May-June 2011 Issue

DESIGN MATRIX • MAY-JUNE 2011

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May - June 2011 VOL. 1 • ISSUE 4 • `80

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S ’ R O T EDI N O T E

M

y diary has these daily notations of points to ponder (that I call P2P) and things to do (TTD), and while TTD gets ticked, P2P just gets glanced at — there is no time to ponder…

However, meeting and spending time with Ar. Kamal Malik changed all that, as I realized that setting the pace of life is in my hands — P2P has now risen in importance!

One thing I will admit here, our cover story this time is very different in its presentation.

Do tell us how you feel about it. I have known Kamal Malik and followed his work for some years now and that includes hearing him at various conventions. While I knew of his leanings towards philosophy, I wasn’t sure of his son Arjun’s sensibilities, though Savitha was. I must confess however, he was a pleasant surprise and we had fun putting together the story. It was a learning experience as well.

The last two months have been interesting for more reasons than one. Not only was this issue shaping up beautifully, another exciting event was being conceived.

A meeting that was scheduled for 15 minutes with Rohit Asthana, President Ultratech Texture Paints, ended after 2 hours, and we found ourselves planning a competition for interior designers — the Design Matrix-Ultratech Excellence Awards. Please await a personal invitation in your mail box from us to participate and don’t miss our next issue for all the details.

While I pick up my next P2P list, you enjoy the issue.

Babita Krishnan

Now follow us on www.facebook.com/DesignMatrixMagazine Partners: Location: Le Sutra; Jewellery: Anmol Jewellers; Make-up & Hair: Rudra Spa

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CON TEN TS Design Matrix_May-June11.indb 8

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34

99

16

28

ANNOUNCING THE DESIGN MATRIX-ULTRATECH EXCELLENCE AWARDS Check your inbox for the invitation!

• Cover featuring: Kamal & Arjun Malik • Photograph by: Sameer Chawda • Location: Mumbai

COVER STORY Kamal & Arjun Malik on what make them a potent combination. Pg 16

ARTY-TECHTURE

AR. AAMCHER

with Bill Fontana. Pg 64

Ar. Aamcher wants to post a letter in the new-look post box designed by Prof.

Chakravarthy of IDC, IIT Bombay, Mumbai.

Pg 28

Welcome to the world of sound sculptures

RETAIL DESIGN

LEISURE DESIGN Heritage magnificence beyond compare at these two properties in Europe leave one spellbound. Pg 92

Inspired by Belgian Art Nouveau, d-ash creates a concept for Godiva Chocolatier. Pg 68

YOUNG GUNS

CREATIVE IDEAS

PHOTO FEATURE

Ben Rousseau shows us how a shoe store is njot just about buying the shoe… Pg 29

If you thought the chair was just for sitting,

Ayush Choudhary on his love for carpets; while Studio Bouroullec gives a modern interpretation to the Persian Carpets. Pg 99

RESIDENTIAL DESIGN

YOUTH FORUM

Kanchan Fagwani loves to work with clients who understand creativity perfectly. Pg 34

A new platform for the young brigade to

we have a different story to tell… Pg 74

air their views, ideas and anything else they want to share with us…design-related of

CORPORATE DESIGN While Kamat & Rozario Architects use atypical materials in Bengaluru; KNS Architects create a spacious pulsating lobby space for a corporate building in Mumbai. Pg 52

DESIGN N BUILD A residential makeover from heritage to contemporary by Shavin Interiors. Pg 104

PRODUCT LAUNCH All the news from the market. Pg 113

course! Pg 84

MY SPACE Mr. Jayakumar shares with us his recently prototyped game for the blind. Pg 88

ETCETERA Information & news from the design field: Happenings, Store Review, Tech Review & Events. Pg 117 MAY-JUNE 2011 • DESIGN MATRIX 9

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M A T R I X

March - April 2011 VOL. 1 • ISSUE 3 • `80

NTERIORS LE • DESIGN • I PEOPLE • LIFESTY

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MAR-APR 2011 • DESIGN MATRIX 1

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We would love to have your views, comments and/or suggestions on what you would like to see or read in our pages.

Please email to: babitakrishnan@designmatrix.co or write to Design Matrix, MRJ Creations Pvt. Ltd., C-201 Shyam Kamal Agarwal Market, Vile Parle (E), Mumbai-400 057 or Call on 022-26187132.

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INBOX

Congratulations on the hat-trick issue of

Thank you for making us a part of the Design

Design Matrix that must be appreciated for

Matrix family. The presentation of our proj-

the lovely photography and easy language,

ect was fantastic and truly captured the

which not only draws my attention towards it

essence. We loved it!

but also towards the hardwork that has gone

Franky Antimisiaris,

behind every project in the respective field.

mab architects, Athens

I truly wish you good luck and great success rom the bottom of my heart.

Saw your latest issue and thought it was

Kiran Patel,

a huge progression from the last one.

Interior Designer, Mumbai

It is refreshing to see the wide spectrum that you cover in each issue. Wishing

that you continue moving in leaps and

WINNER

bounds.

I was stunned to see the third issue of Design

Shimul Jhaveri Kadri,

Matrix. There is only one word to summarize it

SJK Architects, Mumbai

— outstanding. Not only in its content, which is very well written, but even in the presenta-

I have been an avid reader of Design Matrix

tion. Design being so visual, I feel your layouts

from the very first issue and I really like the

and the emphasis on the images appeals the

look and feel of the magazine. It’s definitely

most. Looking forward to the next issue.

got an international appeal to it, especially

Yeshwant Ramamurthy,

with regards to the layouts. However, I feel

Architect, Hyderabad

that the magazine is not covering all kinds of design, and is partial to interior design and

I am a final year student of Interior Design.

décor. Since this is a design magazine, per-

Design Matrix is a very impressive and informa-

haps more articles on garments, jewellery,

tive magazine that I would like to subscribe to.

and fine arts could be added. This would

There is also a small suggestion: I would really

definitely increase its USP as a design-ori-

like to see some commercial office designing

ented publication.

firms, who specialize in this aspect of design.

Deebang Nandu,

Treena Mukherjee, Graphic Artist, New Delhi

Rachna Sansad, Mumbai

I am a commercial arts student and I make it I’ve been looking through your link to Design

a point to read Design Matrix as it is a whole-

Matrix and was very impressed with the over-

some design magazine with lovely presen-

all presentation. My sincere compliments

tations. I would, however, like to see some

to the entire team and all the best for the

articles on commercial art, as it is a much-

future issues.

sought after profession in India right now.

Michele Rossi,

Rupali Raghavan,

Park Associati, Milan

Student, Pune

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“

Architecture is not a standalone object floating in ether, it is in an environment, in a context and all these things apply forces on it. One has to be open to them to find answers

”

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OF THE

ABSOLUTE Words: Babita Krishnan & Savitha Hira Images: Sameer Chawda; Bharat Ramamrutham (Projects); courtesy Malik Architecture

The answers present themselves and the journey gets completed. Kamal & Arjun Malik get vocal about rediscovery and rejuvenation as they tread a consciously selective path in the realm of ecology, spirit and design.

Cover story MAY-JUNE 2011 • DESIGN MATRIX 15

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T

he horizon is a culmination of the infinite; a marriage of two

Stein, Rewal & Ajoy Choudhury teaching us about architecture and

realms. A coin has two faces but shares its rim. The Maliks —

during the first three years, we had professors from IIT on the engi-

Kamal and Arjun, father and son, both architects, speak the

neering side. So between these three facets, the education was fairly

same language; albeit with a definitive inflection defining their indi-

rounded off.

vidual thoughts & ideals; their distinctive vocabulary giving shape to

Arjun Malik: I did my architecture from Rachna and after listen-

their personas. While Kamal is first a philosopher, then an architect,

ing to Dad, I would say my education was diametrically opposite. With

born out of and fed on the ether that envelops him; Arjun is a chip

his system you could create something out of anything. Now there is

moulded by the notional approach of his father, chiseled by the same

a disconnect between profession and education. In college, you are

principles, to evolve into a strong well-read professional with a fervour

never really encouraged to think and everything is dictated by grades.

all his own. They share the basic values and beliefs; and each is com-

I think, today people who succeed after coming out of this system do

fortable with the other’s point of view and line of approach. Kamal &

so in spite of it rather than because of it.

Arjun Malik of Mumbai-based Malik Architecture get introspective and

Savitha Hira: Did going abroad help you find your feet?

speculative about their practice.

AM: Going to Colombia was more about being told that whatever you have learnt is not as sacrosanct as you would think it to be. We

Babita Krishnan: How did architecture happen?

were bombarded with information and told that you are not going to

Kamal Malik: I did a year of Civil Engineering and realized that I

grab even a fraction of it right now and will only start to process some

wasn’t cut out for pure engineering. So I joined SPA Delhi and as the

of it, maybe a decade later and come out the better for it. They allowed

subject slowly grew upon me, I found that architecture was a fine

us a lot of flexibility without being judgmental and that helped.

blend of engineering and the arts. More importantly, the education system in the 60’s was brilliant. We had art as a serious subject with

BK: How was it to start an architectural practice from scratch?

Krishen Khanna and Tyeb Mehta painstakingly teaching us sketching

KM: It was tough. I was in the profession without any fam-

and the nuances of fine art. Committed architects like Joseph Allen

ily background. So, the unknown worked for me quite literally from

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end to end. I initially worked with the Oberoi Group as a trainee

BK: You seem to spend a lot of your leisure time reading.

executing the works of Don Ashley from UK. That was a learn-

KM: It’s much less now. I used to read a lot on war since my

ing curve for me in terms of detailing. In college, my thesis profes-

father was in the army. At one time I considered myself a great

sor was Bruno D’souza, a compatriot of Charles Correa and he was

authority on WW II. I knew all the major generals and their cam-

completely anti-establishment. Not concerned with grades, but

paigns, what went wrong and some very fascinating insights into

with butter-paper stage; not interested in the quality of stencil-

human nature and how that was documented through the war.

ing, but in details. If he saw something interesting on your sheet, he would just sit there and discuss, citing examples about other people’s work. He never really critiqued your work and you realize now, in the aftermath that he was actually allowing you space to grow.

SH: Did you feel let down when Arjun did not get a similar level of education?

SH: Tell us about the first farmhouse you designed in Delhi.

Literally emerging out of the environment.

KM: Yes. This was a farmhouse for the DCW Group. Delhi being a confluence of cultures, layered over by dynasties and civi-

lizations, various enigmatic aspects of the city were an essential part of the design concept of this residence. My understanding of

KM: I have learnt to let things alone. But by just interact-

the family dynamics - concept of a joint family, expandability of

ing with each other (he did his internship here), he must have

the house, grouping of living areas around courtyards, respect

absorbed quite a few of the things I value. Architecture isn’t so

for the environment and ecology, understanding of light and

much about buildings. If you are interested in other things,

shadow and exploration of the use of traditional and modern

have read about them, it can trigger off a little bit of creativ-

materials — all this and more manifested itself in the axiality of

ity. I have been an avid reader all my life. Subconsciously,

the project. Powerful visual axes not only respect the formal plan-

your mind imbibes at various levels. The inspiration is out

ning of ancient Delhi, but punctuate the site with strong visual

there somewhere — the bottom line is you cannot create a

elements like stone columns that are more than 200 years old.

single leaf!

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the landscape. Polished and rough Kota stone (blue) floors, wood

SH: Enlighten us about your journey

Agra brick and glass are major building elements that stretch

KM: Working in an urban environment has its limitations. There

themselves across the house. Expression in brick alone mani-

is so much of commerce; yet there is the question of survival. When

fests itself in domes, vaults, beams and walls, providing variation

we began doing interiors, these jobs were accomplished in three

through the house and accentuating the feeling of evolution of

months, were far more tangible, and the money flow was quicker.

form through centuries. The house was set in a kind of ‘time wrap’

Importantly, I realized that you actually build on the strength of

wherein modern and traditional elements subtly stand alongside

detailing, which sometimes gets overlooked in architecture. The

each other to echo romance with history and the endeavor to cre-

result - today we are reinforced to offer a whole package. If you want

ate a modern idiom.

a sense of continuity, one team has to handle it all. You are like a conductor where a whole host of disciplines come together to create

BK: Your work is influenced by your philosophical leanings.

KM: Let me put it this way, every human starts to think what this

the symphony of architecture. So we educate ourselves to deliver.

BK: Give us an instance.

journey ought to be. The word priority is important as you realize the

KM: For this ongoing project Mansingh resort in Jodhpur, I am

track you need to walk on and that becomes a way of life. Then ques-

learning about landscaping. How gardens were made in our pal-

tions begin to reduce, and in that silence, you start responding to the

aces; what trees to plant and why; and this because the landscape

environment, enjoying it and then - you draw the first line! Because

architect gave a beautiful tropical concept for a place where there

where did the idea come from? Is it really yours or is it in the ether

is no water! This leads to another profound thought — how much

and you are only picking it up? All these were basic discoveries that

can you glean from the past? There can never be disconnect; you

interested me. The deeper I delve into this I find that the results are

learn from history. This resort too is conceptualized as an Oasis

obvious. You have been left the markers to show the way but each

that alleviates the visitor from the parched, harsh landscape and

person’s journey is alone on his own path. I’m not trying to evaluate

is integral to the design. The hotel is conceptualized as a series

whether it has touched here or there; it has just become a way of life.

of ‘humane’ spaces and the site spreads out like a series of pavil-

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ions around landscaped courts reminiscent of the traditional pal-

integrity of the material. We have used this in a sculptural sense

ace typology; the ‘Kund’, etc woven together into a tapestry that

in this project.

echoes the timelessness of the thought and philosophy of India, unfolding to the visitors in a sequential ‘hierarchy of spaces’. The

BK: Arjun, with your training abroad and with a modern,

project is based on the principle of ‘Axial Planning’, with the main

maybe western outlook, how do you blend in with the values and

axis taking the visitor through a series of courts, landscaped gar-

design beliefs that reflect an Indian ethos?

dens and water pools, each distinctly unique and rich in character

AM: They are not mutually exclusive. Who has actually inter-

providing appropriate pause points created out of local elements,

preted our architecture of the past 30 years? Unfortunately the

represented in a contemporary way. The use of water bodies,

West! The world is turning back in a certain direction and we just

sculptures and the vocabulary of the landscape create interesting

happen to have a vast repository to draw from. There is no ques-

spaces that merge with the overall design concept.

tion of there being a gap. We are not talking about styles, appear-

Now here is another example: people who have been using

ances, quantitative aspects. The qualitative aspects pretty much

stone for 800 years understand the material; most architects don’t,

mesh together. I can’t recall there being any major stand-offs, so

but they want a projection in stone without realizing the weight!

to speak.

When you understand the material you start to address things differently and that is where the artisan comes in; you learn from

SH: So the approach is very structured.

him and the aesthetic begins to take shape. At Jodhpur, almost

AM: On the contrary; it is fluid and intuitive. Most times it is

all the construction is done by local companies and specific stone

about pushing the envelope just a bit further. You are working in

craftsmen on site. We have also tried to take stone to the next

a fluid environment so you must understand every microsecond

level — use it for sculptural or structural purposes; which means

of change occurring around you. There is no set way of doing it.

up to 1.5m diameter solid stone balls can now be sculpted within

There can be a lot more cohesion into a single line, which cannot

structural limitations without compromising on the structural

often be expressed in 10 pages of diagrams.

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SH: So how do you work together as a team?

SH: There is no conventional grid in your work too?

AM: For me, the end point needs to be established first. Though

KM: We don’t want to carry any baggage.

the parameters remain the same for different typologies, when you are working towards the end point, the solutions start to level out.

AM: Fluidity is not about curvy lines or asymmetric geometry.

We might have these in our projects but only for orientation. Peo-

KM: We are planning our house in Lonavla. We both went to

ple often make the mistake of thinking that organic architecture

the site and responded to the hill, lake, the horticulture, slopes, etc.

means no straight lines, or deconstruction is about skewed lines. I

and the first reaction was that the house should blend with the sur-

have seen simple cubes making the most fluid spaces.

roundings. Later, other responses started flowing in. The mind processes information rapidly and keeps reprocessing it. The emotional response will lead to the design as the concept has already been embraced. That is how it works.

SH: The IDFC & NDTV offices?

KM: They are different projects with different requirements.

Rajiv Lal, Head of IDFC came back to India after a long sojourn

BK: And with a client?

in the US and wanted a contemporary office with an Indian feel.

KM: The process remains the same. One has to take cognizance

We defined movement and articulated the space through archi-

of the surroundings, banal as it may be and respond to it because

tectural expression. The use of perforated screens, yantras, Indian

architecture is not out of context.

slate stone, etc. lends the Indian feel. The idea is not to create what a foreigner would expect India to be. NDTV, on the other hand,

SH: Arjun, your work off-late has been very different…

was completely different. It is full of life; it is changing, multiple

AM: There is no uniform response. Basically, there is no uniform

screens, lots of colour, 24x7, and the design reflects it all. Even a

template in this office. It does exist very far down the project when

simple thing like the lockers is a part of the design expression.

you have to judge something against certain standards, but there is

AM: We realized that most of the staff was young. They drove

no template at the thinking level. Certain things are sacrosanct like cli-

bikes and needed a place for their helmets. That became the guid-

mate, sociology, context, etc., but otherwise you do your own thing.

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them the primary design element. It’s about focusing on the core

all of them are quite reticent. Therefore the design should enable

of the programme. We try to find the answers to a situation and

the movement in such a way that their paths had to cross. Then,

often find them embedded in the situation itself. If you try to look

research is not restricted to the laboratory. So a clump of mango

at it from a slightly obtuse angle, architecture is not a standalone

trees, an amphitheatre, in summers a nice stepped kund remi-

object floating in ether, it is in an environment, in a context and

niscent of Varanasi where you could take off your shoes and sit

all these things apply forces on it. One has to be open to them to

with your feet dipped in and a little tablet on which you could

find answers.

scribble a formula. We worked on the basic premise that the act of research and discovery is essentially an intuitive function. The

BK: You always say that your journey has been a discovery with each project…

complex therefore explores those elements that to my mind foster and inspire intuitive thought, which is the core of the creative

KM:…and frustrations, which still continue…

process. In a nutshell, we have attempted to bring together two

BK: Looking at this long career graph, what projects stand

parallel streams of thought: that of the scientist — who measures

out as watershed?

KM: I think Lupin. Built on a site outside Pune, the whole labo-

that which exists and that of the artist — whose realm is in the immeasurable.

ratory complex is inspired from the timeless ‘mandala’ with the administration representing the head (at the highest point of the hill) and the main research park flowing south to north, wrapped

SH: Doesn’t the Alibaug project sport a similar thought process?

around a central courtyard. Emanating from the core of the earth,

AM: You will never find similar elements in a project. A similar

nature became the nucleus both at the micro and macro levels

principle of design is manifested in the Alibaug residence. At first

and serves as a backdrop for two almost paradoxical elements:

glance, Lupin Laboratory complex is reminiscent of and echoes

eastern philosophy and western technology. We had the oppor-

the timelessness of an ancient habitat that it is almost a ‘rock’ out-

tunity to understand the mind of these people and found that

crop at the base of the hill, of clay masses juxtaposed and ema-

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nating from the hill, merging into the hill. And as one approaches

pended in space, of intimate enclosure, of vertiginous assaults

closer, this massing gives way to identifiable form as is represent-

but most importantly, of being connected to nature. The struc-

ed by the single long ‘wall’ that generates itself from the hill and

ture follows the design philosophy with concrete planes making

flows downwards. Sensitive use of colour and play of light and

contact with the ground, while steel floats above it. The home

shade strengthen the composition. Now the Alibaug residence

seems to conduct a constant dialogue with the ground on which

is on a hill, which enjoys a stunning view, not only of the rolling

it rests; it is informed by the earth but chooses at certain junc-

contours surrounding it, but of the sea and skyline of Mumbai at

tures to thrust over a precipice, completely oblivious of it. Simi-

a distance. Conceptually, the design of the home is a departure

larly, at Lupin, with a dramatic entrance court, huge waterfall on

from the “stepped terrace” typology that one would convention-

the northern flank and a tilted aluminium cube (the auditorium)

ally employ on a heavily contoured site. Splitting the blocks that

nestled against the hill frame, a series of juxtaposed walls splice

make contact with the earth creates a natural courtyard where

into each other.

the hill can flow through the ‘built form’. A deconstructed cuboid that is tilted and suspended over the ground binds the split masses and appears to simultaneously ‘float’ and ‘flow’ down the hill.

SH: You have brought in a hi-tech element into the repertoire of Malik Architecture, what with GMS and Alibaug…

AM: Again both projects are driven by the essence of the end point. The tubular steel truss at Alibaug is tilted at an angle almost

SH: Is this what you mean when you say that architecture is knit with ecology and spirit?

identical to the natural slope of the ground and with a single gesture, a tangible link to the hill is created, whilst simultaneously

AM: The creation of singular sensory experiences is the

generating a physically liberated space. The earth is forced into

primary organizing and sculpting vector. At Alibaug, numer-

the centre of the home, whose vertical proportions complement

ous geometric inflections and articulations are designed to

the intrinsic horizontality of the geometry. Similar programmes

engage the senses in unconventional ways. A walk through

are linked by the volume and its skins provide weather protection

the house is meant to yield unique moments of being sus-

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was a natural choice for pragmatic reasons. The concept of the

leading questions. The other one is the guy who knows noth-

floating tube allowed for the elevated perch which was desired

ing and asks you to do what you have to. Then you have the in-

to give the occupant the best possible view of the surround-

between client, who doesn’t know what he wants but picks up

ings. At numerous junctures, the object dematerializes to create

stuff randomly expecting you to fit it into your design scheme.

a sense of floating amongst the elements, and its unique strength

AM: I think I do more than he does because time and experi-

is the varying experiential conditions it creates at different points

ence have given him the maturity that I am still to learn. To quote

in space and time. So, the design is dictated by the concerns of

The Godfather, “you have to say no without saying no”. There are ways

the project.

of getting your message across without appearing sanctimo-

KM: The intuitive thought always is - what can an architect

nious and that’s an art. To truly understand communication,you

contribute and bring to the table? The ideas, as I said, are in the

should be able to convince the person of the righteousness of

ether and ether is not constrained by walls. Also, one should cre-

your concerns.

ate more opportunity to work with natural light. So you are aware

KM: That’s something that you have to know.

of the presence of nature. ‘Light’ to our ancestors was a manifestation of the ‘infinite’. Light and shadow, like day and night, are

BK: After four decades of consciously choosing a selective

juxtaposed in a myriad number of permutations to produce a

path, what are your observations on the current architectural

rhapsodyrepresentative of the dialogue and rapport that the built

scenario?

forms have with the sun.

KM: Recently, I was on a jury panel with other architects. The consensus after seeing the submissions was that the works were

SH: You’re so strong in your outlook; do you intimidate clients in any way?

not up to standard; I mean a few of them had sparks of creativity, but that is all. And I thought to myself, wanting to say it aloud,

KM: You have two kinds of clients. One who is absolutely

who is responsible for this? How many of us have as much as pro-

brilliant, who knows exactly what he’s looking for; he will ask you

vided a direction, leave alone being an inspiration, and that I think

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answers your question. Where are the Brunos, Correas or Doshis?

SH: Where do you go from here?

Honestly, you don’t find a single name like that.

AM: Retirement! (Both laugh.)

KM: Not me. I think the older I grow I like to be in the moment.

SH: Arjun, do you feel there is a certain comfort level for you personally to have joined your dad? Where you feel that if I go

We are not into the business of chasing turnovers; fortunately, we have the luxury of being able to think this way.

wrong, my dad is there…the firm is established?

AM: There are too many checks in place for that. Initially it was most stringent, now I’m given flexibility; but I’ll quote from an inter-

SH: Or subconsciously you are not ready to leave Arjun to continue alone?

esting book, “there is a difference between having 20 years of experi-

KM: I believe that the grey cells also need to be constantly

ence and having 1 year experience 20 times”. Today, when I draw a

stimulated. My dad retired at 48. I’ve crossed the 60 mark. I think

line — my information reserves compared to five years back are

things have changed since then — perception of age, of the word

vast. And therefore I know the implications of what I’m doing. I also

retirement; and the single most important point is that when a

know that with all that cushioning comes an added burden of my

profession becomes a vocation then retirement does not come

flaws possibly putting paid to decades of good work — so it goes

into play.

both ways…

SH: So you take a little holiday…

BK: Do you think it sometimes becomes a burden with the expectations of being Kamal Malik’s son?

KM: I have been doing so for more than a decade. There is a little bit of travel, it is also an exposure; you are not going there to

AM: I don’t think there are particular shoes to fill or particular

learn as such but you do observe in those moments where there

direction that one needs to follow. Fortunately, being with him over

are no schedules and the mind is completely free. Recently I went

a long period has had its effect. In terms of recognition, whether it

for a holiday to Dharamshala and met the Dalai Lama. It was a

comes to him, or me or the firm, I don’t think these things matter.

beautiful experience, you can learn so much from that man.

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BK: So what is Malik Architecture looking at in the future?

KM: The Vedanta Cancer Hospital and Research Center is one. At the macro level, the challenge is to create a balance between human and natural ecosystems and to find a solution

land along with the native landscape is a key factor that dictates

Emotional response leads to the design as the concept has already been embraced. That is the general creative process at Malik Architecture.

the design. The architecture is ‘process’ driven with orientation

little as it becomes more developer-oriented. So, over a period of

of buildings according to sun angles and use of recyclable and

time, the firm may reduce in size to maintain its integrity. Because

local materials being addressed at the concept level. Green roofs,

you cannot dilute your principles to take on projects. Maybe the

to sustain the environment - developing a plan for 350 acres of land surrounding the hospital incorporating sports, commercial & education complex, generating a horticultural and agricultural industry to sustain the campus and the surrounding villages, laying the foundation for sustainable development not only on the site but also around it, among several other issues. Ecology of the

water harvesting, minimum built-up form impact, and efficient

firm and the industry evolve to a level where our presence is not

traffic circulation enhance the sustainability of the site. The entire

intimately required on every detail and every decision — you con-

project is being addressed in line with the LEED Rating system.

ceptualize and people can take it from there. Your outreach can

A massive project currently on the board, so to say.

increase more in numbers; maybe a more academic involvement.

AM: I know that a lot of our work involves hours and hours

There are a number of ways to preserve the security of your ideas.

of investment into an idea, so whilst normal logic dictates that

I’ve already told my wife that if I have to retire now, I have Alibaug

the firm needs to grow, I can see that the institutional work, the

and GMS to show and I’d rather not do anything to ruin what I’ve

private clients, the good work as such seems to be drying up a

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TIME FOR A

NEW

POST BOX O ctober 2005 saw the launch of a new post box - ritzy, square,

clad in stainless steel commemorating 150 years of Indian Postal Service. Designed by Prof. B. K. Chakravarthy — IDC,

IIT Bombay, Mumbai, the pilot project had 30 post boxes installed at Delhi, Mumbai, Chennai and Patna.

By 2007, 200 such post boxes were installed at strategic locations

Ar. Aamcher journeys with Prof.

B. K. Chakravarthy of IDC, IIT Mumbai, to revel in and share with us the new design of post box that will soon flood the country, taking India Post into the realm of operational innovative design…

around the country. The design was recognized for “innovative use of stainless steel in product design” with a “special mention” at the Stainless Innovation Awards 2007 presented by Jindal Stainless Ltd. While high-end CNC machines ensured excellent surfaces with the application of high quality brush-finished stainless steel and rust-proof locks, the sturdy top of the post box was made from engineering plastics. Such features overcame the hitherto-observed user problems of a rapidly rusting and easily damaged body that hindered the user from using the box; wet letters during the monsoons; the postman’s inconvenience in collecting the letters and the like.

The new box is a futuristic, elegant stainless steel body with an increased capacity. Its attractive red beak-like top and aperture conveniences letters to be dropped and its mounted base facilitates collection. The slope on top of the box drains out rainwater. A wide opening to accommodate large envelopes, simple time slider, maintenance- free body and common key to open all post boxes in one region are some of the additional features.

Current user-feedback studies now determine that the signature red colour and round form — the ID of India Post be maintained. So in the next 6-7 months, the chic square stainless steel post box will be replaced by a new round post box keeping the semantic of the old post box, but retaining all the features and manufactured using contemporary technology and materials to serve you more efficiently.

To share more such designs or experiences, positive or negative, contact Ar. Aamcher at aamcher@designmatrix.co

Ar. Aamcher

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Creative ideas

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R

einstating processes, materials and

stainless steel and acrylic, in solid Perspex

is 2,400mm in diameter and is at a height

methods is a standard in the realm

with fibre-optic lights, glamorously nodding

of 1,800mm. The chandelier drops from

of design. With store proprietors

to the classic arc lamp form of the 60’s with

3,600mm to about 2,600mm with the mirror

its retro twist.

ball dropping to about 2,200mm.

working hand-in-glove with designers to create as tangential a look-n-feel as perhaps

While the shoe display unit consists of a

Surprise elements are included in the

the buyer-profile, hard-core ingenuity takes

stainless steel central structure with blown

form of scattered huge hand-bag chairs

on a new mantle that is young, refreshing

acrylic globes containing display stocks, the

that can be used as bench seating and are

and zany.

base is a fiberglass-formed unit containing

constructed in the same way as the giant

The latest (29th to be precise) store of

all electrical components and is constructed

shoes. The Silver chair is the Caillou, a fibre-

brand New Look in Ireland, spread at over

in four quadrants to ease access and mainte-

glass base available in a number of beauti-

30,000 square feet in the Jervis shopping

nance.

ful finishes from liquid metal to full leather

centre, in central Dublin, is conceived from

“As we had a higher ceiling to play with,

upholstery. On similar lines, is the Arc lamp

a succinct brief: to create an instantaneous

New Look asked us to design a chandelier

— a one-off made from solid 200mm thick

sense of glamour and drama in the store. Inte-

that would work perfectly with the shoe

Perspex with a fibre optic lighting system

rior architects Caulder Moore, who designed

tree from the London store,” says Rousseau.

using broken fibres to illuminate the shaft

the New Look London flagship store, have

While the construction is exactly the same

and then illuminate the Swarovski encrusted

collaborated with product designer and

as before (for the London store), this time it

high heel shoe (originally created as a proto-

stylist, Ben Rousseau to integrate stra-

is assembled around a fixing plate that first

type for Swarovski).

STORE STOPPERS! Words: Savitha Hira; Images: courtesy Ben Rousseau

Creating exemplary and at times, symbolic ‘wow’ features, in sync with product and brand identity seems the mantra in recent retail designs... tegically designed ‘wow’ features into

attaches to the ceiling with all transformers

Although the exterior is a simple modern

the store.

for the lighting. Two moulds were created for

brick structure with no real design heritage,

With New Look positioned as one of the

the nine pairs of jewelled shoes in the chan-

the interior is consistently stylistic with prod-

most well-recognized fashion brands in the

delier, cast in modelling plaster and finished

uct trends changing every six weeks, and

UK, with high spontaneous brand aware-

in fine metallic petals covered then in glitter.

interestingly playing with the focal display.

ness, the footwear section is remarkably

Each shoe is lit by bouncing a number of high

With the client insisting on large, dominant

styled with symbolic referential elements in

powered beams onto the mirror ball that

yet feminine display features, one blatant

design and decor. A large shoe chaise, repre-

rotates from the centre of the chandelier and

challenge for Rousseau was to fit the units

sentative of a huge shoe yet practically built

reflects light onto each pair of jewelled shoes.

into the elevators and usher them into the

to sit on and try out footwear, is created out

The display unit below has the latest

store. Materials are also selected with the

of a timber and polystyrene substructure

stock of shoes inside, which are regularly

focus on high tech and modern feel, reminis-

that perfectly balances weight with strength.

changed with seasons and trends. The base

cent of modern shoe design.

Each shoe has a rubber sole, is upholstered

unit has a number of stainless steel roots,

“The biggest thing I have ever learnt is to

in Kradvat fabric, weighs approximately 80

which represent the branches of a tree that

keep things simple,” says Rousseau. “The best

kgs and stands about 5-feet high — certainly

grow up to the fruits containing the shoes.

ideas and solutions are always the most sim-

a show stopper! Alongside is the focal ele-

The composition uses about 120 metres

ple; if you over design something, it becomes

ment of the vast store — the shoe display

of stainless tube; and the entire chande-

too complicated and doesn’t hold an integral

tree — inviting and dramatic in brushed

lier weighs about 100kgs. The base unit

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“The focal element — the shoe display tree is dramatic in brushed steel at the London store and is complemented by an equally stunning chandelier in the Dublin fitout.”

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Residential design

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PERFECTLY CLASSICAL Words: Babita Krishnan Images: Sameer Chawda, courtesy Kanchan Fagwani

Getting a client as much a perfectionist as herself seems to have worked wonders for Kanchan Fagwani.

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D

esign is primarily about who you are and what you believe in as a designer and then it is about a

client and his requirements — in plain terms, the client brief. If the brief does not match with your basic instincts as a designer, the end result would be just a soul-less space that has been created from a commercial point of view. For a designer to get a client who understands the nuances of design with all its complexities is as important as his/her design sensibilities.

For Mumbai-based designer Kanchan Fagwani, a meeting with Mandeera & Manish Chaudhary led not just to her dream project but a bond for life — the client being as much a perfectionist as she is exacting. And the jackpot was that their design sensibilities matched to the tee.

“They wanted a perfectly finished Classical home as straight-lined decor doesn’t excite them,” reveals Kanchan. The romance and charm of Classical is what she herself is all about. “I love the whole process of creating the curves, the carvings, and the whole gamut of fluid design flow that marks this style. In fact, I travel to Europe specifically to absorb these nuances firsthand and adapt them according to the design. I love the European, especially Spanish design styles,” she explains.

Kanchan’s creative process might be a tad laborious, but the result is for all to see.

She insists on perfect finishes to such an extent that a visit to her site even six years later defies the passage of time. “I create all the designs, sit with my karigars — who are wonderfully talented people, understand the practical difficulties that I might have overlooked in designing and rectify them.

Samples are created for everything that is a part of the project, approved by the client and then taken for production,” — an exercise that must be eating away a lot of time! But Kanchan does not mind it as the creative satisfaction of having zeroedin on just the right thing for someone is a “different high altogether”.

This project that took about nine months to complete, was a learning curve for her as a designer as well. “You will find MAY-JUNE 2011 • DESIGN MATRIX 39

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“Giving concrete form to your vision is never a walk through the garden path strewn with rose petals; but, a satisfactory outcome is something very few can stake claim to.” a lot of wood used in the form of curves and carvings. We have given many different textures to the wood. In fact, we created some of the textures, got them approved and then used them. It was very exciting to learn something new, and since Manish is so thorough, there were times when we had to wear the thinking cap again and relook at something all over again.”

While the living and dining rooms are boldly Classical, the bedrooms have been kept simple though elegant. Bathrooms, on the other hand, are indulgent spaces meant to be functional yet striking. Two areas that deserve special mention, however, are the study and the puja area. A no-nonsense area, the study exudes warmth with a dominant use of wood, while the use of wooden columns complete with carved capitals creates the right traditional ambiance in the puja area. Small touches like the inlay mirror frame, bells’ sticker on the wall, and splashes of pulsating colours lend the home a cozy, welcome feel.

A final walk through the house before handing over the site to the clients, has Kanchan smiling with pleasure and a sense of achievement and why not? Giving concrete form to your vision is never a walk through the garden path strewn with rose petals; but, a satisfactory outcome is something, very few can stake claim to MAY-JUNE 2011 • DESIGN MATRIX 41

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Design promo

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Majitha Apartments, near Irla Nursing home, SV Road, Vile Parle (W), Mumbai-400056. India • Tel: +91 22 2625 4771/72 • Telex: +91 22 2625 4773 Email: rachh@vsnl.com, samirceramics@gmail.com,info@samirceramics.com, Website: www.samirceramics.com MAY-JUNE 2011 • DESIGN MATRIX 51

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Corporate design

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SCALED

Words: Savitha Hira Images: Smruti Kamat-Rozario & Tulsi; courtesy Kamat & Rozario Architecture

Simple thinking and unpretentious planning carves out a chic corporate set-up using atypical materials.

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E

very project is a creative experiment to discover and understand new facets of design,” say Bengaluru-based husband-wife team of architects and designers, Smruti

Kamat-Rozario and Lester Rozario. With a fledgling three years in the field of design, the duo seems to continually opt for tangential design elements in making a mark with their projects. Elaborating on the design of a recent industrial gala in north Bengaluru, where the product manufactured by the company became the design inspiration, they cite an interesting experiment in using atypical materials.

Armed with a carpet area of approx. 3,000 sq. ft. and a shoestring budget, the designers were asked to convert a large floor plate, with only columns and with windows on two adjacent sides into a workshop cum corporate office for a bunch of young engineers/entrepreneurs involved in the manufacture of miniature electronic parts for defense aircrafts.

The industrial nature of the premises and the job per se has been skillfully and artlessly turned on its heels to embody just that — the exercise of manufacturing — by applying the integrated circuit board, which is an integral component of the manufactured products, as the take-off point of design. Amalgamating mandatory services like electrical and HVAC into an open grid in the ceiling, one observes pipes travelling along the ceiling and vertically along walls as they double up as electrical conduits.

The colour coded pipes crisscrossing the ceiling connect various hubs in the space and the ceiling alludes to a three-dimensional integrated circuit board, lending the office a distinctive aesthetic.

With the functionally-inclined design elements concentrated on the ceiling, the floor plate is planned with low-height partitions at the workstations and about 30% unoccupied floor space for the manufacture of larger components. Another mandatory requisite dictated the need to document and archive each and every product that was manufactured. Consequently and ingeniously, storage is designed as an integral but approached-whenneeded feature by lifting it off the floor and creating a subtle sense of the dramatic. The floor space below the suspended storage is converted into a cosy and effective conference facility.

A consistent design vocabulary is sustained as industrial material like corrugated MS sheet is used as the floor plate of the suspended storage and for the workstation partitions; wooden fan blades in the entrance area are fashioned to be reminiscent of old aircraft blades, and the like.

Costs are controlled rather aesthetically by the design language. While the ceiling with its requisite services circumvents a false ceiling, restricting the under-storage volume for the conference room, it also facilitates efficient air conditioning and avoids a huge amount of cabinetry, thereby curtailing costs significantly.

The white and understated nature of the design with transparency and across-the-room visibility tends to lend the industrial set-up a suave corporate identity. Of course its brand identity is incorporated therein too!

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“The white and understated nature of the design with transparency and across-the-room visibility tends to lend the industrial set-up a suave corporate identity.”

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Corporate design

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Firm: KNS Architects Private Limited Principal architects: Kanhai Gandhi, Neemesh Shah, Shresht Kashyap Design team: Kanhai Gandhi, Gopal Zaveri, Kedar Dandekar

FIRST IMPRESSION Words: Savitha Hira; Images: Indrajit Sathe; courtesy: KNS Architects

KNS Architects create a spacious pulsating lobby space for a corporate building with an eye on the growing changes that seem to engage the network and net worth of the corporate world today.

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W

ith ‘selling’ as the focal loci around which many a

the aircraft form the false ceiling. Using an extensive layering of a series

design is created, especially in the corporate, commer-

of angular panels in a composition and interplay of light hues such as

cial and hospitality sectors, new mindsets that give

white, yellow and blue, the ceiling is indirectly lit so as to avoid direct

rise to new needs and wants are never far behind. The recent DLH

visibility yet cast a soft glow on the surrounding walls. The gradua-

Park corporate building in the Mumbai suburb of Goregaon East is

tion in the ceiling defines the flow of movement and creates smooth

a notable premium high-end structure — more from within than

transition from the voluminous entrance to the more staid lift lobby.

without. Its entrance lobby is a sprawling 5,000 sq. ft. dual-height

The inviting and dynamic ambiance uses white as a colour, which

space where the entrance ceiling height is at 21 ft. and gradually

acts as a neutral canvas, and helps to accentuate the various forms and

tapers to 9 ft. towards the lift lobby. With distinguished corporate

lighting elements in the design. While a major portion of the lobby

set-ups on its 20 floors, the lobby is an avant-garde space com-

is flushed with natural light for most part of the day, the lift lobby is

mon to all housed corporates welcoming their high profile visitors

flushed with white light to match the daylight intensity and maintain

and even catering to them via a common casual conference room

a uniform level of illumination. The technique of up-lighting with (84)

and lounge facility.

warm white compact fluorescent lamps is used to bounce indirect

“The concept was to create a space that was welcoming and

light off the ceiling and back down to ensure uniform illumination and

visually impacting,” says Kanhai Gandhi of KNS Architects. And this

minimum glare. Different layers, illuminated with LED strips have been

has been accomplished using a pure material and colour palette and

used to add depth in the meeting and lounge areas.

subtle yet dramatic lighting features as integral aspects of the project.

Highlighting elements like large rotund silver-leafed columns

“Since the space is fairly large, it was important to create a sense of

and a softly purring waterbody further define the aesthetics, lit as

direction through the design,” he explains.

they are by wall-washer and water-proof strip LEDs respectively. Even

The personality of the lobby is inspired by its somewhat trapezoi-

the air conditioning is camouflaged and duct-able circular patterns

dal shape and expresses a strong symmetrical pattern in the overall

created throughout the space, following the symmetrical pattern of

layout, where two large arcs are set back-to-back to chisel the inte-

the design.

rior spaces, leaving behind two residual areas, one at either end of its

In a generic scenario where ‘do more with less’ and ‘something

north-south axis. These areas house the conference and lounge facili-

different’ are catch-phrases that have found unwarranted domestic-

ties. The ceiling takes on the onus of the design: the dynamics of the

ity in the design circles, this simple yet discerningly laid out scenario

aircraft come in the form of the ceiling treatment where the wings of

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MELODY IN

CACOPHONY Words: Savitha Hira; Images: Bill Fontana

Sound sculptor Bill Fontana manipulates the perceived scale of sound source, by juxtaposing it with on-site physical elements and playing on the psychological impact of unique kinesthesia.

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Arty techture

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W

hen you are rudely interrupt-

ful to hear; and that music, in the sense of

of sound to the speed of light, and the

ed by a sudden power failure

coherent sound patterns, is a process that

deconstruction of our perception of time.

that calls an abrupt halt to the

is going on constantly and one that can be

From the late 90’s to the present, Fon-

generic sounds around you — the whirr

aesthetically arranged into art,” explains

tana’s projects have explored hybrid listen-

of the air conditioner, the ticking clock,

Fontana.

ing technologies of acoustic microphones,

the softly purring CPU — you realize that

Using a simple set of connections, he

silence is golden indeed! Another reason,

creates networks of simultaneous listen-

structural/material

perhaps, why one generally feels serene

ing points that relay real time acoustic

eters). He is also developing projects that

with a simple walk on the beach, where the

data to a common listening zone — the

access live seismic networks to explore the

softly whooshing sound of the rising and

sculpture site. Since 1976, he has christened

sound energy of ocean waves, travelling

receding waves is sheer music to one’s ears.

these works ‘sound sculptures’ and has

long distances underground.

This naturally (by nature) moderated

worked extensively on using a hybrid mix

Fontana has investigated the sculptural

quality of sound is the inherent muse of

of transmission technologies that connect

property of sound in many different circum-

San Francisco-based sound art pioneer

multiple sound retrieval points to a central

stances — on the streets, in a quiet room,

Bill Fontana’s three-decade long study of

reception point, in an attempt to explore

at the railway station, etc., and he points

sound and its transmission. He has been

the idea of creating live listening networks.

out that the primary difference between

exploring how various instances of sound

What is significant in this process are

various sounds experienced by our ear is

possess musical form and how relocating

the conceptual links determining the

between noises and musical sounds. “As

sounds from one environment to another

relationships between selected listening

a composer, what really began to interest

redefines them, giving them new acous-

points and the site-specific qualities of the

me was not so much the music that I could

tic meanings. “My sound sculptures use

reception point (sculpture site). Some con-

write, but the states of mind I would expe-

the human and/or natural environment

ceptual strategies have been — acoustic

rience when I felt musical enough to com-

as a living source of musical information.

memory, total transformation of the visible

pose. In those moments, when I became

I am assuming that at any given moment,

(retinal) by the invisible (sound), hearing as

musical, all the sounds around me also

there will always be something meaning-

far as one can see, relationship of the speed

became musical,” he says.

underwater sensors (hydrophones) and sensors

(accelerom-

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His theory of transmitting sound is

where he explores both visible and invisible

based on the simple premise that the way

features of the museum building. ‘Sonic

we perceive visually differs greatly from our

Shadows’, as the installation is called, reveals

Exhibition: Sonic Shadows

aural perception. Listening to and getting

the internal resonance of structural ele-

Open to experience:

engaged with real-time multiple-acoustic

ments like the fifth-floor pedestrian truss

Nov. 20, 2010 – Nov.6, 2011

perspectives reveals certain sound qualities

bridge and boiler room pipes, transform-

Venue: SFMOMA (San Francisco Museum of

that take on a new meaning for the com-

ing them into musical instruments. This

Modern Art)

moner. Such factors as acoustic delays, the

sound sculpture uses moving ultrasonic

Doppler Effect and phasing, reveal elegant

speakers and vibration sensors to transform

About Bill Fontana:

musical structures in even the most simple

the space below the dramatic circular sky-

Born in the United States of America in 1947,

of environmental sound sources. A multiple-

light, surrounding the fifth-floor pedestrian

Bill Fontana is an American composer and

perspective rendering of the sounds of one

bridge, into an acoustic drawing in real

artist who has developed an international

place (either live or recorded), if installed in

time. As visitors cross over the bridge, their

reputation for his pioneering experiments

another space and played from a number of

footfalls contribute to real-time recordings

in sound. Since the early 70’s, Fontana has

carefully positioned loudspeakers, can gen-

of ambient sounds. The work creates a live

used sound as a sculptural medium to inter-

erate dynamic and vivid relocations of the

composition generated by the building

act with and transform our perceptions of

sound sources. “When thinking about the

itself, where the artist uses sound acceler-

visual and architectural spaces. He has real-

transformed acoustic meaning that a famil-

ometers to capture the kinetic movement

ized sound sculptures and radio projects

iar sound acquires when its whole sound

and changing nature of the water and heat

for museums and broadcast organizations

field is considered, I ask myself, what is this

pipes in the boiler room. His sensors pick up

around the world.

sound that I am now hearing? The answer I

the structures’ variety of sounds. Through

give is that this sound is all the possible ways

Fontana’s manipulation and programming,

Bill Fontana:

there are to hear it,” says Fontana.

the boiler’s function is turned into an acous-

www.resounding.org

His most recent sound sculpture installation is for SFMOMA’s 75th anniversary in 2010,

tic experience — a veritable symphony of sorts

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CHOCOLATE IS THE STAR

Words: Babita Krishnan Images: courtesy the architects

Inspired by Belgian Art Nouveau, New York-based architectural firm d-ash creates elegant retail concept for Godiva Chocolatier.

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T

he first of the Godiva retailers to

ous, immersive retail environment to the

two-storey vertical vitrine in place of the tra-

feature the d-ash design concept that

company’s worldwide operations. Together,

ditional chocolate display case. The interiors

reinvents the chocolate experience,

Lombardi and Ashen have fashioned a glit-

highlight a palette of dark browns and bright

recently opened in Istanbul’s Nisanti district.

tering aesthetic that pays tribute to Godvia’s

creams, rendered in an array of rich materi-

The new store design will serve as a template

venerable Belgian heritage while presenting

als, and the exterior features beautiful Art

for future Godiva retail locations, and signals

a fresh face to the world, with clean, modern

Nouveau-inflected bronze gates framing the

an exciting new chapter in the history of the

interiors where (as Ashen puts it) “chocolate

Lady Godiva logo.

world-renowned chocolate-maker.

is the star.”

“Our objective was to surround the

The d-ash design team (led by David

The flagship store has its own personal-

consumer totally not just by chocolate itself,

Ashen) partnered with Linda Lombardi,

ity and amenities, including a Godiva café

but all the emotions that chocolate conjures

Godiva’s Vice President of Global Store

that provides guests with an elegant and

— pleasure, indulgence, comfort. Every-

Design & Visual Merchandising, to create the

stylish place to have a cup of cocoa, an inter-

where you turn there’s a different way to

new concept, which brings a more luxuri-

active 360-degree “Chocolate Island”, and a

enjoy Godiva, a different type of chocolate

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encounter,” says Ashen. Godiva and d-ash design continue their collaboration with

About the firm

new stores in Amerkez, Turkey; Xintiandi, Shanghai; Shanghai’s Pudong region; and in an IFC mall in Hong Kong. Stateside locations will open in Atlanta in Spring 2011 and in New York City in Summer 2011.

The redesign gives new life to one of the biggest brand names in the chocolate industry, with d-ash design bringing a touch of 21st century glamour to chocolate lovers everywhere — just in time for Godiva’s 85th anniversary

d-ash design is a New York-based interior design firm that combines innovative design with functionality. Their portfolio of work includes hospitality, commercial, event spaces, and educational facilities. David Ashen, President, is sought out for his unique ability to extend a brand, embrace a concept and make it come to life. He has been the recipient of the “Wave of the Future 2004” award by Hospitality Design, “Rising Star in Interior Design 2007” award by the Fashion Group International, and was named “One of Ten to Watch” by New York Magazine in 2005. Current work includes projects in Denver, Washington DC, New York and the United Kingdom.

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Photo feature

Fun at work

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The refashioning of the awardwinning Think chair is Steelcase’s attempt at creating a working environment that is more fun and imaginative. The company invited some designers & artists to give individual interpretations of Think Chairs that blend aesthetics & functionality.

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While the design ideas from places like Singapore, Beijing, Tokyo & Shanghai tended to be more flamboyant and graphic; the Indian counterparts drew widely from the native ethos and culture. Ranging from religious icons & movies to politics & cricket, we got to see them all...

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W

e still vividly remember our

and everything else under the sun, is soon

and the unflinching support of our faculty,

first day of college. “I was fresh

going to belike a distant dream. Every once

answering our constant queries and clearing most of the cobwebs in our heads.

out of a management course,

in a while, we even turn into nervous wrecks

entering a professional course in the field I

just wondering what the real world outside

What we are all told applies to most

loved most - Design!” exclaims Ruchi. “I was

holds for us; what’s the design industry/

graduating students, in general. And it’s

through with my standard 12 board exams,

fraternity like? Are we really competent

something even our seniors, who are al-

so I was just plain happy to be nowhere

enough to be a part of it? Will we be pro-

ready working in firms of acclaim or run-

around books!” sighs Aakanksha.

Leera

ficient enough to compete with these big

ning their own practices, have seconded.

remembers showing off her perspective-

names in the near future? Has my college

We have been advised to work in small

drawing skills in front of a class of 60-odd

taught me everything I need to know?

(numerical strength of the practice) firms

students on day 1 of college! And Esha

These are just a wee percentage of the

where one has easy and direct contact with

recalls, “I was newly married, sitting in a

gazillion questions that plague our minds…

the head of the firm. This way, the knowl-

classroom ready to absorb all that my new

and we know that all other graduating stu-

edge that one gains and the things that one

design school was going to let me.”

dents will agree with us.

learns are second to none. Plus, it means

This was the story a couple of years

We realize that we are in this strange in-

even the junior-most in the firm has varied

ago. And here we are a couple of weeks

between spot: neither students, nor a part

responsibilities. Also, fewer people mean

away from our last day in college. It’s been

of the industry as yet. There are all sorts of

that one can prove one’s mettle and actu-

quite a ride. We are all overcome with vari-

apprehensions, anxieties, and preconceived

ally have people take note of it, rather than

ous emotions. Happy ones, when we think

notions. Luckily for us, we come from a col-

be a small fish in a big sea.

of how we don’t have to draft the Working

lege that understands these aspects. We

Another thing that is impressed upon

Drawing sheet of a door, window, wardrobe

were lucky to have been a part of various

us is the absolute importance of gaining

or bed ever again! Sad ones, when we think

seminars organized by our college where

work experience in a firm before we start

of how sharing a chai with our professors in

we had the biggest names give us first

our own practice. “Learn from the boss’ mis-

the college canteen, talking about design

hand information about the industry. That

takes!” we are told!

The Threshold Words: Leera Khanvilkar, Aakanksha Jain, Esha Pandya & Ruchi Shroff

As we kick-start this new platform for the design student community, we have the near-future practicing designers from Rachna Sansad’s School of Interior Design, Mumbai, express the apprehensions, anxieties, and preconceived notions that they carry with them into the real world of professional design…

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The one thing that we all wonder about is how much of what we learn in college are we actually going to put into practice in the real world? Are the never-ending hours that we spent rendering and sketching sheet after sheet going to pay rich dividends? Did I really need to study about the different kinds of doors and windows and hinges and hardware? Apparently, the answer to that is a resounding ‘YES’! College teaches us the basic know-how and our job is to make the most of it when we enter the industry. Information that may seem needless today can probably save our lives someday. It’s always good to know what exactly our carpenter, painter, plumber or mason is up to. The

Kissa Kursi ka

Youth forum

Words: Sharanya S; Images: courtesy the architect

Creations 2011, the annual exhibition by design students of Nirmala Niketan had the ubiquitous ‘Chair’ as its subject.

more aware and informed we are, slimmer are the chances of him taking us for a ride!

The working-drawing sheets that seem like such a waste today can really help us prove a point to the carpenter when he looks at our design and says, “This is just impossible to build.”

Today, as we sit on the threshold of a new beginning, reflecting on our past, a thought hits us like a ton of bricks — if we were to carefully sit and analyze every lesson that was taught to us, every assignment that was given to us, there was an underlying commonality. Each of those lessons and assignments did not merely aim at teaching us things related to Interior Design but in fact they were designed in a manner that taught us how to research, how to learn.

Each of those experiences taught us how to be self-reliant and not once did our faculty serve us answers on a platter. Perhaps, this

outside learning. Lifelong learning is the

T

mantra to success because when one steps

Dollar symbol rocking chair; etc.

is the biggest take-away from college. Our knowledge, however vast it may be in itself, will always measure short in the real world

he third year students of the interior design department at Nirmala Niketan, Mumbai, explored their design ability for the most comfortable and often-used furniture — the chair! One found designs that were practical yet very rare in concept

such as — an ant holding the leaf; a woollen bundle with knitting needles; cotton pod;

out in the real world, where one will no lon-

The second year students took up the challenge of designing accessories on the

ger have a curriculum telling one what it will

theme of ‘Reuse’ with enthusiasm. They made accessories from materials like — spare

take to promote one to the next semester.

parts of automobiles, wine bottles, and test tubes from a lab and so on. Even though the

With all our technical knowledge, our

materials used are waste, the products are aesthetic and can definitely become a part of

design skills and our thirst for learning, we

any décor. Projects like these must be patronized to limit waste that is destined for landfills,

are stepping out into the world with the

and will therefore create less harm to the environment. The first year students designed a

hope that when we retire down the road…

scaled furniture model.

the world will look a little different with our designs

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NEW GAME

Words & Images: Mr. Jayakumar

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My space

F O R T H E V I S U A L LY C H A L L E N G E D V A L L E Y

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D

this group, we identified schools in Bangalore

ing product design, we, as a group

catering to the needs of these children,

is imparted though “sports” or “games”. This

were challenged to think about products

to kick-start our ethnographic research.

led us to design a toy that would enhance

and services that can have an intrinsic social

We focused on gathering keen insights by

the learning faculties of these children. It

value from the design perspective. Taking

observing, documenting and interviewing

was decided that the end product should

the cue, we gleaned various ideas to cre-

all the stakeholders to arrive at specific

ideally incorporate in it features, where

ate a product that would be simplistic in

problems, for which an effective solution

the children feel encouraged to win,

design, cost effective and most importantly,

could be designed. Also, participatory

thus advancing their competitive spirit

would have an inherent utility in making life

research was carried out to gain deeper

and adding to their repository of English

easier for the targeted consumer segment.

understanding of the user group, their

vocabulary. Further, it should also increase

aspirations, challenges and specific needs.

their motor skills.

uring my tenure as a design facul-

Garnering a holistic understanding of

The research clearly pointed out that

ty and mentor for students pursu-

the grasp of knowledge is much faster if it

This insurmountable challenge — to

identify and design a product that would

The findings of our studies had startling

Subsequently, ideas were generated

convincingly meet these parameters — was

revelations, which proved to be stepping

for a toy that blends fun, learning and

a daunting task that initiated a vigorous and

stones in concretizing the product that

wining in its repertoire. Multiple concepts

healthy discussion on the tenets behind

we proposed to design. Few of the

were generated and refined through

the pursuit of product design. By common

revelations were:

deployment of CAD models. The concepts

consensus, we decided to create a product

• Learning is primarily through the senses of

were converted to low-cost prototypes

for visually challenged children. While

sound, touch and feel.

using materials like Thermocol, MDF wood

this resolved the rigmarole of arriving at a

• Interdependence gives them a sense of

and Poly-Urethane foam; and based on

specific user group in the targeted social

security; they prefer to be in groups and

the feedback from the users; the concept

segment, it also led to a variety of questions

love to play in groups.

pertaining to “Train Toy” was selected. This

on the ‘kind’ or ‘type’ of product that would meet the specific needs of this group.

• Prefer toys that normal sighted children tend to like, etc.

game follows the concept of ‘Scrabble’ with a two-player format.

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The left side of the cubes is fixed

by 50% from its original of 2.5 cm and

with an iron plate and the right side with

the wooden material is replaced by

a magnet. The underlying principle is

polypropylene (PP) material.

that usually children enjoy playing with

Among all the projects done to

magnets and for the visually challenged;

date, this has been the most fulfilling

the magnets would help attract other

experience. However, at present, the

cubes with ease.

apathy of stakeholders has delayed the

The final prototypes of toys were

release of the product into the market.

deployed and tested in a few blind

India has a large number of visually

schools. The visually challenged children

challenged people and there is a visible

found the game to be interesting. A

lack of interest among our entrepreneurs

marked sense of achievement was clearly

and manufacturers in catering to their

Mr. Jayakumar shares with us his recently prototyped game for the blind; and reiterates the importance of design as a fundamental societal tool.

Mr. Jayakumar is the Founder and CEO of the design consultancy firm ‘INNOFAC’ at Bengaluru. He has worked as a design faculty for postgraduate students at a reputed college in Bengaluru. Mr. Jayakumar can be reached at mr.jayakumar@gmail.com / jayakumar@innofac.in +91 9632722033

visible on the children’s faces whenever

needs. The reasons may possibly be

they emerged victorious in the game. The

attributed to the absence of a lucrative

teachers were also gung-ho on the role

market and the abject insensitivity that

played by this game in enhancing the

pervades our society.

effectiveness of the knowledge delivery mechanisms for these special children.

As product designers, I am sure that there is a tremendous scope for us to

Further work is being carried out

contribute in our small but significant

to make the product portable and

way in ameliorating few of the challenges

commercially viable; new concepts are

faced by our differently-abled brethren. I

being designed to eliminate the fixture

am also confident that we will have much

and make the product lightweight. In the

more compelling and uplifting stories to

new design, size of the cubes is reduced

tell in future in these columns

“One observes a gaping hole in the production of goods designed and developed for a socio-specific target group, especially in our country.”

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Leisure design

GILT-EDGE

Grandeur Words & Images: Kishore & Smita Iyengar

A heritage magnificence that is beyond compare – we travel to two luxury destinations - hotels Bayerischer Hof in Munich, Germany and the Tyrolean Zur Tenne in Austria and come back impressed…

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Heritage Hallmark – Hotel Bayerischer Hof With names like Count Siegward Graf Pilati, Laura Ashley, Philippe Hurel and Manuel Canovas associated with creating the plush ambiance; discreet luxury and understated elegance pronounce the decor of this hotel. The monarchical Hotel Bayerischer Hof in Munich is a living architectural landmark welcoming noted guests into its 350 rooms and suites. Diversely designed living areas, well-planned layouts, plush carpeting, tasteful furnishings, bright tones complementing muted shades of upholstery and sheers, and facades radiating exclusivity in aesthetic design are only some of the multi-faceted features.

The avant garde fine wining and dining restaurants ‘Atelier’ and ‘Garden’ are among Europe’s most distinguished addresses for gourmet treats. Combining contemporary style with interpreted creations, they are passionate expressions of exceptional interior accents by renowned Belgian designer and art collector Axel Vervoordt. In regal authentic country style, the ‘Palais Keller’ restaurant (originally a salt store) with its sturdy vaults that date back to 1425 creates compellingly fascinating Bavarian fare.

Complementing such gastronomical flavours is a host of watering holes. Architect Andree Putman has created a haven for tranquil calm in and around a lush roof garden at the Blue Spa. Custom-smart and sensuous with blue and chrome tones, stylish ultra-modern furniture, a great barbecue facility, a high glass bar with some of the most breathtaking views of Munich Cathedral and surrounds, ‘Blue Spa Bar & Terrace’ as the name suggests, is a rooftop restaurant. A gorgeous open fireplace sit-around and the lounge feel add to the relaxed ambiance. Falk’s Bar boasts of a magnificent ‘Spiegelsaal’ or mirror hall.

Additionally, the Menehune Bar at ‘Trader Vic’s’ restaurant has Polynesian allure while The Night Club Bar with mahogany accents attracts with all-time Jazz greats and blues over single malts.

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‘Komodie Im Bayerischen Hof Theatre’ is another unique presentation in the compact ultra-chic 560-seater cinema lounge offering light theatre, comic moments and dramatic repertoires by local and international artistes.

Alpine Allure – Hotel Zur Tenne In the heart of a medieval old town, in probably the world’s most upper crust Alpine wonderland Kitzbuehel, is this Tyrolean heritage luxury hotel radiating country warmth with contemporary finesse behind bright facades. 51 tastefully decked rooms and themed suites offer indescribable comfort and opulence.

Tyrolean country house style interiors with dexterous Alpine woodwork and artistry pronounce deep and bright tones of red, green, beige and pastels. Timbered rafters, cosy fireplaces in stone and white plaster, native handicrafts and local ingredients add cheer and verve to the rooms and suites. Country wood furniture and engraving art lend a Tyrolean curiosity to the ambiance as checkered furnishings make living seamless and relaxing.

‘Kaminstube’, ‘Jagastube’ and ‘Wintergarden’ make up the specialty fine dine restaurants here complete with deer antlers, Tyrolean wood carvings, and heavy vaulted Alpine wood panelling. A highcounter wooden bar with Tyrolean woodwork is a welcome watering hole for spirits aficionados. Throughout the property are original Tyrolean country artworks, frescoes, quaint lighting spots and plush hand-carpeted flooring with a strong accent on wood panelling and accomplished hand-finished elements in the interiors of various living areas. The exotic and exclusive feel is complete with such eclectic appointments.

Both these fine edifices under the dynamic leadership of their owner Innegrit Volkhardt continue to endear the discerning and fastidious 21st-century guest and celebrity patrons with grandeur and futuristic foresight Kishore & Smita Iyengar are international lifestyle and hospitality writers.

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“Tyrolean country-house style interiors make Alpine Allure a warm eating place in the heart of Kitzbuehel.”

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Silk

Young guns

Routes

Words: Tanya Sequiera Images: courtesy Ayush Chaudhary

Rug Designer Ayush Choudhary shares the tricks of his trade.

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A

s a little boy, Ayush Choudhary was

London and Barcelona developed his sense

homes as an extension of their personalities;

surrounded by Oushaks, Tabrizes

of colour and design. While in these cities,

and like themselves, they want their homes

and Zieglers. The impact these

Choudhury enrolled in various art courses

also to sport the best and latest accessories.”

beauties had on him coupled with the fam-

and spent time reviewing and refining his

Over centuries, carpets have evolved

ily business of exporting carpets, led to an

ideas at various art galleries. He talks fondly

from functional or decorative pieces to

intense love affair with carpeting and floor

of Barcelona, where he says the works of

actual art. This, without inviting raised eye-

covering that led him out of India on a magi-

Gaudi, Dali and Picasso created a strong

brows and contemptuous looks from most

cal quest. While a student, he travelled far

impression on him. “The city has inspired a

art critics. Like artists, carpet designers, too,

and spent time among the greats, learning

few of Cocoon’s collections,” he confirms.

want to reach out to newer audiences. A

and understanding his muses and absorbing

Much of what Choudhury and his

decade ago, one could find traditional Per-

as much art and beauty as he possibly could.

team produces is exported but his carpet

sian designs in hand-knotted carpets every-

Choudhary, now 26, tell us that reality is

gallery Cocoon caters to the discerning

where. Today, it is far more common to find

not far from that fantastical picture. Armed

retailer. Choudhury hopes to bridge the

a middle-ground where past, present and

with a Master’s from the London School of

gap between the supposed commercial

future meet. Contemporary colours, urban

Economics, he found himself drawn not

trade and presumable art. With the Indian

patterns, abstract designs and geometri-

towards investment banking but high-

consumers’ consumption patterns and atti-

cal shapes are among stars of a different

end carpet-making. The, three-decade old

tudes fast changing, rug experts like Choud-

show. Choudhury agrees, “While colours

export business took a retail turn with the

hury are finding a more willing audience in

like red, ivory, gold, blue and black retain

inception of Cocoon Fine Rugs chaired by

the everyday man. “The average consumer

a large chunk of the global trends, others

Ayush Choudhury.

is more willing to learn about and invest

like browns, light blues and greys are off-

According to this young designer-entre-

both, time and money in a piece that inter-

beat and making a strong comeback. Some

preneur, his years as a student in Chicago,

ests him,” he informs. “People treat their

designers have even gone so far as to cre-

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ate traditional designs with contemporary colours.”

Choudhury, who is eager to make a meaningful contribution to the industry, has a few ideas of his own, “Over the past few years, I have tried to incorporate ideas that have stemmed from international influences into the collections at Cocoon.

“We are going back to some of the traditional ways of rug-weaving. A lot of the yarn we use is handspun. Weavers today are also

“People in the business joke saying, once a carpet guy, always a carpet guy. I learnt that this was especially true if you consider how many second and third generation rug companies exist worldwide today.”

more willing to adapt to new trends and

contemporary manner, who prefer something from our signature ‘Colours of Life’ collection, which has more modern designs,” he says. “Personal style is not something one can predict. The idea is to offer an extensive range that appeals to many.”

Given the rising levels of environmentally conscious customers, going natural can also be a big consideration when it comes to buying a product. Sourced domestically, Choudhury’s repertoire now includes liberal use of recycled sari silk, hand-spun wool and

concepts. This has allowed us to produce

Cocoon Fine Rugs employs skilled craftsmen

silk yarn and even jute. While his enthusiasm

patterns, which would have been excep-

from Rajasthan, Gujarat and Uttar Pradesh to

springs from years of being surrounded by

tionally difficult to make ten to fifteen years

produce collections of carpets that pay fit-

carpets and his extensive study, he has a

ago,” he continues.

ting tribute to the ancient craft.

sound piece of advise for people who are

Creating a rug is time consuming but

Buying a carpet is an extremely personal

worried about the newest member of their

relatively easy when you compare it to the

choice. “Our Persian designs from the ‘Dune’

home fitting in. “Size and colour are impor-

other parts of the process. Providing con-

Collection have done extremely well with

tant,” Choudhury concludes, “but don’t let

sistent quality for every rug produced is

experienced carpet connoisseurs. At the

ideas overwhelm you. It’s okay if the rug

extremely difficult as each type of weav-

same time, we have had industrialists who

extends under the front legs of a bed or

ing is a craft honed out of years of practice.

are re-decorating their homes in a more

living-room sofa” MAY-JUNE 2011 • DESIGN MATRIX 101

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CONTEMPORISING

TRADITION Words & Images: ©Studio Bouroullec

N

oted Paris designers Ronan and Erwan Bouroullec in collaboration with Spanish rug company Nani Marquina recently launched their new collection Losanges – rugs that are a reinterpretation of the tra-

ditional Persian carpet made with the ancient technique of the Kilim.

With approx. 12 months of working on the design, right from the initial sketch to the final approved prototype, the Bouroullec brothers continue their study of simplicity and elegance with this collection. Technically complex, the Losanges collection is an epitome of a specialized skill-set as it involves combining 13 colours through the geometrical rhombus shape, a great challenge for the craftsmen of Northern Pakistan, where the fine piece has been crafted. As well as being crafted by hand, the Afghan wool is also spun by hand, which allows for some unique colour tones to be highlighted, which make each rhombus different and every rug a unique piece. Losanges is available around the world, in almost every country

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Young guns

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Design N build

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THE BALANCING ACT Words: Savitha Hira; Images: courtesy Shavin Interiors

The holistic completion of a project per se comprises the hand-in-glove equation of proficient and timely deliverance synchronized with creativity.

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“Whilst design and detail are vital components of a creative oeuvre, management and execution constitute the other face of the same coin. One does not — cannot — exist without the other.”

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W

ith independently practising architects and designers on the one hand, and turnkey contractors and one-window-

solution providers on the other, catering extensively to the realm of architecture and interior design, the design exercise encompasses diverse genres that are integral to the project per se and contribute to its holistic completion.

Shavin Interiors of the Baroda-based Mehta Group is a single-window solutions firm providing various design and execution services to architects, planners, engineers, etc. In a recent residential makeover, they accomplish the challenge of creating a contemporary scenario in an old structure without hampering the traditional feel; the added plus is that the achievement is credited with a tight budget constraint.

The site that was: An old bungalow with a sloping roof, three bedrooms, two bathrooms, and a double-height living cum dining area. A fabricated staircase led from the living room to the first floor.

Entry to the house was very low at a 6’6” height with a width of 9’0” with four open-able doors.

Client brief: Clinical in their requirements, the clients wanted a simple yet smart looking house with complementing exterior and interior spaces; five bedrooms, each with attached bath; a temple, a large kitchen, dining, Indian seating area, formal living room and a jacuzzi. Spaciousness, timeless decor and straight lines dictated the brief. They furnished a complete list of their requirements, and storage spaces for every area and every room. Most importantly, they insisted on minimum demolition.

Design response: “The major objective while designing this house was to create roomy interior spaces out of an old structure that had plenty of idle/ dead areas,” informs Vineet Mehta, CEO of the group.

“So we gave them the option of removing the sloping roof — this helped accommodate one master bedroom with a sizeable open terrace and a balcony; and toilets to all rooms as they could be extended inside. We also relocated the staircase with requisite structural expertise and have maintained a design vocabulary that is modernistic and without fuss. We thus fulfilled all of the client’s needs, including giving them gracious room sizes of 18ft. x 12ft. and 12ft. x 15ft. with minimum intervention.”

Inherent challenges: Since it was an old house, there were no drawings available. Consequently, initial intervention revealed major defects at many places. It was a house made on load bearing walls; but MAY-JUNE 2011 • DESIGN MATRIX 107

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the new look necessitated a column-beam structure to support the cantilevered balcony. The services of a structural engineer were engaged and due modifications executed. The biggest challenge was to adjust the staircase. Subsequently, the load of the walls also had to be reduced and this was ingeniously done by using glass slits in the staircase. Incidentally, the design aesthetic turned out to be an interesting element to capture natural light.

Aesthetic quotient: “We decided to use materials that are reasonable in cost but chic and current,” says Mehta. Natural stone like Golden Teak is used on all exterior elevations, doors and window sills, which once polished, looks and weathers like real wood and works out 50% cheaper than natural wood. Kudappa, Kota and Jaisalmer stones are used as wall claddings.

Light-weight packing wood is used for the pergolas.

Direct and indirect lights with LEDS provide different mood effects. Highlights include interesting backdrops in the living room, where back-lit panelling and a back-lit screen made of broken glass edges creates an interesting play of lights. Another high point in the decor is the use of translucent Aravali Onyx on a cantilevered dining counter.

The spacious 4,500 sq. ft. residence stands out in its modernistic approach. Timelessness is introduced through a neutral colour palette and natural materials that are polished to allude to textures like leather and wood for a sleek finish. The design intervention in terms of transforming a near-decrepit structure follows a design language that uses natural and recyclable materials and is candid in its topographical response 108 DESIGN MATRIX • MAY-JUNE 2011

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11 112 12 DES DESIGN ESIGN IG IGN GN N MATRIX MATRI MA T X • MAY-JUNE TR TRI MAY-J MAY-J MA Y- UNE UN N 2011 NE 2011 11

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T C U D O R P

H C N LAU Colossal Sofrofa m Durian

ury e in a combination of lux of modern Italian furnitur n ctio sele a is st sof n late der the mo Durian brings you ir large gorgeous h quality production. The hig is and and s ign ces pie des e ee ctiv thr es materials, sele m. The range includ lounge in your living roo dern mo and x and rela , ans ain om ert ott ent s, to made ing chaise lounge ltiple compositions includ ple. available in a series of mu single professional or a cou a ily, fam a for ice cho t fec per the — central elements ww w.durian.in

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Waste Basket from

Ebco

Waste disposal needn’t be messy anymore.

Ebco’s new waste fits snu gly into your wall and has a foot pedal, which enable s you to either open the lid all the way or par t of the way. You can also lea ve it open and the lid will aut omatically close later. Thi s space saving, efficient dev ice also has room for a handy utility tray where you can store detergent , brushes and other cleani ng agents. ww w.ebco.in

Retractable Gates from

Gandhi Automation tes tractable ga Hongmen re oundrr su r ly with thei ct fe er p d en bl tionalit y tes blend func ings. The ga ute s and pay trib with aesthetic taneul e and ar t sim to architectur ad he t ar ate-of-the ously. This st n, io is ec pr of high unit is made eight plastic and w th ng re high st rporatco aterials and in enhanced m rcuits, ci l ro nt es like co ed with featur and deluxe technology spiral clutch into the g new forays details, makin e best Th . te industry retractable ga e fact th is s these gate thing about ally rm no n tio func that they can power cuts. even during o.in w w w.geapl.c 114 DESIGN MATRIX • MAY-JUNE 2011

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Continental Beds from

Hastens Hastens latest range of Continental beds offer bot h comfor t and durability those of you who love to their sleep. The all natura l continental beds are ma of the finest pure flax, wo de ol and cot ton, carefully sele cted pine — growing at natural pace for maximum a strength — and genuine, hypoallergenic horsehair.

No more, the beds made from artificial foam rubber , polyurethane and late Hastens believes that nat x. ural lasts the longest and a good night’s sleep wo disagree. n’t ww w.hastens.com

Blum has dramatically increased the user comfort of its AVENTOS bi-fold lift, up and over lift, lift up and stay lift. Thanks to the SERVO DRIVE electric system, lift systems now open and close comfortably at the press of a beautifully designed wireless switch (which is within easy reach in cabinet interiors). This latest solution is in keeping with the design trend of handle-free furniture. Thanks to SERVO DRIVER, you can say goodbye to handles. With this new hi technology lift system, your wall cabinets will flaunt convenient flush fronts. www.hafeleindia.com

Lift Sy tem from

Hafele

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Home interiors by

Poonam Kalra Punam Kalra, renowned engineer turned designer has been in the business since 14 years and has come up with a con temporary collection of sofas, chairs, coffee tables and cabinets. Her collections boldly feature ver y high-e nd fabric.

The tex ture and feel of her veneer finishes will lend both sty le and beauty to your interiors.

Bathrooms from

Duravit

Duravit redefines opulen t with Esplanade, its new range of high luxury bat with the German-Russian hrooms. In collaboration architect, Sergei Tchoba n, Esplanade walks the line form. The designer harks between purism and free back to the 18th and 19t h centuries when bathro toilets were still regarded om furnishings and even as furniture. Thanks to its welcoming character, the idea that the bathroom range expresses Tchoba has become a recreation n’s room and an important element in the house tha t commands space in its ow n right ww w.duravit.com

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etc.

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Happenings

HYDERABAD LAUNCH The launch of Design Matrix in Hyderabad was a warm event.

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W

hen we decided to unveil the

presence on the main road draws immediate

the city walking in for the event that began at

third issue of Design Matrix in

attention. Also, the interiors that have been

6.30 pm and went right up till 10.00 pm.

Hyderabad, it created interest in

designed by Ar. Niroop Reddy, not only dis-

Interestingly, it also generated a lot of inter-

the fraternity to say the least. With Le Cdeor

play the ware to a maximum advantage, it

est in the local media, both print and elec-

as the location and event partner, the eve-

also makes just browsing around a pleasure.

tronic, as one found plenty of local newspa-

ning was set to dazzle one and all over wine

A lot of designers who visited the place look

per and TV journalists taking feedback from

and cheese.

forward to coming back with their clients. A

the guests. With well-known and highly

Le Cdeor is a hi-end brand that imports

showroom that caters to every pocket, Le

respected architects and designers like Siraj

accessories and furniture for the discerning

Cdeor has generated excitement amongst

& Renu Hasan, Supraja Rao, Haresh Lakhani,

Indian market. Located in the up-market

the fraternity and layman alike. The evening

etc. gracing the occasion, this was only to be

Jubilee Hill area of Hyderabad, its prominent

saw many stalwarts of the profession from

expected.

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Happenings

SCULPTURE SHOW Making its artistic debut, in association with Gallery Le Sutra, the show brought together works of artists from across the country

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D

r. Art + Design, specializes in aes-

collaboration with the gallery to promote

thetic-design management provid-

community engagement and to nurture

ing an aesthetic touch to lifestyle

India’s rich art culture,” said Mitali Bajaj,

projects by fusing art, sculpture & design

Head Dr. Art+Design. “Since its inception

into spaces right from concept to implemen-

in 2003, the lives of 8,500 deaf have been

tation. The first ever ‘Dr. Art+Design Sculp-

impacted though our ongoing projects

ture Show’ in association with Gallery Le

and we welcome initiatives such as these,

Sutra, brought together works of artists from

which help raise funds,” said Pratibha Rao,

across the country where everyday objects

COO, DEEDS.

and emotions were transformed into 3D

Participating sculptors were Aditya

works of art using metal, fiber, wood, stone,

Sakharkar, Akhilesh Kumar, Ajay Dhandre,

scrap-metal and more. On display from 25th

Ajinkya Chaulkar, Anand Prabhudesai, Anuj

th

to 29 March 2011, the proceeds went to

Poddar,

DEEDS, a Public Charitable Trust, which sup-

Zanje, Deepak Khatri, Ghanshyam Gupta,

ports the cause of the deaf with a focus on

Hariprasad, Hemant Sonawane, Jaysing

free education, free vocational training and

Damodare, Kishor Pawar, Lithika Mahajan,

ensuring job placements for them.

Nandkumar Kualey, O P Khare, Pradeep

Inaugurated

by

Suzanne

Arzan

Khambatta, Bapusaheb

Roshan,

Shinde, Prashant Jogdand, Prithwiraj Mali,

the ribbon was cut by Kuldip Kaura, CEO

Rajashri Parulkar, Ratan Saha, Sahebrao

and MD, ACC Limited who spoke of the

Ambhore, Seema Kohli, Sharad Malankar,

close relationship between DEEDS and

Shashank

the CSR wing AHEAD by the wives of the

Shreyas

ACC directors. “This is the first in a series

Swarnalata Mahapatra, Trupti Dahibavkar,

of shows we plan to host annually in

Vijay Gurav, Vikas Sawant and Vinod Patel.

Mahashilkar, Khanvilkar,

Shirish

Swapnil

Badekar, Kadam,

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WHERE THERE’S A MILL...

Sharanya S peeks into the newest concept store in Mumbai, with the gritty docks for neighbours.

Storereview

A

large white tree looms over my

The parallel universe, Le Mill, is a con-

head. Strings hang down from it,

cept store started by French expats, Cecilia

each with a piece of tag, the same

Morelli Parikh, Julie Leymarie and Aurélie

ones my dhobi uses, with a bit of writing

de Limelette. Anaita Shroff Adajania is the

on it. They range from the poignant to the

fashion consultant. The sprawling 1,500

silly. From ‘There is nothing to say. Only to

sq. ft. store is built on old mill land and

be, only to live’ to ‘why is vanilla ice cream

the interiors try and retain that raw and

white when vanilla extract is brown?’

bare look. The outside of Le Mill is insipid

I’m on a small road in Wadi Bundar,

and grey but the insides have tiled roofs,

Mumbai. Around me men smoke beedi’s

beams and bare bulbs hanging from the

and kids sit on street pavements and

ceiling. I even spy a trumpet hanging by a

watch women beat the days washing

string.

with energy. I take in my surroundings

On the right is the children section,

and then quickly enter what seems to be a

where wooden toys share shelf space with

parallel universe — air conditioned, silent,

precocious teddy bears. Lining the wall is a

and serene.

row of girls’ dresses that would make your

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THERE’S A WAY ! daughter the show stopper at a kindergar-

tion. Designs by Usha Shah, Mawi and Jade

ten fashion show. Le Mill brings together

Jagger among others, are displayed here.

designers and brands like Obataimu, Muuto, Sabre and Kidology and Djeco.

Incidentally, the top floor of Le Mill is the first thing you’ll notice when you enter.

The other side of the jewellery section is

It hangs above like an open balustrade

the cutlery, ceramics and glassware that spar-

and a bunch of taupe mannequins draped

A shelf on the side stocks bags and

kles on a well-laid out table. Black felt ravens

in cream stand next to a huge landmine-

bright slippers. The floor is divided into lit-

sit perched on handles and shelves, two fla-

like structure. Clothes by Neha Malhotra,

tle squares by couches, beds, coffee tables

mingos wrapped in white cloth like mum-

Anamika Khanna, Saloni Lodha and pieces

and chairs. The couches in pastel shades

mies can be seen on a window. Candles,

from Mary Kate and Ashley Olsen’s brand,

of cream and grey with an occasional

notebooks, coffee table books, sun glasses,

The Row and French brand, and Heim-

deep blue are piled high with cushions

envelopes and rugs are all available here.

stone line the racks.

in deep browns, greys. A flame orange

The ground level also has a little café

While it is apparent that the owners

makes a guest appearance among the

that serves organic coffee and tea on simple

have good taste and know their fashion, it

sober shades, seeming at once, to belong

wooden tables and chairs. You can sip on

feels like Le Mill tries really hard — it tries,

as well as stand out among its group of

some peppermint tea and the view is full of

very earnestly to be classy and quirky and

muted cousins. A white metal box in the

tulips, irises and sunflowers, peeking out of

fun and dignified, all rolled into one. And it

middle of the room is the jewellery sec-

Nazneen Jehangir’s flower shop.

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THE THIRD

DIMENSION Himanshu Hiranandani reviews the yetto-hit global markets’ ‘Glasses-less 3D Television’ and is suitably impressed by Toshiba’s pioneering effort.

L

iterally ‘wow’ technology brings us

and direction from the centre, right and

3D in the raw! We no longer need

left of the screen to secure a wide viewing

four-eyes to view motion pictures

angle. The result is an optimized display of

in 3D. Taking a small step in technology but

high quality 3D images. However, a major

yet another leap for mankind, 3D viewing

drawback that is sure to bog the viewers

has now reached living rooms, bedrooms,

is the confinement of a 3ft or less viewing

maybe even bathrooms.

distance! Another drawback that the com-

For the last 80 years, there has been a

pany is compelled to point out is that with a

steady improvement in the kind of televi-

strain on vision, it may cause health-related

sions around us. Currently, all we hear about

complications for some. Children below the

is 3D. For those of us who always found the

age of six have to be restrained from using

red cyan paper glasses cumbersome while

this innovative piece of technology.

we were awed by Spy Kids 3D or later by the

Designed with energy-saving features

polarized glasses when James Cameroon’s

and recyclable materials, the product is on

recent blockbuster Avatar hit the theatres,

its forward march towards optimum eco-

the new Toshiba REGZA GL series is the

efficiency. It has even won the “21st Cen-

world’s first range of LCD TVs that offers

tury Invention Prize for 2010”, a national

comprehensive 3D capabilities without any

commendation for invention from the

need for dedicated glasses.

HatsumeiKyokai, Japan Institute of In-

Making full use of synergies between its semiconductor and image processing tech-

vention & Innovation.

With two models –Glasses-less

nologies, the innovative TV set employs an

3D REGZA 12GL1 and 20GL1 intro-

integral imaging system.Until now, conven-

duced into Japanese markets in

tional 3D technology without glasses has

December’10. Toshiba Corpora-

produced a fall out in image resolution and

tion also unveiled “dynabookQos-

increased blurring that has prevented prac-

mioT851/D8CR”, the world’s first

tical use. However, Toshiba employs an LED

glasses-free 3D notebook PC

backlit LCD panel especially designed for

able to display 3D and 2D con-

3D content that systematically aligns pixels,

tent at the same time on a

and has also adopted a semi-circular len-

single screen. While the new

ticular sheet inorder to realize precise ren-

PC will be available in the

dering and natural, high quality 3D images.

Japanese markets from late

The technology simultaneously deliv-

July, these emergent inno-

ers nine parallax images to the LCD panel

vations are yet to reach the

and controls and optimizes light emission

global markets

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Tech diary

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Kitchen Bathroom and Bedroom Show

professionals & landscape architects. Partici-

among tattoo lovers and artists. Many dis-

pants will get a chance to obtain the latest

tinct names from the global tattoo indus-

KBB London, a brand new exhibition for the

information about the goods & techniques

try will attend the event. The International

kitchen, bedroom and bathroom industry

in garden design.

Amsterdam Tattoo convention will act like a

promises home owners exciting options

cultural centre and will also host art fusion

and means to revamp or upgrade their liv-

Date: May 11th- 22nd

contests, tattoo art competitions and some

ing spaces. The exhibits include kitchen

Venue: Schloss Johannisberg, Wiesbaden,

music events besides the main show. The

and bathroom furniture, kitchen appliances,

Germany

items on exhibit include handmade tattoo

worktops, showers and enclosures, taps,

machines, pneumatic tattoo machines, coils

and other home accessories. Visitors to

Inside Outside Megashow Pune

the exhibition will get a chance to interact

The Inside Outside Megashow-Pune is a

needles grummets and bars, tattoo after

will experts in the industry which include

four day event and is recognized as the big-

care products and tattoo skateboard decks.

architects, developers, interior designers

gest event for the interior design, furniture

and retailers. At the helm of this one-of-

and furnishings, building and construction

Date: June 3rd-5th

a-kind event is the same CMPi team who

industries. Backed by years of expertise, the

Venue: Amsterdam

made KBB Birmingham the leading mar-

event offers a high profile launching pad for

ket show for the kitchen, bedroom and

introducing products like fabrics, kitchen

bathroom markets.

& bathroom accessories, carpets, lights &

Focus Apparel and Accessories Show

tiles, cabinets, doors, sanitary-ware, sinks

tattoo machine, rotary tattoo machines to producers of ink accessories and pigments,

lamps. Trade visitors include importers and

The Focus Apparel and Accessories Show

Date: May 15th-17th

exporters of home décor items, furniture,

is one of the finest exhibitions for fashion-

Venue: ExCeL Exhibition Centre,

lighting, fabrics and handicraft products.

able apparel and accessories in USA that

London, UK

Professionals from the areas of design, fur-

brings all the trendy apparel and bold

niture, lighting and textiles will be present.

fashion accessories in the market under

Home and Garden Weisbaden

one roof. The Focus Apparel & Accessories Date: May 26th- 29th

Show 2011 will feature some of most well

A large number of industry leaders from

Venue: College of Engineering Ground,

known designers from across the nation and

across the world are expected to partici-

Pune, India

abroad to showcase their innovative designs

pate in the Home and Garden Weisbaden.

for the season. The Focus Apparel & Acces-

als — people who love the outdoors, home

The International Amsterdam Tattoo Convention

remodelling and design will also leave satis-

The International Amsterdam Tattoo Con-

fashion and textile industry to interact with

fied. A lot of exhibitors in the fields of gar-

vention has the unique distinction of being

professionals and promote their work.

dening and flower arrangement will attend

the largest tattoo convention in Benelux (i.e.

this event. Exhibitors include garden design-

Belgium, Netherlands and Luxembourg).

Date: June 13th-15th

ers, interior designers, event management

The Event generates massive interest

Venue: California Market Center,LA, USA

This show doesn’t just cater to profession-

sories Show offers an excellent opportunity to people who wish to make a name in the

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5/5/2011 1:26:54 PM

Craft and Quilt Fair, Sydney

Experts from the fields of architecture and

metal, pearl, amber, and porcelain will also

This is the perfect opportunity for the knit-

design will be present as well as distribu-

be on display as well as antique beads,

ting, needle and creative craft enthusiast

tors, manufacturers and importers and

handmade

to meet manufacturers, dealers, publish-

exporters.

charms, and beaded jewellery. Participants

ers, mail order specialists and designers

beads,

findings,

buttons,

will get a chance to interact with access

covering hand and machine knitting, cross

Date: June 15th- 18th

merchants, bead makers and importers.

stitch, tapestry, patchwork, quilting, sew-

Venue: TBA, Tehran, Iran

The Whole Bead Show will cater to sup-

ing, embroidery as well as other needle-

pliers of jewellery, designers and the gem

crafts and various creative crafts. The

Gem Faire Sacramento

event will host the manufacture or sale of

Bringing out the best from the gem & jew-

beads, lapidary tools and jewellery making

products for craft or needlework. Decoup-

ellery industry, the Gem Faire has firmly

supplies are some of the products that will

age, quilting, teddy bear and doll making,

established itself as a globally recognized

be on exhibit.

tapestry, papercraft, sewing, cross stitch,

trade platform. It is known to be a well-

stencilling, stamping, weaving, embroi-

structured trade show, also the largest &

Date: May 6th- 8th

dery, spinning, painting, and knitting are

most unique West Coast manufacturer

Venue: The Empire Landmark, Vancou-

some of the craft activities that will be

of first class jewellery, gem, fossil, bead

ver, Canada

focused on.

and mineral shows. The Gem Faire Sacra-

enthusiasts. Minerals, fossils, gemstones,

mento acts as the perfect meeting point

Interior Lifestyle

Date: June 22nd- 26th

for gem enthusiasts and is visited only by

Organized by Mesago Messe Frankfurt

Venue: Sydney Convention and Exhibi-

highly qualified and serious-minded buy-

Gmbh, Interior Lifestyle-Japan is recog-

tion Centre, Sydney, Australia

ers and collectors. Having organized more

nized as one of the finest ‘Design-Orient-

than 40 trade shows in a year, Gem Faire

ed’ trade shows in Asia. For 3 days, the

will be attended by leading manufactur-

show will prove to be one of the largest

For 4 days, Home & Office Furniture will

ers, designers, gemstone miners & cutters,

platforms for retailers, wholesalers, trad-

prove to be one of the largest platforms

importers, certified graduate gemmolo-

ing house, importers and manufacturers.

for meeting leading players from the Fur-

gists, as well as beading instructors.

Participants will get the opportunity to

Home and Office Furniture

niture Supplies and furniture hardware

interact with professionals such as retail-

industry. Being hosted by Modiran Com-

Date: May 13th-15th

ers, wholesalers, contractors and design-

pany Limited, it will showcase office desk,

Venue: Cal Expo State Fairgrounds, Sac-

ers among others. The profile for exhibit

chair, pavilion system, conference table,

ramento, USA

includes home furnishings, home interior

sofa, computer desk, filing cabinet, stor-

accessories, textiles, furnishing fabrics,

age system, furniture in hotel room, lobby,

The Whole Bead Show

restaurant, public seating and many more.

Jewellery of every kind from vintage

The profile for exhibits includes office

through contemporary will be focussed

Date: June 1st- 03rd

desk, chair, pavilion systems, conference

on at the Whole Bead Show. Creatively

Venue: Tokyo International Exhibition

tables among other kinds of furniture.

designed pieces made from glass, stone,

Center, Tokyo, Japan

upholstery fabrics, wallpaper and carpets.

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GLOSSARY I F C: Ventura Matlam Premium Metallic Laminates Ventura International Pvt. Ltd. 1/52, W.H.S. Kirti Nagar, New Delhi – 110015 Tel: 45536715/56 Email: mktg@venturaindia.com www.venturaindia.com

Pg. 1: Ebco 402-3, Hyde Park, Saki Vihar Road, Mumbai 400072 Tel: (022) 67837777 Fax: (022) 66920700 Email: info@ebco.in www.ebco.in

Pg. 3: Stellar 8-2-293/k/308, Main Road, Kamalapuri Colony, Jubilee Hills, Hyderabad 500073 Tel: (040) 66380007/66480007 Email: stellar@ptdstellar.com www.ptdstellar.com

Pg. 4: Uniply Platinum ATS Plywood Uniply Industrirs Ltd, #52, Harleys Road, Kilpauk, Chennai – 600010.

Tel : 044 – 26605995.

Pg. 6 : The Art Lounge Hodiwala Bhatehena & Co 3, J. Tata Road, HP Petrol Pump, Near Ritz Hotel, Churchgate, Mumbai 400020

Pg. 12 & 13: Faus Laminated Flooring MRJ Marketing Pvt. Ltd. 201, Shyam Kamal ‘C’ Bldg., Agarwal Market, Vile Parle (E), Mumbai – 400057.

Tel : (022) 26187132 / 26131442 Email: flooring@mrjgroup.in

Pg. 19: Durian Veneers 401, The Chambers, Western Express Highway, Vile Parle (E) Mumbai 400057 Tel : (022) 26269000 Email: info@durian.in www.durian.in

Pg. 25: Durian Home Furniture 401, The Chambers, Western Express Highway, Vile Parle (E) Mumbai 400057 Tel : (022) 26269000 Email: info@durian.in www.durian.in

Pg 7: Jalaram Agar Bazar S. K. Bole Road, Dadar (W), Mumbai 400028. Tel: (022) 24318444/555 9/b, k, Laxmi Ind. Estate, New Link Road, Versova, Andheri (W), Mumbai – 400053.

Tel : (022) 26327733 / 34

Pg. 10 & 11: Le Cdeor H No 8-2-293/82/A/1261, Road No. 36, Jubilee Hills, Hyderabad, AP 500033 Tel: (040) 2355 0868 Email: lecdeor.hyd@mrjgroup.in

Majitha Apartments, Near Irla Nursing Home, S. V. Road, Vile Parle (W), Mumbai - 400056 Tel: +91 22 2625 4771/72 T/F: 2625 4773 Email: rachh@vsnl.com, samirceramics@gmail.com, info@samirceramics.com www.samirceramics.com

Pg. 58 & 59: Kiara 6/7, Chheda Arcade, Khira Nagar, S. V. Road, Santacruz (W), Mumbai 400054 Tel: +91 22 66949187/88/89 Fax: 66949190 Email: info@kiara.in

Pg. 72 & 73: Travette Engineered

Pg. 44: Leonardo Arts Pvt. Ltd.

Hardwood Flooring MRJ Marketing Pvt. Ltd. 201, Shyam Kamal ‘C’ Bldg., Agarwal Market, Vile Parle (E), Mumbai – 400057.

Tel : (022) 26187132 / 26131442 Email: flooring@mrjgroup.in

B/18 A, Ghatkopar Industrial Estate, LBS Marg, Behind R – City, Ghatkopar (W), Mumbai – 400086.

Tel : 67969078 / 79

Pg. 86 & 87: FINfloor Laminated Flooring

Pg. 45: Surface Décor (India) Pvt. Ltd. Abdul Satar Lakdawala Compound, W. E. Highway, Besides TATA Motors, Jog-Vikroli Link Road, Jogeshwari (E), Mumbai 400060 Tel: 28362424 / 28242424

Pg. 46: Le Sutra 14, Union Park, Khar (W), Mumbai – 400052.

Tel : 91 22 32511447, 26492995/7 www.lesutra.in

Tel: 22878787 Email: theartlounge@live.com

Pg. 50 & 51: Samir Ceramics

Pg. 47: Heritage Decorative Laminates Deco Mica Pvt. Ltd. 306, 3rd Floor, Iscon Mall, Star Bazaar Bldg., Jodhpur Cross Road, Ahmedabad - 380 015

Pg. 48: RMR Marmo RMR Marmo (P) Ltd. D – 11, Rajouri Garden, New Delhi – 110027 Ph : +91 11 45131300 Karan Kinger : (M) 9311055003

Pg. 49: Uniply Elementz Decorative Veneers Uniply Industrirs Ltd, #52, Harleys Road, Kilpauk, Chennai – 600010.

Tel : 044 – 26605995.

MRJ Marketing Pvt. Ltd. 201, Shyam Kamal ‘C’ Bldg., Agarwal Market, Vile Parle (E), Mumbai – 400057.

Tel : (022) 26187132 / 26131442 Email: flooring@mrjgroup.in

Pg 110 & 111: Bright Outdoor Media Pvt. Ltd. 8th floor, Crescent Tower, Near Maurya House, New Link Road, Andheri (W), Mumbai 400053 Tel: (022) 67140000 Email: brightoutdoor@gmail.com www.brightoutdoor.com

I B C: Durian Office Furniture.

401, The Chambers, Western Express Highway, Vile Parle (E) Mumbai 400057 Tel : (022) 26269000 Email: info@durian.in www.durian.in

B C: Ultratech Paints & Textures F 213A/1, Lado Sarai, Old M. B. Road, New Delhi – 110030 Tel: (011) 46061549/50 Email: info@ultratechpaints.com www.ultratechpaints.com

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