Home Review May 2014

Shigeru Ban’s The Good And The Ban

SINGING THE SAME TUNEStudio Eight Twentythree

RS 100 HOME-REVIEW.COM

HFOA UNCOVEREDMY SPACE : SHABNAM GUPTA DESIGN DESTINATION : SYDNEY

vol 13 issue 5 MAY 2014 total pages 132

Architecture and Beyond’s creative explorations

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E V E N T SPAST & FUTURE

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rchitects Aashish Patel and Bhavesh Patel demonstrate a remarkable level of maturity and élan with their work. The young duo has developed a trademark style - a sensibility that stays clear of popular culture and the copy-paste syndrome that one often spots.

A weekend residence designed by them in Surat can easily be tagged as a playground of exploration for the young designers. Approached through a series of crooked walkways that snake through a cluster of trees, the exterior of the home wonderfully transforms an unforgiving material like concrete into something with a much softer disposition. The house itself is accessed through an 18 foot tall single piece door - that the architects claim can be operated by even a child! The wow factor continues inside as you engage with volumes, spaces and pieces of furniture that are not only elegant but also terrific conversation starters.

At fashion designer Priyadarshini Rao’s store in Mumbai there is an unfinished ceiling with an exposed network of industrial pipes, walls sans any plaster and a grid of air-conditioning ducts left in plain view. While this may not sound like an ideal décor experience for a hi-fashion couturier, once you take in the sight you realise how wonderfully this post-modern vintage charm stitched together by interior designer Tejal Mathur works.

With less than four years of practice under their belt, Samir Raut and Siddhesh Kadam of Studio Eight Twentythree look like they have got things right. Confessing to be game to ‘design anything and everything’ they take a shot at a café in a quaint precinct of Mumbai with a restricted material palette of just concrete and wood. With an aim of creating a hangout that blends in rather than screams out, the design team envisions clever, tasteful and simple interventions that quietly make their presence felt in a space designed for a quick fix of bonhomie.

Anish Bajaj, [email protected]


Exhibition of Handcrafted Bamboo Products at Bamboo Canopy, Ahmedabad

10 TO 17 APR

8 TO 13 APR Tortona Around Design Milan

Tortona Around Design is a new Fuori Salone event at the Zona Tortona-Savona, a communications project which aims to promote the territory and the rich programme of events and initiatives that take place during the Fuori Salone Design Week around Via Savona and Via Tortona in Milan. Fuori Salone is a whole set of events and exhibitions that animate Milan in April in correspondence with the Salone del Mobile’s week.

Tortona Around Design highlighted the area’s strong points and its most interesting exhibitors. It addressed an international audience of design professionals and enthusiasts who are watchful of quality and in constant search of new stimuli.

The design gala had an urban itinerary rich with content, a wide and multifaceted exhibit offer, a peculiar point of view on the design world, ranging from furniture to electronics, from interactive installations to art performances, from big collective shows promoting young talents to the top global

8 TO 13 APR Salone Internazionale del Mobile, Milan

A global platform for all the latest in home furnishing, the 53rd edition of the Salone del Mobile was held at the Rho Milan Fairgrounds, along with the SaloneSatellite and the biennial EuroCucina with its collateral event, FTK (Technology for the Kitchen) and the International Bathroom Exhibition.

The Salone del Mobile is a valuable resource for the Italian home furnishing sector due to its ability to attract operators, visitors, designers and buyers from all over the world to see cutting edge innovation and high-end products. Exhibiting manufacturers who combine innovation with excellence ensure that the Salone is also a prestigious cultural event. Over 1,400 exhibitors ranged over 152,300 sq. m., had been split into three different style categories – Classic, Modern and Design. A cultural accompaniment to the Salone was the prestigious exhibition ‘Where Architects Live’, that tells the story of the homes and private spaces of eight of the world’sforemost architects in the form of a fantastic

Bamboo Canopy presented an exclusive collection of handcrafted, contemporary, designer bamboo furniture and accessories in Ahmedabad. Bamboo tables, chairs, stands, mirrors, photo frames, candle holders among other items, made from recycled textile waste rope were a part of the exhibition. Theproducts are a collaborative effort between three organisations - Eklavya Foundation, Rhizome and the Tapini Bamboo Development Center.

All products are designed by Rhizome, a sustainable design firm based in Ahmedabad, working in the area of ecologically, socially,culturally and economically sustainable

1,600 sq. m. multimedia installation. It chronicled an exploration into the homes of Studio Mumbai’s Bijoy Jain along with Shigeru Ban, Mario Bellini, David Chipperfield, Massimiliano and Doriana Fuksas, Zaha Hadid, Marcio Kogan and Daniel Libeskind. The powerful elements that characterise the eight houses were abstracted, synthesised, reproduced on a grand scale and set against images of the real thing in the 30 videos that make up the installations.

www.cosmit.it

brands from the industrial design scene such as Paola Navone, Marcel Wanders and Moooi.

Tortona Around Design is a project by Tortona Locations in collaboration with Studiolabo.

www.tortonaroundesign.com

Photo Credit: Alessandro Russotti


Once Upon A Time by Alex DavisNew Delhi

23 APR TO 7 MAY

17 APR 26 APR Franke Inaugurates Luxury Kitchen Appliances Showroom Mumbai

Artsy Fartsy Store LaunchMumbai

products and systems. The products are produced by the Tapini Bamboo Development Center (TBDC) an NGO which works with the Kotwalia community, a bamboo-working primitive tribal group in South Gujarat which survives as the most marginalised community dependent on forest based bamboo basket making tradition.

The Eklavya Foundation, an NGO working in the area of tribal rights and sustainabledevelopment and technologies backstops this process, and ensures that the process isconducted in line with strict social norms.

www.rhizomedesign.co.in

oven, microwave, deep fryers, barbeques, dishwashers, refrigerators, coffee machines and wine coolers in Crystal White, Crystal Black, Neptune and Centinox Collection. These are co-ordinated offerings which the user or architect can choose to evolve into an upscale urban kitchen design.

Complying with the trend of internationally styled kitchens, Franke offers superior features, advance technology and award winning designs. Currently Franke’s offering includes kitchen sinks, taps and bio waste disposers.

www.franke.com/kitchensystems/in/en/ home.html

Artsy Fartsy is the brainchild of Shreya Naik, who also owns an artist management company.

www.facebook.com/artsyfartsyco

Franke Faber India Limited, part of Switzerland based Franke Artemis Group, launched its first exclusive showroom, Franke Studio in Mumbai. The opening of this studio marks the entry of the Swiss brand in India and is a part of the extension of Franke’s sinks and taps division. With the opening of Franke Studio, the brand has also launched Franke Luxury collection. The collection includes products like hoods, hobs, built-in

Artsy Fartsy is an interior and art company that recycles furniture and any other surface via means “Decoupage” which is an 18th

century form of Italian art, which can be themed according to the clients’ requirement. They brought this unique crafting technique to Bandra by setting up their first store. Decoupage (or découpage) is the art of decorating an object by gluing coloured paper cut-outs onto it in combination with special paint effects.

They imbibe the philosophy of ‘Revamp, Reuse, Reinvent’ to add quirk to existing furniture. Using old and new comic books, magazines and designed paper they create a one-of-a-kind custom look to furniture. According to them, any object can be decoupaged be it a small box, an item of furniture, canvases, mirrors, even musical instruments and their cases.

An artist and designer from New Delhi, Alex Davis has come up with his new collection inspired by the decorative art of majestic forts, lyrical tombs and precious palaces of the sub-continent. The collection titled ‘Once upon a time’ is on display at his studio in New Delhi. It consists of installation pieces such as Paisley, Chattri, Medallion and walls as well as statement pieces in furniture, lighting and accessories. ‘Once upon a time’ is meant to be a tribute to the artistic legacy of architectural ornamentation of the bygone eras.


Arjun Rathi to Showcase at ‘In Bed With Designers’Hong Kong

9 TO 11 MAY

Regally opulent yet industrially chic, are the two defining characteristics of the collection, which is articulated as a three dimensional line-drawing in space using steel and brass tubes as the lines. Some pieces are a contemporary interpretation in polished stainless steel tubes with gold in brass tube details.

India + Sweden WeekStockholm

23 APR TO 25 JUN

India Unlimited is a platform which aims to strengthen India-Sweden connections and partnerships in all the areas that benefit both countries. Its first flagship India + Sweden Week will bring an explosion of events spanning both business and culture to Stockholm.

The events will present and promote opportunities for bilateral economic collaboration through business seminars, conferences, and exhibitions in collaboration

with platform partners Swedish India Business Council and Business Sweden. It will also promote more connections and co- productions by presenting contemporary India in Sweden through its culture, literature, music, film, education, cuisine and wine, art, design and architecture, fashion and its many traditional crafts which thrive even today.

Divya Thakur of Design Temple fame, who is participating, will showcase the Damroo collection at the Clarion hotel lobby in Stockholm. The collection captures the essence of renewal by taking products extinct from everyday life in India, and giving them exquisite contemporary form for global use.

www.indiaunlimited.se www.designtemple.com

Arjun Rathi’s design practice is set for its first international showcase for product design at the In Bed With Designers event curated and organised by BuyMeDesign in Hong Kong. It will stand out as the only Indian design studio amongst 50 other international talents.

The studio will be launching new items such as the Trojan horse jewellery box, 3D printed rings and lights and other products in the lighting, home decor and accessories segment. Its home temple designs include the Platonic series made with laser-cut brass with patina finish, statuario marble and ribbed glass and the Temple of Equality - a design approach using sacred geometry and Indian temple elements, will also be showcased at the event.

In Bed With Designers is Asia’s first boutique designer sleepover connecting emerging visionary designers with passionate design lovers, media and industry professionals and buyers in a relaxed business and networking platform. Talented designers from more than ten countries will come to Hong Kong to set up a cosy hotel room to showcase and sell their works with the rest of the city.

www.arjunrathi.com www.inbedwithdesigners.com

The design elements consists of paisley motives, friezes and scrolls, lattices, medallions and cartouches derived from the pietra dura, murals and plaster works of the walls and ceilings of forts and palaces.

www.alexdavisstudio.com

Cover StoryA contemporary weekend home in Surat designed by Architecture & Beyond becomes a welcome getaway thanks to natural light, a thoughtful segregation of public and private zones and above all a slew of unique textures

22129Get your hands on the latest products to hit the market

THE MARKETPLACE

Shabnam breathes life into a space with her personalised

touch and her quirky colourful accents

16GUPTA

SHABNAM

John Montroll is a master origami artist and an author renowned for his paper foldings throughout the world

art form

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120Kaji, a store that is a household name in Kolkata, carries forth its rich heritage with a touch of modernism through its discerning products

Puran Kumar Architects have refurbished anorthodox office setup into a veritable state-of-the-art haven that reflects our contemporary times

124

Pushing away memories of a devastating Tsunami, a fishing village in Sri Lanka springs back to its feet with the expertise of stararchitect Shigeru Ban

91GREEN PROJECTS

A bona fide homage is paid to the art deco style at L’Hotel du Collectionneur, a luxury hotel situated in the veritable heart of Paris, which has alsointerlaced within its design several references to a transatlantic cruise liner.

This super swish beach hideaway ensconced on an island where the sky meets the sea is drenched in whispered sophistication

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66A DESIGN DESTINATION

SYDNEY

Bern - the capital of Switzerland, is a historic city fiercely protective and proud of its medieval origins

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Delhi-based, HFOA’s design philosophy is centred around freeing spaces from clutter and re-imagining them as fluid, well-lit living areas of substance

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Mumbai-based Studio Eight Twentythree’s design of an organic café called The Birdsong is in perfect harmony with itsquaint neighbourhood

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The 17 classic films depicted in Italian artist Federico Babina’s Archiset series is not made up of 3D wizardry, but is composed of little everyday details

46A terrace house in inner Sydney makes the most of its space with an unusual orientation - a long addition to the existing house with a slender courtyard that maximises every inch of available space

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NAM Arquitectura converts a constricted, small, triangular plot into a bright, spacious and naturally lit public school

76An American designer to look out for - Todd Bracher designs furniture and other objects which are classic, fuss-free and straightforward

product

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Tejal Mathur creates an industrial vintage charm at a high-end designer store with her trademark raw style

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Editor & Publisher Anish Bajaj

Creative Director Natalie Pedder-Bajaj

Features EditorMala Bajaj

Assistant EditorShweta Salvi

Sub EditorsVikas BhadraUlka VartakRehana Penwala

Contributing WritersChryselle D’Silva DiasChristabelle AthaideDhanishta ShahHimali KothariKruti ChoksiK Parvathy MenonShruti Nambiar

DesignersAsif ShayannawarSnigdha HodarkarVikas Sawant

Chryselle D’Silva DiasFreelance WriterChryselle D’Silva Dias is a freelance writer and blogger currently based in Goa. She writes about places, people, interiors, books and green issues. Her work has been published in national and international publications including TIME, Marie Claire and The Guardian. Visit her at www.chryselle.net

Kunal BhatiaArchitect and PhotographerKunal Bhatia is an architect, photographer and travel writer based in Mumbai. He finds inspiration in cities around the world, the people that he meets and fleeting encounters. To experience more of his work visit kunalbhatia.net

Editorial & Marketing

MumbaiMr. Ganesh Gurav, Mr. Vivek Jadhav,Mr. Rakesh Kini (Digital),B-62, Cotton Exchange bldg., Cotton Green, Mumbai 400 033T 022 23736133/1, 32958501 F 022 23743069E [email protected]

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Publishing Director Mr. R.I. BajajDistributed in India by India Book House Pvt. Ltd. 412, Tulsiani Chambers, Nariman Point, Mumbai 400 021.

This issue has a total of 132 pages comprising of a 4 page cover plus 128 inside pages.

We welcome unsolicited material but do not take responsibility for the same. Letters are welcome but subject to editing. All rights reserved. Nothing may beprinted in whole or part without written permission of the publisher. The editors do their best to verify the information published but do not take responsibility for the absolute accuracy of the information. All objections, disputes, differences, claims and proceedings are subject to Mumbai Jurisdiction.

Editor Mr. Anish Bajaj. Published and Printed by Mr. Anish Bajaj on behalf of the owner Marvel Infomedia Pvt. Ltd, B-62, Cotton Exchange bldg., Cotton Green, Mumbai 400 033

Architecture & BeyondFun With Textures. Page 22Architecture & Beyond headed by the young duo of Aashish and Bhavesh Patel believe in the transformative power of architecture. They stress on engaging in the creative interpretation of their client’s needs, budgets and cultural values.

Studio Eight Twentythree Singing The Same Tune. Page 38Studio Eight Twentythree is a Mumbai based integrated design consultancy headed by two young architects Siddhesh Kadam and Samir Raut, which collaborates with a network of creative associates to create a dynamic brand experience. A broad perspective of various design streams, through a unique mix of perceptions and influences, ensure a diverse design output.

Shigeru BanGreen Project. Page 91Pritzker Architecture Prize winner of 2014, Shigeru Ban is a Japanese architect most famous for his innovative work with paper, particularly recycled cardboard tubes; in the past he has used this home grown technique to quickly and efficiently house disaster victims.

The term ‘traditional pop art’ comes to mind when you walk through any space designed by Mumbai-based designer Shabnam Gupta, the principal at the firm The Orange Lane.

Shabnam’s most admirable trait is that she doesn’t fall in line and drudge the beaten path; her work makes a distinctive statement and that emerges from her gift to visualise and experiment. Her close connection with nature is evident in the acute sensitivity with which she approaches a space.

Shabnam’s derived inspiration doesn’t solely feature in the form of ornamental aesthetics, but reflects through the abundant sunlight that pours in her spaces. Her ability to visualise and transform mundane objects and reclaimed materials into a collector’s item has fast become her signature stroke. Shabnam breathes life into a space with her personalised touch and her quirky colourful accents. Her defined sense of function combined with a touch of unconventional ethnicity lends a certain personality to every project.

Shabnam is also the co-owner of a retail venture, Peacock Life, a one-stoplifestyle store that offers a flavour of her eclectic inclination.

In this interview Shabnam talks about design, inspirations and her future plans. Here’s a peek into Shabnam’s kaleidoscopic world.

my spaceInterview by Shweta Salvi

Tell us about your journey as a designer. How has your practice evolved and is there one virtue that you continue to hold on to?

My journey as a designer has actually been about evolving as a person as much as about design. The practice has evolved with younger talent being infused with fresher ideas. The one virtue that I continue to hold on to naturally is my enthusiasm and motivation for new ideas.

Personally, drawing inspiration from nature, tradition, art, etc., keeps me going and helps me

in maintaining the balance of my individual style

client and the designer.

Metros like Mumbai are increasingly facing the predicament of ever shrinking square footage. What are the dos and don’ts that you follow when you design for small spaces?

Fluidity becomes essential when designing for small spaces. Whether residential or otherwise, merging spaces to reduce compartmentalising is half the battle won. For example, open kitchens, living cum dining spaces, etc. visually make the spaces look larger.

You are known for your eclectic style, but what stands out is your ability to visualise. Is it difficult to convince clients to experiment a little and deviate from the conventional path?

All clients are different in their outlook. Having said that, even the common man is now exposed to a lot of sound design from around the country and world. And so it gets easier for us designers to put across ideas which can be readily absorbed. Eventually, I think it becomes a very constructive journey for both the

With changing trends and constantly evolving design perceptions how does a designer manage to maintain his/her individuality in their designs?

Design always has space for innovation. Personally, drawing inspiration from nature, tradition, art, etc., keeps me going and helps me in maintaining the balance of my individual style while still letting in some current trends.

Plans are to make Peacock Life a medium

for young and budding designers from all genres of design to

come together to exhibit creativity

Things that inspire you (apart from design/architecture) that stimulate your design cells.

I am heavily inspired by nature and its forms, shapes and colours. Traditional art and architecture play a significant role in shaping my designs.

A medium you wish to explore in your designs in the future…

Siporex blocks, silk and other cloth for furniture, fine art or hand painted art on furniture.

According to you what are the three design essentials in a home and what are the best ways to achieve it?

Natural light, landscape and colour.Maximising natural light by maintaining large windows and planning furniture in

spaces around it livens up the home.Elements like small water bodies, vertical gardens, potted or hanging plants, etc., help bring nature into the house. Coloured furniture, natural breathable fabrics, lime washed walls and textured stone flooring are a few materials that add colour to the home.

Tell us about Peacock Life. What are your future plans for the retail line?

We have big plans for Peacock Life! We just opened in Pune, and are in the process of opening a couple more stores in Mumbai too. Plans are to make Peacock Life a medium for young and budding designers from all genres of design to come together to exhibit creativity.

It will become your ‘go-to’ store for all kinds of lifestyle products, from furniture to lighting, to all home requirements under one roof. I will also be retailing collections designed by me. It will be like going to an interior designer’s self-designed lifestyle product store.

What are you currently working on?

I am currently working on a couple of pubs in the city. We also have some interesting residential farmhouses and bungalow projects in hand.

A project which remains very close to your heart and why?

That would undoubtedly be a project I did in 2011, in Juhu, Mumbai. It is a duplex apartment with eclectic interiors and a strong interior-exterior connection. The concept for the space was to be eclectic with ethnic and Spanish influences. Detail in design, material choices and overall conceptualisation bound the space together seamlessly.

The home was envisaged to be a vivid world of colour and an array of materials, which we managed to achieve quite smoothly. I am also very closely attached to Jimmy Hu, a bar we designed in Pune.

Both these projects won our firm best interior spaces in the residential and hospitality category at the Asia Pacific Property Awards 2014.

On a lighter note...One place in the city which makes you say “it’s good to be here.”

My home!

Things you enjoy doing when not working...

Unwinding with my kids.

[email protected]

emails + feedback

Let us know what you love and hate about this issue. Mail us at [email protected]

Congratulations!

Congratulations to you and your team on completing 12 years. Great job done. This issue looks fabulous...really extensive coverage on design. Keep up the good work as always.

Arpit Aggarwal

Congratulations on this milestone event. I look forward to seeing more of Home Review issues. Wishing Home Review super success!

Yashmi Prasad

Visual Delight Kanheri Caves are a (forgotten) beauty of Mumbai and a must-see place. The images in your ‘Picture This’ section have captured the true essence of this wonderful piece of history.

Shruti DesaiMumbai

Hats Off

Your feature on the BBC pub was simply marvellous. It’s one of my favourite places to hang out and I must add that you have done real justice to this bar with the visuals and article that shares an insight into the design scheme. It brings out the best!

Sabyasachi SenguptaMumbai

Your team’s vision and effort has carved a very special niche for your publication.

Priyaranjan Vaid

I am really delighted to know that Home Review completed 12 successful years. I still remember the initial years of Home Review trying to make in-roads into the market with formidable contemporary magazines. Congratulations to the entire team.

N.K. Krishnanad

I am an avid reader of your magazine and the way you have collated the best of last 12 years is commendable. Kudos!

Vivaan Sharma Mumbai

Enchanting Workspaces Who knew workspaces could be this creative! Malik Architecture provides a refreshing break from the mundane offices of the yore.

Nikhil KapoorPune

22 Home Review May 2014 Home Review May 2014 23 22 Home Review May 2014 Home Review May 2014 23


FUN WITHTEXTURES

A contemporary home becomes a welcome getaway thanks to natural light, a thoughtful segregation of public and private zones and above all a slew of unique textures.

Text By Chryselle D’Silva DiasPhotographs Puja Kedia Courtesy The Architect


If the idea of a weekend home conjures up a colonial retreat under swaying palms and planters chairs, it is time to get a new perspective.

For this family getaway in Surat designed by award-winning local firm Architecture & Beyond (A&B), the brief given was simple: A small weekend house for the extended family to relax and rejuvenate. Principal architects Aashish Patel and Bhavesh Patel believe in “the transformative power of architectural and interior spaces to improve the quality of life and to create a sense of pride, dignity, inspiration and delight.”

Given their experience and interest in designing spaces that are influenced by existing conditions and an understanding of the place in which they build, the architects had plenty to play with.

A plot area of 5760 square feet, existing fruit trees and palms and the brief for a simple, elegant structure dictated that nature would take precedence. “The house was pushed deep on the edge (of the plot) paying homage to the existing landscape,” explain the architects. A ground-plus-one plan included a lounge and kitchen-dining space along with a gym and bedrooms for private use.


Because the house is built on one edge of the plot, the approach to the building is through “a series of crooked lines of walkways snaking through the forest of existing trees.” The path to the house offers you hidden glimpses of the building, and you already know you are in for something different.

The wow factor is apparent right from the moment you enter the house. A lotus pond greets you and sets the ambience. A small walkway over the pond leads you to an eighteen foot tall (yes, you read that correctly) wooden door framed within a spongy concrete box. Massive as it is, the door opens ever so smoothly - a visual contradiction, surely. “The 18 foot tall single piece door can be easily opened and closed even by a small child as it hosts a customised pivot at both ends which offers an easy movement for the door,” explains Bhavesh Patel.


The door contrasts with the puffy white concrete wall, giving you a glimpse of the innovative textures that you will encounter throughout the house. “The client owns a textile company and wanted something that would resemble flowing fabric to be incorporated into the design. So, on an experimental basis we tried to cast concrete in a different way, including fabric as part of the mould. Thus the structure looks lighter than the bulkiness you see in a normal concrete wall.”

The L-shaped house has distinct public and private areas. The pool with a lounge deck is the separating and connecting factor, with each wing feeding off it. The ground floor has the foyer, the kitchen and dining area. The pool connects this first area to the other wing where the gym and the guest bedrooms are located. Three large “light wells” in the backyard flood the area with natural light throughout the day.

Upstairs, the lounge and family bedrooms make the space more personal. The lounge on the first floor has a simple glass pavilion with minimal furniture so that it can be used as a versatile space, both for large parties and small intimate gatherings.


The bedrooms have exposed concrete ceilings, freestanding beds, side tables and custom-made lamps. In the master bedroom, A&B introduced a unique bed design that “resembles the skeleton of a creature” and converts the headboard into a bench to seat visitors for a cosy chat. The design is not only elegant and a conversation starter, but a space-saver as well.


Similarly, the children’s bedroom has a study table that is built into the back of the bed, providing easy access and freeing up the wall space for other items.

The lounge connects to the bedrooms through a passageway, again emphasising the different private and public areas of the house.


The architects have used many different textures in the house to much success. From the concrete ‘fabric’ at the entrance, the woodwork on the beds, to the hollow boxes of aluminium that cover the bedroom/gym wing from the outside; there is a surprise in store at every corner. “The spaces are simple and often act as a medium to experience the landscape. The materials of glass, metal and concrete have each been celebrated in their own way using expertise and craft, such that all are read in perfect harmony,” explain the Patels.

The architects used local craftsmen and materials wherever possible to create bespoke furniture such as the foldable seating in the bedroom, the staircases – one in a plainly folded rustic metal and the other, light wooden treads resting delicately on a metal frame.

This contemporary home celebrates the outside as much as the inside making it a perfectly understated retreat for theentire family.

[email protected] [email protected]


The horse fold is one of Montroll’s favourite designs because it was a breakthrough in origami at the time he introduced it.


art form

Text By Chryselle D’Silva DiasPhotographs Dover Publications, Robert J. Lang, Yakntoro Udoumoh

Master origami artist John Montroll makes magic out of simple pieces of paper. From birds to dinosaurs, Montroll’s extensive repertoire makes you want to get folding too.

Most of us have experimented with origami at some point, even if we don’t label it as such. Remember the paper boats and airplanes you made by the dozen? That is origami at its simplest. The term “Origami” was introduced in the 1880s in Japan, which means “to fold paper” and origami, as we know it today, is the art of paper folding.

Folded paper can be turned into many things - from simple animals and boxes, to complex dragons and insects. Because of the vast variety and levels of difficulty, origami is fun for children and people of all ages. People who practice origami are called ‘folders’.

IN THE FOLD

This lovely black and white zebra is part of Montroll’s creative Origami Inside-Out series made by using two-coloured paper.


Master origami artist John Montroll was captivated by paper very early on in life. “I remember folding when I was six years old, even though I started when I was four. I learned through books by Japanese folders which showed detailed steps for folding a variety of models. It was so much fun,” says Montroll.

Inspired by Honda’s ‘How to make Origami’, Montroll made all the designs in the book and then, even at that age, went on to creating his own origami animals. At age 12, Montroll became a member of the Origami Center of America and attended his first origami convention when he was 14. He has authored dozens of books on origami and is considered to be one of the world’s leading folders today. Apart from origami, Montroll teaches advanced mathematics at a school in Washington DC. Montroll’s first book ‘Origami for the Enthusiast’ was published in 1980. The book was pioneering because it was the first origami book where each model is folded from a single square and by making no cuts.

“In the old books, many unusually shaped models were folded by using multiple sheets and often the paper even needed to be cut in a few places. For example, to fold an elephant, two sheets of paper were required. One sheet was for the head and front legs, with ears that were cut; the other sheet was for the body, hind legs, and tail. The two parts were then taped together. But I believed it was wrong to cut and use multiple sheets. So I designed many animals, each from just one uncut square of paper,” declares Montroll.

Montroll continued to design new models, each from a single square of paper and discovered many techniques to further this art. In the same book he also introduced the origami term “double rabbit ear fold”. This had a big impact on origami worldwide and was a huge influence on the way the art has been practised since.

The two-colour animals, a part of the Origami Inside-Out series, include models showcasing both the coloured and the white side.

Even children can be taught to fold this difficult looking creation.


A very realistic looking praying mantis is another model from the Insects series.


With each new book and design, Montroll aims to make it easier for people to duplicate his designs. His dollar-bill origami is especially popular. “My work is designed to create beautiful models which are fun to fold. The books have models for audiences of all levels. For example, the beginner should start with Fun and Simple Origami.”

He is currently working on several projects which include books on stars, superhero characters, and one on easy origami animals. Montroll also has several apps suited for both Apple and Android devices where you can download his designs and have a fantastic resource at your fingertips.

“It is a wonderful experience to take just an ordinary flat sheet of paper, and just simply with the act of folding, convert it into a bird that flaps its wings, create a realistic elephant or a black and white zebra. Origami is for everyone,” says Montroll.

Now, aren’t you inspired to move beyond the paper boats you made as a child and try something a little more adventurous? Perhaps a bird...or even an ambitious T-Rex. Go ahead, give it a try and watch magic unfold!

www.johnmontroll.com

The Wyvern is a mythical medieval creature that resembles a small dragon. They have two legs and are often depicted as being half-dragon, half-bird.

Small, intricate, real - Montroll’s designs span the gamut of the animal kingdom.


If there is a place in the city where the call of a bird would ring out melodious and clear, it would be here; and that’s probably why the café got the name, The Birdsong.


Text By Himali Kothari Photographs Courtesy Studio Eight Twentythree and Sachin Pawle

Mumbai-based Studio Eight Twentythree’s design of an organic café called The Birdsong is in perfect harmony with its quaint neighbourhood; most times it is difficult to tell that the café has only recently come into existence.

SINGING THE SAME TUNE


A mezzanine floor constructed from reclaimed teakwood serves as a vantage point for live performances or a cosy spot for a private chat.


An inconspicuous lane veers off the congested Hill Road in Bandra; its silent here. If there is a place in the city where the call of a bird would ring out melodious and clear, it would be here. And that’s probably why the name The Birdsong sits well on the café that has made this its home. Chief architect on this project, Samir Raut of Studio Eight Twentythree says, “The client had another name in mind when we started, but as the design of the café evolved, this name emerged almost naturally.” Studio Eight Twentythree has been in practice for less than four years but has since engaged in a varied range of projects, from installation art to spatial design to visual arts and architecture. Samir describes their design philosophy in some very plain words, “We will design anything and everything and are always ready to rise to the challenge that a new opportunity offers.” It was this attitude that made the Studio take on The Birdsong, their first café project. The café also being a first for the clients, Jennifer Mallick and Ashish Madan, the brief couldn’t have been simpler - just a café. “I had a freehand as far as the design was concerned and so I could easily create the space from my own vision,” says Samir.

The space earmarked for the café was in a heritage village. There are no high rises here, but long-standing, squat cottages whose doors and windows open out into the street. Some have balconies with wooden trellis and others have stairways on the outside.

When Samir planned the design concept of The Birdsong, he was keen that the space does not stick out amidst its neighbours. He shares, “My first response was to make sure that the design reflects and responds to the vocabulary of the existing precinct and speaks the same language.”

Bulbs hanging from customised holders on a seemingly haphazard network of wires provide a warm glow which even filters out on the street.


And he succeeded. The building is in sync with its surrounds; there are no glaring neon lights or a large lit up name board to announce its presence. It stands there waiting to be noticed and discovered.

The first step towards achieving this bonhomie with the neighbourhood was to choose the right materials and Samir decided to restrict himself to concrete and wood. He explains, “I am vividly fascinated by one quality of both these materials; they age in such an elegant fashion that they slowly start to narrate the stories of the place as it ages along with them.”

The glass façade blurs the divide between the café and the outside. The double louvered shutters on the exterior of the facade help soften the light into a warm inviting glow as it filters out onto the mosaic pavement.

What Samir loves best about the café is that every element within it has been painstakingly planned and designed by him, starting with the moss-green floor. He says, “It is a concrete floor tinted with green. I mixed 15-20 shades of green before I settled on this one.” The bakery counter occupies one end and has also been created from concrete.

An assortment of tables, vitrines and chairs are scattered across the space and a narrow stairway leads up to the mezzanine in one far corner. Constructed from reclaimed teakwood the mezzanine has been created to provide space for live performances or just a private tete-a-tete. The plaster on some of the walls has been chiseled off to expose the brick underneath. Samir explains, “This gives the space a seemingly weathered look, as if this quaint café always belonged to the neighbourhood and thus people coming here would not feel overwhelmed by its presence.”

}


Small touches like the printed fabric covers on the chairs, 1970s style plastic switches on wood bases and naked bulbs hanging from hooks on the ceiling complete the dated look of the space.


The concept of the café also involved keeping the space dynamic and to be able to respond to varied requirements. For instance, the hooks on the ceiling on which the wires for the bulbs hang can also support installations by artists. The graphics in the café are all hand-drawn, some with chalk on a slate backdrop and some with charcoal on a wall; these can be wiped and redone as often as required.

The newness of the project provided ample challenges to the design team in terms of layout, seating and ease of movement within the space and as they created, they improvised and hence ‘The Birdsong’ evolved. The end result is a place that came much after its neighbours did, but has managed to fit in so well that it seems like it was always there.

[email protected] www.eighttwentythreedesign.com


American director Wes Anderson’s beautiful 2012 film, Moonrise Kingdom, has a striking initial sequence. In smooth strokes, the camera peeps into the rooms of a house as if they are boxes, each open on one side, offering glimpses of the neuroses and peculiarities of all its residents. This is the doll-house treatment, where understanding moves in right angles, and spaces are stacked upon one another.

PERISCOPE

Text By Shruti NambiarPhotographs Federico Babina www.federicobabina.com

FEDERICO BABINA’S FILM RE-TAKES


Italian artist Federico Babina lives in Barcelona, Spain, and seeks out this simple joy of film perception through his series called ‘Archiset’. His world is not made up of 3D wizardry, but is composed of little everyday details.

The 17 classic films depicted in this series - as cross-sections made by hand and computerised graphics - are treated with a stripped-down, childlike simplicity that cherishes every table, every plant, and every glass. No detail here is insignificant or an afterthought.


Babina is a firm believer in the fact that set design is a conscious effort through and through, and that no element seen on the screen comes without a purpose attached to it. His rectangular art pieces sit in the middle of striking monotone backgrounds; familiar film characters are placed in the midst of stark landscapes shorn of all bling and glamour.

Babina’s choices mustn’t have made for easy execution. Amongst his picks are Pedro Almodóvar’s fabulously colour and prop-rich, All About My Mother; Stanley Kubrick’s breath-taking universe of 2001 – A Space Odyssey; and Blake Edwards’ sumptuous palate of Breakfast at Tiffany’s.


In spite of being much-loved and amply referenced, these films appear to take on another avatar in Babina’s work. A viewer will feel impelled to test his memory – did that lamp exist there in that scene; was that window in that room really that wide? The sombreness of Star Wars is magnified due to the broody patterns of the set’s lights.

This is about sheer re-imagination achieved by the dint of recognising the inherent magic present both in architecture and film, and their deep friendship with each other.


All you need to do is downloadthe free ‘Magzter app.

Apple users can download Magzter from the App Store.’

Android users can download Magzter from Android Market.

Try it out today.

Home ReviewNow on Apple and Android

Devices


THE LONG HOUSE

A terrace house in inner Sydney makes the most of its space with an unusual orientation – a long addition to the existing house with a slender courtyard that maximises every inch of available space.

Text By Chryselle D’Silva DiasPhotographs Courtesy Brett Boardman

The roof garden provides the bedroom with a lookout, and also insulates the study below. The plants that have been used are a combination of water loving species and drought resistant ones.


The new kitchen and living areas have that elusive quality of expansive space, thanks to the seamless integration with the outdoors.


Even in the best of conditions, terraced houses are a challenge to work with. Found all over Europe and other parts of the world, these uniform row houses have an undeniable charm but lack the kind of space a modern family needs. And what do you do when you want to expand but retain the original character of the building?

Australian firm Scale Architecture had a novel solution - they went long instead of wide. Scale’s philosophy is to create sustainable buildings that have healthy, liveable spaces by employing a highly-tailored, site-specific design program. The inner Sydney project was a renovation for a family that needed to expand their space and make their home relevant to this century.

The front facade of the house was left fairly intact with a bricked-up balcony restored and reverted to its original state. “The entire original heritage house was retained as part of the design process. At the rear of the site, a more recent brick and timber extension was removed to accommodate the new addition. The bricks from this demolition process were then re-used in parts of the new building. The front heritage facade was also restored to the interior of the existing house,” explains Jennifer McMaster of Scale Architecture.

The new addition was a simple structure - two rectangular forms; one on the ground floor, the other on the top, fill the rear courtyard. The ground floor has “a concrete volume, which opens north to the long garden court”. Concrete floors and ceilings and the incorporation of recycled bricks salvaged from the renovation work give the kitchen a unique and modern feel, while still retaining an elegant air good enough to be a part of the old house.

The timber clad upper volume hangs over the new concrete addition below, providing shade and an overhang for the eating area in the courtyard.


A long concrete island with an inbuilt sink is roomy enough to include an eating space. Leggy white chairs slide under the counter, making this a true family room, one which encourages people to gather here.

The new kitchen and living areas have that elusive quality of expansive space, thanks to the seamless integration with the outdoors. Sliding glass doors, when pushed back, connect the kitchen to the courtyard outside. A long dining table in the courtyard is the perfect spot for an alfresco meal in all seasons, as it is protected by the overhang of the first floor.

The cantilevered timber box floating above the ground floor holds the main suite with a new bedroom. The old part of the house has two more bedrooms. This timber box opens east to a roof garden, increasing the sheer area to play around with.

“The roof garden provides the bedroom with a lookout, and also insulates the study below. The plants that have been used are a combination of water loving species and drought resistant ones,” says McMaster. The garden, with its flowers and grass also acts as a buffer against the neighbouring terraces.

By the simple act of keeping a gap between the rear boundary wall and the new addition, the architects also brought in lots of light from all sides and kept the new space from feeling too boxy.

What makes this project special is that the architects increased living space without cutting out green spaces. Each interior space relates to a new garden room, expanding the spatial relationship beyond the building envelope.

[email protected] www.scalearchitecture.com

Salvaged bricks from the renovation were used along the southwestern wall.

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A view from the old part of the house into the new addition shows how the renovation blends seamlessly from one area to the next.

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Bern - the capital of Switzerland, is a historic city fiercely protective and proud of its medieval origins. The core of the city is located on a long and narrow stretch of land, surrounded by the Aare River on three sides. A grid of cobbled streets follows this topography, and when walking along any of them, it’s easy to be transported back into time by a couple of centuries. Lined with sombre sandstone buildings, the gray tone of the built form is punctuated by colourful flowers and the many flags that the Swiss like to fly.

Medieval Charms

TEXT AND PHOTOS BY KUNAL BHATIA

[email protected] www.kunalbhatia.net

Dotted across the historic core are 16th century fountains, each decorated thematically by prominent figures from Bern’s history. The Zytglogge, Bern’s 700 year old clock tower, puts up a show every hour, while keeping time across days, weeks, months, zodiacs and even phases of the moon. The most prominent structures in the old town are the Swiss Parliament House and the Cathedral. The latter offers a sculpted lesson in morals and sins at its entrance, while splendid views of winding streets and pitched roofs await those that make it up its tower.

Historic street in Town Centre


Fountain in Old Town

Bend of the River Aare around Old Town

Last Judgement sculpture at the Cathedral

Colourful shutters on sandstone buildingsInside Parliament House


A narrow alley in Old Town Inside the main Cathedral

The Bern view at night


SAY IT LIKE IT ISWhy bother covering up when it’s so much more glamorous letting it all hang out?

Text By Christabelle Athaide Photographs Jay Chandran


High ceilings, exposed pipes, pale brick walls, cement floors and suspended industrial lamps complete the industrial look of this store’s interiors.


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At fashion designer Priyadarshini Rao’s store in Khar, Mumbai, the air-conditioning is non-ducted, an unfinished ceiling exposes a network of industrial pipes, the walls are exposed brickwork and the floors unpolished cement. Just the kind of décor you would expect to see in a hi-fashion designer store in Mumbai, right?

Perhaps not. After all, the sight of metal pipes and hanging wires hardly fits our standard notions of beauty or fashion. But here we are, gazing at this 1,600 sq. ft. fashion store, captivated by the post-modern vintage look that interior designer Tejal Mathur has successfully pieced together.

During her first meeting with the bohemian fashion designer, Tejal instinctively found herself conjuring up a Brooklyn loft for the store space; “an artsy high ceiling space with traditional industrial elements like metal window panes, undone decaying walls, heating system pipes and vintage bathroom fixtures.” The concept was a perfect match for Rao’s fashion sense which Tejal felt was “a spirited take on traditional Indian textiles and techniques.”

As luck would have it, the store space in Khar had justifiable volume to create the look. The design team created the industrial effect with a smooth amalgamation of pale brick walls, an unfinished ceiling, an open pipe network and suspended industrial lamps. Since the fashion designer clearly stated her preference for a neutral, toned down space - “indulgent but not harsh on the clothes or wearer”- the final look treads a fine balance between over-the-top grunge and a Brooklyn loft. Complementing the neutral palette of grey, brown and white are vintage furniture pieces and a medley of striking design accents. Several of these pieces were sourced from Agra, Pondicherry and the flea market in Mumbai. Without doubt, the large engraved plates which hold up rods for the hanging racks are the real scene-stealers.


The store’s imagery keeps one guessing about the provenance of the label. Though the name Priyadarshini Rao is a giveaway, the styles could have originated from any part of the world.

Home Review May 2014 63


Included in the store’s furniture are also pieces from Ironworks, a furniture brand created by Tejal. Items like the carved mirror and white metal lamps, she reveals, were created exclusively for the store. For all its exposed pipes and wiring, the store exudes an aura of decadence and old-money. This is largely in part due to the high-backed vintage chairs that sit around imposingly along with ornate chandeliers that hang from 12 feet high. This sense of luxury is extended even to the trial rooms where elements like a vintage chair recreate the experience of a private boudoir. “Every woman should feel like this space belongs to her for the time that she spends here”, states Tejal.

There’s an appreciable contrast between the textures and colours of the store’s interiors and the clothes on the racks. And somewhere the differences converge to create a pleasing effect. Tejal who seems adept at balancing contrast offers an insight into her thinking, “We wanted to use the handmade cement floor with a carpet design to act as a meeting point between the grunge elements of the walls and ceiling and the earthy stone tones of the delicate embroideries on the fabrics.” This she feels is a “subtle representation of the space that has become quite androgynous person like.

}


Some of the furniture, like this carved mirror for instance was created by Tejal’s brand Ironworks, exclusively for the store.

With close to 400 clothes displayed on the racks, it was imperative that the store’s design elements be kept to a minimum. What’s more, by sticking to a neutral imagery Tejal has further ensured that Rao can display both her Indian and Western collection in the same space. Though there are a few Asian accents, the provenance of the label is generally ambiguous - a feature that Rao happily endorses.

While Mumbai has many defunct mills with interiors that can be used to advantage, there are few takers for the industrial look. Tejal retorts, “Anywhere else in the world these defunct mills would have evolved into lofts, art galleries, concert halls, public buildings or even shopping districts.”

Instead, she feels these spaces in Mumbai have been grossly ignored and undervalued. She warns, “It is obvious that we are fast losing precious areas in the central part of the city that could have reflected some history of the industrial or factory era.” Hopefully we still have a chance at saving our valuable past.

[email protected]

66 Home Review May 2014 Home Review May 2014 6766 Home Review May 2014 Home Review May 2014 67

WHEREThe world’s most beautiful and most liveable, Australia’s largest and oldest and most cosmopolitan – Sydney, is a city of many superlatives. In 1778, the city was founded as a British settlement on a small bay at the southern end of one of the largest natural harbours in the world. In the last 200-odd years, the city has claimed the harbour as its own and expanded into the hills around it.

SYD NEYDESIGNDESTINATION


WHENSydney’s proximity to the ocean means that it enjoys a temperate climate through the year. The spring season from September to November is pleasant and dry and thus the best time to visit. Summers, which stretch from December to February, provide the right ambience to enjoy the beaches and the outdoors.

WHY Sydney may be located at the edge of the world map, but its vibrant personality has visitors gravitate to it all year round. Besides the many natural attractions, the city is also home to several museums, monuments and art galleries and its calendar is crowded with cultural festivals that cover all realms from art to music to film.

SYD NEY


The rooms are simple and elegant whether it is the shoebox category or the king category. The element of drama is brought in through the high ceilings, exposed brick walls and massive distressed beams. Soft furnishings in vibrant colours and artwork by Australian artists add a splash of colour to the otherwise neutral colour palette. At the 1888 Hotel, the old and the new come together in a form that not only pays homage to the heritage of the space but at the same time also makes a striking design statement.

WITH ALL DUE RESPECT

While most hotels may take offence at their room being likened to a shoebox, at the 1888 Hotel in Sydney, the smallest room category has been titled just that - Shoebox. The 1888 Hotel occupies the space that was built to serve as a woolshed in the year 1888. The crux of the brief to the architects was to align the refurbishment to the original structure of the building.

The hotel wraps around a 7-metre high internal atrium that fills the lobby with daylight and maximises the inside-outside continuum. Here, original ironbark beams and pillars, vintage sofas, oversized umbrella-like light fixtures and a live fig tree cohabit with ease to create a great first impression.


BY THE SEASIDE

The clear blue waters of the Pacific Ocean hug the coast of Sydney, and on most days, that sight is enough to glue visitors to the beach. However, every year in November the sea takes second place as all eyes are riveted to the largest open-air exhibition in Australia - Sculpture by the Sea. The exhibit was initiated in 1996 and has now become an annual event. Installations by Australian and international artists take over the meandering two km. coastal walk from Bondi beach through Tamarama to Bronte Beach. Each year sees a variety of sculptures ranging from the intriguing to the bizarre. Made from a range of materials, some represent the artist’s culture while others make a statement about global and local issues.


SWEET EVERYTHINGS

In the few years that Chef Adriano Zumbo shot to fame, words like unconventional and bizarre have attached themselves to him. It is not surprising then that a patisserie that has his name in bright lights on its window display would recall those exact same adjectives. Colourful cranks and gears, neon mousetraps to showcase goodies and macaroon display boxes that say ‘In Case of Emergency Break Glass’ all contribute to the eccentricity quotient of the patisserie Zumbo at Star City. The pièce de résistance though is the desert train that chugs through the kitchen and into the cafe delivering little plates loaded with desserts to waiting patrons.

WHERE THE FAT LADY SINGS

Three white sails rise up high in the Sydney Harbour, soaring far above the other boats and ships docked along the port. They may appear to flutter, waiting for the final horn to signal its departure, but they stay anchored. When Danish architect John Utzon conceptualised the Sydney Opera House, he wanted it to be in harmony with its surrounds. Thus, the size is in scale with the Harbour Bridge that forms the backdrop and the colour palette is restricted to what Utzon called ‘nature’s colours’. The interior on the other hand bursts with colours and creates a setting that would easily put its 1.2 million annual visitors in a festive mood.

Text By Himali Kothari


TO00 8RACHERInfluenced by Darwin, Danish design and simplicity, American designer Todd Bracher creates elegant objects that are near works of art.

Text By Chryselle D’Silva Dias Photographs Courtesy The Designer

product

designer

Home Review May 2014 71


The New York Daily News called him ‘America’s Next Great Designer’. He has been nominated twice for the ‘International Designer of the Year’ award. And he is the first American designer for the Italian brand Zanotta.

Meet Todd Bracher, designer, strategist, and founder of Todd Bracher Studio.

Born in New York City in 1974, Bracher has already notched up impressive credits on his resume. He graduated from Pratt Institute, Brooklyn, New York in 1996 with a degree in industrial design. Three years later, Fulbright Fellowship in hand, he moved to Copenhagen for an MFA in interior and furniture design at Denmarks Designskole (The Royal Danish Academy of Fine Arts, School of Design). For the next ten years, Bracher worked across Europe, in all the major design capitals. In 2003, he moved to London to work for Tom Dixon as lead designer. He was also professor of design at l’ESAD, Reims, France. In 2004, he began designing for Scandinavian luxury brand Georg Jensen and was creative director of the brand from 2009-2011. The Todd Bracher Studio now designs for some of the world’s best brands including Cappellini, Herman Miller and Jaguar.

Bracher’s designs for furniture and other objects are classic, fuss-free and straightforward. The Danish influence is also evident in his streamlined designs. His first design to go into production was the Freud sofa for Zanotta (2002). This award-winning design is a sofa, daybed and lounge chair depending on your mood. Freud would have approved!

Freud Sofa For Zanotta

Vault

Tod Table

T-No. 1 Table

Alodia


Bloom (2001) is an unusual design for a table and chairs combo. When not in use, the elegant stools fold back on the table, like a flower at dusk. Space saving properties aside, this is one beautiful design that would look great in a home, restaurant or even a formal, corporate setting.

The T-No. 1 is Bracher’s iconic design. Created for Fritz Hansen, the table was very popular from the moment it appeared in their catalogue. The simple design has “a surface for function, ribs to support the surface, a spine to hold the ribs and legs to bring the construction off the floor. Nothing more, nothing less.” The sparseness of the description and indeed, of the design, belies its striking shape.

Another popular design has been the Tod table, inspired by supermodel Cindy Crawford’s famous beauty spot. The single piece table has an angled base that allows the top to perfectly fit under almost any surface. Bracher calls it “a small object with a strong personality; like a beauty mark.”

With an equal dose of personality is the multiple-award winning Trea chair. Inspired by “the movements of an exoskeleton”, the Trea is a solid chair with no moveable parts. The chair “has been evolved with efficient mathematical surfaces designed to bring support and comfort to the sitter in both upright and reclined positions.”

Trea Chair

ASA Lounge Chair

Tools Eva

Hadr


In 2011, Bracher designed The Nest collection of chairs and tables created to enhance social conversations. The slanted angle of the table is reminiscent of the Tod table while the elegant shape of the armchairs simply beckons one to come and curl up.

Bracher’s designs for lighting are also noteworthy and are a significant part of his portfolio. One of his earliest designs, Stick (2009), was inspired by the walking stick insect and the “luminescent lure” of the anglerfish. Bracher’s love of all things Darwinian comes through with these simple designs which are rooted in naturalism. The Dome light (2007) is inspired by the phases of the moon, while the Vas (2001), a carafe made from mouth-blown glass pays homage to the unique shape of a pelican.

Dome Light

The Nest Collection

Stick

StrandelierStrandelierII Stran-delier


Lightfalls is one of Bracher’s recent explorations with LED technology. Created in collaboration with 3M, (only) twelve ‘virtual LED’ lights were used to create an impressive light installation. The remaining light is reflected, giving the illusion of dozens of lit-up bulbs, when only one per row is used. Just imagine the possibilities!

This “design driven by reason and function” is pure Bracher. ‘Engineered Aesthetics’ is what he calls it, where the products he creates are not only beautiful but also very functional. And if his past creations are any indication, we can look forward to many more designs that are honest, natural and very environmentally aware.

www.toddbracher.net

Lightfalls

The Vas

Librilounge


The gaps between grouped slats serve as doorways.


Text By Jennifer. SPhotographs Jose Hevia Courtesy NAM Arquitectura

A CHALLENGEWELL MET

NAM Arquitectura has designed a bright, spacious and naturally lit public school, Escola Isbael Besora, in Reus, Spain. Its constricted, small, triangular plot had become a challenge initially; this was more than well met ultimately.

The words ‘Escola Isabel Besora’ affixed onto a curved wall welcome one, after a walk up a gentle natural gradient. There is no hint of a big open courtyard cum playground behind this wall. To a non-Spanish, neither the words nor the building provide a clue of it being a school.

The Isabel Besora School is in the city of Reus in the Tarragona province of Catalonia in Spain. NAM Arquitectura - NAM standing for the chief architect Nacho Alvarez Martinez - was assigned the designing of the public school which is run by the Department of Education of the Government of Catalonia.


The site designated for the school, proved to be difficult for the architects on two counts. Bound by railway lines on one side and residential buildings on the other, the sandwiched plot was also small and triangular in shape. But the architects turned the limitations around into an advantage, by designing an L-shaped building, accommodating classrooms for all of the primary section and at the same time providing ample play area.

With the temperature remaining at an average of 16°C and Reus getting rainfall for at least one week every month, the building needed as much natural lighting as possible, as well as protection from rain. In the L-shaped building with two wings, the classrooms have been provided along the external side of the longer wing.

Separated by a well-lit corridor, the other rooms such as reception, management office, concierge, library, staff room and the like have been provided on the other side, facing the open courtyard-cum-playground.

Along the entire façade of the building, vertical steel slats have been provided. The slats do not run in continuum, but are placed floor wise, accentuating each level of the building. The slats ensure that all the rooms get natural, filtered daylight.

The open spaces in between the grouped slats act as doorways and the corridor on the ground floor provides shelter from rain and direct sunlight, enabling the children to move between the various rooms. On the upper floors, the slats have been juxtaposed with glass panels. On sunny days, the play of light through the slats, adds an interesting visual dimension.

As the focus has been on creating a airy, natural and neutral environment, the interiors, clad with MDF panels, have been painted white.


Linear stairs, double-height rooms, fixed glass panes on the external walls and skylights in the ceiling lend spaciousness to the interiors.

The balusters tone down the linearity of the corridors.


}Given that a railway track is adjacent to the building, the concrete structure has been clad with wooden panels in rooms such as the gymnasium to muffle vibrations and better acoustics.

As the focus has been on creating a bright, natural and neutral environment, the interiors, clad with MDF panels, have been painted white. A colour coding in shades of grey have been incorporated to distinguish various departments and classrooms.

However the library has been given a colourful ambience with red book shelves and green pin boards. The book shelves have been deliberately kept open and without doors; this has been done to encourage children to pick up books of their liking and read.

As Isabel Besora is part of Escola Verda, a sustainability movement for schools, a corner has been set apart in the courtyard. This has been transformed into a garden space by the children. Along the external boundary too, narrow strips of land have been left free for plants.

Overall, Isabel Besora has a linear, uncluttered, bright and spacious atmosphere, perfectly suited for a school.

[email protected]


Delhi-based, Henri Fanthome Office for Architecture’s (HFOA’s) design philosophy is centred around freeing spaces from clutter and re-imagining them as fluid, well-lit living areas of substance.

Henri Fanthome Office for Architecture, HFOA for short, came into being in 2009, as a passage into the School of Planning and Architecture’s New Campus’ Master Plan Competition.

But its story has continued beyond that ambition, and today the small firm has built a sturdy portfolio of projects that span a wide range of sensibilities and budgets. The firm’s work also goes beyond Delhi to Uttarakhand, Uttar Pradesh and Haryana.

HFOA takes a simple route to design, and prefers to work on a de-cluttered slate. It actively promotes sustainable architecture, and views every project as a learning process. It also continues to participate in many competitions - be it on exhibition design or furniture - a trend that many firms tend to give up on as their reach expands.

The cherry on the top is that the HFOA studio overlooks the beautiful Mehrauli Archaeological Park. They needn’t go too far for inspiration.


Text By Shruti NambiarPhotographs Courtesy The Architect

The biggest challenge of this residential project was that most things about the space were unremarkable. The space was cramped and ill-lit and there was very little structural identity to work with. In response, the HFOA team decided to combine material and form to build a space that can claim its own specific identity.

The floor is an eye-catching swath of black-and-white patterns, laying out the first salvo in creating an effect of a large, interconnected space. Even everyday items like cupboards and stair-railings have been given edgy design motifs and shapes to make them stand out.

Building passages for natural light was the fulcrum of the design process here, and its effect is enhanced by the colour scheme dominated by wood, grey, off-white, and the dual-toned floor.

“In some ways the project is representative of our process of design that addresses each site as unique and a custom design is evolved to fit its specific requirements. This allows space for those who will live in it, letting them blend their personalities into it and own it. We try our best to create spaces that are truly fulfilling,” the team attests.


In the notoriously cacophonous landscape of Indian transport infrastructure, this project aims to blow in fresh ideas. HFOA joined forces with Delhi-based Shaily Gupta Architects to conceptualise this complex as an entry to the National Open Design Competition.

The sprawling project is a re-imagination of a pre-existing but mostly unused bus terminal in Jaipur, Rajasthan. Critical appreciation of the design here must centre on the clean division of the various types of transit lines. The everyday local and private bus routes, the pedestrian ways, and the interstate bus lines, are split and their paths laid out such that they don’t have any unsavoury meetings.

At an elevation from the ground floor plaza is the main terminal building that houses all the functions relating to bus travel. The buses use overhead and subterranean thoroughfares to get on to two drop-off platforms.

Huge sheaths of tensile roofing shield the buses against the elements. Other sub-structures include an office complex and a hotel, again rising above the main plaza to avoid bump-ins.

The project’s credit is in thinking that the transport functionality of a city can be greatly improved through one approach - smart de-cluttering. Some problems are best tackled with simple solutions after all.


Seemingly a small project, this one is exemplary of HFOA’s talent at making the best of a small budget. Admittedly, the finances involved here were tiny, and the team was asked to deliver a canopy connecting the gate with the front door of a dentist’s clinic, with no obstructive column support whatsoever.

A garden would hug the canopy structure. The team decided to custom-make most of the elements involved in the construction here, employing mostly stainless steel. 3mm thick cables support the suspension of the canopy, which can be rolled out and retracted.

“The steel pulley wheels were made with Royal Enfield axle ball-bearings that had to be lathed in a machine shop,” adds the team. It speaks volumes about a firm which refuses to get bogged down by irrational budgets, and decides to have fun with them instead!

[email protected] www.hfoa.in


“During my Bachelors in Product Design, for one of my college assignments I used clay for making a prototype. That was my first introduction to the medium and I enjoyed the malleability and tactility it had to offer. But my bigger introduction to ceramics as an art/craft medium was during my Masters in Visual Arts at Camberwell College of Arts, University of The Arts London.”

Kriti Chaudhary reminisces about her tryst with ceramics during her product design days and gives us an introduction on how it became a full-fledged affair.


STORIES IN CLAY

TEXT BY VIKAS BHADRA


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During her Masters, Kriti was invariably drawn to the works of artists like Jennifer Lee, Gordon Baldwin and Helen Carnac. The unglazed ceramic surface, the tactility and the character it offered enticed her and she started experimenting and working with clay in a very intuitive manner. One look at her work and it recreates an aura of nostalgia and puts you in a solicitous mood.

The inspiration for a large part of Kriti’s work was derived from a collection of polished rock-cut stones gathered by her grandfather, who was a hobby collector. The strong force of nature was so evident in these relics that one could visually map the capacity of nature to shape these stones. The colours, lines and surface markings in Kriti’s ceramic pieces attempt to visually interpret these forces of nature and time.

For anyone who thinks designing such caricatures in clay is an easy task, think again! In an age dominated by machines where automated quick fixes define efficiency - for such creative offerings it’s a matter of experimentation, patience and appropriate material which renders it the recognition it deserves.

Fossils and Tracing Time, a series of work executed by Kriti has garnered a lot of attention. This series draws inspiration from the natural processes around us like erosion and changes through time and nature. The marks and traces left behind by these natural geological processes are evident in these creations. Fascinated by the varied land forms created by erosion and deposition over the course of time, Kriti strives to evoke these ideas in her work.

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Kriti ChaudharyA-6 Asola Farms Near Shani Dham TempleFatehpur BeriNew Delhi 110074+91 [email protected]

The pieces in the Fossils and Tracing Time series involves a deliberate non-use of glaze in an attempt to achieve a more natural look and retain the surface quality of clay. The ceramic pieces are mostly wheel thrown or press moulded to develop a certain surface.

The ceramic products in this series are mostly customised in sizes for interested buyers. There isn’t usually a strict timeline, given the nature of the craft. But generally speaking, a time of around 20 days is decent enough for delivery.

A good look at the ceramics designed by Kriti and you would not fail to notice unique markings on the objects - these are imparted using alternative firing techniques like ‘smoke pit’ and ‘saggar’. The clay surface is subjected to various elements like heat, smoke, oxides and other combustible materials; the markings of line and colour are obtained using metallic oxides, cloth, wire, organic materials, etc.

This artist’s pieces espouse nostalgia and the manufacturing process itself is reminiscence of the stresses and strains which personifies a human life. Kriti’s studio is based out of Asola near Chhatarpur and visitors are usually welcome to come around.


GREEN PROJECT

The Good And The Ban

Pushing away memories of a devastating Tsunami, a fishing village in Sri Lanka springs back to its feet with the discovery of compressed earth blocks, rubber wood and the expertise of superstar architect Shigeru Ban.

Text By Christabelle AthaidePhotographs Courtesy Dominic Sansoni, Shigeru Ban Architects and Eresh Weerasuriya

The prefabricated walls made from compressed earth blocks and the building modules which interlock like Lego blocks were deliberately designed to allow unskilled local labour to participate in the building process.


The roofed courtyard is elegantly partitioned from the rest of the house with folding doors and is a flexible space which can be used for eating, entertainment or where women can retreat to for privacy.

Despite being a relief project the houses are elegant, spacious and well-ventilated. They also demonstrate a respect for local culture and customs.


It’s no surprise that Tsunami survivors often harbour mixed sentiments regarding their survival. There’s elation at having escaped the finger of Death and then there’s the weighted-down reality of having to pick up the pieces and start life anew. For the Tsunami survivors in Kirinda, Sri Lanka, the future seemed somewhat surmountable thanks to the intervention and benevolence of star Japanese architect Shigeru Ban.

Sri Lanka is famous for many things - gemstones, beautiful beaches, seafood and cricket but in 2004 it made headlines worldwide for the death and destruction wreaked along its coastline by a raging Tsunami. One of the more ravaged areas in Sri Lanka was the Muslim village of Kirinda in the south-east where the landscape was rudely flattened and survivors were left bereft of both house and belongings.

Assigned the task of housing the survivors, developer Philip Bay declared his vision for the rehabilitation, “This was not going to be a traditional disaster relief effort where we go in and make homes really fast and leave. I wanted to treat this like a development project.” Helping him actualise this vision was Shigeru Ban, an international architect and a humanitarian often found at the forefront of disaster housing relief.

Having worked as a consultant to the United Nations High Commissioner for Refugees, Ban has displayed remarkable prowess as an ‘emergency architect’, capable of intervening rapidly to create temporary structures.

Ban’s aim was to adapt the new houses to the tropical Sri Lankan climate and to use local labour and materials that would help revive the local economy. He also sat in direct consultation with the villagers tuning in to their specific

The one-storey houses are built sustainably with naturally available materials like compressed earth blocks, coconut wood, teak and rubber wood.

needs and lifestyle. “This is the first time I’ve worked for Muslim societies,” said Ban, “so before I built the houses I had a community meeting to find out what exactly was required. It all depended on the generation concerned; for example, here we had to have separate spaces for men and women.”

Ban’s final prototype incorporated a single-storey structure with walls made from compressed earth blocks and a pitched roof made from locally sourced teak and coconut wood. This house had two bedrooms, a kitchen, a bathroom, a hall and a sheltered courtyard. The courtyard was to be a flexible space for dining, entertainment and could be even used as a place to repair fishing nets.

More importantly, it met municipal stipulations which required a separate place where women can retreat to in private. Ban also designed furniture for the residence using wood from the rubber trees which grow aplenty in the region.


The use of rubber tree wood from the surroundings for partitions and furniture eliminated the need for steel frames and ensured the house is not just safe but also sustainable. Ban also made it simple for locals to participate in the building of their houses with the use of prefabricated walls made of compressed earth as well as building modules that could be fitted together, almost like Lego blocks.

This aspect greatly reduced travel miles that are normally incurred on construction sites. The outcome was impressive: in two years, the locals put together a 100 houses measuring 71 sq.m. each. All of them were perfect replicas of Ban’s prototype.

The new houses are bright, spacious, well ventilated and elegant in their simplicity of design. They not only exhibit a respect for the local culture and gender dynamics but also a profound reverence for the

environment. Shigeru Ban who is often lauded for his sustainable designs and use of eco friendly materials especially his paper and cardboard structures, dismisses ‘green architecture’ as a passing fad and says he is personally more concerned with “just using materials without wasting!”

Nevertheless, Ban’s post Tsunami housing relief project in Kirinda was shortlisted for the Aga Khan Award 2013. An architect with a conscience, Ban has committed himself to creating buildings that can truly be useful - whether or not they are permanent fixtures on the horizon.

He chooses to eschew glitz and instead relies on solid and sensible environment friendly measures in each of his designs.

[email protected]

www.shigerubanarchitects.com

The 100 houses are 71 sq.m. each in size and have two bedrooms, a bathroom, kitchen, hall and a sheltered courtyard.


GREEN PROJECT

Transit To The Future

The John W. Olver Transit Center at Greenfield, Massachusetts, is the torch-bearer of the zero-net energy federal buildings’ revolution in the US.

Text By Shruti NambiarPhotographs Courtesy The Architect

The top floor of the structure holds the administrative offices of the transit departments.


The façade features copper panels that efficiently capture the afternoon sunlight, metamorphosing it into electrical energy.

The non-flamboyant façade of the building doesn’t give away much about the fantastic achievement that the Center stands for – it is the first zero-net energy transit hub of the United States.


In 2009, the Barack Obama administration passed Executive Order 13514, titled ‘Federal Leadership in Environmental, Energy, and Economic Performance’, which necessitates that every American federal building be zero-net energy by the year 2030. The John W. Olver Transit Center was completed in 2012, at Greenfield, Massachusetts, with precisely this grand vision in mind.

It was commissioned by the Federal Transit Commission, and funded under the aegis of the American Recovery and Re-investment Act (ARRA), with the function of being a facilitator of composite transit services, including local and inter-city bus, passenger train, and more. The non-flamboyant façade of the building doesn’t give away much about the fantastic achievement that the center stands for – it is the first zero-net energy transit hub of the United States.

Massachusetts-based Charles Rose Architects conceptualised a structure that not just comes up and trumps on the sustainability charts, but is also sensitive to Greenfield’s history, present concerns, and its future expectations.

Green architectural considerations naturally influenced the building materials used in this project. The team went for an expansive mix that embraced brick, bronze, copper, concrete, steel and stainless steel, walnut wood, plaster, bluestone, and elements of terrazzo. The façade is clad in locally-sourced stone, brick and copper. The definitive element of this project is its marriage of strident green credentials with a futuristic form. Greenfield has a reputation set in old business, which has spawned alleys full of broody buildings made of dark brick.

“Our design bends the building toward the northern end, which gives it a sense of motion, or perhaps a current running through the structure,” states the team.

The facilities at the building include an indoor waiting area, a café, WiFi connectivity, rest rooms, an outdoor green stretch, and bicycle racks.


The John W. Olver Transit Center has been conjured up on similar lines, and it fits the need to pay homage to its site’s legacy and the demand to build something highly energy-efficient. The façade here has a weather-toughened look, and a sloping form that is interspersed with thin and broad strips of glass panels. “Our design bends the building toward the northern end, which gives the center a sense of motion, or perhaps a current running through the structure,” states the team. The western end is a wide swathe of dark brick, an effort at making the most of the afternoon sun.

The energy creation and usage at the John W. Olver Transit Center is evened out by a photovoltaic array that stretches across a 7,300 sq. ft. area. There are 22 geothermal wells, each dug 400 ft. underground, functioning at the site. Also present are a boiler fired by wood pellets, and occupancy sensors peppered across the 24,000 sq. ft. building.

The top floor of the Center is occupied by the offices of the Franklin Regional Transit Authority, and the Franklin Regional Council of Governments. The facilities at the building include an indoor waiting area, a café, WiFi connectivity, rest rooms, an outdoor green stretch, and bicycle racks. The year 2015 should mark the start of Amtrak rail service here as well.

The John W. Olver Transit Center is dedicated to the Democratic Party representative from Massachusetts, John Walter Olver. It is not just a standalone example of energy efficient architecture, but is expected to initiate a revolutionary chain-reaction of carbon-neutral government buildings in the US. “Local officials are looking to the transit center to spark downtown revitalisation and sustainable development,” attests the design team. Indeed, the John W. Olver Transit Center sets a highly-efficient, simple and accessible precedent.

[email protected]

Brick, bronze, copper, concrete, steel and stainless steel, walnut wood, plaster, bluestone, and elements of terrazzo went into the construction of the Center.

The John W. Olver Transit Center is the first zero-net energy government transit hub in the United States of America.

PB Home Review May 2014 Home Review May 2014 99

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Text By Natalie Pedder-BajajPhotographs Courtesy Amanrsesorts

BALI HIGHAmankila, meaning “peaceful hill” in Sanskrit, proffers jaw-dropping views of the Lombok Strait and Bali’s volcanic eastern coastline. This super swish beach hideaway ensconced on an island where the sky meets the sea, is drenched in whispered sophistication.

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Built into the verdant slopes of a cliff, Amankila’s sweeping ocean views can lull even the most harried city soul into a blissful contentment. The approach to the property slowly builds a sense of quiet expectation as the drive winds up hill before rolling gently down, finally reaching the resort’s main building that is constructed on three split-levels.

On the uppermost level is the airy arrival court and lobby, one level below is the bar and restaurant, while the library, gallery and terrace restaurant are all located on the third level. Lured inside by the sound of undulating waves, guests are immediately introduced to Amankila’s signature tiered swimming pools: three azure blue-tiled infinity pools that blur the lines between ocean and sky. Designed to flow in harmony with traditional Balinese customs, these pools run into one another like the terraced rice fields found around the area.

Architect Ed Tuttle has purposefully kept Amankila in touch with its rural community by employing local materials and design. He has used a sequence of inwardly curving shapes to organically balance the interiors with their surroundings - a theme permeating every detail. This natural fluidity is visible everywhere, from the terrace restaurant (that is recessed off the main pool) with its mirrored walls reflecting the blue Balinese sky, to the paras-stone moldings that smoothly run over each suite’s main door.

Core elements of design are seamlessly carried from one area to another - like the use of natural woods and local stone, the emphasis on native Balinese architecture and the focus on each aspect being as eco-friendly as possible. The décor mantra is understated luxury, the interiors not robbing attention from the beauty unfolding outside.

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Public areas are tiled with an earthy terrazzo flooring and a timber latticework or cane roofs, while gentle arches frame the landscape beyond. Terrazzo walkways, lush with emerald green foliage and twittering birds connect the entire property. Constructed on stilts with dizzying views of the sapphire sea, they cradle guests in the bosom of Mother Nature.

The 33 freestanding luxury suites peppered on elevated plots to take advantage of the view, also adopt an indigenous plan as they are topped with alang alang roof thatching and cathedral ceilings. Designed like individual beach houses, Ed Tuttle drew upon the classical beauty of the water palaces of Ujung to create the lines and flow of the ‘residences’.

Encouraging outdoor living, all suites have been planned around spacious terraces furnished with a lazy daybed, coconut-shell tables and rattan chairs for inspired writing or al fresco dining. Some suites even come with their own private infinity pools!

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The interiors are characteristically Aman-sumptuous, with inlaid marble-and-wood floors, arched teak window casings, soaring cane ceilings and carved bedsteads dressed with plush linens. All suites are divided into three distinct areas beginning with the bedroom, which is dominated largely by a canopied king-size bed.

Crossing a large threshold takes you to the middle of the ‘house’ into the bathing area. Replete with soaking tub and cozy divan, they both come framed against wide double picture windows. Walking through this area further leads to a separate space occupied by double terrazzo vanities with floor-to-ceiling mirrors, seashell-finished taps and a coconut-wood dressing area.

Densely forested pathways not only snake their way from the suites to the spa and gym but also meander to the Beach Club. Nestled within a thicket of coconut trees and shaded by a fragrant frangipani plant lies Amankila’s largest swimming pool, a 41-metre turquoise tiled lap pool. Strewn on the private beach nearby are luxurious lounging bales and sun beds that are cosseted within rustling palms, pandanus leaves and flowering bushes.

Amankila also has two-hilltop escapes, a 15-minutes drive from the resort. Bale Tirta Sira and Ketug Bale are located high up in the hills among rice fields and banana trees. Made of coconut-wood, these bales are styled after the thatched-roof versions surrounding the central pool, replete with relaxed furnishings and a careful attention to detail.

Amankila is exactly what founder Adrian Zecha envisioned – an intimate retreat in beautiful surrounds with the unassuming, warm hospitality of a gracious private residence. Aman resorts as usual always manages to offer an experience that is discreet while providing the highest level of service.

[email protected] www.amanresorts.com

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The bespoke bronze stallion, clearly the cynosure of the garden, was painstakingly designed and fabricated by an artist in China.



This private garden in Sydney is equal parts beauty, formality and power and makes all those who set eyes on it to secretly covet it for their own.

Landscapes

Text By Christabelle AthaidePhotographs Courtesy Rolling Stone Landscapes

AN EVERGREEN CLASSIC



Modern landscaping trends today veer towards an arty and almost careless look that celebrates spontaneity. But every once in a while we are drawn to the master touches employed in a classic garden where form takes precedence and principles of colour and design are observed meticulously to impart a special kind of a beauty to a space; just like this formal garden in Sydney, Australia which has all our attention.

A seventy metre arbour entwined with ornamental grape lends a romantic atmosphere to the garden.



Situated in the suburb of Castle Hill, Sydney this garden is in fact an extension of an existing, established garden in a 5-acre property and once served as the horse arena for the estate’s residents. When this space turned redundant, the property owners invited Dean Herald, one of Australia’s premier landscape designers as well as the Managing Director of Rolling Stone Landscapes to blend the space in with their existing garden.

Among the prerequisites laid down by the family was the request for the presence of some equestrian reference in the new layout which would, in keeping with the existing garden, be a formal design.

Working within the guidelines of a symmetrical grid, Dean introduced a three-tiered water feature in the centre of the garden and crowned it with a life-size bronze stallion. No ordinary equestrian element is this; the stallion is in fact an imposing feature, his head and forelegs rear high and his body is all taut, just ready to charge ahead. The effect is striking to say the least and strongly references the presence of wealth and power in the surroundings.

The garden follows a formal layout with a water feature at the centre that feeds four rills which divide the garden into symmetrical sections.



Here the attention is drawn to a 70 metre long feature arbour entwined with ornamental grape. “The planting enhances the arbour especially in autumn when the foliage turns deep red before dropping off and in summer it provides shelter from the sun”, explains Dean. The romantic quotient of this pathway cannot be overly emphasised and we can only surmise what love might blossom under the trailing vines.

At one end of the garden is a ‘Juliet’ balcony from where visitors can enjoy a truly picturesque view of the garden and its varied plant palette. “From this location,” the designers wax lyrical, “an avenue of ornamental pears frame a view of the stallion and the water feature below.”

Dean reveals that the stallion was designed and fabricated in great detail after an extensive consultation with an artist in China. He states, “Every stage was overseen from our end and amendments made as needed to achieve the best result.” The main struggle, he confesses, was deciding the direction towards which the stallion would point, as a vantage view of it was desired from several different angles. Cascading down from the stallion are bubblers and spouts that nonchalantly feed four rills which divide the garden into symmetrical sections.

Classic gardens such as this one, call for very high levels of maintenance; something to consider in this era of labour and water shortages.



Deciding which direction the horse should face proved to be a difficult decision as an interesting view of it from several different angles was the goal.



The water feature, arbour and other design features are well complemented by plants that have been carefully selected for their colour, texture and shape. The landscapers have put their brush to plant palette, judiciously choosing colour and texture to create patches of harmony or contrast as the need may be. Dean explains, “The plants give definition to the allocated symmetrical spaces and provide the form that contributes to the formal theme.”

More depth and visual interest is created by using trees, shrubs and ground covers of differing sizes. “The way in which these have been designed to be maintained also contributes to these layers”, adds Dean. As seasons change, the garden gets a natural makeover ensuring that the estate’s occupants never tire of the scenery.

One of the obvious reasons for the fading interest in traditional gardens today is the high-maintenance cost, with manicured lawns topping the list. In this garden, no expense has been spared to ensure that the lawns are a lush carpet of green at all times, adding substantially to the effect of grandeur.

“The formal and European style of the garden was a fresh return to the classic roots of garden design and provided an opportunity to create something special for generations to come”, says Dean of this landscaping project. Classics, as they say, never really go out of fashion.

[email protected] www.rollingstonelandscapes.com

A ‘Juliet’ balcony at one end of the garden offers visitors a magnificent view of the bronze sculpture as well as the garden’s rich plant palette.

112 Home Review May 2014


Advertorial


L’Hotel du Collectionneur, a luxury hotel situated in the veritable heart of Paris is an outcome of a slightly unorthodox design combination; it is built broadly in the Art Deco style and has interlaced within its design several references to a transatlantic cruise liner.

Text By Mala BajajPhotographs By L’Hotel du Collectionneur

DECORATED BY ART


Friendly receptionists and concierges heighten the blend of the warm and definitive ambience of the hotel.


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The hotel’s façade is a homogenous blend of the typical architecture of the area of Hausmann in Paris and the decorative style of the 1930s.

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L’Hotel Du Collectionneur, faces the very chic Parc Monceau and is just a few minutes walk from the Arc de Triomphe, the Avenue des Champs Elysées and the prestigious boutiques and art galleries of the rue du Faubourg Saint-Honoré, Paris.

A bona fide homage is paid to the Art Deco style which existed in the 1930s and the 1940s, yet the stamp is undeniably fashionable. The overall design leans towards geometries and angles; a vibrant dialogue between materials, textures, hues and colours is teamed with several references to being out at sea.

Thus you see motifs such as bubbles and waves showing up on carpets, upholstery, picture frames and more. Bursting with character and charm the hotel allows guests to relive the definitive elegance and sophistication of the 1930s in a plush, hotel experience.

Paris has always been a city of the world; it is the capital and the most populous city of France. This hotel situated in its pulsating heart encompasses 478 rooms and suites (from 30 to 150 sq. m.) all inspired by the greatest designers of the Art Deco period. 41 rooms and suites have private terraces, some with panoramic views of Paris and the Eiffel Tower.

Surprisingly the interior design has a place for a number of varied elements such as Chinese chairs, Moroccan lanterns, zebra-pattern ottomans, Tibetan artifacts, and other accessories of a global style.

Guests may sip Prosecco cocktails in the art deco lounge before taking in the Gothic and early-Renaissance frescoes of Santa Maria Novella church nearby. The effect is as energising as the large-format prints of Florentine façades that decorate the hotel.


The restaurant Le Safran serves modern, refined French cuisine in again an artdeco dining room and its two landscaped terraces.

With 1700 sq. m. of corporate meeting facilities including seven modular rooms with 20 different configurations, as well as a sumptuous reception room accessible via a majestic staircase, again bringing up visions of the interior of a luxury liner, the hotel can accommodate events for up to 650 guests.

Credit for this brimming-with-design hotel, with allusions to buildings in Chicago has to be given to three individuals: Stanislas Fiszer for the original architecture, plans, volumes and façades; Jacques Garcia and Alexandre Danan for the décor and Olivier Riols for the landscaping of the grounds. Olivier Riols was instrumental in creating an 800 sq. m. Andalusian patio on the premises; incidentally he has worked on the landscaping of the gardens of Palais-Royal and several other prestigious properties in Paris. This hotel whose façade is a homogenous blend of the typical architecture of the region of Hausmann in Paris and the decorative style of the 1930s, required a great deal of research and planning by its consummate designers.

Mosaic is an intimate and luxurious spa by Decléor & Carita - a real oasis of well being, harmony and relaxation.

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Friendly receptionists, doormen, concierges and the other staff complete the luxe experience that one is sure to have when staying at the L’Hotel du Collectionneur. The dominant mood is one of a warm and sophisticated interior of a luxurious pleasure ship which makes the guests feel as if they are on a cruise at all times.

www.hotelducollectionneur.com

The courtyard within the hotel lets the hotel guests revel in its beautiful landscape design which is clearly seen from the rooms. Olivier Riols was at the helm of affairs here.


On first glance it appears as if things have been casually grouped together. But a closer look reveals that this erratic display is in fact a carefully thought out and well executed layout.


Luxurious Decadence

Retail Therapy

When one talks about Bengal in general and Kolkata more specifically, it is sure to evoke images that are culturally rich and quite tasteful. Kaji, a store that is a household name in Kolkata, carries forth that rich heritage with a touch of modernism through its discerning products.

Text By Dhanishta ShahPhotographs Kaji


The word “Kaji” features in the Japanese dialect, and its meaning is manifold. Quite simply, it means fire. Going deeper into the word and its implications, it is also a cosmic fusion of two characters, implying the transformative power between self and Buddha; and as the saying goes, Buddha is creative life itself. Kaji is thus a design house that takes its inspiration from the aesthetics of creativity.

The modus operandi here is the synthesis between the glory of the past and the minimalist trend of the present. Indeed, the brand addresses this gap in sensibilities, by bringing vintage and fusion interiors back into the limelight.

These three sections provide a number of focal points for the visitor. One of the most stunning visuals is the wallpaper by celebrity designer Andrew Martin from the UK, which has a wrought iron panel design. This wallpaper looks real even one foot away!

Another eye catching feature is a beautiful picture gallery wall where numerous frames have been juxtaposed with each other in order to tell a story. The frames cover this wall right from floor to ceiling. A striking red wall with gold coloured round mirrors is one of the focal points of Kaji.

The beautiful picture gallery wall has art juxtaposed for telling a story. Frames cover this wall right from floor to ceiling.

A striking red wall with gold coloured round mirrors is one of the focal points.

The brand was established by Devina and Shrivant More in 2009 and has expanded to three stores. The newest store at Russell Street spans approximately 4,000 square feet, but gives an illusion of much more thanks to high ceilings and floor to ceiling windows.

“Our store is split into three parts, allowing us to play with different mood boards in the three spaces. Whilst one area is dominated by industrial styled wallpaper, another is splashed in a bold shade of red. The third part is completely covered up in black board paint. The effect is dramatic, and has a complete international feel, as everything contrasts with the wall space,” explain the duo.


This changes every two weeks, to give the store a fresh, crisp look. “Visual merchandising is the most important thing to induce a client to buy a product. It involves playing with all of the client’s senses, to create an experience, which they want to take back home with them. This is always at the forefront for us,” they say.

The store does justice to the rich cultural heritage of the city it is in, without losing its contemporary appeal. All these different moods of the store come together so beautifully and perfectly. But, it is the exterior of the store that really steals the show. It is done in a deep grey colour with colonial style grooves running across the entire façade. Rust covered steel doors and windows give a peek into the store, which when you step into transports you to another world! This is surely the starting point of a dream!

www.kaji.co.in

It also has tie-ups with reputed international brands from Europe and the USA for an impressive collection of tableware, accent pieces and art. The furniture on the other hand is either by celebrity designer Andrew Martin from the UK, or by Apartment 9 of India. My personal favourites are the curated antique-looking vehicles that don different parts of the store!

Understandably, with a huge range of products and the beautiful décor for a display canvas, the owners pay a lot of attention to the way the products are displayed in the store. On first glance it appears as if things have been casually grouped together. But a closer look reveals that this erratic display is in fact a carefully thought out and well executed layout.

Another prominent feature is the use of dark and light tones on the walls and floor. The flooring is a mix between custom styled cement flooring and wooden laminates. The use of these tones creates a very different atmosphere which is offset by the equally strong but vibrant colours of the furniture, artefacts and accessories. The soft yellow lighting from well-placed lamps adds to the atmosphere. The resultant look is that of luxurious decadence, evoking a kind of regal opulence.

In terms of products, Kaji has an extensive range of home accessories, bedding, tableware, furniture and wall accents. It brings out two design collections each year covering home accessories and soft furnishings.

In terms of products, Kaji has a well curated and extensive range of home accessories, bedding, tableware, furniture and wall accents.


Text By Namrata JoshiPhotographs Courtesy The Architects

A CORPORATE HEAVEN

A luxurious workspace is definitely a part of the new mantra these days and the people at Derive Investments are set to relish architectural extravagance. Puran Kumar Architects have refurbished an orthodox office setup and turned it into a veritable state-of-the-art haven that reflects our contemporary times.

A corporate office need not be all dull and gloomy anymore as the era of all work and no play has ended and comfort and luxury have gloriously seeped into office spaces. Puran Kumar Architects competently display their acumen of new-age architectural work in their latest project for one of the most reputed investment companies in India, Derive Investments.

Expanded to 4000 sq. ft., the beauty of the project not only lies within its walls but extends far beyond it, as a breathtakingly charming sea view becomes an integral part of the interior design.

The South Mumbai Tower property owned by the client and situated at Nariman Point has exceptional attributes - particularly those that are characteristic of buildings in this prime area of Mumbai. The views that are afforded to the office space are nothing short of serene.


As one enters the plush office space, architectural richness greets the visitor. Two receptions at the entrance; one for the staff and the other one exclusively for the Director are strategically placed. This ensures a calm and hassle free waiting area for the visitors.

A sense of tranquillity is often compromised in an office and yet the serenity in the air due to a structured and crisp engineering of the indoors bounces off a clean, modern and vibrant ambience.

Separate offices for the Director and Managing Director house modern facilities.The workstations are quite spacious too; these are adjoining, well aligned and promote smooth functioning. The drawing room and the conference room, which have a large window overlooking the sea, are some of the exceptional areas of the office property that flaunt polished surroundings.

The office exudes a definitive character, based on the ‘soft furnishings’ that are subtle yet narrative. The no-holds-barred approach of the architect, Puran Kumar and the creative freedom given by the client definitely triggered several varied and one-of-a-kind concepts in the project.

The use of wood acts as a stimulus in the interiors and has been intelligently handled in every section, including on the floors. It blends well with the other elements of the office like the luminaires and the paintings. The client’s love for wood acted as an added impetus to use it as a strong base and balance the vibrancy and stylised appeal of the indoors.

The highlight of the project is the artwork used all over the property as pivotal accessories. The artefacts used prominently hold their own and were selected with a keen eye to help complement the spaces and offer a finishing touch. All the paintings are originals and make a unique statement of creative expression.

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A comfortable meeting area for three that is complemented by accessories like organic plants, an original painting and a modern table.


Expanded to 4000 sq. ft, the beauty of the project not only lies within its walls but extends far beyond it as a breathtakingly charming sea view becomes an integral part of the interior design.


The plants add an organic touch to the varied sections of the office and enrich each space with beautiful visuals. The accessories used in the interiors enhance the ambience greatly, as the elements not only stand out themselves but also serve to give each section a finishing touch. As Puran Kumar graciously shares, “The idea was to know when to put a stop, when it came to art or furnishings. The ultimate test is to identify the vision of the client and use one’s architectural skills to select those that would suit it and the given space. In the end, it is always great when the client shows the office designed by one, with much pride. “

Here the beautiful symmetry in the architectural configuration has added an integral quality of individuality and an essence of richness in the interiors.

[email protected] www.purankumar.com

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PB Home Review May 2014 Home Review May 2014 129

Ozone’s Architectural Hardware SolutionsOzone offers a hi-tech and specialised range of glass door fittings for creating a variety of door configurations working on sliding or swing mechanisms that can be operated manually or automatically. Different door types offered with automatic operation includes automatic sliding glass doors, semi-automatic sliding glass doors, automatic swing glass doors and automatic revolving glass doors. The range of manually operated doors includes swing doors, sliding doors, synchronised sliding doors and sliding-folding systems.

Offering superior aesthetics, safety, convenience and high functionality, these door systems find diversified applications, such as in airports, hotels, hospitals, shopping malls, hypermarkets, etc., based on the space availability, building norms and operating systems. A wide range of access control systems for safe operation of the doors and accessories such as door locks and mortise handles, handles with locks, biometric locks, door closers, sealing systems are also available for use with these glass doors for achieving the desired aesthetics and functionality. In addition, a range of fin and fin-less spider

fittings, fin plates and canopy fittings is offered to create transparent glass facades and canopies using insulated and laminated glass providing a signature of modern design to a particular structure.

www.ozone-india.com

Villeroy & Boch At The Munich Creative Week The Munich Creative Business Week is one of Germany’s largest design events for international designers, architects, business representatives and firms. Here at the discussion series “Creative Dialogue between Generations - Architecture meets (universal) Design” was included a research programme “Das kleine Bad” (the small bathroom) that was held on 26 February 2014. Among others, Villeroy & Boch participated in this research programme. Thomas Kannengießer, Director Product Management CSW Projects at Villeroy & Boch, joined the panel discussion on the subject of “The small room. The small bathroom. Scenarios for sustainability and demography in architecture.”

The jury exhibitions of the universal design award 2014 took place parallel to the discussion series, and here Villeroy & Boch also presented the WC DirectFlush Omnia Architectura. The expert jury under the chairmanship of Prof. Fritz Frenkler (Technical University Munich) conferred the “Universal Design Award 2014”, while the consumer jury was responsible for the “Universal Design Consumer Favourite 2014”. Kirsten Wienberg and Ralf Derksen from Villeroy & Boch accepted this award. Villeroy & Boch sets new hygiene standards with the WC innovation DirectFlush. The rimless design allows quick and uncomplicated cleaning. DirectFlush is thus perfect for meeting the stringent standards of hygiene today found not only in hospitals or in busy public buildings, but also in private homes.

www.villeroyboch-group.com

Stylam Industries Brings A Premium Range Of Door Skins To India

Stylam Industries has launched a new product range of door skins for the Indian market. These door skins are a ready to use material and can be directly pasted on any type of door using the right adhesive. The door skins are available in four categories i.e. customised door skins, premium metallic door skins, coloured metallic door skins and non-metallic classic door skins.

These skin panels which are available in different categories in a thickness of 1.0 mm bear the quality assurance of Stylam. The door panels are produced using only the highest

grade of craft papers and design papers, sourced from world’s renowned paper makers and printers. All raw materials obtained from well-known and reliable sources are tested in-house. Additionally all resins used are also produced in-house.

Stylam door panels are guaranteed for durability. These door skins are available in 85”x 48”, 85”x 40” and 96”x 48” sizes.

www.stylam.com

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Luxuriating In Duravit Pools

Tangerine Home Couture Launches The New Zen XP CollectionTangerine Home Couture introduces its new collection Zen XP, offering stylish home décor in shades of white. The brand comes from the house of Indian Home Variation started by Mr. Rajiv Merchant in India.

The Zen XP collection by Tangerine combines the latest innovations in health and comfort. Made from the finest materials which do not trap perspiration or moisture, they have also been tested for hypoallergenic properties.

The Sundeck by the Austrian designer trio EOOS is also notable for its pure form and stylishly minimalist design: the pool features elegant, slim panelling, which adds a finer nuance to the orthogonal design. The integrated technology is located below the convenient shelf at the side. When opened out, the upholstered leather cover is 241 cm long and provides a comfortable surface for relaxing. The cover also insulates the pool, helping to reduce energy consumption. If Sundeck is not used for a longer period, the water temperature can be reduced by activating the Eco or standby mode to save heating energy.

www.duravit.in

Blue Moon and Sundeck from Duravit feature refined details and a purist design and promise a tingling experience from head to foot. With its square body and a perfectly round tub, the Cubist-inspired Blue Moon is a designer’s dream. It is a well-proportioned 180 x 180 cm in size and can therefore accommodate several people. The interesting interplay between the white acrylic and select wood panelling makes the pool both elegant and distinctive. When not in use the pool can be protected by a padded leather cover, converting it into a comfortable relaxation deck that can also be economically stowed away. Blue Moon comes in free-standing, corner or back-to-wall versions.

Long Hours In Office Now Made Comfortable By DurianIt’s easy to distinguish a Durian chair from an ordinary office chair. Available in a smart range of colours, they aim to provide optimum comfort while never compromising on your aesthetic needs.

Durian is equipped with the latest technology and machinery which is bought from around the world to give the Indian consumer the best available globally. Durian has a huge range of chairs suited for different office

bearers; from presidential, to director, to CEO chairs, executive chairs to managerial chairs and staff chairs, reception to cafeteria chairs, conference, stackable and even training chairs. A chair to suit every body-type, style and position, Durian uses the best quality upholstery be it leather, leatherette, fabric or mesh. The chairs are available in a high back, medium back, low back and cantilever options. The backrest is designed in such a way that it strongly supports the natural curve of the spine.

Durian chairs have various functions attached to them and it is possible to customise them according to your body and needs. Pneumatic seat height adjustment, tilt in facility, tilt locking, 360 degree swivel, multi tasking control, mid range knee tilt, seat glide mechanism and posture lock are just a few of the functions that Durian chairs have to offer. The synchronous mechanism with a large opening angle and automatic weight adjustment of the backrest resistance ensures that the user’s weight is supported in every sitting position.

www.durian.in

The collection comprises of the Tangerine Soy Luxury Duvet made from unique, ultra-fine compositions of microfibres which provide smooth and comfortable insulation with softness and compression. The Tangerine Mattress Protector keeps the mattress clean by securing it from absorbing body excretions (such as sweat) or other liquids resulting from spills. The Blend Balance Pillow gives you double protection from contaminants like dust mite allergens, bed bugs and also keeps the pillow clean by securing it from absorbing body sweat or other liquids resulting from spills.

Considering its ability to brighten the energy of any challenging room, Tangerine Home Couture creates a thematic look for the home in different tints of white. Designed for ‘intelligent’ support, these products ensure a restful and healthy sleep on every instance.

www.mytangerinetree.com


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Home Review May 2014

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