŽÂœÂ’Â?ÂŽÂ—ÂŒÂŽČąÂ’Â—Čą ˜ ÂŽÂ›Čą Š›Ž•ǯȹ Â‘ÂŠÄ´ČąÂœÂŠ¢ÂœÇ°ČąČƒ Â‘ÂŽČąÂŒÂ•Â’ÂŽÂ—Â?Âœȹ ÂŽÂ›ÂŽČąÂ&#x;Ž›¢ȹ›Žœ™ŽŒÂ?Â?ž•ȹŠ—Â?Čą œ‘˜ ÂŽÂ?ČąÂŒÂ˜Â–Â™Â•ÂŽÂ?ÂŽČąÂ?Š’Â?‘ȹ’—ȹ–Žǯȹ Â’Â—ÂŒÂŽČąÂ’Â?ȹ ÂŠÂœČąÂ–¢ȹꛜÂ?ČąÂ™Â›Â˜Â“ÂŽÂŒÂ?Ç°Čą Â?‘ŠÂ?ČąÂ?ŠÂ&#x;Žȹ–ŽȹÂ?Â‘ÂŽČąÂŒÂ˜Â—Ä™Â?ÂŽÂ—ÂŒÂŽČąÂ?Â˜ČąÂ?ž›Â?‘Ž›ȹ–¢ȹÂŒÂŠÂ›ÂŽÂŽÂ›ČąÂ‹¢ȹÂŽÂĄÂŽÂŒÂžÂ?’—Â?Čą good quality work.â€?

ÂŽÂ›ČąÂŠÂ•Â–Â˜ÂœÂ?ČąÂ?ŽŒŠÂ?ÂŽČŹÂ•Â˜Â—Â?ČąÂ“Â˜ÂžÂ›Â—ÂŽ¢ȹÂ‘ÂŠÂœČąÂ‹ÂŽÂŽÂ—ČąÂ?˜ĴŽÂ?ȹ Â’Â?‘ȹ many interesting and challenging moments. Among her landÂ–ÂŠÂ›Â”ČąÂŠÂŒÂ‘Â’ÂŽÂ&#x;Ž–Ž—Â?ÂœÇ°Čą Â‘ÂŠÄ´ČąÂ’Â—ÂŒÂ•ÂžÂ?ÂŽÂœČąÂŠČąÂ?Ž–™•Žȹ’—ȹ ›’—Â?ŠÂ&#x;ÂŠÂ—ÇŻČąČƒ Čą ‘ŠÂ?ȹ—ŽÂ&#x;Ž›ȹŠĴŽ–™Â?ÂŽÂ?ČąÂ?Â˜ČąÂ?Žœ’Â?—ȹÂ?‘Žȹ’—Â?ÂŽÂ›Â’Â˜Â›ÂœČąÂ˜Â?ȹŠȹÂ?Ž–™•Žȹ‹ŽÂ?Â˜Â›ÂŽÇ°Čą and the challenge was to execute the work in the small devout Â?˜ Â—ČąÂ˜Â?Čą ›’—Â?ŠÂ&#x;Š—ǯȹ Â?ȹ ÂŠÂœČąÂŠČąÂŒÂ‘Š••Ž—Â?ÂŽȹȎȹŠ—Â?ȹŠȹÂ?›ŠÂ?Â’Â?¢Â’—Â?ČąÂŽÂĄÂ™ÂŽÂ›Â’ÂŽÂ—ÂŒÂŽȹȎȹÂ?Â˜ČąÂœÂ˜ÂžÂ›ÂŒÂŽČąÂ?‘Žȹ–ŠÂ?ÂŽÂ›Â’ÂŠÂ•ÂœČąÂŠÂ—Â?ČąÂœÂ”Â’Â•Â•ÂŽÂ?ȹŠ›Â?Â’ÂœÂŠÂ—ÂœČąÂ—ÂŽÂŽÂ?ÂŽÂ?ČąÂ?Â˜Â›Čą marble, stone and semi-precious stone inlaywork.â€? Hospitality projects, as is evident from her portfolio, are Â‘ÂŠÄ´Č‚ÂœČąÂŽÂ—Â?ž›’—Â?ČąÂ™ÂŠÂœÂœÂ’Â˜Â—ÇŻČą —Â?ȹŠ•Â?‘˜žÂ?‘ȹ ÂžÂ›ÂŽÂ˜Â•ÂŽČąÂ‘Â˜Â?Ž•ȹ’—ȹ

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—Â?Â‘ÂŽÂ›Â’ČąÂ›ÂŽÂ–ÂŠÂ’Â—ÂœČąÂŠÂ—ČąÂžÂ—Â?˜›Â?ÂŽÄ´ÂŠÂ‹Â•ÂŽČąÂŠÂœÂœÂ’Â?—–Ž—Â?ČąÂ?Â˜Â›ČąÂ‘ÂŽÂ›Ç°ČąÂœÂ‘ÂŽČą Â›ÂŽÂŒÂŠÂ•Â•ÂœČąÂ‘Â˜ ȹÂœÂ‘ÂŽČąÂŒÂžÂ?ȹ‘Ž›ȹÂ?ÂŽÂŽÂ?Â‘ČąÂ˜Â—ČąÂ‘ÂŽÂ›ČąÄ™Â›ÂœÂ?ČąÂ‘Â˜ÂœÂ™Â’Â?Š•’Â?¢ȹ™›˜“ŽŒÂ?ȹȎȹ Silver Beach CafĂŠ in Juhu. This not only enabled her to shift her focus and think beyond residential and retail projects, but also helped her grow as a designer. The brief from the client (Hitesh Keswani) was simple: Silver Beach CafĂŠ had to be uber cool yet warm; its facade had Â?Â˜ČąÂ•Â˜Â˜Â”ČąÂšÂžÂŠÂ’Â—Â?ȹŠ—Â?ȹ’—Â&#x;Â’Â?’—Â?ÇŻČą ‘ŠĴȹ–ŠÂ?ÂŽČąÂŠČąÂŒÂ•ÂŽÂ&#x;ÂŽÂ›ČąÂžÂœÂŽČąÂ˜Â?ČąÂ?‘Žȹ exterior of the cafĂŠ and its interiors to achieve the desired efÂ?ÂŽÂŒÂ?ÇŻČą ™Ž—’—Â?ČąÂ?‘Žȹ Â’—Â?˜ ÂœČąÂŠÂ•Â•Â˜ ÂŽÂ?ČąÂ?‘Žȹ•Š›Â?ÂŽČąÂ˜Â•Â?ČąÂ?›ŽŽȹ’—ȹÂ?›˜—Â?Čą of the cafĂŠ to visually enter the space. The signage was designed keeping the other Silver Beach ŠÂ?¡ǰȹ•˜ŒŠÂ?ÂŽÂ?ȹ’—ȹ ˜›Â?ǰȹ’—ȹ–’—Â?ÇŻČą Â‘ÂŠÄ´ČąÂœÂŠ¢ÂœÇ°ČąČƒ Ž›Žǰȹ ÂŽČąÂœÂžÂœÂ™ÂŽÂ—Â?ed half-cut wooden barrels on heavy metal chains, as planters, to infuse the space with a European charm. At the lower level, we created tall booths in faux leather (with a sofa in newsprint upholstery on the other side) to give the diners privacy. Bulbs  Â’Â?Â‘ČąÂŽÂĄÂ™Â˜ÂœÂŽÂ?ȹꕊ–Ž—Â?ÂœÇ°ČąÂ‘ÂŽÂ•Â?ȹ Â’Â?‘ȹÂ?Â‘Â’ÂŒÂ”ČąÂ“ÂžÂ?ÂŽČąÂ›Â˜Â™ÂŽÂœČąÂŠÂ—Â?ČąÂŒÂŠÂœÂžally draped around a metal bar, light up the tables.â€?

3&5. Silver Beach CafÊ, Juhu, is special to the designer, as LW ZDV KHU ÀUVW KRVSLWDOLW\ project and a landmark in her decade-long career. 4. The bar counter at the Silver Beach CafÊ, Fort, is composed of wooden wine box lids with logos of various wine companies. 6&7. Burma Burma in Fort, Mumbai, captures Buddhist elements in its design.

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7KH WKLUG à RRU VXLWHV DW Aureole are distinctive for their cut-out panels. 9. Open bathrooms in the suites of the hotel create an illusion of space. 10. Bhatt’s appreciation for Gaudi’s ceramic work is seen in the bathrooms at Aureole.

The upper level of the cafĂŠ holds the bar. Playing with  Â˜Â˜Â?ȹŠ—Â?ČąÂœÂ’Â–Â™Â•ÂŽČąÂ–ÂŠÂ?ÂŽÂ›Â’ÂŠÂ•ÂœÇ°Čą Â‘ÂŠÄ´ČąÂŒÂ•ÂŠÂ?ȹ’Â?ÂœČąÂŒÂ˜ÂžÂ—Â?Ž›ȹ Â’Â?‘ȹ wooden wine box lids adorned with the logos of various wine ÂŒÂ˜Â–Â™ÂŠÂ—Â’ÂŽÂœÇŻČą Ž›Â?Â’ÂŒÂŠÂ•ČąÂ–ÂŽÂ?ÂŠÂ•ČąÂ›Â˜Â?ÂœČąÂŠÂ—Â?ȹ Â˜Â˜Â?ÂŽÂ—ČąÂœÂ‘ÂŽÂ•Â&#x;ÂŽÂœČąÂ?ŠÂ&#x;ÂŽČą Â?Â‘ÂŽČąÂŠÂ•ÂŒÂ˜Â‘Â˜Â•ČąÂ?’œ™•Š¢ȹŠ—ȹŽ•ŽÂ?Š—Â?ČąÂ•Â˜Â˜Â”ÇŻČą —ȹÂ?Â‘ÂŽČąÂ˜Â™Â™Â˜ÂœÂ’Â?ÂŽČąÂœÂ’Â?ÂŽČąÂ˜Â?Čą the bar, to give the old-world European feel a contemporary Â?Â˜ÂžÂŒÂ‘Ç°ČąÂœÂ‘ÂŽČąÄ™ÂĄÂŽÂ?ȹŠȹ Â˜Â˜Â?ÂŽÂ—ČąÂœÂ‘ÂŽÂ•Â?ČąÂŠÂ‹Â˜Â&#x;ÂŽČąÂ?Â‘ÂŽČąÂœÂ˜Â?ŠȹŠ—Â?ȹꕕŽÂ?ȹ’Â?ȹž™ȹ  Â’Â?Â‘ČąÂ”Â—Â’ÂŒÂ”ČŹÂ”Â—ÂŠÂŒÂ”ÂœČąÂ—Â˜Â›Â–ÂŠÂ•Â•¢ȹÂ?˜ž—Â?ČąÂ’Â—ČąÂŠČąÂ‘Â˜Â–ÂŽÇŻČą Â‘ÂŽČąÄšÂ˜Â˜Â›Â’Â—Â?ČąÂ˜Â?Čą the lower area is in grey IPS (Indian Patent Stone) and the upper level in wood, while the wooden sloping roof on the upper level was lit up to enhance its height and vintage beauty. Apart from wood, the designer has found joy in experimenting with materials like wicker and jute in an unconvenÂ?Â’Â˜Â—ÂŠÂ•ČąÂ–ÂŠÂ—Â—ÂŽÂ›ȹȎȹœ˜–ŽÂ?‘’—Â?ČąÂ?‘ŠÂ?ČąÂ’ÂœČąÂŽÂ&#x;Â’Â?Ž—Â?ȹŠÂ?ČąÂ?‘Žȹ ˜›Â?ȹŽŠÂ?Ž›¢ǰȹ Burma Burma. The client wanted a contemporary-style restaurant with a slice of Burmese culture, a space that was warm and informal. Since Burma is predominantly a BudÂ?‘’œÂ?ČąÂŒÂ˜ÂžÂ—Â?›¢ǰȹ Â‘ÂŠÄ´ČąÂŒÂ‘Â˜ÂœÂŽČąÂ?Â˜ČąÂ‘Â’Â?‘•’Â?‘Â?Čą žÂ?Â?‘’œÂ?ȹŽ•Ž–Ž—Â?ÂœÇŻČą Â‘ÂŽČąÂ•Â˜Â?Â˜ČąÂ˜Â?ČąÂ?Â‘ÂŽČąÂ›ÂŽÂœÂ?Šž›Š—Â?ČąÂ’ÂœČąÂŠČąÂ›Â˜ÂžÂ—Â?ČŹÂ‹Â˜Ä´Â˜Â–ÂŽÂ?Čą ÂžÂ›Â–ÂŽÂœÂŽČą doll, symbolising the resilience of a woman as she bounces Â‹ÂŠÂŒÂ”ČąÂŠÂ?Š’—œÂ?ČąÂŠÂ•Â•ČąÂ˜Â?Â?ÂœÇŻČą ‘ŠĴȹ‘ŠÂ?ČąÂ?‘›ŽŽȏÂ?Â’Â–ÂŽÂ—ÂœÂ’Â˜Â—ÂŠÂ•ČąÂ?Â˜Â•Â•ÂœČą made from wood and mounted one each on both sides of the entrance door. The moulded walls in the restaurant, that house the prayer wheels, have been inspired by the domes of ™ŠÂ?˜Â?ÂŠÂœÇŻČą ‘Žȹ™›Š¢ÂŽÂ›ȹ Â‘ÂŽÂŽÂ•ÂœČąÂ‘ÂŠÂ&#x;Žȹ‹ŽŽ—ȹÂ?Žœ’Â?—ŽÂ?ȹ Â’Â?‘ȹÂ?’쎛Ž—Â?ȹŽ•Ž–Ž—Â?ÂœȹȎȹÂœÂžÂŒÂ‘ČąÂŠÂœČąÂ?Â‘ÂŽČąÂ•Â˜Â?ÂžÂœÇ°ČąÂ?‘Žȹ žÂ?Â?‘’œÂ?ČąÂ™ÂŽÂŠÂŒÂŽČąÂœ¢Â–Â‹Â˜Â•ÇŻČą The designer wanted to deviate from the prayer wheels that are normally seen outside Buddhist temples, so she chose ÂŠČąÂŒÂ˜Â•Â˜ÂžÂ›ČąÂ™ÂŠÂ•ÂŽÄ´ÂŽČąÂ?‘ŠÂ?ČąÂ’ÂœČąÂ™Â˜Â™ÂžÂ•ÂŠÂ›Â•¢ȹÂœÂŽÂŽÂ—ČąÂ’Â—Čą ‘Š—Â?”ŠȹŠ›Â?ÇŻČą Â˜Čą enhance the old-world charm, she retained and restored the Â&#x;’—Â?ŠÂ?ÂŽČąÂŒÂŽÂ’Â•Â’Â—Â?ČąÂ˜Â?ČąÂ?Â‘ÂŽČąÂ™Â›ÂŽÂ–Â’ÂœÂŽÂœȹȎȹÂŠÂœČą ÂžÂ›Â–ÂŽÂœÂŽČąÂŒÂžÂ•Â?ÂžÂ›ÂŽČąÂ’ÂœČąÂ&#x;Ž›¢ȹ old. To top it all, she sourced colourful parasols, made out of fabric, to adorn the ceiling and add interest to it. ˜’—Â?ČąÂ‹ÂŠÂŒÂ”ČąÂ?Â˜ČąÂ‘ÂŽÂ›ČąÂ?ŠÂ&#x;˜ž›’Â?Žȹ–ŽÂ?’ž–ǰȹ Â˜Â˜Â?Ç°Čą ‘ŠĴȹ™•Š¢ÂŽÂ?Čą Burma’s natural factors to full advantage in the restaurant.

ARCHITECT and INTERIORS INDIA | APRIL 2016 | www.architectandinteriorsindia.com

Čƒ Â’Â—ÂŒÂŽČą ÂžÂ›Â–ÂŠČąÂ’ÂœČąÂ?ÂŠÂ–Â˜ÂžÂœČąÂ?Â˜Â›ČąÂ?ŽŠ”ȹ Â˜Â˜Â?Ç°Čą ȹ–ŠÂ?ÂŽČąÂ?Â‘ÂŽČąÂœÂ‘ÂŽÂ•Â&#x;ÂŽÂœČąÂ’Â—Čą teak wood and created the top of the bar counter out of a thick —ŠÂ?ÂžÂ›ÂŠÂ•ČąÂ•Â˜Â?Ç°Č„ČąÂœÂ‘ÂŽČąÂŽÂĄÂ™Â•ÂŠÂ’Â—ÂœÇŻČąČƒ ÂŽČąÂœÂ˜ÂžÂ›ÂŒÂŽÂ?ČąÂ?˜¢ÂœÇ°ČąÂŒÂŠÂ—ÂŽČąÂ‹ÂŠÂœÂ”ÂŽÂ?ÂœČąÂŠÂ—Â?Čą lacquerware from Burma for display. The sofa seating in the booths is in cane and wood, as cane is predominant in Burma. Â‘ÂŽČąÄšÂ˜Â˜Â›Â’Â—Â?ČąÂ’ÂœČąÂ’Â—ČąÂ?›Ž¢ȹ ǰȹŠ—Â?ČąÂ?‘ŽȹÂ&#x;ÂŽÂ—ÂŽÂŽÂ›ČąÂžÂœÂŽÂ?ČąÂ’ÂœČąÂ?ŽŠ”ǯȄȹ In the decade since she began her career, the world of Â?Žœ’Â?Â—ČąÂ‘ÂŠÂœČąÂ?Žę—’Â?Ž•¢ȹÂ?Š”Ž—ȹÂ?›ŽŠÂ?ČąÂ•ÂŽÂŠÂ™ÂœÇŻČąČƒ ‘ŽȹÂ?Žœ’Â?—ȹꎕÂ?ČąÂ‘ÂŠÂœČą ÂŽÂ&#x;˜•Â&#x;ÂŽÂ?ČąÂŒÂ˜Â—ÂœÂ’Â?Ž›Š‹•¢ȹ’—ȹÂ?Â‘ÂŽČąÂ•ÂŠÂœÂ?ȹŗŖȏŗśȹ¢ÂŽÂŠÂ›ÂœÇ°Č„ČąÂ˜Â‹ÂœÂŽÂ›Â&#x;ÂŽÂœČą ‘ŠĴǯȹ Čƒ ‘ŽȹŠÂ&#x;Š’•Š‹’•’Â?¢ȹ˜Â?ČąÄ™Â—Â’ÂœÂ‘Â’Â—Â?ȹ–ŠÂ?ÂŽÂ›Â’ÂŠÂ•ÂœČąÂ?Â›Â˜Â–ČąÂ?Â’Â•ÂŽÂœČąÂŠÂ—Â?ȹ–Š›‹•Žȹ to wallpapers has grown and the Internet boom has resulted in greater exposure to great design from around the world. It Â‘ÂŠÂœČąÂœÂžÂ›ÂŽÂ•¢ȹÂ‹ÂŽÂŽÂ—ČąÂŠČąÂŒÂ‘ÂŠÂ—Â?ÂŽČąÂ?Â˜Â›ČąÂ?‘Žȹ‹ŽĴŽ›ǯȹ ˜Â?Š¢ǰȹ ÂŽČąÂ‘ŠÂ&#x;Žȹ–Š—¢ȹ popular furniture design studios and retailers opening stores in India. This has helped to magnify the options available to us while designing and creating spaces.â€? Â&#x;Ž›¢ȹ¢ÂŽÂŠÂ›ČąÂœÂŽÂŽÂœČąÂ?‘ŽȹŽ—Â?›¢ȹ˜Â?ȹ—Ž ȹÂ?Žœ’Â?Â—ÂŽÂ›ÂœČąÂ’Â—Â?Â˜ČąÂ?‘ŽȹꎕÂ?ÇŻČą ‘ŠĴȹ‹Ž•’ŽÂ&#x;ÂŽÂœČąÂ’Â—ČąÂ™Â•ÂŠ¢Â’—Â?ȹ–Ž—Â?Â˜Â›ČąÂ?Â˜ČąÂ?Â›ÂŽÂœÂ‘ČąÂ–Â’Â—Â?ÂœČąÂ?‘ŠÂ?ȹŠ›Žȹ”ŽŽ—ȹ Â?Â˜ČąÂ•ÂŽÂŠÂ›Â—ÇŻČąČƒ ȹ‘ŠÂ&#x;ÂŽČąÂŠČąÂ•Â˜Â?ČąÂ˜Â?ČąÂŒÂ˜Â•Â•ÂŽÂ?ÂŽČąÂ?Â›ÂŽÂœÂ‘ÂŽÂ›ÂœČąÂŠÂ™Â™Â•¢Â’—Â?ČąÂ?Â˜Â›ČąÂ“Â˜Â‹ÂœÇ°Čą Š—Â?Čą ȹ‘ŠÂ&#x;ÂŽČąÂ?Š”Ž—ȹ–Š—¢ȹ’—Â?Â˜ČąÂ–¢ȹÂ˜ÄœÂŒÂŽČąÂ?Â˜ČąÂ?Â’Â&#x;ÂŽČąÂ?Â‘ÂŽÂ–ČąÂŠČąÂŒÂ˜Â–Â™Â•ÂŽÂ?ÂŽČą work experience. They get exposure to not just design, but ÂŠÂ•ÂœÂ˜ČąÄ™ÂŽÂ•Â?ȹŠ—Â?ČąÂœÂ’Â?ÂŽȹ Â˜Â›Â”ÇŻČ„ The designer is still waiting for her dream project, though. ÂœČąÂœÂ‘ÂŽČąÂœÂ?ŠÂ?ÂŽÂœÇ°ČąČƒ ¢ȹÂ?Â›ÂŽÂŠÂ–ČąÂ’ÂœČąÂ?Â˜ČąÂ?Žœ’Â?—ȹÂ?‘Žȹ’—Â?ÂŽÂ›Â’Â˜Â›ÂœČąÂ˜Â?ČąÂŠČąÂ›ÂŽÂœÂ˜Â›Â?Ç°Čą by the sea or in the hills. That is yet to be realised!â€?

CASE STUDY: AUREOLE HOTEL Its very name conjures up a feeling of well-being and serenity. Aureole (or aura) refers to a circle of light or brightness Š›˜ž—Â?ČąÂŠČąÂ™ÂŽÂ›ÂœÂ˜Â—ČąÂ˜Â›ČąÂ?‘’—Â?ȹȎȹŠ—Â?ČąÂ?Â‘Â’ÂœČąÂ’Âœȹ Â‘ŠÂ?ČąÂ‘ÂŠÂœČąÂ?›’Â&#x;Ž—ȹÂ?‘Žȹ design that gives the hotel its identity. Located just 500m from the Western Express highway in Mumbai, not far from the airports, Aureole is situated on an eye-catching site which boasts many beautiful old trees surrounding the property. ‘Ž—ȹ Â‘ÂŠÄ´ČąÄ™Â›ÂœÂ?ČąÂ&#x;’œ’Â?ÂŽÂ?ČąÂ?Â‘ÂŽČąÂœÂ’Â?ÂŽÇ°ČąÂœÂ‘ÂŽȹ ÂŠÂœČąÂŒÂ˜Â–™•ŽÂ?Ž•¢ȹ bowled over by the location, even though the property was ÂœÂ?’••ȹŠȹ Â˜Â›Â”ČąÂ’Â—ČąÂ™Â›Â˜Â?Â›ÂŽÂœÂœÇŻČą Â‘ÂŽČąÂ›ÂŽÂŒÂŠÂ•Â•ÂœÇ°ČąČƒ Â?ȹ ÂŠÂœČąÂŠČąÂœÂŠÂ—ÂŒÂ?žŠ›¢ȹŽ—gulfed by trees in the bustling suburb of Andheri. The energy of the space was very positive and inviting, despite it being in the construction stage. I visualised a warm, dominantly white and organic space.â€? Inspired by Aurora Borealis, the concept of the hotel emphasised the fact that the space had to be warm, modern and ’—Â&#x;Â’Â?’—Â?ǰȹ Â’Â?Â‘ČąÂŒÂ˜Â–Â?˜›Â?ČąÂŠÂœČąÂ’Â?ÂœČąÂ–ÂŠÂ’Â—ČąÂ?Â˜ÂŒÂžÂœÇŻČą ‘ŠĴȹÂ?Â’ÂœÂŒÂ•Â˜ÂœÂŽÂœČąÂ?‘ŠÂ?Čą this was in tune with what she had visualised when she had

PROFILE MINNIE BHATT

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MATERIALS )ORRULQJ LV GRPLQDQWO\ PDGH XVLQJ YLWULÀHG WLOHV DQG FDUSHW Corian is used for the banquet buffet counter. 7LOHV KDYH EHHQ XVHG LQ WKH EDWKURRP ÁRRU DQG GDGR Ceiling is made up of Plaster of Paris. /LJKWLQJ LV PRVWO\ FRPSRVHG RI /(' OLJKW À[WXUHV 7DEOHV DUH FXVWRPLVHG DQG ÀQLVKHG LQ UHG RDN DQG ELUFK YHQHHU Chairs are customised with Scandinavian aesthetics. 6DQLWDU\ ÀWWLQJV DUH ,QGLDQ PDGH E\ -DTXDU

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¢ȱĚ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱĚ ȱ ¢ȱ ȱ ǯȱ ȱ ȱ ¢ȱ ȱ ȱ ¢ ȱ ȱ ǰȱ¢ ȱ ȱ ȱ ě ȱ ȱ ȱ ȱĚ ǯȱ Ĵȱ ¢ ǰȱȃ ȱ ȱ ȱ ȱ ȱ ¡ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȄȱ ȱ ȱ ȱĚ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ǯȱ ȱ ȱ ȱ ǰȱ ǰȱ¢ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ Ĵ ȱ ȱ ȱ ȱ ȱ ǯȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ¢ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱĚ ȱ ȱ ȱ ȱ ě ȱ ȱȮȱ ȱ ȱ Ȭ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ¢ȱ ȱ ¢ȱ¢ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱĚ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ¡ȱ ǯȱ ȱ ¢ȱ ȱ ǰȱ ȱ Name of the project: Aureole Hotel ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ The client: Nikhil Samani ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ǯȱ The designer: Minnie Bhatt ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱĚ ǯȱ ȱ Area: 32,000sq-ft ȱ ȱ ȱ ȱ ȱ ȱ ȱĚ ȱ ȱ ȱ ȱ Number of rooms: 45 8 ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ǯȱ ȱ ȱ ȱę ȱ Location: Andheri East, Mumbai ȱ ȱ ȱ ȱ ¢ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ Duration of project: 18 months ǯȱ ȱ Ȭ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ Date of completion: April 2015 ǯȱ ȱ ȱȮȱ ȱ ȱ ȱę ȱȮȱ ȱ ȱ ȱ ȱ Ȃ ȱ ȱ ȱ ȱ ¢ ǯȱ ȱ ȱ ȱ ȱ ȱę ȱĚ ȱ ȱ ȱ ȱ ȱ ȱ ę ȱ ȱ ȱ ǯȱ ȱ ǰȱȃ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱȁ ȱ Ȃǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱȮȱ ȱ ȱ ȱ ȱ ¢ ȱ ¢ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ¢ ȱ ȱ ǯȱ ȱ ǰȱ ȱ ȱ Ȭ ȱ ȱ ȱ ȱ ȱ ȱ¢ ȱ ǯȄ ȱ ȱ ȱ ȱ ¢ȱ ȱ ǰȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ¢ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱĚ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ Ȭ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ě ¢ǯȱ Ĵȱ ¡ ǰȱȃ ȱ ȱ ȱ ȱ ȱ ȱ ě ¢Ȭ ȱ ȱ ȱ ȱ ȱ ȱ ¡ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱĚ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱĚ ǯȱ ȱĚ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ Ȭ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ Ȭ ȱ ¢ ȱ ȱ ǰȱ ȱ ¢ȱ ě ȱ ȱ ȱ ǯȱ ȱ ȱ Ȭ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ě ȱ ȱ Ĵ ȱ ȱ ȱĚ ǯȄ ȱ ȱ ǰȱ ȱ ¢ȱ ȱ ¢ȱ ȱ ¢ȱ ȱ ȱę ȱĚ ȱ ȱ ȱȮȱ ȱ Ȭ ¢ȱ ȱ ȱ ě ȱ ȱ ¢ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Ě ȱ Ĵ Dzȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱĚ ȱ ȱ ǯȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ Ȭ ȱ Ĵ ȱ ȱ ȱ ȱ ȱ ȱ ¢ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ǯȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱĚ ȱ ȱĚ ǰȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ ¢ȱ ȱ ȱę ȱ ǯȱ ȱ ȱ Ĵ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ ȱ ȱ ȱ ȱ ȱȮȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ě ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ¢ǯȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ Ȭ ȱ Dzȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ǰȱ¢ ȱ ȱ ȱ ȱ ȱ ǯȱ A&I ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ǯ

PROJECT DETAILS

11. The rooms at Aureole hotel appear bigger than they are, thanks to the large windows. Notice the cut-out bedside ‘lamp’. 12. The design relies heavily on Scandinavian aesthetics.

ARCHITECT and INTERIORS INDIA | APRIL 2016 | www.architectandinteriorsindia.com

7 WONDERS OF INDIA

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KANCHANJUNGA APARTMENTS BY CHARLES CORREA

SEVEN WONDERS

OUR CURATED LIST OF CONTEMPORARY ARCHITECTURAL STRUCTURES IN INDIA THAT QUALIFY FOR THE TITLE OF ‘WONDER’ BY CAROL FERRAO, NATASHA SHAH & MARIA LOUIS

CENTRE FOR DEVELOPMENT STUDIES BY LAURIE BAKER

ARCHITECT and INTERIORS INDIA | APRIL 2016 | www.architectandinteriorsindia.com

INDIAN INSTITUTE OF MANAGEMENT AHMEDABAD BY LOUIS KAHN

Our seventh anniversary is all about celebrating milestones in the Indian architecture and design scene. Last month, we highlighted 100 of the most innovative and inspiring Indian architects and designers. This month, we look at seven iconic structures in India designed by legends that have moulded our Hot 100 and shaped their understanding of good design. If you flip through our March issue, you would find recurrent mention of Charles Correa, BV Doshi, Laurie Baker, Le Corbusier, Louis Kahn, Fariborz Sahba’s Lotus Temple and Roger

BAHA’I HOUSE OF WORSHIP BY FARIBORZ SAHBA

7 WONDERS OF INDIA

PALACE OF ASSEMBLY BY LE CORBUSIER

Anger’s Matrimandir. The timelessness of their designs and the ability of these structures to educate the community on good architectural practices, till date, make them architectural marvels. So, here’s an inspirational walkthrough of our 7 architectural wonders. We sum up what makes these buildings iconic and retain that status after so many years; look at the making of these celebrated structures at the hands of inspired architects; and reflect on their ‘wonder’ quotient. Indeed, these seven structures are role models worth emulating. CEPT UNIVERSITY BY BV DOSHI

MATRIMANDIR BY ROGER ANGER

www.architectandinteriorsindia.com | APRIL 2016 | ARCHITECT and INTERIORS INDIA

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PHOTOGRAPH: ROHINTON IRANI

7 WONDERS OF INDIA KANCHANJUNGA

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KANCHANJUNGA APARTMENTS, MUMBAI

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1. Charles Correa’s iconic Kanchanjunga Apartments in Mumbai is truly a one-of-itskind residential building. 2. Notice the double-height terrace gardens that act like verandahs in the sky.

ailed internationally as ‘India’s greatest architect’, the late Charles Correa has been widely applauded for his open-to-sky designs. As recognised for his land-use planning and community projects as he is for his adaptations of Modernism to a non-Western culture, ȱ ¢ȱ Ȃ ȱ Ĝ ȱ ȱ ȱ ǰȱ Ĵ ȱ ȱ natural ventilation and prudent use of traditional materials and available resources has won him countless laurels – among them the Padma Shri in 1972 and the Padma Vibhushan in 2006. In December 2011, on the eve of the golden jubilee of Goa’s Liberation, this ‘son-of-the-soil’ was bestowed with Goa’s highest civilian honour – the Gomant Vibhushan. Earlier, Correa had also won most of ȱ Ȃ ȱ ę ȱ ȱ £ ǰȱ ¢ȱ ȱ ȱ Khan award for Architecture, Japan’s Praemium Imperiale and the UTA Gold Medal. A master of light and shade as much as he is of space and climate, as well as an activist with a concern for the underprivileged in the third world, Correa’s masterpieces ȱ ȱ ȱ ȱ ě ȱ ȱ ȱ ȱ ȱȮȱ ȱ ȱ sensitivity to local climates and building styles is strikingly evident in Indian institutional buildings such as the Sabarmati Ashram (a memorial to Mahatma Gandhi) in

ARCHITECT and INTERIORS INDIA | APRIL 2016 | www.architectandinteriorsindia.com

WONDER BAR In downtown Mumbai, intelligently-designed residential buildings are ideally oriented East-West. This would permit residents to enjoy views of the Arabian Sea on one side and the harbour on the other. But these are the same directions from which they would get the harsh afternoon sun and heavy monsoon rains. Traditionally, this problem was solved in bungalows by a wraparound (shaded with a roof, yet open) verandah around the main living areas. At Kanchanjunga, Correa applied these principles to a high-rise building with his radical design that pays homage to the vernacular architecture that once stood on the site. Four different types of apartments interlock across the width of the block, ending in doubleheight terrace gardens (at the corners) that act like verandahs. The most remarkable part of the interlocking of different apartment typologies is the ingenious cellular planning. Smaller displacements of level were critical in this work in that they GLIIHUHQWLDWHG EHWZHHQ WKH H[WHUQDO HDUWK ÀOOHG WHUUDFHV DQG internal elevated living volumes. These subtle shifts enabled Correa to shield the high-rise units from the effects of sun and rain by providing the tower with relatively deep, garden verandahs suspended in the air.

7 WONDERS OF INDIA KANCHANJUNGA

PROJECT DETAILS Name of the project: Kanchanjunga Apartments Location: 72, Peddar Road, Kemps Corner, Mumbai The architect: Charles Correa Associates Structural engineer: Shirish Patel Climate: Hot temperate Context: Urban Orientation: East-West Architectural style: Modern Building type: Skyscraper, multi-family housing, apartment tower Construction system: Concrete/RCC structure Duration of project: 1970-1983 TECHNICAL INFORMATION Lot size: 5,260sq-m Tower footprint: 436sq-m Height: 83.32m 1XPEHU RI Ă RRUV 27 Number of apartments: 32 luxury apartments of four different types (3 to 6 bedrooms)

PHOTOGRAPH: CHARLES CORREA

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ARCHITECT and INTERIORS INDIA | APRIL 2016 | www.architectandinteriorsindia.com

‘–ŽÂ?Š‹ŠÂ?ȹŠ—Â?ČąÂ?‘Žȹ ›’Â?Â’ÂœÂ‘Čą Â˜ÂžÂ—ÂŒÂ’Â•ČąÂ‘ÂŽÂŠÂ?ČąÂ˜ÄœÂŒÂŽČąÂ’Â—Čą ÂŽ ȹ Delhi (1987-92). These structures are stunning examples of his conceptual skills and his ability to design a space to suit its context and climate. But it is his path-breaking Kanchanjunga luxury terrace apartments in Mumbai (1970-83) that leaves a lasting impression, especially on our young Indian architects. ÂœČą Š•‘Š—ȹ ÂŠÄ´Â˜Â˜ČąÂ˜Â?Čą •Š—ŽÂ?ȹřȹ Â?žÂ?Â’Â˜ÂœČąÂ•ÂŠÂ–ÂŽÂ—Â?ÂŽÂ?ȹ Â‘Ž—ȹÂ?‘Žȹ •ŽÂ?Ž—Â?Š›¢ȹŠ›Œ‘’Â?ÂŽÂŒÂ?ČąÂ™ÂŠÂœÂœÂŽÂ?ȹŠ ÂŠ¢ȹÂ˜Â—Čą ÂžÂ—ÂŽČąĹ—ĹœÇ°ČąĹ˜Ĺ–Ĺ—Ĺ›ČąÂŠÂ?ČąÂ?‘ŽȹŠÂ?ÂŽČą ˜Â?ȹŞŚǹȹČƒ Â˜Â•Â˜ÂœÂœÂžÂœČą Â‘ÂŠÂ›Â•ÂŽÂœČąÂ—Â˜ČąÂ–Â˜Â›ÂŽÇŻČą ȹ Â‘Â˜Â•ÂŽČąÂ?Ž—Ž›ŠÂ?Â’Â˜Â—ČąÂ˜Â?Čą Š›Œ‘’Â?ÂŽÂŒÂ?Âœȹ Â˜Â›Â”ÂŽÂ?ČąÂ?Â‘ÂŽÂ’Â›ČąÂŒÂ›ÂŠÂ?Â?ȹ’—ȹÂ?Â‘ÂŽČąÂŒÂ˜Â–Â?˜›Â?’—Â?ČąÂœÂ‘ÂŠÂ?ÂŽČąÂ˜Â?ČąÂ‘Â’ÂœČą Â?˜ ÂŽÂ›Â’—Â?ČąÂ™Â›ÂŽÂœÂŽÂ—ÂŒÂŽÇŻÇŻÇŻ ÂžÂ–Â‹ÂŠÂ’ČąÂŒÂ˜ÂžÂ•Â?—ȂÂ?ȹ‹ŽĴŽ›ȹ Š—Œ‘Š—“ž—Â?Šȹ in 40 years – my personal pick any day for the best building in the city. And that, among many other buildings that  ÂŽČąÂŒÂŠÂ–ÂŽČąÂ?Â˜ČąÂŠÂ?–’›ŽǯȄ With Kanchanjunga, Correa scaled the heights in his ex™Ž›’–Ž—Â?Âœȹ Â’Â?‘ȹŠÂ?Š™Â?’—Â?ČąÂ&#x;ÂŽÂ›Â—ÂŠÂŒÂžÂ•ÂŠÂ›ČąÂŠÂ›ÂŒÂ‘Â’Â?ÂŽÂŒÂ?ÂžÂ›ÂŠÂ•ČąÂ™Â›Â’Â—ÂŒÂ’Â™Â•ÂŽÂœČą Â?Â˜ČąÂ‘Â’Â?Â‘ČŹÂ›Â’ÂœÂŽČąÂ•Â’Â&#x;’—Â?ÇŻČą Â‘Â’ÂŒÂ‘ČąÂŠÂ›ÂŒÂ‘Â’Â?ÂŽÂŒÂ?ČąÂ‘ÂŠÂœČąÂ—Â˜Â?ČąÂ?˜ěŽÂ?ČąÂ‘Â’ÂœČąÂ’Â–ÂŠÂ?’—Š›¢ȹ‘ŠÂ?ČąÂ?Â˜ČąÂ?‘ŽȹÂ?Ž—’žœȹ Â‘Â˜ČąÂ&#x;’œžŠ•’œŽÂ?ČąÂœÂžÂŒÂ‘ČąÂŠÂ—ČąÂ’Â—Â?Ž›•˜Œ”’—Â?Čą of four apartment typologies, varying from three to six ‹ŽÂ?Â›Â˜Â˜Â–ÂœČąÂŽÂŠÂŒÂ‘ȹȎȹĹœĹ˜ÇŻĹ›Ć–ČąÂ˜Â?ȹ Â‘Â’ÂŒÂ‘ČąÂ?ÂŽÂ?ȹŠȹÂ&#x;Â’ÂŽ ȹ˜Â?ČąÂ?Â‘ÂŽČąÂ‘ÂŠÂ›Â‹Â˜ÂžÂ›Čą Š—Â?ČąÂ?Â‘ÂŽČąÂ›ÂŽÂœÂ?Ç°ČąÂ˜Â?ČąÂ?‘Žȹ ›Š‹’Š—ȹ ŽŠǾ The building is a 32-storey reinforced concrete structure  Â’Â?Â‘ČąĹœÇŻĹ™Â–ČąÂŒÂŠÂ—Â?’•ŽÂ&#x;Ž›ŽÂ?ČąÂ?ÂŽÂ›Â›ÂŠÂŒÂŽÂœÇŻČą Â‘ÂŽČąÂŒÂŽÂ—Â?Â›ÂŠÂ•ČąÂŒÂ˜Â›ÂŽČąÂ’ÂœČąÂŒÂ˜Â–posed of lifts and provides the main structural element for ›Žœ’œÂ?’—Â?ȹ•ŠÂ?ÂŽÂ›ÂŠÂ•ČąÂ•Â˜ÂŠÂ?ÂœÇŻČą Â‘ÂŽČąÂŒÂŽÂ—Â?Â›ÂŠÂ•ČąÂŒÂ˜Â›ÂŽȹ ÂŠÂœČąÂŒÂ˜Â—ÂœÂ?›žŒÂ?ÂŽÂ?Čą ahead of the main structure by the slip method of construcÂ?’˜—ȹȎȹŠȹÂ?ÂŽÂŒÂ‘Â—Â’ÂšÂžÂŽČąÂ?‘ŠÂ?ȹ ÂŠÂœČąÂ?Â‘ÂŽÂ—ČąÂžÂœÂŽÂ?ČąÂ?Â˜Â›ČąÂ?Â‘ÂŽČąÄ™Â›ÂœÂ?ČąÂ?’–Žȹ’—ȹ India for a multi-storey building. The cubically-notched Œž‹˜’Â?ČąÂ?˜ ÂŽÂ›ČąÂ˜Ä›ÂŽÂ›ÂœČąÂ›ÂŽÂœÂ’Â?Ž—Â?ÂœČąÂ˜Â?ČąÂ?‘ŽȹŠ™Š›Â?–Ž—Â?ÂœČąÂ—Â˜Â?Š‹•Žȹ cross-ventilation too. Â‘ÂŽČąÂŒÂ˜Â—ÂŒÂ›ÂŽÂ?ÂŽČąÂŒÂ˜Â—ÂœÂ?›žŒÂ?Â’Â˜Â—ČąÂŠÂ—Â?ȹ•Š›Â?ÂŽČąÂŠÂ›ÂŽÂŠÂœČąÂ˜Â?ȹ Â‘Â’Â?ÂŽČąÂ™ÂŠÂ—ÂŽÂ•ÂœČą bear a strong resemblance to modern apartment buildings in Â?‘Žȹ ÂŽÂœÂ?Ç°ČąÂ™ÂŽÂ›Â‘ÂŠÂ™ÂœČąÂ?žŽȹÂ?Â˜ČąÂ?Â‘ÂŽČąÂŠÂ›ÂŒÂ‘Â’Â?ÂŽÂŒÂ?Č‚ÂœČą ÂŽÂœÂ?Ž›—ȹŽÂ?žŒŠÂ?Â’Â˜Â—ÇŻČą žÂ?Čą Â˜Â›Â›ÂŽÂŠČ‚ÂœČąÂŠÂ›ÂŒÂ‘Â’Â?ÂŽÂŒÂ?ÂžÂ›ÂŽČąÂ‘ÂŠÂœČąÂŠÂ• ÂŠ¢ÂœČąÂ‹ÂŽÂŽÂ—ČąÂ˜Â™ÂŽÂ—ČąÂ?Â˜ČąÂ?Â‘ÂŽČąÂœÂ”¢ǰȹ ÂŠÂœČąÂŒÂŠÂ—ČąÂ‹ÂŽČąÂœÂŽÂŽÂ—ČąÂ’Â—ČąÂ‘Â’ÂœČąÂŒÂ˜ÂžÂ›Â?¢ÂŠÂ›Â?ČąÂ‘Â˜ÂžÂœÂŽÂœČąÂŠÂ—Â?ČąÂ˜ÄœÂŒÂŽČąÂŒÂ˜Â–Â™Â•ÂŽÂĄÂŽÂœDzȹ Š—Â?ČąÂ?Â‘ÂŽČąČ Â‘ÂŠÂ—Â?’—Â?ČąÂ?Š›Â?ÂŽÂ—ÂœČ‚ČąÂ˜Â?ČąÂ?Â‘Â’ÂœČąÂŒÂ˜Â—Â?Â˜Â–Â’Â—Â’ÂžÂ–ČąÂŠÂ›ÂŽČąÂŠČąÂ–Â˜Â?Ž›—ȹ’—Â?Ž›™›ŽÂ?ŠÂ?Â’Â˜Â—ČąÂ˜Â?ȹŠȹÂ?ŽŠÂ?ÂžÂ›ÂŽČąÂ˜Â?ČąÂ?‘ŽȹÂ?›ŠÂ?Â’Â?Â’Â˜Â—ÂŠÂ•ČąÂ‹ÂžÂ—Â?Š•˜ ȹȎȹ Â?‘ŽȹÂ&#x;Ž›Š—Â?Š‘ǯȹ —ȹÂ?Â‘Â’ÂœČąÂ’ÂŒÂ˜Â—Â’ÂŒČąČ ÂœÂ”¢ÂœÂŒÂ›ÂŠÂ™ÂŽÂ›Č‚ČąÂ˜Â?ČąÂ?Â‘ÂŽČąČ‚ĹžĹ–ÂœÇ°ČąÂ‘ÂŽČąÂ‘ÂŠÂœČą ingeniously adapted age-old principles to contemporary living as only a genius could.

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7 WONDERS OF INDIA IIM AHMEDABAD

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INDIAN INSTITUTE OF MANAGEMENT, AHMEDABAD

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ack in 1974, when Louis Kahn was witnessing the Indian Institute of Management Ahmedabad ǻ Ǽȱ ȱ ǰȱ Ĵ ȱ ȱ ȱ ȱ ȱȮȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱę ȱ Dzȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ¢ȱ ȱ ǯȱ ¢ǰȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ Ȭ ȱ ǰȱ £ ȱ ȱ ȱ ȱ ȱ ȱǻ ȱ ¢ ȱ ȱ ¢ȱ ȱřȱ ǰȱ ȱ ȱ Ǽȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ǰȱ ȱ ȱ ¢ ǰȱ ȱ ȱ ȱ ȱ¢ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱȱ The inception of IIM took place in the late 1950s when ȱ ȱ ǰȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ǯȱ ȱ ȱ ȱ ȱ ǯ ȱ ǰȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ¢ ȱ ȱ ȱ ȱ ȱ ȱ ȱ Dzȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǯȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ Ȭ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ǰȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ

ARCHITECT and INTERIORS INDIA | APRIL 2016 | www.architectandinteriorsindia.com

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7 WONDERS OF INDIA IIM AHMEDABAD

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PROJECT DETAILS Name of the project: Indian Institute of Management Location: Ahmedabad, Gujarat The architect: Louis Kahn Associate architects: BV Doshi and Anant Raje Total area: 60 acres Date of completion: 1974 2. The library with its wide arches made up of brick and concrete. 3. Louis Kahn Plaza is the focal point of the campus. 4. The amphitheatre-style classroom facilitates interaction.

to architect BV Doshi, and what followed next can be probably credited to purity of thought. In today’s scenario, it would have been a project worth competing for – but back then, it was seen as an once-in-a-lifetime opportunity to collaborate and create. Prior to this commission, Doshi had just met Kahn in Philadelphia – and he saw in him and his work, a treasure worth bringing back home. And the rest, as they say, is architectural history. Kahn’s design concept for IIMA is often referred to as ‘a blend of austerity and majesty’, and rightly so – for he took

ARCHITECT and INTERIORS INDIA | APRIL 2016 | www.architectandinteriorsindia.com

a humble brick and built an expression of fortitude. The ę ȱ ȱ ȱ ȱ ¢ȱ ȱ ȱ ȱ ȱ ȱ ȱ examples where tradition meets contemporary, not as a caricature but in a just form. Kahn was convinced that classrooms were merely the beginning of learning, but that wholesome education actually took place through social interaction among the faculties and students. This is precisely why IIMA is punctuated with broad airy corridors, amphitheatre-like classrooms and transition spaces at regular intervals in the complex, all together enhancing interaction. The campus comprises the main school building, students’ residence and accommodation for faculty; the zoning allows ȱ ȱ Ě ȱ ȱ ȱ ǯȱ ȱ ȱ the inhabitants of the structure from the intense weather, the campus is accentuated with covered walkways, light boxes and interior courtyards. A triangular apse functions as the hall in the student dormitories and can be used as a meeting/ gathering point. The Louis Kahn Plaza is considered the fo ȱ ȱ ȱ ȱ ȱ ȱ ȱ ȱ ę ǰȱ ȱ ȱ ȱ the venue for most celebrations in the institute.

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7 WONDERS OF INDIA THE PALACE OF ASSEMBLY

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PALACE OF ASSEMBLY, CAPITOL COMPLEX, CHANDIGARH

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1. The architecture gives monumental dignity to the functions of the government.

ocated in the far north of Chandigarh, close to the foothills of the Himalayas, lies the Capitol Complex of Chandigarh – one of Le Corbusier’s most prominent architectural achievements in the country. Of these, The Palace of œœŽ–‹•¢ǰȹŒ˜–™•ŽÂ?ÂŽÂ?ȹ’—ȹŗĹ&#x;ĹœĹ˜Ç°ČąÂ’ÂœČąÂŠČąÄ™Â—ÂŽČąÂ›ÂŽÂ™Â›ÂŽÂœÂŽÂ—Â?ŠÂ?Â’Â˜Â—ČąÂ˜Â?Čą his architectural philosophy and style. With its dramatic œ”¢Â•Â’—ŽǰȹÂ?Â‘ÂŽČąÂŠÂœÂœÂŽÂ–Â‹Â•¢ȹ‹ž’•Â?’—Â?ȹŠĴŽ–™Â?ÂœČąÂ?Â˜ČąÂ?Â’Â&#x;ÂŽČąÂŠČąÂœÂŽÂ—ÂœÂŽČąÂ˜Â?Čą monumental dignity to the functions of the government, and it is one of the most appealing aspects of the Capitol Complex – a noteworthy accomplishment and a landmark of legislative architecture, The Palace of Assembly is a style apart with its intricate carvings and use of red, yellow and ‹›˜ Â—ČąÂ‘ÂžÂŽÂœȹǝÂœ¢Â—˜—¢Â–˜žœȹ Â’Â?‘ȹÂ?‘Žȹ —Â?’Š—ȹÂ?Žœ’Â?—ȹ™Š•ŽĴŽǟǯ The program for the building features a circular assembly chamber, a forum for conversation and transactions, and stair-free circulation. Inside, the Palace of Assembly houses an open plan structured by the grid of reinforced Œ˜—Œ›ŽÂ?ÂŽČąÂŒÂ˜Â•ÂžÂ–Â—ÂœÇŻČą Â‘Â’ÂœČąÂœÂ?›žŒÂ?ÂžÂ›ÂŠÂ•ČąÂ™ÂŠÄ´ÂŽÂ›Â—ČąÂŠÂ•Â•Â˜ ÂœČąÂŠČąÂ?›ŽŽȹ –Š—’™ž•ŠÂ?Â’Â˜Â—ČąÂ˜Â?ČąÂ?Â‘ÂŽČąÂ™Â›Â˜Â?›Š–ȹÂ?Â˜ČąÂ™Â•ÂŠÂŒÂŽČąÂ˜ÄœÂŒÂŽÂœČąÂŠÂ—Â?ČąÂ˜Â?‘Ž›ȹ private programming along the outside of the plan and leave the center open for public use. The two legislative chambers are thus surrounded by a ‘forum’ which boasts of an extraordinary collection of spaces, ramps and platform levels serving as stair-free circulation and informal meeting spacess. The empty space above this forum corresponds to Â?‘ŽȹÂ?Â‘Â›ÂŽÂŽČąÄšÂ˜Â˜Â›ÂœČąÂ˜Â?ČąÂœÂžÂ™ÂŽÂ›Â’Â–Â™Â˜ÂœÂŽÂ?ČąÂ˜ÄœÂŒÂŽÂœÇŻČą Intersecting this open space is a circular assembly chamber. The adoption of a circular form for the hall seems

ARCHITECT and INTERIORS INDIA | APRIL 2016 | www.architectandinteriorsindia.com

WONDER BAR Conceived as a horizontal rectilinear structure, the design of the Palace of Assembly brilliantly demonstrates Corbusier’s principles of architecture. The use of reinforced concrete columns in a grid throughout the building raise the large swooping form high above the entrance; a monumental portico facing the main plaza. The two legislative chambers are conceived as free-standing, curvilinear forms enclosed within a rectilinear shell, carrying on one side WKH HQWUDQFH SRUWLFR DQG RQ WKH RSSRVLWH VLGH D EDQG RI RIĂ€FHV The use of ‘brise soleil’ for sun shading on lateral walls allows IUHHGRP IRU IHQHVWUDWLRQV 7KH VXQ VKDGLQJ DORQJ WKH RIĂ€FHV frames the inhabitant’s views into the surrounding site, while the portico opens to the adjacent landscape of the distant Himalayas – indulging Corbusier’s desire for multiple vistas. The accessible rooftop supported by the ‘pilotis’ provides usable space, giving occupants a vertical means of connecting to nature and compensating for the habitat removed by the building. The smaller Council Chamber conceived in a rectilinear frame is crowned by a pyramidal roof, provided with north light. The three elements on the roof: the hyperboloid, the pyramid and the lift-tower, form various geometric expressions against the sky, with the Himalayas as a backdrop. With different angles of view playing out as one approaches the building, the three elements seem to rotate around each other, exchanging SRVLWLRQV DQG FURVVLQJ EDFN DQG IRUWK Ă€QDOO\ ZLWKGUDZLQJ EHKLQG the massive sweeping form of the entrance.

PHOTOGRAPHS: WILFRED LOUIS

7 WONDERS OF INDIA THE PALACE OF ASSEMBLY

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PROJECT DETAILS Name of the project: Palace of Assembly Location: Capitol Complex, Chandigarh The client: Government of India The architect: Le Corbusier Date of completion: 1962

2. The hyperboloid and the pyramid form various geometric expressions against the sky. 3. Exposed concrete not only helped in holding the complex architecture together,, but also assigned a notion of elegance. 4. A brightly-hued painting by Le Corbusier adds vibrancy to the entrance.

contrary to the development of good acoustics. The hall is made in a hyperbolic shell with an average thickness of 15cms, which is constant throughout its surface – resulting in a low cost and a minimum of weight corresponding to the engineering of an industrial cooling tower. The air conditioning was designed to work under the best circumstances – since the cool air is introduced from above to below, several meters above the deputies and visitors, and descends by gravity to breathing level; while the warm air was destined to rise and be exhausted by mechanical apparatus installed in the framework of the hall. The massive hyperbolic tower – 128ft in diameter at the base of the assembly chamber, rising to 124ft at its highest point – extends above the roofline and provides a sculptural and dramatic look against the backdrop of distant hills. The exposed concrete construction and graphic expression of the elevations find kinship with the ‘Brutalist’ art and architecture flourishing parallelly then through Europe, America and Australia. A striking diversification from the then Indian architectural style and identity, Corbusier’s planning for the city of Chandigarh, and the subsequent design of almost all of the important buildings in the city,

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followed the Prime Minister Jawaharlal Nehru’s wish for a metropolis that was ‘unfettered by the traditions of the past’ and was ‘a symbol of the nation’s faith in the future’. Brutalism, an architectural movement, originated from the phrase ‘beton brut’ – translated as raw concrete. The prominent use of exposed concrete not only helped in holding the complex architecture of the building together, but also assigned a notion of elegance – thus diversifying from the concept of generic brutalist architecture. Charles Correa once recalled the passion of Corbusier’s architecture: “Throughout his life, Corb has sought to create an architecture of passion. His buildings, both in concept and visual language, have always been presented at a certain decibel level. No sotto voce, no politeness, but – like Wagner-thunder in the concert hall.” This is perhaps one of the most important aspects of Le Corbusier’s architecture: that the flamboyance and intensity of his strokes were maintained up to execution; and that those designs that could not survive it, were discarded.

7 WONDERS OF INDIA CEPT UNIVERSITY

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CEPT UNIVERSITY, AHMEDABAD

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1. The CEPT campus is rooted in Indian culture, while remaining connected to a global outlook.

n institution that shapes the future of architecture through the young minds it hones – of those who will hopefully create the next architectural wonders – the Center for Environmental Planning and Technology (CEPT) is dear to many. It’s not just the alumni who rave about this educational haven, even common folk who drop by the university are left inspired by this brick campus. In 1963, CEPT was clear about its objective in its curriculum statement: “Education combines the abstract and the real. It must challenge established patterns, seek out validity in tradition, and combine these with the possibilities of today. The ultimate aim of education is the training of men to deal challengingly with problems… in the process it is a dynamic analysis of culture, values, knowledge and methodology.” The campus is the embodiment of this philosophy. Founded and designed by living legend BV Doshi, CEPT aimed to be deeply rooted in Indian culture while still connected to a global outlook – in its campus and curriculum. The Ahmedabad Education Society aided this vision that would usher in a new era in architecture education, one that was free in spirit and form. CEPT started off modestly with the inception of the School of Architecture in 1962, followed

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WONDER BAR In CEPT, BV Doshi managed to express his gratitude to his two masters: Corbusier and Kahn. From Corbusier, he learned the delineation of spaces, while Kahn enforced clarity in structural thought. “Kahn made me more aware of the breeze, structural clarity, the stark brutal strengths of surfaces, the beauty of geometry, and the profound meanings of words and sentences,” writes Doshi in ‘Le Corbusier and Louis Kahn – the acrobat and the yogi of architecture’. Corbusier gave him a wide exposure and strong fundamentals in modern architecture and materials. In a note written some years after the completion of the first stage of the campus, Doshi wrote: “As with Le Corbusier’s Unite d’Habitation or Villa Savoye, the building is raised up above the ground. But here, the space underneath is active and multifunctional, designed for sun protection and exposure to the breeze.” In the current culture that is saturated with plagiarism, Doshi’s work is a fine example of what it means to be inspired and to translate it into a new design altogether. Neelkanth Chhaya, former director of CEPT, expresses it well when he says, “Doshi, though influenced by both the masters, evolves a deeply personal vocabulary...result of his travelling, sketching and observations.”

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by the School of Planning in 1972. The other schools – School of Building Science and Technology and School of Interior Design – were established in 1982 and 1991 respectively. Free-flowing spaces, not boxed in and unrestrictive in form, personifies the design concept governing the campus. Both the built and the un-built maintain different levels of correlation by increasing or decreasing the intensity of light and scale. Giving education the outdoorsy character – as was done by Louis Kahn in IIM Ahmedabad – the campus provides ample space for social gathering, or even individual meditation, through its in-between spaces of interlocking platforms and steps/plinths of various scales and sizes. Large studios with immense north light, intimate balconies, open spaces on the ground floor, linear axis of the entrance steps and the popular canteen space, further characterise the campus. With multiple purpose studios and teaching spaces, the easy-to-maintain campus was designed to accommodate future expansion with its parallel, load-bearing brick walls and concrete beams and floors. By maintaining a north-south orientation of parallel bays, Doshi maximised airflow through the building while minimising the impact of the sun. Additional climatic interventions include: deep overhangs shading south-facing openings; fewer openings on the east and west sides of the structure; thick walls that insulate as well as act as structural elements; double height spaces for convective cooling; north lighting for glare control; greenery and landscape features like sunk basement. The warmth of the exposed brick and concrete finish on the buildings merge beautifully with the surrounding neem trees – planted by Doshi during the different stages of design and construction. Architect Tony Joseph of Stapati, in a discussion, recognised landscape and nature as “being omnipresent and playing an important role in setting the tone of the space.” CEPT always desired to be home to interlinked disciplines, and it recognised the arts and the social and natural sciences

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PROJECT DETAILS Name of the project: Centre for Environment Planning and Technology University Location: Ahmedabad, Gujarat The architect: Balkrishna Doshi Associates: DC Panchal, SC Bhavsar and KB Jain Project engineers: RM Shah and SL Shah Structural engineer: Dr. Mahendra Mehta Contractors: Western India Engineering Total built-up area: 4,275sq-m as influential in the field of environment and human habitat. This vision has manifested in varied forms in the campus: Community Science Centre (built through a student competition), Hutheesing Visual Art Centre, Kanoria Centre for the Arts and the famed Amdavad-ni-Gufa. The campus has been ridden with controversy over its expansion plans, with students and the architecture community asking for careful consideration of the changes being undertaken. This movement indicates the importance and timelessness of this institution; both, young and old recognise in it an invaluable lesson in good architecture. For its power to move the community, the CEPT campus is clearly an architectural wonder that we must treasure for years to come.

2. Diffused natural light filters into the studio spaces. 3. The campus is designed to maximise airflow while minimising the impact of the sun. 4. There are different degrees of connection between indoors and outdoors.

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PHOTOGRAPHS: COURTESY VINEET RADHAKRISHNAN

7 WONDERS OF INDIA CENTRE FOR DEVELOPMENT STUDIES

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CENTRE FOR DEVELOPMENT STUDIES, THIRUVANANTHAPURAM

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1. The seven-storey library tower, octagonal in shape, is the tallest on campus.

noteworthy addition to the Indian aesthetic, economy and topography is the Centre for Development Studies (CDS) at Thiruvananthapuram, designed by Laurie Baker – one of the most respected and widely followed architects of the nation. The sweeping built form of this educational and research complex successfully amalgamates the built and the non-built components (the two sides of the metaphorical coin) of architectural design. The project is a significant breakthrough with respect to scale, budget and the range of architectural vocabulary employed by Baker in this style of adaptive cost-effective architecture. Respecting local culture and tropical climate, the design is porous in nature, exhibiting varying bonding techniques and intricate jali work, and demonstrates the architect’s deftness with locally-manufactured brick – a versatile building material amply highlighted throughout his architectural practice. Built-in furniture, outdoor paving, lintel arches and streetlight poles also see the use of brick. The centre spans an area of nine acres and houses all components of an institute – from administrative offices to a library, amphitheatre, classrooms, accommodation and a computer centre. Most of the buildings have a doubleskin wall, where the outer wall comprises brick jali. Baker always strongly maintained that curved or circular profiles occur more frequently in nature than straight lines, squares or rectangles, and are stronger structurally. This ideology is well highlighted in the space planning as well as elevational evolution of the design. The walls – stepped, curved or folded – not only serve to break the monotony of the ubiquitous straight wall, but also serve to strengthen the overall structure, and vary in thickness

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WONDER BAR A highlight of the project is the use of 4.5-inch-thick, brick loadbearing walls (half the conventional thickness) spanning three storeys in height, that brilliantly fold in and out to achieve strength and stability, and support a substantial and lengthy roof above it. This feat, achieved at the Men’s Hostel, enables a seamless flow from the rigidity of the rectangular rooms to the playful, curved corridors. It also highlights circular staircases and deep-set wall niches as sculptural elements and a healthy, interactive hostel life, within its realm. While the jali work in close range suggests the contrasting light and shade as the primary design goal, the truth of the matter, as reiterated by Baker over the years, is that the forms evolved more out of the structural and economic challenges of the project brief. depending on the load. The buildings feature openings that are arched, corbelled or spanned with brick lintels. The design goal was not only to make a cost-effective educational complex, but also to provide a landmark consistent with the milieu and developmental aspirations of the locality. Overlooking paddy fields, the site rises along a gradient on a hillside, up to the crest. The seven-storey library tower, octagonal in shape, is the tallest on campus. Each storey is marked by a different jali pattern on the exterior wall. The top of the tower boasts a viewing gallery with large windows on all eight sides, providing a 360 degree panoramic view of the city. The library dominates the skyline, and the administrative offices and classrooms seem at first to be randomly strewn across the slope – but in reality, the spaces are all tightly knit and connected through breezy walkways and

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landscaped courtyards. The amphitheatre, created out of excess building material, is made by merely consolidating the contours. Most of the buildings derive their organic shapes from the contours on which they sit. The construction of the computer centre posed a challenge to Baker’s design language for the campus. An anomaly to the rest of the spaces, it was essential for the computer centre to be less open to the elements to maintain strict temperature and humidity control. However, to integrate with the rest of the campus, jalis were desirable. In response, Baker decided to construct a double-walled building with a sufficient gap between the two walls – such that the air flow between the walls controlled the temperature by preventing direct heating of the 9-inch load-bearing inner wall. The outer 4½ inch wall consists of interlocking circular arcs, with jali patterns rising up to a three-storey height. The inner wall is entirely brick, with corbelled arches that control the entry of light and ventilation from the outer wall without creating glare. While the superstructure is built almost entirely of

Name of the project: Centre for Development Studies Location: Ulloor, Thiruvananthapuram The client: Centre for Development Studies The architect: Laurie Baker Total area: 10 acres Date of completion: 1971 load-bearing red-burnt bricks, the foundation and basement boasts of local random rubble granite in lime-surkhi mortar. The reinforced concrete filler slabs are finished with flooring that is a mixture of local quarry tiles, red oxide flooring and mosaic flooring using terrazzo techniques with the simplest and fewest ingredients, in-situ. Plastering was done only in the bathrooms – otherwise exposed brickwork is prominent, whitewashed in some rooms. Pre-cast stair treads use filler slab with bamboo reinforcement bars. The finished product appears to blend with the earth visually and physically, with the various internal pockets and external courtyards providing a feast for the senses. The use of humble materials with a unique sensitivity to design is what makes the Centre for Development Studies laudable as an architectural wonder of the country.

2. The computer centre is a double-walled building to ensure optimum temperatures. 3. Baker maintained that the forms evolved more out of the structural and economic challenges of the project. 4. CDS is a study in different jali patterns made using red-burnt bricks. 5. The walls, whether stepped, curved or folded, break the monotony and serve to strengthen the structure. 6. Baker always preferred curved or circular profiles.

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7 WONDERS OF INDIA BAHA’I HOUSE OF WORSHIP

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BAHA’I HOUSE OF WORSHIP, NEW DELHI

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1. It took 18 months to convert the lotus concept into workable, site-specific structural drawings.

n architectural marvel and an engineering feat that brings together people of different faith to one common place of worship, the Lotus Temple (as the Baha’i House of Worship is famously referred to) is indeed a noteworthy structure that couldn’t escape our list of architectural wonders in India. This year marks the 30th anniversary of this remarkable edifice and, after all these years, its structural ingenuity is still unparalleled. Located on the hill at Kalkaji in New Delhi, the lotus-shaped house of worship was conceptualised by Iranian-American architect Fariborz Sahba who began designing it in 1976. Sahba spent considerable time studying the culture in India, and even Sri Lanka, visiting holy places of different religions. Since the essence of the Baha’i faith is unity in diversity, the architect had to unite different beliefs into one universal design language. And while on this quest, he found a symbol that kept emerging from his various encounters. “The deep respect for the lotus that was spontaneously evoked from Indian hearts everywhere, the excitement in their eyes and their loving attachment to this sacred flower kept me from considering other ideas for the design,” he explained about the origin of the design. It took 18 months to flesh out this ambitious concept into working drawings and site-specific design solutions. The circular structure is composed of three sets of petals – the outermost nine petals form the entrances and open outwards, followed by the inward-pointing nine petals that house the outer hall and, finally, the third set of nine budshaped petals that create a dome in the centre, covering the main hall. The lotus-shaped structure sits afloat amidst nine pools, beautiful pathways and stairs.

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WONDER BAR Often cited as the ‘Taj Mahal of the 20th century’, the Lotus temple is also clad in marble – about 10,000sq-m of marble quarried from the Mount Pentelikon= mines of Greece. Based on the geometry and architectural pattern, the marble panels were cut to size and shape in Italy before being transported to the site. The white marble panels are fixed to a concrete surface; the concrete mix was derived specifically for this structure with the use of white cement from Korea, specially graded dolomite aggregates from Alwar Mines near Delhi and white silica sand from Jaipur. Galvanized steel was chosen as the reinforcement for the entire structure so as to prevent any negative effects of rust over the years. Once imported, local craftspeople carried out the entire marble cladding work after learning the skill within a few weeks; and completed the entire task accurately, two months before the scheduled completion date. In so many ways, the making of this structure seems like a symbiosis – with material to human resources from all over the world converging into this magnificent house of worship. No wonder that, the world over, this is a celebrated structure: winning an award in excellence in 1987 from the Institution of Structural Engineers (with the description: “a building so emulating the beauty of a flower and so striking in its visual impact”), a special citation from the Illuminating Engineering Society of North America (1988), and an architect award from the GlobArt Academy in Vienna (2000). The American Concrete Institute recognised it as ‘one of the finest concrete structures of the world’, while the Architectural Society of China (2000) commended it as one of 100 canonical works.

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The reference to nine in the design elements is indicative of the Baha’i scripture, which unites nine major faiths of the world. With an overall height of about 40m, the complex consists of the main house of worship which can hold up to 1,200 people (2,000 more can be accommodated by using the galleries); the ancillary block consisting of the reception, library and administrative block; and the restrooms. The temple includes a basement that houses the electrical and plumbing services, and contributes to the natural ventilation mechanism employed in the structure. Instead of opting for air conditioning, the structure has a cost-effective ventilation flow that keeps the interiors at optimum temperature all year, despite the harsh weather prevalent in the city. This strategy was derived after conducting ‘smoke tests’ experiment on the temple model in the Imperial College of London. The pools cool down the fresh air which enters through the basement, while the opening in the dome expels the warm air – creating a constant draught in the space. Additionally, exhaust fans in the dome cool down the concrete shells and prevent heat transfer, while a set of fans re-direct air from the auditorium back to the cold basement – and the recycled cold air is sent back to the auditorium. Keeping up with the times and staying true to its spiritual calling, the temple recently started relying on solar power

PROJECT DETAILS Name of the project: Baha’i House of Worship Location: New Delhi Client: National Spiritual Assembly of the Baha’is of India The architect: Fariborz Sahba Structural consultant: Flint & Neill Partnership, London Contractors: Larsen & Turbo Limited Total area: 26 acres Date of completion: 1986 for its lighting and cooking needs. Out of the total 500kW of power it uses, the Lotus temple now generates 120kW on its own – saving around Rs1.2 lakh in electricity bills per month. It is also the first major public site in Delhi to install a ‘net metre’ (a billing arrangement that determines how any excess renewable electricity delivered to the grid will be credited). Currently, the temple’s trustees are in the process of getting the Baha’i House of Worship recognised as a World Heritage Site (as of now, it features in the tentative list of world heritage sites). The iconic structure is being advocated as a symbol of tolerance and unity in the country.

2. Nine pools surround the temple and imrpove the ventilation. 3. The outermost nine petals form the entrances and open outwards. 4. About 10,000sq-m of marble was quarried from Greece for the cladding.

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PHOTOGRAPHS: COURTESY DOMINIQUE DARR, AUROVILLE OUTREACH MEDIA

7 WONDERS OF INDIA MATRIMANDIR

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MATRIMANDIR, AUROVILLE, TAMIL NADU

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1. The Matrimandir, or the ‘Mother’s Shrine’, is planned as the focal and energy centre of Auroville.

ucked away in Auroville, north of Pondicherry in South India, is an architectural marvel that is a cause of pique among the masses – young and old. The Matrimandir, or the ‘Mother’s Shrine’, is planned as the focal and energy centre of Auroville, from which the town radiates outwards. The empty centre – the hollow globe of Matrimandir – is a haven of peace and a temple for those seeking a higher concentration. Designed by Roger Anger, who was the town’s chief architect, the golden sphere seems to emerge from the centre of 12 large petals that resemble the sectors of a fractured crater, symbolising the birth of a new consciousness. The aspiration behind Auroville was to build a universal town where men and women from all countries are able to live in peace and progressive harmony. The centre of the town was envisaged to be a ‘park of unity’ which contained what was previously called the ‘pavilion of truth’. The French architect Anger spent a lot of time experimenting with designs to realise the vision. The complex is based on concepts that are truly symbolic and correspond to the intentions behind the creation of Auroville. Anger came forth with five models for the complex in 1970, of which the concept of a golden sphere was selected.

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WONDER BAR In the centre of the inner chamber sits a pure crystal-glass globe which suffuses a ray of electronically-guided sunlight that falls on it through an opening at the apex of the sphere. This enables the luminescent globe to radiate natural lighting in the Inner Chamber. The play of the sun on the centre was considered to be a vital part of the design concept. Devoid of any idols, religious forms or motifs, the Inner Chamber enables the visitor to seek the purest form of concentration and reach a higher individual consciousness. In order to reach the inner chamber, one has to first descend deep into the earth between two petals before starting the ascent. The ascent, trying and tedious as it is with narrow passages and winding staircases, emerges into a very large hall bathed in the golden-pink light of the Matrimandir’s inner skin – thus symbolising the ascent of human consciousness in an upward spiral, culminating in elevated vision. With a vertical diameter of 29m and a horizontal one of 36m, the flattened outer geodesic dome of the Matrimandir supports itself with latticework of H-shaped concrete beams that are solidly joined to create a triangular grid

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spaceframe. This spaceframe is clad with 768 triangles and the 1,423 golden discs that give the ‘aureal’ Matrimandir its identity. Perched in the upper hemisphere of the outer sphere, the spacious inner chamber is completely white – enclosed in white marble walls and deep, white carpeting. It comprises 12 faceted walls in a 24m diameter cylinder. The large and small gardens, 12 each, radiating from the Matrimandir were envisaged to be of equal importance to the core itself. The gardens are meant to bring an elevated level of calm and peace in a manner that the path to the core could strip the visitor of mental noise and alleviate negative thoughts or static, promoting concentration. Each petal is assigned a virtue of consciousness, such that a walk around the gardens would be an ability to move from consciousness to consciousness. The 12 large petals, comprised within a circle of 49m radius, rise to a height of 6.5m and house meditation rooms within; the larger petals are further flanked by smaller petals housed within a circle of 76m radius. It was also decided that the Matrimandir would be surrounded by water. Technical studies are still in progress to realise this conceptual angle.

PROJECT DETAILS Name of the project: Matrimandir Location: Auroville, Tamil Nadu The client: The Auroville Foundation The architect: Roger Anger Total area: 22 acres Date of completion: Ongoing Matrimandir is dedicated to the Universal Mother – a Presence or Being that has been experienced and worshipped. Although most of the construction was completed in 2008, several structural and conceptual details of the complex are yet to be realised and are being worked upon. Of the works yet to be completed, one of the chief aspects is related to the main entrance doors. Currently, only the north entrance is fitted with its vertically moving gold-shield door. Sensor operated, this door silently lowers itself out of sight as you approach it, sliding down between two of the granite-clad steps of the main entrance as if in answer to one’s aspirations. A&I

2. 1,423 golden discs give the ‘aureal’ Matrimandir its identity. 3. Latticework of H-shaped concrete beams are solidly joined to create a triangular grid spaceframe. 4. Roger Anger came forth with five models for the Matrimandir in 1970, of which the concept of a golden sphere was selected.

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PRODUCT SPOTLIGHT HVAC SYSTEMS

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COOL IT OFF! DOMESTIC AND COMMERCIAL HVAC MARKETS HAVE AN INTERESTING LINE-UP OF PRODUCTS, WITH BETTER RATINGS

BY CAROL FERRAO

A 1. The Indian HVAC&R market is expected to grow by nearly 30% over the next two years.

s we gear up for another (and most probably excruciating) summer in India, the need for mechanical ventilation and temperature control will be undeniable. While poor designing can take some blame for the lack of ambient temperatures indoors, the truth is that the temperatures are getting warmer and machines can make life more comfortable – if not wholly sustainable. For the HVAC industry, this heralds the hope of more demand in products and services; but most importantly, the resolve to make solutions more Green and affordable. “Once a luxurious product, air-conditioners have become a necessity today. The government, too, is making efforts to ensure

ARCHITECT and INTERIORS INDIA | APRIL 2016 | www.architectandinteriorsindia.com

that air-conditioners are more environment-friendly and consume less electricity,” agrees Vipin Agrawal, director, System AC Business, Samsung India Electronics. The Indian HVAC&R market is expected to grow by nearly 30% over the next two years to boast of a capitalisation of over Rs20,000 crore, stated ISHRAE (Indian Society of Heating, Refrigeration and Air-conditioning Engineers) recently. This will be mainly due to growth in infrastructure and real estate. The domestic market, especially, is expected to see a rise in air-conditioning – whether it is installing a unit for the first time or upgrading an old unit to a more energy-efficient model. In the commercial area, where HVAC is crucial in maintaining IAQ (Indoor Air Quality) and optimising

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performance, advanced control systems allow for an intelligent use of the otherwise power-guzzling system. Overall, innovators in this sector are looking at improved energy efficiency and Green-rated units that will redeem HVAC from its otherwise unsustainable nature. The HVAC industry is focusing on energy savings and precision system control through development in the use of adjustable frequency drives in HVAC systems. Through such interventions, it is possible to extract considerable savings by matching system capacity to the actual load throughout the year. An evolving technology, Variable Frequency Drives brings with it numerous benefits and is indicative of how different components in HVAC can help create a more sustainable cooling solution. Such innovations and improvements speak favourably about ‘trends’ in the industry. Additionally, we now see a rise in awareness of energy efficiency and a focus on Green-rated products. “Consumers must be aware about correct energy efficiency ratings to be able to make an informed decision; and the Government of India’s Bureau of Energy Efficiency (BEE), in collaboration with manufacturers, has relentlessly been taking initiatives

The Global Advanced HVAC Controls Market 2016-2020 report forecasts that the HVAC controls market will grow at a CAGR of 8.67% during the period 2016-2020. As per the report, one of the major contributors to the revenue in this market during 2015 has been the sensors segment and it is being increasingly used in the advanced HVAC controls systems. Temperature sensing and control are the most prominent functions in these systems. “The market by non-residential users is expected to register the fastest growth during the forecast period, posting a CAGR of over 8%” – point out analysts in the report. Most dependent on advanced HVAC controls are healthcare and educational institutions, manufacturing and industrial buildings, as well as offices and retail stores. The report also observes that, since the market is capital intensive and due to the global economic downturn, vendors were unable to invest substantially on R&D and marketing campaigns. High initial investment and regular maintenance during its life cycle is also deterring end-users from purchasing advanced HVAC equipment. The study was conducted using an objective combination of primary and secondary information, including inputs from key participants in the industry. The report contains a comprehensive market and vendor landscape in addition to a SWOT analysis of the key vendors. in this direction. It has been tightening the star labelling norms, year on year, to ensure that more energy-efficient technologies are adopted by manufacturers as well as consumers,” states Anup Bhargava, product group head – Air Conditioners, Godrej Appliances.

THE DOMESTIC MARKET Experts believe the domestic HVAC market will reach US$ 3.97 billion by 2019 owing to changing lifestyles, better standards of living, and rising expenditure by consumers on comfort solutions. “The domestic air-conditioning market has grown by about 20% over the last year, which is a very positive development. The sale of inverter ACs, in particular, has been growing and has reached 12%. However, we have seen that the growth in window AC as well as the 2-star split AC segment has been declining,” highlights Bhargava. Doing considerably well in this market is the Godrej Eon

4. Aryabot, Videocon’s new Satellite AC with futuristic features, is based on the Internet of Things (IoT) phenomenon.

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3. Samsung 360 Cassette transforms air flow and provides a uniform cooling experience. 4. Vipin Agrawal, director, System AC Business, Samsung India Electronics. 5. Samsung DVM Chiller reduces annual utility costs by 36-50% compared to conventional chillers. 6. Godrej NXW AC is a 5-star inverter AC with efficiency of 5.2 ISEER. 7. Samsung 30HP Super DVM S has an intelligent leak detection system.

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5-star air conditioner – “this range has helped us gain a market share of 12% in this segment,” mentions Bhargava. It has an energy efficiency rating (EER) of 3.9 and its USP is that it operates on ‘Green Balance technology’. This technology, which Godrej refers to as India’s most energy-efficient and clean technology, uses a natural hydrocarbon refrigerantR290, which results in high energy efficiency. This refrigerant also has zero Ozone Depletion Potential and lowest Global Warming Potential (of 20). Given the demand for inverter ACs, Godrej introduced NXW AC – a 5-star inverter AC with the efficiency of 5.2 ISEER (Indian Seasonal Energy Efficiency Ratio), offering 31% power savings over a 5-star non-inverter AC. This AC has been specially designed to suit Indian climatic conditions while delivering high efficiency – and comes packed with advanced technology and features such as 3X BLDC motor technology, parallel flow condenser with nano-coating

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ARCHITECT and INTERIORS INDIA | APRIL 2016 | www.architectandinteriorsindia.com

technology, moisture resistant conformal coating on PCB; intelligent air throw as well as user defined air throw – all aimed at delivering comfortable cooling. Besides energy-efficiency, air-conditioning in the residential sector is getting user-friendly with many customisable and add-on features – staying true to its image as a lifestyle product. One such example is Aryabot, Videocon’s new Satellite AC. “It is an intelligent device with futuristic features that are based on the Internet of Things (IoT) phenomenon,” the company states. Paired with smartphones and smartwatches, the AC can be accessed from just about anywhere. Interestingly, this product comes with a dedicated USB slot for a web cam connection, in order to tackle security and intrusion issues. The web cam streams live video on the smartphone through the integrated application. It also intelligently detects problem areas and suggests remedial actions based on its algorithms. It has the ability to contact the service centre on its own and log in service requests. The Sleep Graph mode allows the consumer to set desired temperature levels for each hour of the night – set different temperatures for eight hours. Through its budgeting feature, one can set electricity consumption limits, which help to plan the spending in advance, and also view daily, weekly and monthly energy consumption and expenditure. Nestled in this high-end market are new humble entrants that might make cooling accessible to all – not just at affordable rates, but also with the bonus of relatively less power consumption. The little-known Vaayu Hybrid Chillers is considered a hybrid between a cooler and air-conditioner; it uses the refrigeration cycle to cool the air, but doesn’t expel heat into the environment. Consuming just 250W per hour, Vaayu has been developed by Indore’s Pranav Mokshmar, who has worked as a product manager in multinational companies such as Carrier, Samsung and LG. It has the possibility of being a ‘Make in India’ success story if it stands the test of time and quality. This patented technology differs from conventional solutions – as it does not result in extreme cold temperatures, but merely brings the indoors to ambient

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MADE FOR INDIA BEE has laid out the star rating system to guide consumers in making a sensible purchase decision. The system awards star ratings based on efficiency – the higher the rating, the more energy efficient your appliance. For fixed speed compressor ACs, the prescribed parameter has been EER (Energy Efficiency Ratio); and for inverter ACs, since June 2015, BEE has issued guidelines wherein ISEER (Indian Season Energy Efficiency Ratio) has become the approved rating parameter which is a far better way of measuring efficiency. ISEER calculates efficiency as a ratio of the total amount of heat that an AC can remove from indoor air to the total annual amount of energy consumed by the AC to do that over a period of a year. Essentially, it rates ACs based on how much power they consume to cool a certain amount of air. So, a more efficient AC will use less power to cool a given volume of air than a less efficient one. The higher the ISEER awarded to an AC, the more energy efficient it is. The minimum ISEER required for an inverter AC to be rated as 5-star is 4.5. Not only is it more accurate, but the system has been designed to take into account India’s climatic conditions. It measures efficiency across the broad range of ambient temperatures that ACs in India have to operate in – from a pleasant 23 degrees centigrade (in which your AC will use less power to cool a room) to a sweltering 43 degrees centigrade (in which an AC will consume more power).

Information: Courtesy Godrej Appliances comfortable temperatures and controls the humidity level. Taking it one step further, the start-up company has developed Vaayu MIG 24, which is capable of cooling a 1,000sq-ft space by consuming only 800W of power.

THE COMMERCIAL SECTOR

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8. Anup Bhargava, product group head – Air Conditioners, Godrej Appliances. 9. The cross flow fins in the Gen Yue – a Full DC Inverter VRF System by Trane, allow better heat exchange.

To meet the burgeoning HVAC needs of commercial spaces, system innovators are unveiling an impressive line-up of solutions, each innovation trying to be better than the next. “Samsung has launched five new innovative products, which include the new 360 Cassette AC, 30 HP Super DVM, 14 HP Side Discharge DVM Eco, FJM (Free Joint Multi) and DVM Chiller. These innovations in HVAC engineering will transform air conditioning by boosting energy efficiency and performance, minimising environmental footprint, and increasing cooling speed,” states Agrawal. The 360 Cassette, with its aesthetically-appealing design, transforms air flow and provides a uniform air cooling experience. The revolutionary booster fan inside the cassette guides air from a complete horizontal flow, generating layers of chilled air. The circular air wave consistently controls the temperature of the room by providing an even distribution of air in a full 360-degree direction. The unit features a stylish and intuitive panel display that allows users easy control over air flow, depending on the preference. It also comes with an additional air filtration feature of Samsung Virus Doctor kit which can eliminate dust, airborne contaminants, allergens, bacteria and viruses – ensuring better IAQ (Indoor Air Quality). The 30HP Super DVM S by Samsung includes the new Super Inverter Scroll Compressor with flash injection technology with an optimised bypass valve to increase capacity by 29%. It also has performance boosting features – a Hybrid Heat Exchanger which increases the heat exchange area, an optimised refrigerant control that delivers an increased efficiency rate of 10%, and a new oval-shaped diffuser application which increases the airflow rate by

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17%. “Samsung is dedicated to adhering to regulations that help preserve the environment. Aligned to this ideology, the Samsung 30 HP Super DVM S also complies with strict regulation thanks to an innovative leak detection system which automatically begins an active pump down process that collects the refrigerant and closes all valves to isolate it within the unit,” adds Agrawal. Catering to the customer need for energy and operational efficiency, Trane introduced Gen Yue – a Full DC Inverter VRF System – for commercial real estate, hospitality and premium residential sector. The cross flow fins in the system allow better heat exchange, small air resistance and also minimises frost. This VRF system is designed to respond to harsh Indian conditions, and is capable of operating at 50°C. It can be paired with a wide variety of hi-tech controllers from individual, central, touch screen management system host, Touch Screen Gen Net management system and BMS connectivity.

THE ROAD AHEAD Much advancement is being made in the HVAC industry, such as modifying the size of indoor units and outdoor units to provide space-saving benefits. With modular systems available, installation can happen in different phases during the tenure of the total project. “In addition, more improvements are being done to move to next-generation systems. For example, heat recovery models for simultaneous heating and cooling of different zones by absorbing heat from one area and dissipating in another area is possible with one system, without additional power consumption,” adds Agrawal. Smart Controllers is also adding to the efficiency of the system by making it easy to closely monitor different parameters like scheduling or using the internet for remote management; and its compatibility with BMS systems enhances the overall performance. Sustainable principles will undeniably play a major part in future innovation in the HVAC industry. One such effort is the use of renewable sources of energy to fulfill the air-conditioning needs. Moving forward, there is hope that using mechanical interventions to control temperatures will involve less guilt and more comfort. A&I

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CONDITIONS APPLY

OSCAR & PONNI ARCHITECTS’ INNOVATIVE DESIGN AND TECHNICAL SOLUTION FOR AN AIR-CONDITIONED AUDITORIUM OF A SCHOOL BY MARIA LOUIS

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1. One 200TR air-cooled chiller with energy-efficient screw compressors provides the desired comfort conditions of 24˚C within the interiors of the auditorium. 2. Ponni and Oscar Concessao. 3. The stage area is air-conditioned with a dedicated stand-alone airconditioning system.

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hen Oscar & Ponni Architects were asked to build a spacious airconditioned auditorium (where all the indoor school events were to be held) for the St. Bede’s School overlooking the Bay of Bengal, reconstructing the heritage style of architecture, they took it up as a challenge. Innovative technical and design solutions have enabled them to meet the client’s goal. The auditorium is a state-of-the-art design that balances functional planning, architectural facilities and respect to the immediate built environment. Most importantly, it adapts the classic Roman style. The CBSE school is a ground plus two-storey building, and the 30,000sq-ft auditorium is completed in the style of architecture prevailing in the 100-year-old school campus. The concept was to accommodate contemporary needs in the heritage context of the building. Agreeing that change is inevitable for progress and improvement, the designers aimed to ensure that the physical fabric of the historic site remained intact. The lobby was designed to portray angels, a concept that suits the context of Christianity. The ornamented doors in the lobby were specifically made for the building with hand-worked designs from Indonesia. The project demonstrates a design that is well integrated into its context. The existing structure was 108 years old, making it a heritage building. Rather than replicate it, the

TECHNICAL SPECIFICATIONS Type: Air-cooled screw chiller Size: ( TR/HP) installed 200TR; operational 200TR Refrigerant: R134a (eco-friendly refrigerant) Total air-conditioned area: Entire auditorium Number of occupants: 2,000 Type of AC system/brand : Chilled water system/Dunhambush make, Malaysia auditorium’s beautifully nuanced structure evocatively reinterprets architectural traditions within the context of contemporary use and the heritage style of architecture. The building is totally constructed with locally available materials and skilled labourers from the area, minimising the transport within the site and reducing pollution. Waste water at site is recycled and used for landscaping. The site is beautifully landscaped with native plants, minimising the need for water. Burnt brick is the main material used for construction, and it is plastered with lime in some areas and with cement in others. Cuddapah stone is used for the floor-

PROJECT DETAILS Name of the project: St. Bede’s Centenary Auditorium Location: Chennai, Tamil Nadu The designers: Oscar & Ponni Architects, Chennai Built up area: 30,000sq-ft

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PRODUCT SPOTLIGHT HVAC SYSTEMS

OSCAR & PONNI ARCHITECTS ON HVAC SYSTEMS What improvements have you seen in the domestic HVAC sector, as a user/designer of built spaces? The market for air-conditioners in India has been on a steady growth, and the perception of people towards this category has witnessed a paradigm shift over the years – from a luxury product to becoming a necessity in the hot and humid weather conditions in India. How sustainable are air-conditioning systems today? We are passionate about environmental sustainability, and AC manufactures are designing energy-efficient, cleaner technologies and innovative products that not only use significantly less energy – but help maintain air quality through state-of-the-art air purification systems for both residential and commercial applications. Which is your favourite product/innovation in this segment and what is its USP? Daikin, in the air-conditioning segment, has initiated a gamut of innovations, and offers a range of energy-efficient products that include the HFC32 refrigerant. Replacing R410A, the HFC32 refrigerant is a new technology for which they have redesigned the air-conditioning line from scratch. This way, the newer product line is tuned to accept the new HFC32 refrigerant, thus becoming truly energy-efficient and environment-friendly. When it comes to commercial air-conditioning, what are the significant advancements? The ‘Green’ sentiment has reached unprecedented levels, and the HVAC industry is basing its growth on energy efficiency. Technologies which safeguard the ozone layer by controlling emissions of greenhouse gases are being incorporated into the appliances. Moreover, there’s a relentless endeavour to promote energy savings and maintain indoor comfort, which is beneficial both to the occupants of a building and the environment. A good example is the Variable Refrigerant Volume (VRV) integrated HVAC systems, which are among the latest and most revolutionary technologies used for large buildings. The VRV system offers bigger outdoor capacities, greater energy savings, easier installation, longer actual and total piping. How are advanced HVAC controls enabling a more ecofriendly use of the system? Air-conditioning systems are pioneering the inverter revolution in India by introducing energy-efficient variable speed solutions and are already promoting inverter-based hi-walls, cassettes, ducts and VRF systems. These are being liked for their power-saving ability and reliability. While smart, WiFi-connected thermostats promise significantly increased energy efficiency, the real draw seems to be how easy the interfaces are to operate. Thermostats can be programmed by the user to remember their preferred temperature settings. If the user prefers the thermostat to kick in a faster, warmer temperature on cold, wintery mornings, the thermostat will store that information and adjust the temperature accordingly. Are there any innovations in HVAC control systems revolutionising the market? Daikin India has launched the pioneering VRV IV system solutions. This top of the line VRV IV system boasts of a combination of advanced technologies to achieve excellent performance for a variety of applications. The new system design, at its core, offers improved energy savings, more flexible system designs, comfort and ease of installation with outstanding reliability.

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ABOUT THE ARCHITECTS Architects Oscar G Concessao and Ponni M Concessao, a husband and wife team, completed their B.Arch from the Regional Engineering College, now National Institute of Technology, Tiruchirapalli in 1986 and 1987 respectively. After their graduation in India, Oscar went to the USA on a scholarship to the University of Oklahoma, Norman and did his M. Arch in Urban Design in 1987. Ponni also followed to the USA, with a Tata scholarship and completed her M. Arch from Cornell University in 1989. Both architects have done their advanced professional studies specialisations at Harvard University. Oscar and Ponni have been conferred with Honorary Doctorates from the University of Malaysia and Universita of Milano for Modern Architecture and Architectural Science. After working in New York with leading architects specialising in skyscrapers, institutional buildings, hotels, hospitals and stadiums, the two architects returned to India and settled in Chennai, Ponni’s hometown. They started their architectural and interior design practice in 1996. Over the years, they have designed various projects such as universities, engineering and medical colleges, stadiums at Doha, Qatar, several Information technology parks, bio-tech parks, nano technology parks, townships, hospitals, apartments, hotels, resorts, malls, corporate offices, luxury bungalows, factories, SEZ, several Government and State buildings. Oscar & Ponni Architects have won more than 68 international, national and state awards for architecture and interior design. ing in some classrooms on the lower level of the building. The auditorium is acoustically designed, and the flooring is Italian marble in the lobby and vitrified flooring within. The air-conditioning system has been designed to provide the desired comfort conditions of 24˚C. The plant consists of one 200TR air-cooled chiller with energy-efficient screw compressors working on environment-friendly refrigerant. The chilled water is circulated to three air-handling units (AHUs), two located on the terrace and one on the ground floor to cool the main auditorium and the entrance lobby area. The cooled and dehumidified air is distributed to the conditioned space through insulated sheet metal ducting. The stage area is air-conditioned with a dedicated standalone air-conditioning system. For the main auditorium, special Jet diffusers have been provided to distribute supply air due to high false ceiling height. While the chiller, chilled water recirculation pump and two AHUs are located on the terrace, two AHUs are on the ground floor. The compressor of the air-cooled chiller is provided with automatic unloading system, which is operated based on the actual load condition – thereby consuming less power on partial loads. A&I

4. The auditorium building reinterprets architectural traditions within the context of contemporary use and the heritage style of the 100-year-old school.

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HERITAGE FORT TIRACOL

SECRET SEVEN

THE HISTORY OF FORT TIRACOL IS A CLIFFHANGER, BUT WITHIN ITS WALLS ARE SEVEN LITTLE-KNOWN BUT WELCOME REFUGES BY MARIA LOUIS

1. A bird’s-eye view of Fort Tiracol (also known as Terekhol). Not many know that it was built by the Bhonsles of Sawantwadi. 2. Rooms are named after the seven days of the week. This one is Wednesday.

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alking along the ramparts of Fort Tiracol overlooking the Arabian Sea and the Tiracol river, with dolphins dancing on the waves below, it is easy to feel on top of the world. The splendid isolation of the location is its biggest strength, giving wing to flights of imagination about vanquishing all enemies. But to know that a comfortable room awaits you, makes your ‘conquest’ of the fort even more satisfying. There’s one for every day of the week...seven rooms for seven days! Indeed, so exclusive is this heritage hotel set within a fort that speaks of a long and chequered history, that it can only accommodate 14 adults. A stay at Fort Tiracol Heritage Hotel is an escape like no other. Getting there is enjoyable, but quite time-consuming. An hour-and-forty-minute drive from Dabolim international airport takes you past the towns through internal roads that skirt the cities and snake through little villages along the beaches of Morjem, Ashvem and Arambol – till you reach the jetty at Keri beach, where a boat ferries you and your car across the river to the winding road leading up to the fort. The majestic edifice standing in solitary splendour on the banks of the river Tiracol that gives it its name, is constructed with laterite – a local stone found abundantly in Goa. Being an architecture buff as well as someone who hails from Sawantwadi in Maharashtra, which shares its border with the northernmost tip of Goa where the fort is located, I devour all the information about this slice of architectural

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PHOTOGRAPH: WILFRED LOUIS

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HERITAGE FORT TIRACOL 4

A SLICE OF HISTORY

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PHOTOGRAPH: WILFRED LOUIS

history that I can lay my hands on. The original inhabitants were mainly toddy tappers, and the majority of them were Christians way back in 1863, I discover from Antonio Lopes Mendes’ book India Portuguesa. When Goa Tourism Development Corporation (GTDC) took over the property, the structure of the fort was still solid

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Historian Sanjeev V Sardesai in his ‘Fort of Terekhol – Diamond at the head of Goa’, tells us that this fort was most probably constructed by Khem Sawant, chieftain of Sawantwadi and feudatory of Adilshah of Bijapur. “Formerly, it was part of an enclave of Oosup, controlled by Oosupkar Desai of the Sawantwadi princely state. Khem Sawant, who was the son of Phond Sawant, secured the domains of Sawantwadi and declared independence from Adilshah, in 1627 AD – as in the mid-17th century, the Adilshahi dynasty was on the decline. “After 13 years, in 1640, Khem Sawant was succeeded by his son Som Sawant, who was later replaced by his brother Lakham Sawant. This new chieftain of Sawantwadi captured the Desai of Kudal (Maharashtra) Pargana (district) in a bloody war, assassinated him and added his territories to his own. In 1650, when Chhatrapati Shivaji, the great Maratha King, attained regal status and a reputation for military warfare, Lakham Sawant declared his allegiance to him, and for this act he was honoured by the latter with the title of ‘Sardesai’ of Pargana (district) of Kudal in South Konkan. Terekhol [also known as Tiracol] village formed one of the domains, at its South West point. Thus, the fortress of Terekhol remained in possession of the Bhonsles of Sawantwadi till it was occupied by the adventurous Portuguese.” Sardesai also recounts details about the unique church within the fort: “Inside this fort, there is a medium-sized church, dedicated to St.Anthony or Santo Antonio. It was initially built by Marques de Alorna, who captured this fort on November 23, 1746, from the Bhonsles of Sawantwadi and named the fort as the ‘Holy Trinity Fortress of Tiracol’. It was later raised to the status of a Missionchurch from 1822 to 1846, since it was used by the Portuguese to profess their faith in the domains of the Sawantwadi royalty, after seeking their permission. After this period, it was reduced to a chapel, and made filial to the parish of Arambol. This chapel within the fort was rebuilt, in part, in 1901 and enlarged in 1922. “It is built in the Mannerist style with Neo-Gothic features and has twin bell towers on its façade, with a tiled roof. The altar has a Rococo styled curved gable with cherubs and volutes, in relief. There are fluted pilasters on the ground floor and reliefs of saints on the second floor. It became a parish on November 15, 1934, and was inaugurated on November 1, 1935. It has its own cemetery, just a walk down the approaching slope. “After Liberation, the Tiracol Fort had almost fallen into disuse, and it was only in 1976 that efforts were made to develop the fort as a weekend holiday resort. In 1983, the Government of Goa, Daman and Diu declared it as a protected monument of regional importance under the Ancient Monuments, Sites and Remains Act 1978.”

3. A striking architectural feature is the bartizan – an overhanging corner turret. 4. The courtyard holds the statue and chapel dedicated to St. Anthony.

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MATERIALS & SUPPLIERS Flooring: IPS; ceramic tiles with faded mosaic designs Stone: Local stones Roofing/ceiling: Restored high ceiling with Mangalore tiles, no false ceilings; all original ceilings in the ground floor rooms – leaving the wooden beams visible Lighting/light fixtures: Chandeliers designed by UTI Design; antique wall lights sourced at local markets Paint: Asian Paints, Royale and Royale Aspira (Le Corbusier Collection) Furniture: Tables, chairs, sofas/soft seating, etc, all customised and designed by UTI Design and fabricated with antique wood Sanitary fittings: Duravit, Grohe Baulines Air-conditioning/HVAC system: Blue Star 5&6. The chapel was built by the Portuguese after they took over the fort from the Bhonsles of Sawantwadi. 7&8. Steps leading down from the rooms allow guests a spot of exercise and a magnificent view of the surroundings.

– but the existing wooden doors, shades and other exterior portions were rotten. “We studied old photo material and drawings, and took the necessary steps to restore them,” discloses Nikhil Desai, MD of GTDC. Calling it a hidden gem, he adds that they could feel its history and visualised a heritage hotel that would boast modern-day amenities along with royal opulence that would make it one of the finest heritage hotels found in India.

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In October, when GTDC re-launched its boutique heritage hotel at Tiracol, it was reiterating its resolve to promote heritage tourism in Goa. History tells us that the fort was originally built by Maharaja Khem Sawant Bhonsle, the Raja of Sawantwadi, in the 17th century. Later, it became an important part of Portuguese maritime defense; and was extensively revamped in 1764. It remained in Portuguese control till December 1961, when the last of Portuguese territorial possessions in the subcontinent were annexed by India. History also tells us that Fort Tiracol was a symbolic location where freedom fighters from Goa demonstrated from time to time. On August 15, 1954, Satyagrahis protesting against the Portuguese rule entered Goa from three different directions – one of which was from the north to Fort Tiracol. They occupied the fort and flew the Indian flag for a day, before they were captured and imprisoned. A monument has been built near the fort to honour their memory. While the restoration of the fort had to be true to its historic appearance externally, the brief for the interiors of

PHOTOGRAPH: WILFRED LOUIS

PHOTOGRAPH: WILFRED LOUIS

HERITAGE FORT TIRACOL

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the rooms was an ‘understated old-world charm’ combined with modern amenities. “This was translated by means of a Portuguese colonial meets contemporary light interior design mixed with Bohemian elements in the restaurant/lounge. While there are modern amenities, they are in keeping with the monumental structure – dramatic and homely in turns,” points out hotel consultant Rainer Stoll. “Since it is a historic building, the division of space was a given. In keeping with the colonial theme, a pastel colour palette was selected. For the fittings, we used antique wooden furniture amd ceramic flooring for historic appeal.” Once an armed fortress that belonged to the Portuguese, Fort Tiracol is now content to spend the rest of its days on a cliff enjoying a kaleidoscopic view of the Arabian Sea and the spectacular estuary of the Tiracol river on the northernmost tip of Goa. Set foot in its charming courtyard, and you will be taken aback by the 17th century chapel standing right in the centre. There’s a palpable sense of history, yet it has all the comfort a traveller craves for today. With its limited number of rooms, the hotel offers an intimacy befitting its size. Other facilities include Tavern (the restaurant-lounge bar) and Verandah (the alfresco cafe). All the rooms have King-

PROJECT DETAILS Name of the project: Fort Tiracol Heritage Hotel The client: Sanya Hospitality The designers: UTI by Design (international design firm) HVAC consultants: PSI Architects Lighting consultants: Kenkre Hotel consultant: Rainer Stoll of Four Seasons Hospitality Duration of project: 11 months Date of completion: December 20, 2015 size beds, AC, satellite 42” flat screen TVs, coffee maker, electronic safe and modern bathrooms with rain shower. Coast cruising, river fishing trips and picnics can be organised. Hotel transport is available, and there is a doctor on call. One of the most challenging aspects of this project was the fact that Sanya Resorts and Hospitality were only allowed to restore and repair the existing premises, but local workmanship and qualified contractors helped them to fulfill the brief satisfactorily. Art plays a big role in the interior design – not just in the careful selection of fabrics and accessories, but also in the handpicked acrylic paintings by an artist called Voxx as well as old oil paintings from colonial times. Together, they create a world of difference. A&I

9-12. The rooms are fitted with modern amenities, but have an understated oldworld charm. 13. Tavern, the restaurantlounge bar on the ramparts.

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FOCUS RESTOBAR DESIGN

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CELEBRATING 7

THESE SEVEN REITERATE THE CONTRIBUTION OF A DESIGN CONCEPT TO THE SUCCESS OF A RESTOBAR BY MARIA LOUIS

W 1. At The Daily Bar & Kitchen, the faux-jerseycow printed leatherite takes a whimsical view of black and white.

hen we think of celebrations, our thoughts immediately turn to our favourite places to raise a toast. For most of us urban dwellers, the ambience is a clinching factor while choosing a suitable location when it’s party time. Any experienced restaurateur would agree that a restobar is defined as much by its interior design as it is by its food and drinks. And any experienced designer would know that creating an interior space that is inviting, innovative and individualistic enough to stand out from the competition is anything but simple. There are a number of factors to juggle: What will be the style of the restaurant, bar or cafe? How do you make the interiors as aesthetic as possible without disrupting the function of the space? Will safety regulations allow grandi-

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ose plans to take shape? How do you ensure that customers have a great experience and want to return? How can design help achieve the client’s business goals? It all boils down to good planning to make the space work, yet the customer need not be made aware of it. The guests must feel relaxed, and the design must be relevant to the target audience. The location of elements – from circulation spaces, to seating areas to the bar – contribute to successful operations. And what ties it all together is the ambience and mood created, which depends on lighting and music. But it all begins at the very beginning, with the theme or concept chosen. The design concept of each of these restobars takes into consideration all these factors, and the result is a harmonious marriage of form and function.

FOCUS RESTOBAR DESIGN

THE DAILY BAR & KITCHEN The Daily believes in that one piece of good news that makes you smile and restores your faith in humanity. So, the decor loosely references the golden age of news, the era and style of the ‘Mad Men’ – to create a contextual ambience for the celebration of that style of news and reporting. “We’ve styled The Daily in a stark, monochrome black-white-andbrass vibe, that’s a great setting for Prohibition-era inspired cocktails, with all kinds of retro elements,” discloses maverick designer Ayaz Basrai of The Busride. Detailed discussions with the client on what why people go out in the first place, what makes them happy and what music they should play, triggered off the idea of the ‘good news’ bar...and everything else flowed from there. Rather than be obviously thematic and use printed newspaper upholstery, newspaper menus, and news everywhere, it became more about going back in time to the golden age of newspapers and print media, and referencing that era of slickness and style. The Daily then added the layer of the namesake ‘Daily’ article on to the shell, creating a contextual celebration both online and at the outlet. The styling, woodwork, brass accents all stemmed from that age of the news-boom. Step into the restobar, and it’s difficult to imagine that the space was a mattress showroom earlier. Recalling that the uninspiring site was strangely split across two levels, and that there seemed to be no space for services, a kitchen and a large bar attached to a large un-usable basement, the designers are thankful that they decided to use it as a blank canvas and started from scratch. The site dictated certain layout decisions. As there was a stark split between the inside and the outside by an almost 3’6” level difference, the designers could play with two distinct vibes: the more informal canteen style seating outside, and the more formal, traditional high-energy vibe inside.

PROJECT DETAILS Name of the project: The Daily Bar & Kitchen Location : SV Road, Bandra West, Mumbai The client: Dishant Pritamani (The Daily Bar & Kitchen) The designers: The Busride Consultants: Shakir Contractors (project contractor and co-ordinator) Duration of the project: 12 weeks Date of completion: October 7, 2015

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MATERIALS & SUPPLIERS Flooring: Farukhbhai Lal Laminates: Hatim Enterprises Pvt Ltd Corian: Sung Li China Pvt Ltd Stone: Skrittex Stones, Vakola Tiles: Elegance Tiling Lighting/light fixtures: Sandeep Electrician Wall partitions: Chandubhai Mistry Wall textures, paint: Pancham Mistry Tables , chairs: Irfan Mistry Sofas/soft seating: Owner’s own Sanitary fittings: Local market Hardware: Lohar Chawl + customised (Narottambhai in Dahisar) Air-conditioning/HVAC system: Aslambhai While some guests call ahead to book the inside booths, some prefer the casual mingling vibe of the outside. “If you’re working with the site and not against it, you’re bound to find some fun in the balancing process,” says Basrai. After two years in operation, the client gave in to the urge to reinvent the food and drink as well as add new touches to the space. “We went back to thinking about what our guests liked in the first place, and kept the basic vibe alive – but turned around the guest experience. We decided to go monochrome, which allows a bit of a nocturnal vibe that works well with gig settings. We had committed quite heavily to being a night-spot earlier...but our outside has a nice feel in the day, and we wanted to capitalise on that,” he points out. The designers added some fun elements too - like a brand new Wishing Well, where guests are asked to write down a wish at the end of the night. The colour palette in the new avatar is a definite departure from the earlier rosewood and umber palette – creating a starker, more stylish place that works with a new event-friendly lighting scheme. Since the main inspiration was news, putting things in black-and-white is almost a one-line brief. The materials are selected in the context of the monochromatic scheme, and one of the fun ones is the faux-jersey-cow printed leatherite, which takes a whimsical view of black and white. Among the challenges of this project was the layout and division of services between tight spaces. The designers had to divide the services and the BOH (back of the house) activities intelligently, keeping in mind the site constraints. But once the basic planning was in place, everything worked out well. While the client likes to refurbish from time to time, “when we feel the need to surprise ourselves,” he is happy that the idea at the heart of The Daily is still fresh.

2. The monochromatic scheme at The Daily reflects the ‘news’ concept. 3. The Daily is split between the informal canteen style seating outside,and the more formal, traditional high-energy vibe inside.

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PROJECT DETAILS Name of the project: MeSoHappi + The Captains’ Table The client: Aarathi and Pooja Arambhan, Cawasji Behramji Catering Services Ltd. The designer: Saga Interiors & Services Duration of project: 75 days Date of completion: January 4, 2016

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MESOHAPPI & THE CAPTAIN’S TABLE

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4. The Happi Wall depicts a traditional woman with a modern twist, created by artist Rohan Joglekar. 5. The tinted glasses act as a partition wall and resemble the colours in a kaleidoscope. 6. The Arambhan sisters, Pooja and Aarathi.

When MeSoHappi launched its third outlet (after Linking Road, Khar and Carter Road, Bandra) at the BKC business district in Mumbai earlier this year, the fun diner made its fans so happy! Aarathi Arambhan, curator of MeSoHappi and The Captain’s Table, says they hope to “spread the happiness”, as this branch would be the ideal destination for working professionals as well as residents. The new 60-seater diner has an exciting bar serving unusual cocktails, wines and other spirits.; while the cuisine includes interesting dishes like Bunny Chow, Pulled Lamb Sliders, Caribbean Roti...in short, things that make people happy. After all, the concept of this restobar is to create a happy place. For the Arambhan sisters (Aarathi and Pooja), that meant echoing their childhood memories in the interior design. Pooja discloses that the high chairs recall the days when they sat on their parents’ laps and swung their legs (though there are chairs with a footrest for those who prefer them); and the cycle bar stools have a two-fold message – the first being happy memories of learning to ride, while the

ARCHITECT and INTERIORS INDIA | APRIL 2016 | www.architectandinteriorsindia.com

second is to drive home their dad’s message of a healthy work-party balance. At the flagship restaurant, the Happi Wall was a place where they recreated the blackboard effect that remind them of the days when they would emulate their teachers. It had little doodles, a rubber duck, a spaceship, an anchor (Aarathi was then dating her now husband, Captain Rahul) and a footprint of the first baby that visited the restobar. The doodles now share space with autographs by celebrities like Kiran Rao, Sonam Kapoor and Soha Ali Khan. The fish bowl lamps hark back to Aarathi’s childhood fascination with goldfish and Tom & Jerry cartoons (Tom’s owner had a goldfish). Then there are bird cage lights, candy jars, board games (guests are regularly seen playing Uno or Monopoly while sipping on their drinks), a play kitchen and other childhood favourites, When the Arambhans first saw the site, they knew they wanted to launch a second brand too - The Captains’ Table, a global seafood, fine dining restaurant adjacent to MeSoHappi as a dedication to their mother, who had her own seafood restaurants (Vandana at Mahim and The Bandra Fest at Carter Road) when they were kids. “We wanted to have a dedicated bar as opposed to our flagship restaurant, so we decided to make space for that,” recalls Pooja. “We visualised a fun, after-office-hours hangout where people could come in and unwind after a long day with chilled beers and our ‘happi’ comfort food. We wanted people to relax and have fun and be taken back to

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relive their childhood memories. We also envisioned older professionals entertaining their business guests over a sitdown meal at the adjacent brand.” Since the duo already had all the elements ready, they just needed someone to execute the concept – and Saga Interiors & Services filled the slot. The kaleidoscopic partition permits guests to enjoy a view of the adjoining restaurant. “The tinted glasses also resemble the colours in a kaleidoscope and makes for a fun experience of looking at people on the other side with the colours reflecting on to them,” points out Pooja. Little boxes in the partition make space for curios representing happy times. The Happi Wall, which depicts a traditional woman with a modern twist, was done by their artist-friend, Rohan Joglekar. “The design, concept and visualisation was Aarathi’s dream,” insists Pooja. “She clearly knew what she wanted.” Happy about the result, Aarathi and Pooja would not like to change anything now. “Yes, we did add lower couch seating in our third outlet when we realised that MeSoHappi was being patronised not just by our initial target market of young college students and professionals, but also young parents and families,” acknowledges Pooja. “We thought low seating would be more comfortable for some. Young children feel they have a space within the space of adults where they too can be comfortable and enjoy [the comics and games], while our older guests are often amazed to see the jars filled with candy that they hadn’t seen in years and didn’t know were still available. They are delighted that they can open the jars and eat them.” The division of spaces was to create room for people with different moods and needs: casual or fine dining. Fun, bright and vibrant is what they were going for by way of colours, and the most challenging aspect was sourcing the materials in time for a New Year launch. They found it easier to overcome the obstacles where MeSoHappi was concerned, since this was the third outpost. “Saga Interiors & Services are a young team. They understood our needs and were able to deliver our vision,”

acknowledges Pooja. “Constant brainstorming and bouncing of ideas helped in the case of The Captain’s Table.”

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s the name suggests, the concept for The Captain’s Table was to create an ambience conducive to the refined experience of dining on a cruise liner. The Arambhan sisters wanted their guests to feel like they were sailing on a ship across different coastlines of the world, so they created an ambience to match the global seafood cuisine served and incorporated various elements of a ship into the interior design. In keeping with the sophisticated look, they decided to have a predominantly neutral colour like beige running through – and that works well with the wood, with a touch of gold and maroon giving it a regal feel and navy blue bringing in the colour of the sea. The rope partition at the entrance, designed with the figure of eight knots – an element very important for sailing, separates the entrance area from the dining space. The hostess’ table is designed using an actual anchor procured from a fisherman’s boat, with the ships decking wood used as the table top. Other marine memorabilia seen at the entrance are a ship’s steering wheel and docking plate (representing the

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7. The rope partition, designed with the figure of eight knots, is an element inspired by sailing.

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8. The seating style reflects the zoning, while goldenhued table runners mimic the feel of rippling sand.

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MATERIALS Wall partitions: A mix of coloured glass and wood in shades of red, blue and yellow. Tables: The high tables are made of wood from shipwrecks. For MeSoHappi Flooring: Patterned flooring procured from Spain. Ceiling: Concrete slab, left natural with network of pipes for the services also visible. Wall textures: The brick wall (painted white) adds a rustic feel. Lighting/light fixtures: Designed to resemble bird cages, fish bowls and ship elements. Other loose furniture: Sofas and bicycle bar stools were customised. For The Captain’s Table Flooring: Simple grey flooring to complement the duct pipe that runs through without overpowering any of the other elements. Ceiling: Ropes that carry the ‘figure of eight knots’ with wooden beams and the exposed pipe to give it a natural feel. Other loose furniture: Customised, such as the soft beige couches along the windows. souvenir given by each port when a ship docks for the first time) and a telescope (sourced from an antique store), to give the feel of viewing the stars from the deck. Within the fine dining restaurant, the tables with carved legs are solid, adding a contemporary yet eclectic style to the space and giving it a touch of royalty. The colours and fabrics of the chairs are chosen keeping in mind an English Royal feel. So, shades of navy blue, maroon and beige are used along with chairs with royal motifs to break the monotony and keep to the theme of ‘special and important guests’. The furniture and seating style reflect the zoning that governs the classy edge of the restaurant, while goldenhued runners on the tables mimic the feel of rippling sand.

9. The ceiling at The Captain’s Table is designed with rafters that carry the ropes from end to end.

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ARCHITECT and INTERIORS INDIA | APRIL 2016 | www.architectandinteriorsindia.com

The ceiling of the restaurant is designed with rafters that carry the ropes from end to end, adding texture and character to the space. Chandeliers add to the grandeur and define the hierarchy of the spaces. High windows give diners the same sense of openness that one feels on a ship, and allow the sun to shine through. The wooden partition allows for spaces to keep artefacts and mementoes of different sailing stations: flags, to represent journeys around the world; old world maps, to represent the route a ship has to follow; submarine helmet; timer, to add old-world charm; binoculars, an important tool for gauging distance from a ship. The transition from ideation to execution was smooth, as the duo likes to micro manage As soon as they saw the site, they knew they wanted to retain the openness and allow natural light to enter. “It immediately gave us the feel of being on a ship, and we wanted to maintain that. We also wanted to keep it simple and sophisticated, so we brainstormed to find ways to incorporate subtle elements to complement the idea of a cruise ship,” explains Pooja, who has been involved with the sourcing of every element, including handpicking the mementoes and the ship’s steering wheel. Apart from the challenges involved in completing the project in time for the New Year, finding an anchor of the right size to make the hostess’ table was difficult. But the Arambhans are persistent. “We never gave up our search for the anchor and, till almost opening day, scouted for it at various locations,” recalls Pooja. Since they have two contrasting brands, the duo is able to cater to both sides of the spectrum: youngsters who come in to have a fun, relaxed time (MeSoHappi) and those looking for a refined fine dining experience (The Captain’s Table). The partition between the two is a playful feature for both concepts, while the private dining section at the rear of the fine dining restaurant is perfect for intimate gatherings. The Arambhan sisters are naturally very ‘happi’ with the way things panned out, and their guests enjoy the stark contrasts of decor. “Our guests love the idea of being able to have a casual drink on one side and a refined evening on the other,” discloses a visibly satisfied Pooja.

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TOAST – BISTRO & BAR An all-day bistro and bar, perched 115ft above the ground, Toast is great for a rooftop rendezvous against the backdrop of planes taking off and landing at Mumbai’s T2. The breakfast bar changes avatar at night, when the 20ft-long counter is used to serve up craft cocktails, wine, beer and other spirits. Located within the newly-opened 4-star business boutique hotel, T24 Residency, Toast – Bistro & Bar combines a fine dining experience with a young and chic ambience. The client’s brief was simple but challenging: to design a space that serves from morning to night and moves from breakfast buffet to bar – hence the name Toast. Dinner is served not only to resident guests, but also to walk-In customers. The idea was to create a brand (Toast) within a brand (T24 Residency). Jenis Makwana, who took on the task of designing the interiors, describes the concept as ‘eclectic’ - which he translated into a decor that is soothing. He did so with the use of soft furnishings and a variety of arrangements for seating. “We have used different designs and prints as far as furnishing goes. but it only adds to and complements the overall decor,” he maintains. “Apart from soft furnishings, we have used various seating formats like community bench, corner groups, couples seating, foursomes, 10-seater community benches etc. By virtue of these, the customer will never feel bored and will cherish every visit.” The colour palette is earthy, with hints of vibrancy introduced through quirky, retro and pop art furnishings and handpainted furniture. Handmade mosaic tiles with various designs and colours form a carpet on the floor and continues, to wrap around the bar counter. The ceiling is exposed and painted in jet-black matte paint, a few walls are clad with exposed bricks, and the rest of the walls are exposed plaster with protection coat. Only one wall has been painted a wine colour with white moulding surrounding the large windows overlooking the view. The materials chosen project an earthy, warm, vibrant, rich, classy yet eclectic look. Though branded mosaic look-alike tiles could have been used, the designer felt that the charm, warmth and grace of handmade mosaic is worth paying for. Toast also has a rooftop bar attached to it, which is called TBD (Terrace, Bar & Dining). Luckily, it is segregated to one side and doesn’t jut out in the middle. Since the place is

MATERIALS & SUPPLIERS Flooring: Bharat Flooring (handmade mosaic tiles) Laminates, stone, tiles, dado: Turnkey contractor Ceiling, false ceiling/roofing: Parasnath Lighting/light fixtures: From overseas Wall textures: Imported Paint: Asian Paints Royal Teflon Tables, chairs, sofas, etc : From overseas Sanitary fittings and hardware: Grohe Air-conditioning/HVAC system: Toshiba

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PROJECT DETAILS Name of the projec: Toast - Bistro & Rooftop Bar at T24 Residency (4-star business boutique hotel) Location: Andheri (E), Near T2 International Airport, Mumbai Area: 2,500sq-ft covered and 450sq-ft terrace The client: Bharat Malkani (Hotel Transit Pvt Ltd) The designer: Jenis Makwana HVAC and lighting consultant: Rohit Uchil (ITSCE) Other consultants: PS Babaria (Integrated Architects) Duration of project: Three months Date of completion: September 12, 2015 qualified as Bistro & Bar, the bar counter had to be the talk of the town – so the designer decided to make it the longest bar counter in the Andheri area. Also, the client was expecting lots of expats and business travellers. Keeping that in mind, a couple of community tables were introduced. Here, strangers could dine together without obligations...if they like. The most challenging part of this project was integrating all the requirements vis-à-vis the dos and don’ts, and creating a space which can offer a seamless experience and yet be fun at all times of the day. But thanks to the client’s openness to experiment with ideas, materials and finishes, the designer could achieve it. Among the quirky elements are a painter’s ladder to display books for guests to read, Bollywood quotes with vinyl cladding on glass panels, and vintage metal sheet posters of famous companies or brands. While the guests have been appreciative of the decor, Makwana believes there is always room for improvement. After he and the client review the suggestions received, he would like to make a couple of changes in the bar area, and maybe add an interactive zone.

10. At Toast, handmade mosaic tiles form a carpet on the floor and continues, to wrap around the bar counter. 11. The colour palette at is earthy, with quirky, retro and pop art furnishings. 12. Toast has a rooftop bar with community tables for interaction between expats and business travellers.

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AKA WORLI

13. The entrance to AKA is welcoming, with the brightly-lit interiors beckoning the guest. 14. The outdoor section is set close to the adjoining retail space of LFI, the brand of trendy designerwear that also belongs to the clients.

With beautiful prints, scarves and artefacts adorning the walls, chairs and lamps, AKA makes a style statement while fusing haute couture with haute cuisine. The re-invented and renovated restaurant opposite the Nehru Centre in Worli, Mumbai, that occupies the space where the popular nightspot 212 once existed, is an ideal location for breakfast, lunch, coffee, dinner or drinks. Founded by Alok Agrawal, Aditya Agrawal and Jayesh Khatri, owners of LFI, a brand known for its trendy designerwear. the all-day dining space has indoor and outdoor seating areas that offer settings to suit a variety of moods and occasions. As Jayesh Khatri says “Having our roots in the international textile and fashion industry with LFI (Love from India), we decided to bring a fresh appeal to the hospitality space through a fusion of fashion and food – resulting in a creative concept.” The interior design is by The Busride, who has drawn inspiration from the intricacy and pattern-making of the parent brand and their bright and detailed printmaking, to develop a motif that’s applied across the restaurant in various materials and avatars.

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While modern trends dictate a minimal, no-frills approach, the AKA brand proudly celebrates ornamentation with its ‘maximal’ approach. Each surface is decorated with lines and grooves, multiple geometries and intricate detail, to create a cool new design language. Discloses Ayaz Basrai of The Busride: “We worked closely with the clients to understand the process of design and printmaking. The project was a unique experience in that the client’s core competencies were supplemented by a retail brand specialising in bold graphic prints and products made from these fabrics. We wanted to attempt a fun synergy of the processes that stem from design and printmaking, into processes that begin from spatial and furniture design. The idea was to try to find common ground between two seemingly disparate worlds, and pull inspiration from printmaking into the treatment of the 3D built elements.” In its original avatar, the space was a darker, moodier nightspot – so it was a design challenge to create a vibe that could give the management flexibility to operate through the day. “212 had very limited natural light, and was a deep vestibular site,” recalls Basrai. “We decided very early on that we would like to supplement the meager available light through a brighter scheme that offered a younger, buzzier vibe to the new design. Our entire layout change, the reorientation of the bar, the colour palette and design chosen stems from this idea.”

MATERIALS USED • • • • • • • •

Fabric and paper pasted glass Back-painted glass Mirror (plain and smoked ) Teakwood Engineered wood (flooring) Rough Vanilla Kotah stone Microconcrete (in situ) Brass inlay

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The design studio usually works with briefs that are ‘co-developed’ with their clients. “AKA is, significantly, a two-outlet design, with the next one slated to open shortly in Kala Ghoda. We worked on both outlets as extensions of a singular theme, with Worli being the more chilled-out, minimal grunge, heavily-patterned brother of the Kala Ghoda space,” discloses Basrai. “The ideas we explored together were how to make the space day-friendly, and inspired by the huge inventory of patterns and prints that the clients were working on at the time.” The restobar is split into four distinct energy zones, with the outdoor area designated as the smoking zone and a chilled-out extension of the bar which offers a green outdoorsy vibe that’s perfect for cool weather. The bar is the highest energy area, with a larger open space in front that gets activated on busy nights. “We designed a cool selfilluminated bar as a point of interest in the darker bar vibe; while the back seating area and stilted portion offer two different kinds of seating, more dining friendly - one banquet style and the other offering loose tables that can be joined or re-oriented depending on need,” points out Basrai. “Hopefully, AKA delivers the different formats that would help it be relevant for the various moods that guests look for.” The palette selected for the base shell wase basic, with colours coming in from the vanilla Kota, natural teak wood and linen-white walls. “We also favoured the use of mirrors and painted glass to create some depth where required,” adds Basrai. “The bright mad pops of colour – blues, oranges, yellows and magentas – come from the prints on soft furnishings and chairs, something we would like to change on a seasonal basis, to completely transform the look/vibe. “The next shift we plan is to print black-and-white photographs on to the fabrics; to create a bold, minimal vibe. The concept of fashion and seasonality then translates interestingly into the space, with change and evolution built into it.” While keeping to a tight timeline and budget is always difficult, the most painful part could have been the fact that the designers did not have a blank slate to work with. But it did not turn out to be a stumbling block for them, thanks to the attitude and approach taken. “The idea was to keep the bare bones of 212 while building in a totally new guest experi-

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PROJECT DETAILS Name of the project: AKA Worli The clients: Aditya Agrawal and Jayesh Khatri The designers : The Busride Duration of project: 90 days Date of completion: November 15, 2015 ence, something that becomes challenging when the concept of the place is as different as this was,” admits Basrai. “This may have been an initial challenge – but in the larger scheme of things, one reconciles with it and tries to convert it [the challenge] into an opportunity.” Being a design studio, however, they are “mostly unsatisfied with all projects, and there are always the facepalm moments of doing things better in retrospect,” admits Basrai. “AKA is no different. We would have re-oriented the layout a lot more given another chance, maybe pulled the outdoors all the way into the bar. Also, we could have played more with optical illusions. The possibilities of doubling up the strong geometries with mirrors and glass were interesting too, but that would’ have involved changing everything around. You live and you learn!”

15&16. The interior design of AKA is inspired by the patterns and prints that the clients were working on.

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PROJECT DETAILS Name of the project: Glocal Junction The client: FoodLink Restaurants India Pvt Ltd The designers: Faizan Khatri and Samir Raut from Studio Eight Twenty-three HVAC consultants: DR Bellare Lighting consultants: DR Bellare Other consultants: Girish Wadhwa (structural consultant); Beyond Kitchen (kitchen consultant) Duration of project: 3 months Date of completion: January 10, 2016

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GLOCAL JUNCTION After the success of its existing brands – Bungalow 9, China Bistro and India Bistro, the Foodlink umbrella shelters a new concept. Global in appearance and local at heart, this new-age ‘hangout’ or ‘adda’ in suburban Mumbai hopes to give guests a global experience along with surprise elements drawn from local cultures. The main entry and the two sides of the all-day dining space are made of glass panels that allow natural light to stream in, making it look more of a dining place during the day. Then, after sundown, the architecturally-designed lights seamlessly transform the space into a high-energy lounge bar. As Sanjay Vazirani, CMD, Foodlink Restaurants, explains: “We are all in a race to be as global as we can, to be able to fit into this realm of globalised culture...but deep in our hearts, we enjoy being local...we yearn to be glocal – global and local at the same time. Glocal is about embracing...the virtue of being just you.” Glocal Junction occupies a massive 5,000sq-ft space on the ground and first floor, curated by Faizan Khatri and Samir Raut of Studio Eight Twenty-three with a restricted material palette of three iconic materials: Cuddapah stone, cement and metal. Minimal design with rustic elements that are given a finishing touch and tile-covered walls (sans paint coatings) are a couple of design features that spring to the eye. Cudappah,

17. Glocal Junction occupies a massive 5,000sq-ft space on the ground and first floor. Notice the bar in the centre. 18. Sanjay Vazirani. 19. This ‘glocal’ space stands apart for its use of local materials and global techniques.

MATERIALS & SUPPLIERS Flooring: made in-house with cement Stone: Cuddapah, sourced from Jaipur Tiles: made in situ using cement Lighting/light fixtures: custom-made by Light Area Wall textures: cement and cement tiles, made in-house Tables, chairs, sofas, bar stools: custom-made by MGS Interiors Sanitary fittings: custom-made by MGS Interiors Air-conditioning/HVAC system: Daikin

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also known as black lime, the most basic of local stones used at the grassroots level in construction work, has been detailed here to a level where its beauty comes through with the use of local dressing methods such as hand chiselling and new-age global techniques of computer-aided machine milling. Everything has been locally made on site – from creating the moulds for the tiles to finishing them, manufacturing the tiles for the flooring, etc. Another highlight is the centrally connected bar with a suspended staircase. While the cocktails are made with exotic fruits, the twist of taste comes from the Indian spices and flavours used. A live kitchen on the ground floor with a wood-fired pizza oven and grill helps Chef Gaurav Gidwani and his team serve up an amalgamation of global cuisines made distinctive with local flavours such as tamarind and hajmola. When the designers first saw the site, they were extremely impressed by the height and they wanted to use it to their advantage – hence the industrial look and the double-storeyed metal grid that highlights the bar. It is centrally connected with a suspended staircase, utilising the height in the best possible manner. This is a satellite bar, which also has a DJ console set within the same grid. The metal elements speaking through the enormous two-storey bar wireframe, the high detailed meshes and the customised lights tie the entire space together. The designers revisited nuances of the most basic materials used through centuries – stone; the new-age icon of the industrial revolution of the 18th century – metal; and the bonding agent through varied fundamental elements – cement. Explain the designers: “Cement closely follows the footsteps of the Cudappah stone, expressing itself through the beauty of customised moulded tile forms and elegant formwork shuttering. We decided to go with these three elements, as they justify the essence of being Glocal – global yet local.” The most challenging aspect of this project was safety. While the designers had to make the best use of the height, they had to simultaneously ensure that the grid, which is supposed to hold the bar and DJ console on the upper level, can take the weight and is operationally strong. Similarly, the safety of the first floor seating had to be tested. Innovative methods were used in order to ensure safety. “Weight bags were kept on the structure to test its durability. Also, a structural consultant was specially hired for this reason,” disclose the designers. This space stands apart for the use of local materials and global techniques. Not only is the interior large, but there is a bar on both levels and the seating is well planned with an alfresco section that allows guests to enjoy the sunshine or the nip in the air. So, even when Glocal is packed, there is still room for guests to walk in.

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RUKA For Ruka, a restobar at the Ramee Guestline hotel at Juhu in suburban Mumbai, the idea was to create a sophisticated take on the Japanese Izakaya (gastrobar) experience of informal dining. The uber-luxury Japanese restaurant and lounge has an outlet in Bahrain that was established in 2014. Raj Shetty, chairman of the Ramee Group of Hotels, Resorts & Apartments, says, “With the brand launching in Mumbai, Ruka is ready to bring vibrancy to the industry – taking dining to a new level by paying deep attention to detail and meticulous execution.” The 5,000sq-ft space on the ground floor with an entrance from the main gate as well as from the lobby of the hotel, offers a signature experience that showcases the significant components of the brand. Design elements like the luxe furniture add up to a relaxed, contemporary vibe similar to that of its flagship outlet. The furniture is a combination of high dining tables, chairs and lounge seats with a view of the interactive kitchen. The walls are punctuated with tanks containing fish, crabs and lobsters, some of which are used in the preparations. To fulfill the client’s desire for an upscale Japanese dining and lounge experience, the designers decided to create a contemporary space. They were inspired by water, which became an important element with aqua tanks, a glass water cascade and a glass floor over a running stream. “Japanese design is synonymous with simplicity, balance and a love for natural beauty – and this inspired us to use water as an element,” disclose the designers. “The colour palette and choice of materials spring from this concept. Our aim was to create an innovative dining experience, which we did with the help of informal seating, interactive kitchen, sushi bar and mood-lit bar counter.” What’s striking about the site is its vastness and free-flowing spaces. While the textures are rustic and earthy, the colour scheme is monochromatic with hints of beige in the form of sandstone relief feature walls to break the monotony and add warmth to the interiors. The dominant materials used are white marble for the flooring, river-washed black granite, warm sandstone and dark wood veneer.

MATERIALS & SUPPLIERS Flooring: white marble Veneer: dark wood veneer Stone: beige sandstone, river-washed steel-grey granite (local supplier) Tiles: slate tile (local supplier) False ceiling/roofing: Acoustical modular ceiling – Anutone acoustical boards, glass canopy (custom made) Lighting/light fixtures: LED lights and QR-111 (sourced from UAE) Dado: sandstone cladding, river-washed granite cladding, matte black vitrified tiles (locally sourced) Paint: charcoal grey – Asian Paints Tables, chairs, sofas, etc: sourced from Vietnam Sanitary fittings: Kohler Hardware: Hettich Air-conditioning/HVAC system: Ductable split AC *All the materials were sourced by the client.

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PROJECT DETAILS Name of the project: Ruka, Japanese restaurant-lounge The client: Ramee Group of Hotels The designer: Bharat Shetty – principal architect; team – Kranti Varadkar and Nikeeta Shah HVAC consultants: M/S Sequeira Engineering Works Lighting consultants: Bharat Shetty Architects Kitchen consultant: Banger’s Kitchen-Net Project management consultant: Ali Duration of project: 6 months Date of completion: December 19, 2016 Lighting, a crucial part of the design, complements the darkness of the interiors. “A major characteristic of the lighting was our illuminated fish tanks with cool lighting,” point out the designers. “Stone-clad columns were down-lit, and these punctuate the vast space. Lighting levels are deliberately kept low to create a dramatic environment throughout.” Ruka is broadly segregated into two sections: an outside casual seating area, and an inside formal restaurant and lounge. Outside, the prime focus is on water as a design element. The space is enclosed on three sides by glass fish tanks and a glass water cascade. During lunch hours, they flood the space with natural light. A casual lounge seating on a glass floor has a water stream running below it. A life-size, custom-designed statue of a sitting Buddha welcomes guests inside. The interior design is minimal, with accents of ancient Japanese accessories like tea urns. The bar is intersected by a wooden ice-carving station (that creates a spectacle for guests) and a DJ console. After dinner, the lighting transforms the central space into a dance floor. The acoustics were a major challenge while executing this project, as the restobar is sandwiched between the nightclub (Rock Bottom) in the basement and the rooms above. Special care had to be taken to make Ruka completely ‘sound-tight’, as it transforms into a lounge after dinner. The designers opted for a false ceiling and clad the columns with acoustical materials. “We used materials with rough textures to cut the reflection of sound. The relief work in the sandstone also helped in preventing sound reflection,” disclose the designers. An ideal location for a light lunch, dinner or a social gettogether with friends, family or colleagues, guests can choose between the casual bar area serving unique molecular cocktails, an intimate dining area, or even opt to sit at the sushi bar where they can view Chef Masato Toida and his team deliver meals with skill and creativity. This chef from Japan has 43 years experience and has mastered the art of Kaiseki – the exquisite presentation of a multi-course Japanese meal. And the minimal design is a perfect backdrop to the beauty of the cuisine. A&I

20. The bar is intersected by a wooden ice-carving station that creates a spectacle for guests. 21. The colour scheme is monochromatic, with hints of beige in the sandstone relief feature walls.

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DESIGN YOUR DESTINY

MAKE YOURSELF A DESIGNER LIFE, URGED YOGI AND VISIONARY SADHGURU JAGGI VASUDEV AT THE INDIA DESIGN FORUM

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1. The open-to-sky Inner Parikrama of the Dhyanalinga Yogic temple establishes a visual connection between the entrance and the dome.

hen we talk about design, there is no better design than the cosmos. It is not just audacious, it is quite insane. At the same time, the fundamental is quite simple. Scientists talk about Constructal Theory, according to which the fundamental aspects of design are the same – whether it is an atom, a leaf, the solar system or the universe. It is only multiplying manifold in sophistication and complexity. So, if you understand the design and making of one unit of creation, you have an inference point to grasp the entire design of the universe. In the yogic system, we have always said the individual creation and larger creation are not different. If you know this piece of creation that is you, by inference, you can know every aspect of creation. This is what yoga is about. Unfortunately, most people think yoga is an exercise form. That kind of yoga is a rebound from the American coast. Essentially, yoga is about aligning your individual geometry to the cosmic geometry – so that you have an access point to everything in this cosmos. You become competent to download the cosmos. For example, if you’ve watched TV in the 1980s, when your favorite programme was on, the TV would suddenly go ‘bupp’! Then you ran up to the terrace, arranged that bunch of aluminium tubes and, when you got it in the right alignment, the world poured into your sitting room. Similarly,

ARCHITECT and INTERIORS INDIA | APRIL 2016 | www.architectandinteriorsindia.com

with the human body, if you learn to hold it right, you can download the entire cosmos. Understanding this and finding an alignment between the individual and cosmic geometry, is the science and technology of yoga. Coming down to our lives, people wear designer clothes and drive designer cars – but do you have a designer life? A designer life means who you are happens to be the way you want yourself to be. Essentially, you must be able to design your destiny. If this has to happen, you have to take charge of the inner dimension of who you are. The most fantastic engineer in the universe exists within. If you eat a piece of bread, in a couple of hours, it becomes a human being. With a piece of bread, you manufacture the most complex mechanism on the planet! So, the most phenomenal engineer is within you. It is from this basis that we offer Inner Engineering – engineering your interiority to take charge of life. The way we are born, the way we live, think, feel and experience our life, where we will go and how we will die – everything is determined by the individual. This is a designer life. This is the life of a yogi. This is the idea of design that emerged from this culture. This culture even offered you the freedom to design the kind of god you want. There is something called Ishta Devata – you can make a god of your choice. You can worship a man, a woman, a cow, a tree – whatever you can relate to – and no one thinks it’s odd. This is taking design to its limit.

VIEWPOINT SADHGURU JAGGI VASUDEV

IN CONVERSATION WITH THE GURU What are the positive things that India has going for her in terms of architecture and design? India is still a developing country, so there is still much to be designed and built. As a possibility that we can design our nation now in the 21st century with an incredible array of material choices, a never-before situation is available to us. Instead of aping structures of Western nations, the designers of India should pay attention to our climatic and geographical conditions. Our designers must spend time studying the architecture of pre-colonial times in this country, which will definitely bring them to a deeper understanding of how to create entirely with local material. And above all, these structures are geometric and aesthetic marvels. If you pay attention to everything that is standing on this planet – tree, man, woman, animal, anthills, bird nests, beehives, insect dwellings – there is poetry of design in all this. In what way do you think architecture could help people to design their lives for the better? Today’s constructal theory talks about a fundamental design in nature that has evolved into millions of manifestations. Whether you take an atom, an ant, an elephant or the cosmos, the fundamental design is the same – only the sophistication and complexity has multiplied phenomenally. The science of yoga has always known this. Hatha yoga is about aligning your individual geometry with the cosmic through physical postures or asanas. If you can achieve the proper alignment, you can experience the universe as yourself. Today, modern science says that the whole existence is just energy. As this energy has generated forms, similarly, forms can generate energy. In India, various methods of creating external forms to

generate energy were explored. Temple architecture was designed to a geometric symmetry to create a certain kind of energy that would benefit those who entered that space. What kind of forms we build, live in and keep around us have a phenomenal impact on everything that we are. The spatial arrangement around us can be organised in a way that is conducive to looking inward. What do you think is stopping us from making our surroundings a seventh heaven? The entire nation was phenomenally designed at one time, with hundreds of beautiful monuments, palaces and temples. But now, only a few are left, because our ability to design was systematically dismantled by colonial forces. Our sense of design and aesthetics was of the highest quality in the past – but today, our sense has become poor. Though individuals have excelled in the country, we have not worked towards a culture of aesthetics in an organised manner that will transform our surroundings. If you had to send an inspiring message to young architects and designers, what would it be? You have been given this masterpiece of engineering – the human mechanism. If you learn to “inner engineer” it a bit so that it works the way you want, it will go on with absolute ease, without any friction. This means you are a designer-life. Of all that we can design, designing our life the way we want it to be or towards the highest possibility, is the peak. My wish and my blessing is that every one of you should design your own destiny. - as told to Bibhor Srivastava

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Why do you think we have 33 million gods and goddesses? Because that was our population. Since then, we’ve unfortunately become Western-educated and a little shy. It is my wish and my blessing that every one of you should design your own destiny. The people of India have this tremendous responsibility and privilege. India is capable of bringing a new paradigm of what it means to be successful in terms of creating human wellbeing. We have the necessary inner technologies and wisdom. We have to make this world a beautiful place – not by conquests, but by captivating and embracing the world like a garland.

Note: Sadhguru Jaggi Vasudev is the founder of Isha Foundation, a non-profit organisation dedicated to the wellbeing of the individual and the world. The architecture of Isha is contemporary, yet spiritually relevant. Sadhguru’s talks have earned him the reputation of an opinion maker of international renown. His life and work serve as a reminder that yoga is not an esoteric discipline from an outdated past, but a contemporary science that is vitally relevant to our times. This is an excerpt from his talk at the India Design Forum held during the ‘Make in India’ event in Mumbai. A&I

2. A 17ft white granite monolith, the Sarva Dharma Sthambha, with symbols of major religions of the world inscribed on three sides – forming a sign of welcome for one and all.

www.architectandinteriorsindia.com | APRIL 2016 | ARCHITECT and INTERIORS INDIA

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EVENT FENSTERBAU FRONTALE INDIA

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WINDOW TO TOMORROW

THE RECENTLY-CONCLUDED FENSTERBAU FRONTALE INDIA EXHIBITION HAS GOT THE INDUSTRY LOOKING FORWARD TO A PROMISING FUTURE

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he 6th edition of Fensterbau Frontale India – International Exhibition & Conference on Window, Door and Façade Technology took place from February 25-27 at the Bombay Convention & Exhibition Centre, Mumbai. Organised by NürnbergMesse, the exhibition has continued to grow and has attracted industry leaders since its inception in 2011. The event has managed to achieve a successful outcome by providing an effective learning platform, complemented with immense networking opportunities for the industry. The products and solutions on display at the event met various important criteria such as sustainability, energy efficiency and durability.

Speaking at the inauguration ceremony of the event, Ram Raheja, the director and head of Design and Architecture at S Raheja Realty, said “There is no better way of judging the success of a project than the quality of its construction. The quality starts right at the inception, with the right selection of materials, vendors and contractors. As a design philosophy, the facade of a building is one of the most important aspects – for it sets the tone of the building. From an engineering and sustainability standpoint, many aspects of the facade define the energy efficiency of the building.” With the themes of energy efficiency and sustainability taking centrestage, the three-day event explored and underlined key industry issues through a series of seminars and programmes.

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1. Panel ‘Net Zero Architecture – Why Facades Are Important’: Ashish Rakheja, Kalhan Mattoo, Prashant Sutaria, Kayzad Shroff, Deepak Mehta and Puran Kumar. 2-4. The exhibition had a successful outcome by attracting more than 4,000 buyers to the event.

ARCHITECT and INTERIORS INDIA | APRIL 2016 | www.architectandinteriorsindia.com

EVENT FENSTERBAU FRONTALE INDIA

INDUSTRY RESPONSE Despite the current economic slowdown and a slight slump in the real estate sector, the recently-concluded exhibition had a successful outcome by attracting more than 4,000 highly specific and top category buyers to the event. “This is our second consecutive successful participation at Fensterbau Frontale India. The event has been great success for us each time. It not only helped us to meet quality customers, but also gave us a platform to showcase new technology and gather good business opportunities. We congratulate FFI for their understanding of the fenestration industry and eye for detail, which sets them apart. We look forward to being a part of FFI in Delhi in 2017.” Anjan Putatunda, general manager, Kawneer India “There can be no doubt that Fensterbau Frontale India is one of the most important events for the fenestration industry in India. The February 2016 event, being a productive exhibition, was a great opportunity to showcase our newly-refined products and services. We also found companies with many innovative products and applications. Thus, massive interest was shown from all trade visitors. We had a good deal of serious negotiations as well, and we are very confident of a lively post-fair business adding to our growth in a given sector. Expectations from the FFI India team have gone higher for their upcoming exhibitions!” Kushal K Bajaj, executive director, Geeta Alsysco “Fensterbau Frontale India is a converging of the best in the window/facade industry. Here you have an opportunity to associate with people who are genuinely interested in improving the facade industry, be it in quality, technology or innovation. Having participated for three years successively, we see FFI as a platform to connect, interact and build a relationship with potential clients. I’m looking forward to next year in Delhi.” Avinash Pai , director, Avigiri Urethane and Rubber Industries “FFI sets itself apart from others, as it comes across as a more mature show and gives the exhibitors time and space to engage with fellow participants as well as visitors.” Anuj Divanji, managing director, Ritikaa Wood ‘Fene – Plast’, powered by Koemmerling, focused on the chemistry elements of uPVC fenestration by highlighting factors which make them superior, reliable and innovative. With expert presentations on extrusion systems for end-to-end PVC profile manufacturing, stabilisation of PVC profiles for better performance and durability, and colour options for PVC profiles, the programme gave a deep insight into the whole manufacturing and R&D process. The general consensus at the end of the concluding panel discussion, led by architect Jagdish Mistry, was that it is a preferred residential window framing material and is gaining popularity in the commercial sector owing to its highlyefficient performance ratings. The main highlight of the event was an international seminar on fire safety in glass facade buildings organised by the Fire & Security Association of India (FSAI). The keynote address was delivered by Andy Dean, head of Facades, WSP/Parsons Brinckerhoff, Dubai, and was followed by an informative and interesting panel discussion featuring CN Raghavendran (principal architect, CRN Architects), Santosh Warick (director, MIDC Fire Service), Devendra Kumar

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Shami (fire adviser, Minister of Home Affairs, Government of India) and other eminent speakers. The session was moderated by Pankaj Dharkar from PDA Consultants. Understanding and quantifying the risks associated, correct material selection and establishment of guidelines were some of the key points discussed. The panel discussion on ‘Net Zero Architecture – Why Facades Are Important’, moderated by Ashish Rakheja from AECOM Consultants, featured illustrious architects such as Puran Kumar of Puran Kumar Architects, Kalhan Mattoo of Planet 3 Studios, Deepak Mehta of Deepak Mehta Architects, Kayzad Shroff of Shroffleon and Prashant Sutaria of Prashant Sutaria Architects as panelists. The discussion was on the potential of the window, door and facade industry in India, and highlighted the fact that there is a lot to explore and innovate. In the conversation, Kumar stated, “Net Zero energy building is essentially energy conservation on all ends – heat, water and air. It is paramount that we, as architects, consider this as one of the focus areas – even though we all will have different roadmaps to achieve it.” Shroff concluded by saying: “Energy-efficient buildings should be made a prime focus for architectural students, to ensure that we are moving towards net-zero architecture.” In addition to this, experts from ift Rosenheim (who have supported the show since 2011 and played a key role in defining its content) organised brief seminars on industryspecific topics such as success with quality of windows, glass, facades and doors, and guidelines for installation. The next edition of the show will be held in Noida. A&I

5. Andy Dean, head of Facades, WSP/Parsons Brinckerhoff, Dubai.

www.architectandinteriorsindia.com | APRIL 2016 | ARCHITECT and INTERIORS INDIA

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NEW ON THE MARKET

PRODUCTS

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CONTEMPORARY PAGAN ART Spacio’s new eclectic collection is a celebration of one of the world’s oldest cultural influences from Northern Europe and Scandinavia. The leading luxury boutique store of interior décor and accessories has once again lived up to its philosophy ‘seeing is believing’. The collection, Nordic Inspirations, reflects quintessential Scandinavian design influence – minimal, functional and bright. It carries hints of pagan culture and rituals, and brings together nature and religion in art form. In a world surrounded by technology, Nordic Inspirations celebrates natural warmth. It has a worldwide appeal and it can blend harmoniously with other periods and contemporary décor styles. The collection conforms to the Nordic design principle that articles shouldn’t be just sturdily constructed, but also beautifully formed.

SPACIO Tel: +91-7506256256, +91-9811363311, +91-33-40049595 Email: sales@spacioaccessories.com Website: www.spacioaccessories.com

UTILITARIAN ART

RUST GALORE

Saibaan, the luxury bespoke furniture studio, has designed a sculptural side table that is quite the conversation starter. The metal sculpture at the centre of the table is a work of art, creating distinct views from every angle. The unusual pairing of materials – a combination of metal, wood and stone – adds to its glamour quotient. With a subtle dash of colour and metallic shades, it’s a minimalistic approach of adding art in a space that is utilitarian yet appealing. The colours of the table are neutral and muted, hence the shape becomes a striking feature. Stone adds more character to the table with hints of sparkle in it. An elegant piece of furniture, it is designed to blend in with most colour schemes.

In its new linen collection, Address Home gives the rust shade many contemporary and traditional variations. The collection includes Versailles Foil Cushion, which has floral foil design print on a natural velvet fabric. The Opera Cushion, on the other hand, has a traditional floral motif developed in a modern style, enhanced by bead handwork embroidery. Cushions in natural velvet fabric with a subtle texture, achieved by digitally embroidered technique and multi-colour thread combination with zari highlight, form part of this collection. Also on offer is the Chateau Velvet Quilt – a digitally embroidered, intricately patterned velvet surface, and Calais – a reversible quilt in natural and rust colour, enhanced by a floral motif with contrasting threadwork that is bound to add style and colour to the bedroom.

SAIBAAN

ADDRESS HOME

Tel: +91-11-46107819/20 Email: info@saibaan.in Website: www.saibaan.in

Tel: +91-22-40040474, +91-11-41719292 Email: we@addresshome.com Website: www.addresshome.com

AQUA INSPIRATIONS The Nilaya Signature Series has its creative origins from all things water. From the in-house collections of wall-coverings, originating from Lab Nilaya, the first two collections from the Signature Series are Moods of Monsoon and Sea Escape. Sea Escape pays tribute to the ancient Indian art of Kalamkari and depicts gentle ocean scenes. ‘Moods of Monsoon’ artistically depicts rain, earth and nuances of the monsoon season. Interpreted in old-school techniques like watercolour and tie-anddye, the collection comes in aqua shades with soft, natural textures.

NILAYA Contact person: Ramandeep Singh Tel: +91-8335864500 Email: singh.ramandeep@asianpaints.com Website: www.asianpaints.com/nilaya

ARCHITECT and INTERIORS INDIA | APRIL 2016 | www.architectandinteriorsindia.com

EXOTIC RED Exotic wood species with a warm reddish colour are most sought-after, and Junckers’ Beech Sylvared replicates that exotic finish. The premium solid hardwood flooring brand from Denmark, created a process where beech – a wood species available in very large quantities – has been vacuum stained to achieve a rich reddish shade throughout the floorboard. It appears as an interesting alternative to the limited volumes of exotic wood species. These are available in thicknesses of 14mm and 22mm in two planks in various width measurements and prices, commencing at Rs650 per/sq-ft. Beech Sylvared has been used in the PM House and other large government buildings in Delhi.

Give wardrobes Italian luxury with the latest collection of Anteprima walk-in wardrobes by Pianca. The premier Italian design house has built on the previous Anteprima collections to unveil the 2016 range that combines optimal storage design with innovative accessories to deliver the best in luxurious closet spaces. Accessories such as pull-down hanging rods, fabric-lined drawers and trouser racks can be added to the wardrobe’s design to suit individual preferences. Anteprima walk-in wardrobes are available in lacquer, glass and veneer finishes along with various other wardrobe interpretations. These walk-in wardrobes can be customised with respect to sizes, finishes and internal accessories. It can be complemented by a wide variety of beds and add-on furniture to create bespoke bedroom compositions.

PRODUCTS

WALK-IN TO ITALY

GRANDEUR Tel: +91-11-41631591, +91-22-67476746, Email: info@grandeurinteriors.com Website: www.grandeurinteriors.com

JUNCKERS Contact person: Suresh Mansukhani Tel: +91-9871192234 Email: sureshmansukhani@junckers.in Website: www.junckers.in

GREEN AND DURABLE Manufactured using mostly recycled materials, Pergo’s Wood Parquet flooring is now available in 14 different designs. The easy-to-install and durable flooring is available in different finishes such as brushed surface, sawcut and Dutch pattern designer look. Pergo Wood Parquet is designed to withstand years of use and still look beautiful. The designs in this range are divided into six groups: Svalbard, Gotland, Bornholm, Varmdo, Jomfruland and Dutch pattern. This flooring comes with the Pergo trademark technology – PerfectFold 3.O. Formats available in this range are: 2200x220x14mm, 1820x190x14mm, 1820x145x14mm, and 2200x190x14 mm.

PERGO WASHED TO PERFECTION The Toto washlet has been upgraded with new intelligent features, and the latest model is the epitome of comfort and hygiene. The washlet cleanses using a fully adjustable wand that allows users to set precise temperatures, positions and spray types. The Toto washlet also includes features like a sanitising function where, before its use, it moistens the surface of the bowl and, after use, it sprays ewater+. The washlet has an automated deodorizer where, after use, odours are automatically vacuumed away with twice the power of conventional deodorizers. It also comes with a nozzle-cleaning feature where, in addition to being rinsed with tap water before and after every use, the nozzle is sterilised with ewater+.

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

TOTO INDIA Tel: +91-22-28325741/42, +91-11-46542421/22 Email: aurodeepa@toto.com Website: www.asia.toto.com

www.architectandinteriorsindia.com | APRIL 2016 | ARCHITECT and INTERIORS INDIA

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PRODUCTS

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SOAK IN LEISURE Vessel is a massive, hammock-style bathtub by Splinter Works, available in three colours. It is made of carbon fibre and boasts of a special foam core designed to keep the bath water hotter for longer. The new gold version features 24 karat gold leaf and clear lacquer decorations. Specially designed for use in wet rooms, the basin is mounted to the wall via stainless steel brackets. The tub gets filled using a floor standing tap, while its waste water is released through the base into a floor drain.

PLATINUM HOUSE Tel: +971-4-8143800 Website: www.platinumhouse.ae

PETITE CLOSET The Piet Armoire has a zebrawood veneer and also consists of solid alder wood and brushed stainless steel. The armoire is characterised by modern straight lines, which travel horizontally and vertically across the front of the piece. Inside, it has four drawers and hanger space. This product can be customised with a variety of materials and finishes.

THAT ’60S CHAIR

VAUGHAN BENZ

GALAPAGOS DESIGNS

Tel: +323-7524555 Website: www.vaughanbenz.com

Tel: +1-483-901273 Website: www.galapagosdesigns.com

Part of Galapagos MidCentury Made Modern collection, designed with interior projects in mind, the Beck chair is influenced by the atomic design of the 1960s and features gently rounded arms and back. The Beck chair is made of stained beech wood and can be upholstered in any fabric.

VINTAGE LOVE Lovebirds Vintage sofa is an original 1960s sofa, re-upholstered in Parris Wakefield ZigZag cotton fabric and Camira Blazer wool felt. This sofa has reversible cushions, either featuring a bold pattern or royal blue, giving two options for interiors.

GALAPAGOS DESIGNS Tel: +1-483-901273 Website: www.galapagosdesigns.com

ARCHITECT and INTERIORS INDIA | APRIL 2016 | www.architectandinteriorsindia.com

PRODUCTS

SCULPTED RADIANCE Gweilo is the first product of the architecture and design syndicate Partisans, which has offices in Toronto and New York. Designed by Alexander Josephson, Gweilo is a new type of lighting that transforms the light source itself. Thin sheets of LED bulbs are carefully moulded into a dynamic sculpture. Each light is hand sculpted by an artist in its hot plastic state, allowing different shapes, sizes and details of the finished object.

PARTISANS Tel: +416-3884803 Website: www.partisanprojects.com

RECYCLED ROSES Made of 800 recycled felt roses from leftover shoe materials, Italian studio 13 Ricrea introduces Muchas Rosas. The armchair has an extractable and washable cover and body made of wood and polyurethane. The chair is available in white, light purple, red, black and blue colours.

13 RICREA Tel: +39-391-4810542 Website: www.13ricrea.com

ON THE RIGS The Oil Pump table was developed by architect and designer Manuel Pampani in collaboration with Tecnicadesign. The goal was to create a high-end product which is at the same time technically versatile and adaptable to the client’s need, both in terms of dimensions and available finishes. The main body is made of stainless steel and the gold finishes can easily be customised with other types of coating. The table is composed of three independent, self-leveling supports and a tempered glass top whose diametre and shape can vary.

TECNICADESIGN Tel: +39-0437-859242 Website: www.tecnicadesign.com

FLUID LIGHTS After the success of the Fluide lamp, French design studio Binome introduces the Fluide chandelier, which consists of multiple lamps creating an imposing light. The chandelier dimensions are 170cmx87cmx87cm.

BINOME Tel: +33-3-86377385 Website: www.binomedesign.com

www.architectandinteriorsindia.com | APRIL 2016 | ARCHITECT and INTERIORS INDIA

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THE BIG PICTURE RAJAN KRISHNAN

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REMEMBERING RAJAN 2

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t is always difficult for an art lover to bid goodbye to an artist whose work fuelled her love for art – but when the artist has been a close friend, it is excruciatingly painful. It was Rajan Krishnan’s paintings that drew me to him, but it was his warm and generous personality that kept me close to his art. What impressed me about this 1967-born contemporary Indian artist who has gone too soon, apart from his work, was the fact that, while others of his ilk left Kerala to make their name and fame in cities like Mumbai and Delhi, he

CAREER HIGHLIGHTS 1. Substances of Earth (274x366cm, acrylic on canvas) was exhibited at the Saatchi Gallery in 2007. 2. Artist Rajan Krishnan. 3. One of Krishnan’s recent water colours shows that he was as adept at delicate strokes as at bold ones.

Rajan Krishnan’s major shows included Ancestry, Aicon Gallery, New York (2011); The Empire Strikes Back – Indian Art Today, Saatchi Gallery, London (2010); The Silk Road – New Chinese, Indian and Middle Eastern Art from the Saatchi Gallery London, at Lille3000, France (2010); Ore/Substances of Earth – I, Bodhi Space, Mumbai (2008); Re-visit, OED Basement, Kochi (2008); Memoir, Bodhi Art, New York (2007); India Maximum City, Galerie Helene Lamarque, Paris (2007); Embryo, Bodhi Art Singapore (2006); Enroute, Bombay Art Gallery, Mumbai (2006); Little Black Drawings, Kashi Art Gallery, Kochi (2004); apart from numerous group shows and art fairs in India and abroad. Krishnan also curated Making Art - Let it Happen (2009) and Earth (2010).

ARCHITECT and INTERIORS INDIA | APRIL 2016 | www.architectandinteriorsindia.com

made a conscious decision to return to his native land after completing his MFA in Painting at the Faculty of Fine Arts, MS University of Baroda in 1996. Krishnan was close to his motherland in more ways than one, and his direct connection to the aspects of nature that surrounded him during his growing years was evident in his canvases. For almost a decade, the Kochi-based artist actively explored the relationships 3 between history and memory, the natural and the human-made environment, and the collective and the individual. His post-apocalyptic canvases of 2006-2009 tended to cloak decayed landscapes and fragmented land forms in an earthy palette to create visual cautionary tales about the dangers of unbridled development. But since 2010, he abandoned the sombre in favour of the spectacular. Fittingly, while his death has cast a sombre shadow over contemporary Indian art, the legacy he leaves behind is spectacular. A&I By Maria Louis

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