Home Design Trends Vol 1 No 9

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R.N.I. MAHENG/2013/50949

Volume 1 No 9

`250HOME & DESIGN A Times of India publ


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12

contents6 DESIGN IN CONTEXTPresenting new design products and concepts from across the globe

12 INTERVIEWPritzker winner Toyo Ito talks about why architecture needs to be for the people

16 GUEST COLUMNRamesh Edwankar writes about how interior design has been reduced to the role of decoration

18 MY VIEW

Product design experts on Ludwig Mies van der Rohe's statement Less is more

22 PORTFOLIOArchitect Federico Babina pays tribute to cinematic architecture through a series of illustrations

28 INTERVIEWAcclaimed designer Pinakin Patel talks about refinement in simplicity

32 ARCHITECTURE ON THE ROADEditor Preeti Singh writes on 2012 World Design Capital - Helsinki

36 ICONIC DESIGNThis months pick is the world's largest dam - Hoover Dam, USA

RESIDENTIAL DESIGN

40 TRANQUIL RETREATS

Embraced by the land

Set on a ridge, this family home favours quality over quantity

Away in the hillsThis holiday villa in Khandala is an idealic family getaway 4

On the beachAn urban sensibility combined with a laid-back lifestyle makes this home last for generations 5

A play on levelsA raised plot, multiple levels and a tropical interior defines this Lonavla bungalow

The sunroom of this renovated residence by Peterssen/

Keller Architecture and Engler Studio is a light-filled free

flowing space complete with formation chairs

(see page 92)

Cover

6

74

28 Pinakin Patel12 Toyo Ito

INTERVIEWS


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74 SUBURBAN HOMES

With due respect

This house fits perfectly into the neighbourhood of 1920s sandstone houses 74

Fit to form

Guto Requena designs this apartment to reflect contemporaneity, Brazilianness and flexibility 82

Gracious welcome

This Georgian charm renovated home benefits from a light-filled, flowing interior 92

Perfectly alignedThis Hyderabad home represents the best of classical and contemporary design 100

110 CHALLENGING SITES

Down the garden path

Tucked away in a secluded valley, this house makes the best use of its challenging site 110

Front to back

With its open and transparent circulation areas, this house maximises both space and light 117

COMMERCIAL DESIGN

124 PROJECT PORTFOLIO

Garden of illusions

This office is a tropical space designed to reflect the companys business ethic 124

PUBLIC BUILDINGSJewel in the crown

Moshe Safdies Louis Vuitton Island Maison in Singapore is a sparkling multifaceted gem 132

Multifaceted

This museum demonstrates how an expansion need not always be large in scale one 140

150 PROPERTIES ON THE BLOCK

TRENDS showcases premium properties on the market

152 THE GALLERY

Lightopia - Lighting designs from iconic artists showcase the role of light in art and life

Hatch and Disintegrating by Fabian Oefner - A two-part series that combines art and cars

Houses of Goa - Graphical illustrations of the designs of Goan-Portuguese houses

158 SHOWCASE

contents 8

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More ideas, information and inspiration atTrendsideas.in

FROM THE EDITOR

[email protected]

MrigankSharma

(IndiaSutra

)

Good architecture and design is always on our minds at TRENDS. But as

architect Ramesh Edwankar points out inside the pages, architecture in itselfcannot be an end in itself. Without interiors that accepts its outer body andenhances ones complete experience of a space, the job is only half done. Thisis not an interiors special but we do dwell a bit in this issue on exploring theanatomy of an inviting space.

So is less more? This evocative aphorism was made famous by architect LudwigMies van der Rohe. What is not as well-known is that it has been adopted fromRobert Brownings poem (1855)Andrea del Sarto. Here, Browning imagines thewords of the famous painter Andrea as he talks to his wife, when he feels herappreciation for his work and love for him waning.

Who strive - you don't know how the others strive

To paint a little thing like that you smearedCarelessly passing with your robes afloat,-Yet do much less, so much less, Someone says,(I know his name, no matter) - so much less!Well, less is more, Lucrezia. I am judged.

But in architectural terms, simplicity, according to Rohe, wasfar harder to achieve than complexity. And it held a muchgreater meaning and value. Do see our My View pages toread interpretations of less is more by design entrepreneursSahil Bagga and Sarthak Sengupta, Mustafa Eisa, LatikaKhosla, Cecilia Morelli Parikh of Le Mill, Rajat Singhi ofAddress Home and Shilpa Pastala of Fusion Access.

Our interview of the month is with the acclaimed Pritzkerwinning architect Toyo Ito, who believes that spaces should serve people thatinhabit them and not specific design ideologies. So his work uses not onlyminimalist tactics but also strong organic elements. Do also read the interviewwith Pinakin Patel who talks about the power of simplification.

In our projects this issue, check out the homes designed by Gautam Naik& Bhavna Jacob, and Riyaz & Simeen Quraishi as well as the extraordinaryLouis Vuitton Island Maison in Singapore designed by Moshe Safdie and thecontemporary office space by Core Architects.

And lastly, we received overwhelming entries for the TRENDS Excellence Awardsfor Architecture & Design 2013. Jury chairperson Nitin Killawala and judgesSanjay Puri, Kalhan Mattoo, Mujib Ahmed and Lalita Tharrani met last month todeliberate on the winners. Our big thanks to Doug Meyer for participating in the

judging process remotely from New York. We have tried to do something differentwith these awards. The judges looked at work very critically and chose those thatstood as proud examples of good architecture & design.

Shortlist on pages 38-39. Winners to be announced soon.

Enjoy.

PREETI SINGH

WE RECEIVEDOVERWHELMINGENTRIES FORTHE TRENDS

EXCELLENCEAWARDS FOR

ARCHITECTURE &

DESIGN 2013


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DESIGN IN CONTEXT

PRESENTING DESIGNS FROM

ACROSS THE GLOBE THAT PUSH THEBOUNDARIES OF FORM AND FUNCTION

And Repeat

Consisting of multiple rectangular frames, admire the curves of the straight lines that are repeated in rotation around the entirebody structure to form a new cluster of objects. Designed by Korean designer Jeon Kyung Ok, the Revolving Chair gives in to the

movement to reconstruct a harmonious form that may not be that high on comfort, but scores high on design ingenuity.


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Surround SoundA human-sized hamster ball is certainly not anideal place to relax, but that is what challengedthe Scandinavian creative lab ST in collaborationwith experimental studio Petter Johansson Art

Direction and Design to create the AudioOrb. Theorb is an amalgamation of contemporary designwith technological precision and functional art.The poly (methyl methacrylate) glass sphere hasa hole for entrance, is lined with memory foampillows, and 18 speakers to offer you an idyllicambience to relax with the melody of your choice.For further information, visit www.indiegogo.com/projects/audioorbs/

Home & Design Trends Vol 1 No 9 2014 more projects at trendsideas.com


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Up In The Air

Maison Edouard Franois along withthe Krrish Group are bringing French-

style luxury living to Gurgaon, India. TheGurgaon 71 residential apartments

will offer the floors as green clouds spaces that will act as the extensions of

the apartments below. They will offer theresidents a space in the sky, surroundedby trees with wooden decks, terraces all

embodying French luxury.

Polished Edge

London-based designer MassimoBuster Minale, of Buster+Punch

believes in elevating the ordinaryinto the extraordinary, a call echoed

by his collaborators and seen intheir collection, Hooked. Inspiredby the raw, passionate, and gritty

Rock n Roll, and motorcycle lifestyle,

the light fixtures elevate materials,such as brass, dark wood, quilted

silk, leather, and rubber to everydayobjects, which pack a punch. Seen

here is Hooked 6.0, where the lightpendant is finished in solid knurled

brass with matt rubber detailing andcan be fitted with any standard bulb.

The light can also be customised withshades made from bronzed gun metalwith brass button detailing. For furtherinformation, visit busterandpunch.com

Missing Points

The 3P Clock designed and created by Canada-based designstudio Robocut in collaboration with Baron magazine is anillusional timepiece. In effect, it is a hexagonal wooden piece witha cherry wood finish, which creates a 3D effect when placed onyour wall. It is a limited piece, dont waste any more time and visitwww.robocutstudio.com for further information.


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more homes at trendsideas.comHome Trends Vol 3 No 6 2012

Wheeled

Ever wondered whathappens to the wheels of

retired aircrafts? Wellsome of them get converted

into bases of coffee tablesas done by UK-based

company Fallen Furniture.The table comes as a single

piece, which takes 150

hours to complete fromstart to finish. The wheel ishand polished and a glass

top is fixed atop it. The highdegree of polish allows the

user to observe the intricacyof the wheels design whilst

enjoying their cup of tea.

Boxed In

Inspired by the origami piece, the BentoBox, the Foldigon designed by RamiTareef, Ayala Bougay, Meydad Marzan, turnsfrom a boxed coffee table into a sofa. The ideabehind the furniture was to protect the upholsteryfrom the elements of nature. The upholstery isdivided into polygons to create living hinges and allowthe folding and fitting it to different sitting positions. TheFoldigon was part of the Soft Comfort exhibition organised byD-Vision for Salone in Milan 2012 where entrants were askedto send in entries, which invite people to sit on them withthe promise of comfort.YA

RONWEINBERG


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Stellar Lights

The light is clearly the game player here, shadowing silvermetal, glass, and molded carbon fibre. The light pieces crafted

by Jerome Olivet are of an expansive array of futuristic designs,but each different from the other thanks to the play of light.There are 16 designs to choose from, each harmoniously

suited or customised according to your architecture.For further information, visit www.jeromeolivet.com

Old Is New

Marcel Wanders new collection titled Roisde la Fort for French brand Baccarat,

manufacturers of fine crystal glassware,

draws inspiration from New Antiques.According to Wanders, the term describesthe bridge between the past and presentdesign approach, which can be enjoyed inthe contemporary moment. The merging

of fragile nature of glass juxtaposedagainst the masculine beauty of fine Italian

marble exemplifies elegance and bringsan ethereal quality to the humble vase.For further information on this limited

collection, visit www.baccarat.com

10 more projects at trendsideas.com

- Compiled by Moshita Prajapati


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WE UNDERSTAND SPACES BETTE

A Worldwide Media Publication www.trendsideas.in

ALL

To subscribe, SMS TRNDSUB to 58888 or visit mags.timesgroup.com/home-trends.html

- ARNE JACOBSON,Danish Architect & Designer (1902-1971)

THEN IT ISARCHITECTURE,

BECOMESIF A BUILDING

ART

HOMES, PRODUCTS,

DESIGNS THAT

ELEVATE LIVING INTO

A FORM OF ART


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What made you decide to become an architect?

I was in the third standard when I moved to Tokyo. At the time, I never dreamt of becomingan architect - my passion was baseball. It was while attending the University of Tokyo thatarchitecture became my main interest. For my undergraduate diploma design, I submitted aproposal for the reconstruction of Ueno Park, which won the first prize. The rest simply wenton from there.

What designs of yours are you most proud of and why?

The most important projects were realised during the aftermath of the earthquake and tsunami of 2011 inJapan. The disaster spurred a group of Japanese architects including me to develop the concept of Home-

for-All, a communal space for survivors. I believe an architect is someone who can make such spaces showa little more humanity; make them a little more beautiful, a little more comfortable. Another example is myoffice, which is like a school where young architects come to work and learn.

What according to you is good design? How do you try to achieve it through your projects?

My works draw inspiration from the principles of nature, as evidenced by the unity achieved betweenorganic-like structures, surface and skin. I want to ensure that the projects are fluid and not confined to thelimitations of modern architecture.

What do you think it is that people respond to in your work?

I am a creator of timelessness, who at the same time charts new paths. People probably see my projectswith a sense of optimism, lightness and joy, and are infused with a sense of uniqueness and universality.

WINNER OF 2013 PRITZKERPRIZE, TOYO ITOTALKS ABOUTHOW ARCHITECTURE NEEDS

TO BE FOR THE PEOPLE ANDNOT THE ECONOMY

INTERVIEW

12 more projects at trendsideas.com Home & Design Trends Vol 1 No 9 2014

PROVIDEDB

Y:INTERNATIONALTRADE

BUILDINGC

ORP.,PHOTOGRAPHER

JEFFREY

CH

ENG,YOSHIAKITSUTSUI,


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What do you consider while conceiving a project?

I think it is important to keep in mind the elements of nature i.e. air,wind and of course humanity. The classic example is the SendaiMediatheque, Japan. It imbibes the elements of air, wind and lightmaking the structure incredibly light and resilient. I achieved this bystructural tubes, which permitted new interior spatial qualities. In theTaichung Metropolitan Opera House, Taiwan, the horizontal andvertical network of spaces creates opportunities for communicationand connection, seeking freedom from the rigidity of a grid.

You mentioned you would like to use architecture to createbonds between people who live in cities. How do you see the

Sendai Mediatheque doing this?

The Sendai Mediatheque is an open space where people can relax andenjoy. In that pure and transparent space you can see people walkingaround and enjoying. Its a bond that is created between people.

The Metabolist movement in architecture developed during the

time you started at the University of Tokyo. You also worked under

Kikutake a Metabolist architect. How did it impact your own work?

While working with Kiyonori Kikutake, Metabolist ideas for the city of the future were emerging and werebecoming more concrete, notably with the 1970 Expo in Osaka. And at that time I believed in fluidity.

more projects at trendsideas.comHome & Design Trends Vol 1 No 9 2014

Tapiei World Trade Centre Square Landscape

Design, Taipei, Taiwan

TamaArtUn

iversityLibra

ry(HachiojiCampus

)Hachioji,To

kyo,Japan


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Another event that also had an impact was the student protest movement that emerged in the late 60sin both Europe and Japan. I started realising that, the now- the present Japan- is important. I then started

creating my own design concepts. Eventually these influences took me away from Metabolist ideologies.

Most architects want to establish a legacy buildings that would stand as testimonies to their

architectural brilliance. While you tend to care more about personal connections. How has this

played a role when conceptualising the design for a structure?

In contemporary society, I think that 99% of architecture has become the instrument for economicactivities, and I am very sorry for that. Because I think that architecture is supposed to be something thatlinks people to other people. Architecture has to become a form of co-operation, a co-operational body forpeople. It should not be something that is controlled by economy, but that creates a relationship of trustamong people. This is what architects are supposed to do when they create architecture.

Your work is often described as light and transparent. What are your thoughts on this?

In the 1990s, being transparent was an important part of architecture. With the bubble economy in Tokyo,perceptible realities dissolved and that had an impact on my architecture. I wanted to move away from

definite structures and do realistic designs that epitomised transparency.

White U was an important project for you as a young architect. Why did you tear it down?

21 years after being completed, and after all three family members had moved out, I looked at it anddecided to demolish it. The house had a great influence on its residents, however, its destruction was not asad event. My family was no longer in mourning, and the design of White U had been tailored for that mind-set. Having served its purpose, the houses demolition marked the start of a new chapter for my family.

You admire Rem Koolhaas vision of architecture. How has it influenced your own?

It has in many ways. I even named my studio Urban Robot - an appellation reflecting the techno-utopiasand city-sized mega structures then current in Japan under the Metabolists, a group of avant-garde archi-tects whose reputation has been recently revived in a book by Rem Koolhaas and Hans Ulrich Obrist.

How have Japanese traditions affected your work?

The Japanese culture derives happiness from simple things like nature. I particularly rejoiceHanami

, whichsignals the arrival of the winter and the famous Cherry Blossoms where people sit under the cherry blos-som tree in a drapery and have picnics singing and dancing. That simplicity is significant to my creativity.

- Compiled by Amanda Peters

People probablysee my projectswith a senseof optimism,lightness, andjoy, and areinfused withboth a sense of

uniqueness anduniversality

Sendai Mediatheque, Aoba-ku, Sendai, Miyagi, Japan

Acclaimed Japanese architect Toyo Ito has been the recipient of numerous international awards,

including The Royal Institute of British Architects Royal Gold Medal in 2006 and more recently the

Pritzker Architecture Prize for 2013. Ito has designed eminent projects throughout Asia, Europe, North

America and South America. Most recently he was also invited to speak at one of the most significant

events on Asias design calendar, Business Of Design Week 2013, an annual flagship event organised

by Hong Kong Design Centre since 2002.

White U, Nakano-ku, Tokyo, Japan

TODS Omotesando Building

Shibuya-ku, Tokyo, Japan


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Most of the time, the structure is

complete and thats when the task ofinterior designing is taken on and thisis the biggest mistake one can make,says architect Ramesh Edwankar

For any project to be considered successful, it isimperative that both the architecture and interiordesign are complementary and in-tune with eachother. Architects and designers sometimes whilecreating spaces forget that they are sides of thesame coin and influence each other in almost allways. I feel the interiors of a space are all aboutbalance and proportion. Be it a commercial spaceor a residence, accommodating the requirementsof the occupants is the prime job of any architector designer. As clichd as it may sound, for interiordesigning, studying the personality of the owneris key. And the space has to reflect the occupant.Many a times designers ignore this and end up

creating spaces that are absolutely opposite oftheir occupants and are more of the designersreflection and tastes.

An interior design is not only about selectingthe right furniture and accessories. It involveslots of activities and planning in the form ofplumbing, electrical, light, ventilation, etc. I thinkits the education system that needs to changethe way young architects and designers think.Architecture is always given more seriousnessand unfortunately interior design is always con-fused and seen as decoration. The problem iseveryone sees interiors in a boarder perspectiveand very rarely it is seen at a microscopic viewand hence we see spaces that lack warmth andpersonality. All of them look alike and sterile.The focus is more on style and being in trend

rather than reflecting the occupants personalityand needs.In the need to design and create an appro-

GUEST COLUMN



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priate interior, designers forget how the place-ment of basic amenities influence the shape andambience of spaces. For example, just becausethe trend says multiple openings, designers blindlyand randomly provide them without any thought ofwind, light, etc. They forget that an opening has tocreate a right vision and should influence the roomin terms of volume, depth, height, etc. It is criticalto understand that the atmosphere of any space

speaks a lot. It is a silent introduction to visitorsabout factors that cannot be put into words.Also, one thing that I increasingly see being

ignored is attention to detail. And by detail I donot mean selection of furniture and accessories,it is more to do with the kind of accessories. Forexample, if someone says they like the colourblack, I cant give them a black bedroom but I caneffectively bring it in with the right colour schemeand balance the space using accessories. Letstake an example of a tight space. Architects anddesigners should remember that a perfect colourbalance could be achieved only through rightuse of everything- furniture, walls, accessories,paintings, etc.

I think another factor that is very significantin interiors is lighting as it changes, alters anddefines the mood of any space. I feel, it can literallymake or break an area. One should rememberthat natural light is the best form of lighting. Itchanges throughout the day, creating new effectsas the day progresses. A single ray of light through

a channelised skylight can be altered and cancompletely uplift a space.

Lastly, materials significantly alter a space.One cannot use dark wood in tight spaces asit will make the area look smaller. But a lightershade of wood against light colours can makeit look more voluminous. Heavy materials likemarble, wood, steel are for spaces where moreroom is available. Also, usage is important. You

cannot make a dark solid wood study table fora young teenage student. Similarly, one cannothave veneer tables for a company CEO. Choice ofmaterials has to depend on the person, profession,usage, area, etc. When an architect or designerintelligently balances even the basics, the resultis an interior that is warm and inviting and that iswhat it should be.

The interiorsof any spaceare a silentintroduction to

visitors aboutfactors thatcannot be putinto words

With over 40 years of experience, architect Ramesh Edwankar of RED Architecture & Interior Design

has been instrumental in shaping some of the best projects in Pune and Mumbai. He has been a

recipient of multiple awards.


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MY VIEW

Good design is impeccably poised whenour eye can focus on any one thing and our

mind can comprehend its entirety. Just asgreat music is made up of controlled sound

and silence, in design too one wrong notecan spoil the idea. Less is more is one thing,which speaks at a time but the rest is a silent

cadence making it harmonious.

LATIKA KHOSLA,

FREEDOM TREE DESIGN

I agree with Ludwig Mies van der Rohes statementfor great innovation and design. But I dont think it

can be applied to all interiors. Having said that, allpieces of furniture I think work best to this principlebecause fundamentally, they are concentrated onthe function of the piece. The result is pure, cleanlines that mimic the best design. Carl Hansenswishbone chair is a fine example of this.

CECILIA MORELLI PARIKH,LE MILL


ON: LESS IS MORE


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Whether we agree with the concept of

Less is more depends on our audienceand the nature of the project we embark

on. Unlike an artist, who creates toexpress oneself, the designer on the

other hand creates for others. Therefore,we have to take into account the tasteof our clients, which then shapes ourindividualistic style for each particular

project. Personally, we really appreciatedesigns where the form follows function

and the innovation in the productis simple and clever. In our opinion,

innovation doesnt have to be somethingradical. It can be a simple detail or an

interesting reference from our past thatmakes the product closer to our hearts.

SAHIL BAGGA ANDSARTHAK SENGUPTA,

SARTHAK SAHIL DESIGN CO

Whilst Mies started his career in the then traditionalneoclassical style, post World War I, he along withhis contemporaries sought to redefine traditionalarchitecture with a style that would be considered

a style of the times just as Gothic and Baroquehad done during their time. There was a clear anddeliberate effort to shun elaborate classic designsand replace them with clean lines and simple skinand bone architecture, that would be cheaper andin stark contrast to classical designs associated withthe by now reviled aristocratic class. So to put thestatement Less is more in perspective, yes it wastrue for that relative period. However, since then wehave seen a revival of elaborate designs through theArt Deco movements and a return to classical fusionin contemporary design. The trend of the day howeveris eclectic and classic fusion, with minimalism losing

favour in the last few years. If I were to be asked aboutthe present day design trends, it would be more ismore or classic is the new contemporary. However,another phrase, coincidentally also by Mies God isin the details would be something that would hold truefor any period or trend in design.

MUSTAFA EISA, MUSTAFA EISA DESIGN



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Less is more isnt about spending less orabout a single object. It is about achievingbetter design through simplicity andintelligence. It is about getting the greatestimpact through careful editing and restraint.For example, accent colour furniture has

larger impact in a room when teamed witha monochromatic colour scheme. Addingany other colour in the room would dilute theeffect. Colourful pouffes in teal, red, purplewith neutral colour such as white and silveraccessories can provide plenty of colour andpattern in the room yet keeping it minimal.

RAJAT SINGHI, ADDRESS HOME

The theory of Less is more is about achieving better design throughsimplicity. It is about getting the greatest impact through careful editing

and restraint. Shapes and silhouettes lend a lot of character withoutcluttering the space. There is synergy in its simplicity.

SHILPA KALANJEE PASTALA,FUSION ACCESS

- Compiled by by Sanaa Nalwalla



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- LOUIS KAHN, American Architect (1902-1971)

THE SUN

IT IS UNTIL

HOW WONDERFULREALISEDOES NOT

AFTER

A ROOMIS MADEWE UNDERSTAND SPACES BET

MAXIMISE

WHAT NATURE

HAS TO OFFER

WITH OUR

PATH BREAKING

GREEN HOMES


ALL



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PORTFOLIO


FEDERICO BABINACREATESILLUSTRATIONS THAT PAY HOMAGETO CINEMATIC ARCHITECTURE

Home & Design Trends Vol 1 No 9 2014

Federico Babina is an architect

who also pursues graphic

design as a passion. The

Italian born artist is best

known for his Archipix series

in which he renders well-

known architects and their

buildings as pixellated eight bit

graphics. Now, Babina wittingly

blends the creative worlds of

architecture and the cinemas

in his series of 17 illustrations

entitled ARCHICINE. Right from

George Lucass Star Warsto

North By Northwestdirected

by Alfred Hitchcock, the seriestakes a look at iconic pieces of

architecture in film and turns

them into vintage-looking

illustrative posters.


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Federico Babina says, Movies have the ability to transport us to different worlds and let us live and breathereal or fantastic architecture. I have always been enthralled by the relationship between architecture and

the cinema, and especially between space and action. People consciously or unconsciously connect amovie with the space in which the action takes place. Its like a box that contains a gift. My intention, withthe illustrations, is to transform the box into the gift. I believe ARCHICINE represents the spatial match

between films and architectural spaces. In the series, the architectural space is given a protagonist role andnot marginalised to the background. For further information, visit www.federicobabina.com



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Home & Design Trends Vol 1 No 9 2014 more projects at trendsideas.com


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You are a chemistry graduate that moved into the

creative discipline. How did you realise you wanted to

enter this field?

After completing my studies and entering the work force, Irealised that I had suppressed many intuitions just to remainmainstream. I had no job satisfaction or confidence in spiteof my education backing. I realised it was easier if I workedthrough my innate creative pursuits and hence that became

my main focus of work.

You have been in the industry for over 25 years. How

would you trace its change and growth?

When I started, one had to manufacture the product andcreate your own market by educating clients. Now itschanged. Now one sources a product from an existingmarket for an already savvy client. Though the formerwas more challenging, it was also rewarding. Today,it is more fun but short-lived. Back then even thoughthe market was small, it was real. Post independence,there was a direction to follow growth. Today postglobalisation, growth is achieved, but the change from the topcomes in spurts and is unpredictable.

What do you consider your greatest achievement?

To be able to hear and hone my inner voice every day in spite of the din around; to actupon it with tenacity; to keep the action fair for all, and then to be able to discard its noisysuccess even faster only to return to the silence and commence the next cycle. Thisprocess is the core of all my achievements so I consider it the greatest.

What does a Pinakin Patel designed space look like?

Elevating uplifting It awakens ones senses and lets the mind contemplate thespace in awe. It is dramatic yet simplistic and creates a warm ambience. The visuals thatI use in a house are never repetitive and are specially customised for the people.

How have your travels added value to your work?

I have travelled to actual production centres to get hands-on experience. Cities likeMoradabad are well known for metalwork, Firozabad for glass, Rajasthan for carpentryand so on. These travels revealed the scope as well as limitations for the success-ful materialisation of my design ideas. However, the ideas came from my internationaltravels mainly because they had already experienced several generations of consumerdesign, whereas I was trying to define the first.

You mentioned in one of your other interviews, To be able to adapt and remain

relevant with the changing times, technology and globalisation and yet to remain

faithful and sensitive to beauty and nature is the core of my design philosophy.

Can you explain with examples from your designs?

In my architectural work, I have avoided vertical concrete buildings and instead favouredbrick, mortar and wood personal buildings, which address the climate and environment.For interiors, I incorporate technology and international products so that while the core

INTERVIEW


SIMPLE THINGS AREREFINED & MINDLESS

LUXURY COARSENSDESIGN, SAYS DESIGNERPINAKIN PATEL

INTERVIEW


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Jhoola


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30 Home & Design Trends Vol 1 No 9 2014

remains integral to nature, the mind is left open to some fresh ideas. I have always used natural materials,crafts and plenty of art before it gets commodified.

Do you believe that less is more in design?

Yes, simple things are refined. Mindless luxury coarsens design. I would further explain my own intent onminimalism I like to make things solid enough to be singular. I like patterns and prints, but I like to applythem in a way that they dont fragment or overtake the product. It is not that I prefer a blank room with oneobject in it. But even in an assemblage, I subconsciously work at achieving a singular delivery.

Architecture for architectures sake or for good designs sake?

If my answer must be localised to Indians then First, architecture for architectures sake. Respect life.Understand lifestyle. Consider cost. Relevance that itself becomes the basic school for design. Thenwhen that maturity is achieved, let architecture become good design. That will be its logical graduation. Ifwe just apply the reverse theory because its a forward thought, there is a grave danger of superficial imita-tive design.

How do you perceive modernising Indian crafts?

It is important to challenge the faceless nature of global merchandise that will bore consumers as quicklyas it thrilled them, by reviving unique crafts. Environmentally also, crafts will carry smaller carbon footprintsbecause of their materials and processes, as well as their long term relevance and utility, compared tomindless weekend retail therapy disposables. Now the danger lies in their modernisation. If you manageto create a successful dialogue between the craftsman and the shopper in the mall, we will win. At themoment the craftsman is at the mercy of an urban designer who is trying to patronise him sentimentally.Or of the babusin the councils who are pushing them to make modern objects that end up so ridiculouslynaive that they are left as tourist merchandise outside monuments. If this kind of modernisation continues,we will actually fast track the crafts to their obliteration.

Which city according to you pushes the design envelope?

It starts with the living quality of its people and then the same extends to its visitors. I would say Hong Kongis a good example. It is an island city where public transport takes you from one end to another, up anddown the hilly terrain, under the sea, in less than half an hour. One debit card lets you withdraw money,

pay bills, is your train ticket and is valid everywhere. Elevated, covered walkways from building to buildingprovide commuters and pedestrians convenience as well as comfort from the climate. Even the rich canactually zip past on the roads in their fancy cars with equal comfort. From the airport, to its trade fairs to itsinformation systems, I think Hong Kong is the perfect example of a designed city.


To be able tohear and honemy inner voiceevery day inspite of thedin around

Designer Pinakin Patel launched his own design store Etcetra in 1984, making it one of Indias first

lifestyle stores. The success of his own line of furniture, based on modernising Indian crafts, combined

with his innovative displays soon won him high-end interior design assignments. Since then he as

moved into other creative areas namely photography, journalism, exhibition design and production

design for the cinema.

Monster Profile Chair

more projects at trendsideas.com


31/160A Worldwide Media Publication www.trendsideas.in


END UP

WE BUILDGOOD THINGSWHATEVER

BUILDING US- JIM ROHN,

American Author (1930-2009)

WE UNDERSTAND SPACES BETTER

EXPLORE TH

EXCITING FLUX I

ARCHITECTURE THROUG

THE MERCURIAL SKYLIN

OF THE GLOBAL CITIE

ALL


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ARCHITECTURE ON THE ROAD

123RF.COMX2,SNOHETTA.COMX3

WIKIX3,123RFX3

Thispage:TheTemppeliaukioRo

ckChurch(builtin1969)alsocal

ledTheChurchintheRock


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- Feature by Preeti Singh

Helsinki was selected as the World DesignCapital for the year 2012. That year also

marked the 200th anniversary of the cityas the capital of Finland, after the Russiansmoved it in 1812 from Turku. Before thatHelsinki was barely a city; made of wood,suffering from numerous fires during the17th and the 18th century.

DESIGNSGROWING

Aboveandaboveright:FinlandiaHall UspenskiCathedralatKatajanok

ka


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The University of Helsinki City Campus Library

InsideLutheranChapelofSilence

Topandabove:

LutheranChape

lofSilenceinKa

mppi

WIKIX2,123RF,FIRSTINDIGOANDLIFEST

YLE.COM,

E-ARCHITECT.CO.UK,ARCHELLO.COM


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Long before it came to be the designcapital, Helsinki was known as the White Cityof the North. It was given this name becauseof the Carl Ludvig Engel, who was greatlyinfluenced by neoclassicism while designingthe new city centre (Senate Square Area) ofthe city during the first half of the 1800s.

But now, that name stands inaccurate.During the early 1900, Helsinki became fa-mous for its Art Nouveau (Jugend architec-ture) styled structures, such as Lars SoncksJugendsali Hall (built in 1904), HelsinkiCentral Station by Eliel Saarinen and theunique housing areas called the Katajanok-ka. Inspired by the national epic Kalevala, ittook the form of national romanticism.

Later on, the city became interspersedwith many examples of buildings designed in the style of Functional-ism (i.e. creating a form that befits its function, associated with theModernist movement). Perhaps the most talked about of this style havebeen buildings by Alvar Aalto, a pioneer of architectural Functionalism.

Aalto is best remembered for his work on prefabricated houses that hedesigned to lessen the stress on housing issues after the Second WorldWar. He was inspired by the forms found in nature and believed that abuilding needs to grow organically along with its surroundings. Someexamples of his work are The Academic Bookstore, Finlandia Hall, theEnso-Gutzeit Headquarters among others. Other bold examples ofFunctionalism can be found in the Olympic Stadium (built in 1938) and the Temppeliaukio Rock Church (built in 1969). The Churchin the Rock as it is also called is a space carved (rather roughly) through solid rock and covered by a copper dome.

It is generally agreed that Helsinki is an apt physical manifestation of the Finnish spirit itself. The city revels in its Nordic conser-vatism and its intuitive understanding of good design, with great care spent on the details. It is a city that has been designed aroundits natural landscape of the area. And Finland is one of the very few countries that have made design a part of the national conversa-tion by introducing it through its public policy. So in addition to the legacy of Aaltos historic works, there are many contemporary andexperimental examples in varied styles that can be found in the city. For example the uniquely shaped Lutheran Chapel of Silence in

Kamppi (designed by K2S Architects as a part of the World Design Capital programme in 2012) . The Kiasma Museum ofContemporary Art opened in 1998 and was built by the famed Steve Holl. Considered a bit controversial in architecture circles, theprimary criticism was the use of a foreign architect than a homegrown one and that the design clashed with the citys more subtlearchitecture. There is the University of Helsinki City Campus Library that uses a curved facade and a series of openings in the ceilingaligned together to bring together functional spaces inside. Other some fascinating works are the House Moby Dick by ArkkitehditNRT, the Korkeasaari Island Lookout Tower (Kupla the bubble). The latter was designed as a transparent tower overlooking theisland, and consists of 72 long battens that were bent, twisted and fixed on the site.

Helsinki is one of the cities whose cityscape is changing ever so constantly. Styles and designs are experimented upon butwhatever shape they may take on the streets of the city, they seem to become a seamless part of a consistent whole where thought-fulness to design. Helsinki is one of the cities whose cityscape is changing ever so constantly. Styles and designs are experimentedupon but whatever shape they may take on the streets of the city, they seem to become a seamless part of a consistent whole wherethoughtfulness to design and details take precedence.


The Enso-Gutzeit Headquarters

TheKorkeasaariIslandLookoutTower(Kuplathebubble)

TheKiasmaMuseumo

fContemporaryArt

The city revels

in its Nordicconservatismand its intuitive

understanding ofgood design,

with great carespent on

the details


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ICONIC DESIGN:HOOVER DAM, USA

FILLING THE GAP

GETTY



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Hoover Dam, once known as BoulderDam, at 726 ft high and 1244 ft long, isthe longest dam in the world. It is aconcrete arch-gravity dam located in the

Black Canyon of the Colorado River, onthe border between the US states ofArizona and Nevada. Constructedbetween 1931 and 1936 during theGreat Depression, it started operationson September 30, 1935, much ahead ofits schedule set by the then PresidentFranklin D Roosevelt. The initialGothic-inspired design for the dam wasrejected and thats when Los Angeles-based architect Gordon B Kaufmanncame on board, and applied the nowelegant Art Deco style. He designedthe sculptured turrets rising seamlesslyfrom the dam and clock faces on the

intake towers set for the time in Nevadaand Arizona. Denver artist Allen TupperTrue was hired to handle the designand decoration of the walls and floorsthat incorporated motifs of the Navajoand Pueblo tribes of the region.Complementing Kaufmann and Trueswork, Norwegian-born sculptor Oskar JW Hansen designed sculptures on andaround the dam that include themonument of dedication plaza, a plaqueto memorialise the workers killed andthe bas-reliefs on the elevator towers.



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EXCELLENCE

AWARDS

2013

FOR ARCHITECTURE& DESIGN


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A Worldwide Media Publica

AAMIR & HAMEEDA INTERIOR DESIGNERS, HYDERABAD

ABIN DESIGN STUDIO, KOLKATA

ABRAHAM JOHN ARCHITECTS, MUMBAI

ARCHITECTURE PARADIGM, BANGALORE

ATELIER, PUNE

CORE, PUNE

HIREN PATEL ARCHITECTS, AHMEDABAD

KNS ARCHITECTS, MUMBAI

MALIK ARCHITECTURE, MUMBAI

MATHEW & GHOSH ARCHITECTS, BANGALORE

MOHAN CONSULTANTS, HYDERABAD

NANDU ASSOCIATES, HYDERABAD

OCHRE ARCHITECTS, BANGALORE

PATCH DESIGN STUDIO, MUMBAI

ROMI KHOSLA DESIGN STUDIO, NEW DELHI

SPACE DYNAMIX, MUMBAI

SPASM, MUMBAI

THE ASHLEYS, MUMBAI

VIR.MUELLER ARCHITECTS, NEW DELHI


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RESIDENTIAL DESIGN


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EMBRACED BY THE LANDPerched atop a low rise and governed by substantial setback covenants,this family home favours quality over quantity


TRANQUIL RETREATS


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Preceding pages and above left: Designed by

James Fraerman AIA ALA, this family home

maximises the building platform of its elevated

site. An exterior materials palette comprising lo

stone and cedar ensures the house is in tune w

its surroundings. Architectural elements have b

devised to enhance either the built environmen

natural setting.

Above: Maintaining the relationship between

indoors and out was central to the design. Amp

glazing, along with open risers in the staircase

ensure the visual relationship between inside a

out is not lost.

Anyone who has ever built a home will

have encountered local authority planningregulations some are easy to deal with,but others can be frustrating.

When the owners of this new houseapproached architect Jim Fraermanto devise a design, their suburban lotincluded a rather substantial setback.

Given that the site is also on a lowridge, these two factors together seemrather restrictive at frst glance.

However, the owners were realisticabout creating a program that maximised

the long, narrow building platform. So,rather than being constrained, we used theconditions to generate a plan for the housethat met the familys needs and celebratedthe natural setting.

Fraermans design comprises a seriesof grouped volumes of varying heightswith smaller linking circulation spaces.

The centerpiece of the house is thegreat room a single-storey, double-heightvolume that reads as self-contained. Theother structure is a two-storey, L-shapedvolume that folds around the great room.



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While the house has a contemporarylook to it, the architect says the impetuswas more about creating a series of har-monious elements, rather than adheringto a particular style.

The design explores a number ofrelationships between the built and nat-ural environments, between the buildingsthemselves and even, on an experientiallevel, between the ways people interactwith the buildings.

For example, the site is a corner blockwith two street frontages, one higher than

the other. The driveway, as well as themain pedestrian access path were set outon the higher side, but secondary accessfrom the lower side was also desirable.

Resolving this dichotomy neatlybecame pivotal. From the drive there isa nice sequence of spaces, framed by thetrellis structure, that follow a linear builtpath, while for the lower frontage, a moreorganic rambling experience was devised with both paths coming together at theopen, courtyard-style entry.

Complementing the setting is the

choice of materials on the exterior a mixof locally sourced stone and cedar, offsetby the industrial steel elements.

The owners wanted natural materialsboth inside and out as a way of keepingthe natural environment to the fore.

Ample glazing and open sightlinesthroughout the house ensure a naturalvista from every angle. This is achieveddramatically in the great room with foor-to-ceiling windows, says Fraerman. Youcant help but feel the room itself is part ofthe environment.



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Above left: One of only three primary spaces on

the first floor, the kitchen is a hub for the family

day-to-day interaction. Interior designer James

Dolenc has used a mix of wood grain and neutr

solids to underscore the link between the hous

and its setting.

Top: The great room has been designed almost

as a stand-alone structure within the scheme.

Windows on all sides enhance the pavilion-like

of the room.

Above: In the library, Dolenc has used darker to

to create a more intimate feel.

For interior designer James Dolenc thenatural setting was also key to the project.

We were very conscious of notdetracting from the setting, so the materialand colour palettes are quite pared back.Sumptuous yet simple forms are teamedwith solid fabrics and patterned accents.

The architecture is very crisp with aninternational feel, but is also accessible, sothats what we set out to achieve with theinterior. It is an orderly scheme withoutbeing cold.

Almost imperceptible touches such as

hand-scraped edges to the wood ooringlend textural character akin to a patina;without cluttering up the color palette.

Similarly, the sapele cabinetry in thekitchen, and the patterned fabric chosenfor the bar stools, impart a sense of organictexture, which is balanced by the solidplane created by the porcelain tiles on theoor in this part of the house.

Texture, texture, texture it becamea mantra for this project, and pieces suchas the Martha Sturdy resin-top table aretimeless exponents of this.



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Top: As with the interior design for the rest of

the house, Dolenc has used tone-on-tone texture

and pattern, rather than a variety of colours, to

create visual interest in the master bedroom.

Windows on both sides ensure the natural setting

is always accessible.

Above:: The master ensuite takes traditional

symmetry and updates it for a modern lifestyle.

A pared-back colour scheme is in keeping with the

rest of the interiors, while the highly textural floor

tiles add interest, but also mimic the look

of bark, once again bringing the natural

environment indoors.

Architect: James Fraerman AIA ALA

Fraerman Associates Architecture

(Highland Park, IL)

Interior designer: James Dolenc and Tom Riker,

Jamesthomas

Builder: Jon Kogan, Highgate Builders

Stone walls: Eden Stone Company

Roofing: Sheffield Black Camelot shingles by GAF

Doors and windows: Pella

Flooring: Walnut plank flooring; Midtown by Lea

Ceramiche in Deep Cameo grs porcelain tiles

Lighting: Juno; Tatiana pendant by Urban Electric fromBaker Furniture

Kitchen cabinetry: Custom sapele

Countertop surfaces and backsplash: Nebula Series

Merope by Silestone

Oven, cooktop and microwave: Wolf

Refrigeration: Sub-Zero

Dishwasher: Bosch

Water dispenser: Franke

Fireplace: Isokern; stone surround by

Materials Marketing

Bath: Duravit Starck

Vanity: Custom

Basin: Hasting Tile and Bath

Faucets: Lulu by Dornbracht

Shower fittings: Dornbracht

Tiles: Sienna Silver stone tile from Walker Zanger

Wall tiles: Sienna Silver and Roku Sharkskin glass tiles

from Walker Zanger

Toilet: Duravit

Story by Justin Foote

Photography by Eric Hausman

Moving upstairs, Dolenc introducedblue and grey tones to the mix to create acalming environment.

The view from the upper level ismore of the tree canopy and sky, so whileit is still about texture, the colour palettebecomes less varied, lending itself to amuted, intimate scheme.

Tone-on-tone features such as thecustom headboard, bedside lamps withquartzite bases and side tables with leatheraccents echo the texture over colour prin-ciple of the rest of the design.

Ultimately, there is great respect foraesthetics, which begins with the archi-tecture and carries through all the fnishesincluding aspects such as the lightingplan, says Dolenc. Multilamp fxturesmore typical in retail or commercial set-tings have been incorporated here to givemaximum coverage without dominatingthe ceiling plane.

Says the architect, It is one of thosehappy occasions where the vision hasbeen surpassed by the reality, thanks tothe input of all involved.

Share this story online at

Trendsideas.com/go/39440



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WE UNDERSTAND SPACES BETTE


ALL


- ARNE JACOBSON,Danish Architect & Designer (1902-1971)

THEN IT ISARCHITECTURE,

BECOMESIF A BUILDING

ART

HOMES, PRODUCTS,

DESIGNS THAT

ELEVATE LIVING INTO

A FORM OF ART


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Facing page:The sloping roofs

of this 6300 sq ft villa by S2 Realt

are adapted to cope with the

extreme wet climate. This ensure

that water does not collect and is

channeled. The minimal wood an

sandstone facade blend in with

the surroundings.

Above:Within the house are two

green spaces with double-height

ceilings. One connects the living

to the bedrooms and the second

connects the kitchen and the dini

AWAY IN THE HILLSThis holiday villa in Khandala is an idealic family getaway

Located in the hills of

Khandala, just outsideMumbai, is this villa designedas a part of gated communityof second homes. Conceptu-lised by actor Suniel Shetty,the architecture of this resi-dence is the brainchild ofarchitect Alan Abraham ofAbraham John Architects,while the interiors are by theactors wife Mana Shetty.

Shettys real estate venture


S2 Realty has developed thisseven-acre estate into a com-mune of 21 villas. Each villacovers a built up area of 6300sq ft on a quarter acre plotwhile almost half the estate isopen land. At the heart of thedevelopment project is a com-munity centre designed on awaterbed, giving the projectthe feel of a resort.

The project has deliberatelybeen designed to have more

open land in order to allowspace for children.

We wanted to give peoplea house where they can enjoyand spend time with theirfamily. At the same time, asthis is a second home, weveensured that the maintenanceis extremely low. And this wasexactly the design fundamen-tal for this residence, saysSuniel Shetty.

The entire project is


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Preceding pages:Glass has been

used to keep the house open to

natural light. Sunlight keeps the

moisture and humidity out, maki

the interiors easy to maintain.

Left and above: The floating dinin

the highlight of the house and is

focus of activity. The wooden dec

and greenery eliminate the barrie

between indoors and outdoors.

designed to maximise on theextreme weather and intenserain experienced in the area.

The architect and Sunielcollaborated their professionalskill and knowledge of theterrain to turn these weatherproblems into the plus pointsof the project. The exterior isa muted facade of sandstoneand wood. Wooden rafters,pergolas and columns give itan intricate yet clean fnish.



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The exterior has an ele-ment of mystery to it. Wewanted an elegant, endur-ing and green design.Granites and Italian marbleshave a very urban feel to themso I preferred natural stone. Wewanted that element of naturein the design of the structuresso that they ft into the valleyaround and dont stick out likesore thumbs, says Suniel.

On entering the house,

one steps into a double-heightvoluminous space that accom-modates the living room andthe dining on one side. Glasswalls here ensure visual con-nectivity at all times. Thedining area that is designedaround the pool is the centralfocus of the house.

Weve broken the dividebetween indoors and outdoorsin all the public spaces. Eacharea is connected to the other

and allows communication allthe time. On the other hand,the bedrooms are completelyprivate areas, says Suniel.

The interiors by Manaalso follow the projects designtheme. The furniture is minmaland the colour palette is aserene mix of earthy tones tomatch the blue and green sur-roundings with a splash ofvibrant colours.

I strongly believe that

Above:Every area of the house has

been accessorised with one eclectic

piece that stands out. Leather finish

sofas as seen in the den ensure

minimum maintenance.

Facing page:The double-height

staircase landing mimics the

garden path making it seem like an

extension of the outdoors.



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Above: The bedrooms are almost

bare with a subtle earthy touch. They

are luxurious in spirit but uncluttered

to ensure the openness of the space.

Right:Wooden pergolas, rafters and

beams are a recurring feature in the

house. The design of the roof

stands out as it breaks away from

the conventional sloping roof

structure. Every space is visually

connected with the use of glass

and double heights.

Owners:S2 Realty; www.s2rd.com

Architect: Alan Abraham; Alan

Abraham Architects

Interior designer:Mana Shetty;

R House

Price:`7.5 crores onwards

Story by Namrata Shah

Photography by S2 Realty



56 trendsideas.com


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in any space you need open-ness and a sense of warmth.A home should look like ahome. Harmony of colour wasvery important. While design-ing this house, I was veryclear that I wanted to designa space that exudes a relaxedambience. And at the same timeI was very conscious ofensuring easy maintenance,says Mana.

The overall aesthetic is

that of an everlasting coun-try house. The four bedroomshave been distinguished usingcolour and each has one acces-sory piece that stands out.

Most of the artefactsused in this residence arefrom India. The entire look istropical and blends with thesurroundings. Even the bath-rooms have one accent piecethat adds instant character tothe space, says Mana.

Above:The bathrooms, like the

bedrooms, are defined by colour.

The mirrors stand out as unique

pieces in each of the bathrooms i

the house.



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ON THE BEACHDesigned to span the suburbs to the sea, this beachfront housecombines an urban sensibility with a laid-back lifestyleto create a home that will last for generations



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Above left: Perched above the sand dunes, this

new beach house was designed to maximise a

expansive ocean view. Architect Lindy Leuschk

says the dunes were built up so the elevated liv

area would open directly onto a deck on the sa

level as the sand. The dunes are planted with

muehlenbeckia, a fast-growing grass that grow

naturally on the dunes.

Above and left: The front of the house presents

a cedar-clad box-like form to the street, which

enhanced by a flush garage door. A concrete bl

wall helps to separate a self-contained suite on

right side of the entry.



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XXX more new homes at trendsideas.com


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Facing page: On the interior, the crisp,

contemporary design is balanced by natural,

textural surfaces that are fitting for a beach hou

The galley-style kitchen teams a textural, bark-

Laminex laminate with deep quartz benchtops

The aggregate concrete flooring has been grou

and polished.

Above: Structural steel columns and beams,

like the precast concrete walls, have been left

exposed to reinforce the sense of the house be

a composition of steel, glass and concrete. The

curtains are on double tracks that provide the

option of a mesh or heavy lined layer.

A sense of relative isolation is a keyrequirement for most people planning abeach house as a place of escape. But withprime beachfront sites in short supply, itsnot always easy to achieve.

Architect Lindy Leuschke says thishouse, in a beachfront community, neededto straddle the suburbs to the sea.

On the west side, facing the street,the house has a suburban outlook, but tothe east it faces the wide expanse of beachand ocean. The owners didnt want to betoo exposed to suburbia, but they didnt

want to disengage entirely. The designwas also infuenced by the need to createan outdoor living area that would be shel-tered from the strong sea breezes thatdevelop mid morning. This space neededto face north and west, so it also had to bescreened from the street.

To resolve these challenges Leuschkepositioned the house around a semi-enclosed central courtyard. From thestreet, the house has a closed, box-likeform that belies the open, transparentnature of the architecture beyond.



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Legend for plan: 1 entry, 2 garage, 3 guest suite,

4 gallery, 5 living, 6 dining, 7 kitchen, 8 bedrooms,

9 master suite, 10 decks

Above and below right: Balustrades and hand rails

feature unpainted sealed steel. The concrete wall

has also been left in its raw state. The flooring in

the bedroom is Tarkett prefinished wood.

Far right: The bathtub in the upper master suite is

positioned so the owners can enjoy the view while

bathing. A translucent glass wall behind the vanity

brings additional light into the room.



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We used a simple, restrained paletteof materials wood, steel, concrete andglass, says Leuschke. And we have leftthese exposed so the materials themselvesform the decoration both inside and out.

The main axis through the house isdened at the front by a precast concreteblade wall, which provides a degree ofseparation between the public entry anda private guest suite. Bifolding cedarbattened screens also provide privacy.

A long corridor, or gallery, that runsfrom the entry and steps up to the main

living area further denes the main axis.The gallery is glazed on one side, whichlooks into the courtyard.

The stairs in the gallery are widelyspaced so that this space creates a veryslow, deliberate transition from the publicto the private end of the house, says thearchitect. While it adds to the drama ofthe architecture, its also a calming ele-ment that conveys a sense of casualnessthats appropriate for a beach house.

A glimpse of blue ocean at the far endof the circulation spine draws the eye up

to the large, open-plan living area, whopens directly onto a deck on the sand

The living area is elevated 1.8above the ground to maximise the view, says Leuschke. Using sand frexcavation, we built up the dunes,the owners could walk straight out othe beach.

Large doors on the east and west siof the living area open up to the bedeck and courtyard living area resptively. The large expanse of glass alloa view right through the house from



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Above: Steps lead up to the sheltered courtyard

terrace, which is screened by Maori Princess

pohutukawa trees.

Above right and far right: A pergola with

adjustable louvres provides shade to the dining

seating in the courtyard. The architect says the

house needed to respond to all seasons and

weathers, providing a cool refuge in summer, and

a cosy, inviting retreat in winter.

sheltered courtyard to the ocean beyond.Leuschke says houses in the beach

community need to be able to respondquickly to weather changes. For thisreason, she added a 4 m cantilevered over-hang to the east elevation, and providedan adjustable louvre canopy to the alfrescodining deck in the courtyard. This area isscreened by vertical-growing Maori Prin-cess pohutukawa trees that will be kepttrimmed so sunlight is not compromised.

The trees act as a foil, breaking thevisual contact with the street but you can

still get a sense of the landscape beyond.Two master suites, one up and one

down from the living area face the ocean.A concrete wall inside the house, which

reads as an extension of the blade wall atthe entry, provides visual continuity fromthe front to the back. Its exposed surface,visible from the stairwell and master bath-rooms, reinforces the raw, natural qualityof the architecture.

Story by Colleen Hawkes

Photography by Jamie Cobeldick Share this story online at




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Architect: Lindy and Colin Leuschke, Leuschke Group

Ltd Architects (Auckland)

Interior and kitchen designer: Lindy Leuschke,

Leuschke Group Architects

Builder: Brackenridge Builders

Kitchen manufacturer: Matakana Kitchens

Cladding: Herman Pacific

Roofing: Colorsteel

Doors and windows: Rylock

Louvres: Locarno Aluminium Louvres

Decking: Purpleheart hardwood from Herman Pacific

Flooring: Ground and polished concrete

Paints and varnishes: Resene, by A&J Painting

& Decorating

Lighting: Lightplan

Heating system: Fujitsu

Indoor and outdoor fireplaces: Escea

Kitchen cabinetry: Laminex

Benchtops: CaesarStone

Oven, cooktop, refrigeration and dishwasher:

Fisher & Paykel

Ventilation: Smeg

Award: Brackenridge Builders Master Builders

Auckland House of the Year Gold Award houses

$1million-$2million



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These pages: This 9500 sq ft

bungalow designed by architect

Gautam Naik of Th Zone projects

and interior designer Bhavna

Jacob of Bhavna Jacob Designs is

a multi-level residence. Located in

Lonavla and spread over one acre,

the bungalow rests on a raised plot

along with a pool and landscaped

gardens. The formal living room is

furnished with furniture and artefacts

from Bali. Smooth yellow limestone

is used for floorings throughout

the house.

A PLAY OF LEVELSA raised plot, multiple levels, and a tropical

interior, which beguiles its contemporary exterior,is what defines this vacation bungalow

Vacation homes as such are designed and

built to be smaller in size, less formal than afamily home, and usually feature an open inte-rior planning. These parameters also applyto Aarhant, the family vacation bungalow byarchitect Gautam Naik of The Zone Projects PvtLtd and by interior designer Bhavna Jacob ofBhavna Jacob Designs.

The two-storey bungalow along with thepool and the landscaped gardens covers 9500sq ft of a one-acre plot in Lonavala. It consistsof four bedrooms, a formal and informal livingarea, a dining room, and a kitchen. The media



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Facing page and above: The

mezzanine floor above the inform

living space functions as recreatio

area. The entrance to the pool is

through the patio doors seen her

Above left and top: The two-store

glass facade floods the living roo

with natural light, highlighting th

different textures of stone used in

the space.

room, and the spa area are located in the base-ment. Jacob, who has done the interior design ofthe house, had already done the basic architec-tural plan. Thus, when Naik took on the projecthe worked further on it along with the struc-tural planning and landscape.

According to the duo, the client wanted abungalow that would also accommodate hisextended family, the structure had to be builtand designed according to vaastuprinciples.

The owners vaastu requirements workedto our beneft. According to vaastu, the bunga-low had to be on a higher level, which is what

we had drawn up in our plans. The original plothad sunk into the ground, therefore we raised itto a level drawn up in the architectural plan,explains Naik.

The exterior of the bungalow follows a cleanstraight-line design, atypical of a bungalowbuilt around a tropical theme. A raised concretestaircase leads into the bungalow, anked bya stone clad wall and a two-level glass facade.A small nook has been created as recreationalspace towards the end of the house.

While you enter the bungalow on a higherlevel, you have to climb down the staircase



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to reach the formal and informal living roomarea, says Naik. Access to the dining area,kitchen and the rst oor of the house is alsofrom here. One bedroom is located in the spaceadjacent to the informal living space.

The living room is an elongated rectan-gle, measuring 30 ft in height and about 60 ftin length. To break the monotony, a mezzanineoor was erected towards the end of the space,above the informal living room, which is acces-sible by a wooden staircase. This is at mid-leveland operates as another recreational area in thespace. Jacob has decorated the space with low-

level sofas and statues bought from Bali. Brightcoloured cushions brighten the space otherwiselled with dark teak wood.

The two-level glass facade was part of ourdesign plan, because we wanted to cash in onthe views and ood the living area with naturallight, says Jacob.

The dining area and the kitchen are acces-sible by stairs from the living room. Locatedon a level up, the open dining consists of just atable made from rescued wood and chairs, all ofwhich has been imported from Bali.

The staircase here provides access to the rst

Facing page: The guest bedroom

is located on the first floor of the

bungalow. French windows along

with a four-poster bed and yellow

limestone tiles complete the look

Above: The bathroom comes

attached with an open skylight, t

recreate the feeling of the tropics

The lotus motiff on the tiles was

etched on the rough stone and th

polished for brilliance and effect.



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Architect:Gautam Naik; Th Zone Projects Pvt Ltd.

Interior designer: Bhavna Jacob; Bhavna Jacob Designs

Associations:Indian Institute of Interior Designers (IIID),

Council Of Architecture (COA), ESEEED

Cladding:World of Stones

Furniture:Imported from Bali

Cabinets: Teak wood

Bath:Jaquar

Story by Moshita Prajapati

Photography by Sameer Chawda



Above: This area overlookes the pool

and is an extension of the terrace

adjacent to the dining space.


oor of the bungalow, where three bedroomswith en-suite bathrooms are located, each withtheir small terrace or patio, overlooking eitherthe pool or the gardens. The passage connectingthe bedrooms was widened above the mezza-nine oor to create place for a snooker table.

All the furnishings in the house, along withthe artefacts and paintings have been importedfrom Bali. Jacob breaks away from her signa-ture style to design a tropical-themed vacationhome by using Indian materials. Limestone andyellow kotatiles have been used for ooring andthe walls for a smooth and unnished texture.


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Which works of yours are you mostproud of?Bhavna Jacob (BJ): I am proud of Vivarea,a show apartment Ive done for K RahejaCorp and Loungevity, a nightclub in Cochin.Gautam Naik (GN): All the works that Ihave done till date make me feel proud but

my best work is the Delhi Bungalow that Idesigned for the Sandhu family.

Interior design style that you arepartial to?BJ: Minimalism with the hint of bling.GN: I prefer contemporary straight lines.

For you, which is the best city in termsof architecture and why?BJ:Fatehpur Sikri because of its historicand mysterious nature.

KNOW YOUR ARCHITECT: BHAVNA JACOB AND GAUTAM NAIK

Bhavna Jacob: A gold medalist from Raheja School of Architecture,Bhavna Jacob prior to setting up her own practice in 1997 worked with

architects like Ved Segan and Sanjay Puri. Recipient of 2010 IID MKAwards under multi-dwelling category, Jacob has designed over 200 resi-

dential and commercial interior projects across India, London and USA.

Gautam Naik: Th Zone Projects by architect Gautam Naik wasestablished in 2007 and has multiple offices in Mumbai, Pune and

Kolhapur. The firm also has an additional unit called PMC and their rangeof work includes high-end residential, hospitality, retail, corporate offices

and health care projects.

Gautam Naiks New Delhi project

73more projects at trendsideas.comHome & Design Trends Vol 1 No 9 2014

GN:Paris and Barcelona because they bothhave great historic and modern architecturethat blend into the city.

One iconic architect designer thatinspire you the most and why.BJ:Rajiv Saini and Nari Gandhi for their

sensitivity.GN:Charles Corria for his passion towardsarchitecture and his timeless works.

What according to you is good design?BJ:Any design that has the power to moveyour soul.GN:A design that fulfils all the require-ments of clients with a sense of uniquenessand innovation. It should also address theenvironmental issues and should stand aspiece of art.

Bhavna Jacobs show apartment in Mumbai

Gautam NaikBhavna Jacob

Gautam Naiks New Delhi project

Bhavna Jacobs showapartment in Mumbai


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SUBURBAN HOMES


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Left: This new house fits right int

neighbourhood of 1920s sandston

houses designed to a plan by

renowned architect Walter

Burley Griffin.

Above: Architect Joseph Alliker

designed a long glass pavilion for

living room, which opens directly

the garden.

WITH DUE

RESPECTThis project recognises theoriginal intent of a heritagesuburb planned by architectWalter Burley Griffin

There is a strong appreciation of our heritage

suburbs today, but this wasnt always the case.Back in the 50s, for example, local authoritiesallowed a red brick-and-tile pitched-roof houseto be built right in the centre of Castlecrag,Sydney a heritage suburb designed in the1920s by renowned Canberra city architectWalter Burley Grifn.

With the older properties having at roofsand a sandstone construction, the 50s housewas a serious incongruity, says Joseph Allikerof Rudolfsson Alliker Associates Architects, thearchitect responsible for the design of a newhome to replace the red brick house on the site.

The original homes sit on curved, radiating

streets that appear carved out of the local rock.They are relatively small, mainly single-storeyhouses on large blocks given over to greenery,with gardens running into one another, andshared areas of parkland. The houses on eitherside of this one were the original display homes,and were considered quite radical for the time.

Not surprisingly, there were strict covenantsin place for the new build, not only in terms ofthe aesthetics, but also in respect of retainingneighbours views and privacy, and varioussetback requirements.

It was logical to extend the house into thegarden, says Alliker. This determined the idea

of the glass living pavilion, which pushes outto maximise the northern aspect. The bulk ofthe house remains in the same position as theoriginal. We also decided to put the carport atthe front, as another low, at-roofed extension,which relates to the scale of the neighbouringproperties. Walter Burley Grifn was adamantthat all the houses in the development wouldhave at roofs.

Both of these single-storey extensions haveplanted green roofs, which minimise glare andlight reection and enhance the view fromabove and the street appeal.



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Left: The square dimensions, flat

roof, rendered plaster walls and

slatted timber sunshades keep th

summer sun at bay.

trendsideas.com


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Top right: The roof of the pavilion

appears to float above the room,

thanks to the glass walls and long

clerestory window. A swimming pool

was added to the far end of the site,

with a glass safety fence.

Lower right: A long clerestory

window provides glimpses of the

leafy canopy at one side of the

house. There is also a wide opening

that looks out on an attractive

sandstone wall next door.

The architect added timber sunshades to the

garden pavilion to keep out the sun in summer.Large openings on three sides provide plenty ofcross ventilation and maximise the leafy views,yet dont intrude on the neighbours privacy.

The house also has a huge thermal massand low-e glass that keeps it cool in summerand warm in winter, says Alliker. The planterbox on the roof is a long, thick concrete beam.Yet the design still feels light on the interior the roof appears to oat above high clerestorywindows, for example.

A recessed tray ceiling in the living room,which features uplighting, helps to soften theliving area and avoids an overwhelming at

plane. With the softs around the edge lining upwith the timber sunshades, the ceiling appearsto extend outdoors. The oors are also ushwith the terrace, with recessed door tracks topand bottom, to enhance the easy ow betweeninside and out.

Walls are painted in an off-white shade,providing a perfect backdrop for the ownersartworks. At one end of the living room, there isa contemporary, galley-style kitchen importedfrom Germany. This features white cabinetryand a wall of timber veneer.

A second living room, with a television, ispositioned at right angles to the pavilion, within

the two-storey volume. This room opens to abalcony facing east, but has small windows onthe north side to avoid overlooking the neigh-bouring property. Here, as in every room, thereis built-in furniture that provides streamlinedstorage for all the familys belongings.

Maintaining an uncluttered look is a loteasier when there are places to store everythingwithin easy reach, says Alliker.

The master suite is positioned directly abovethe second living room, where it has an attrac-tive view across the green roof to the park-likesurroundings of the neighbourhood.



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Architect: Joseph Alliker, Rudolfsso

Alliker Associates Architects (Sydne

Builder: Charles Salvaggio (owner)

Kitchen manufacturer: Leicht

Landscape designer: James Salvag

Landscaping

Paints and varnishes: Sikkens on

cedar for awnings

Flooring: Pietra Serena tiles from

Nefiko Marble

Kitchen cabinets: Leicht from Germ

Benchtops: CaesarstoneOven, cooktop, coffee machine an

dishwasher: Miele

Refrigeration: Liebherr

Story by Colleen Hawkes

Photography by Brett Boardman

Facing page top and left: The mas

suite on the upper level overlook

the garden and the green roof of

the pavilion. The structural concr

beams on the top of the pavilion

form the planters for the green ro

Facing page lower: A second livin

room in the main volume also

looks directly out to the garden.

Small windows were provided

on the north wall to retain the

neighbours privacy.


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FIT TO FORMArchitect Guto Requena renovates this So Paulo apartment toreflect the values of contemporaneity, Brazilianness and flexibility



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Above left and above: The owner

found the original layout of their

2150 sq ft So Paulo apartment

too conventional and thus invited

architect Guto Requena to transfo

their abode. Requena of Estudio

Guto Requena refurbished the

spaces to make them larger areas

with multiple uses. To create a

contemporary yet cosy ambience

the family l

Home Design Trends Vol 1 No 9

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