November-December 2011 (Anniversary Issue)

DESIGN MATRIX • NOVEMBER-DECEMBER 2011

PEOPLE • LIFESTYLE • DESIGN • INTERIORS

November - December 2011 VOL. 2 • ISSUE 1 • `100

1 st

Hafeez

Contractor

ANNIVERSARY ISSUE

Sanjay

Puri

A Paprika Media presentation

Stalwarts who represent strength of conviction and forbearance A

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N G I S E D M A T R I X

Karan Jhunjhunwala Manohar Jhunjhunwala Babita Krishnan atrix.co babitakrishnan@designm

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S ’ R O T EDI N O T E

I

t‘s our first birthday and I’m glad to say that from baby steps we have moved on to walking confidently holding your hand. As Design Matrix completes one year, we look back at the tremendous learning curve that has been possible thanks to your encouragement, mentoring and critical appreciation, that has been guiding us with each issue.

Right guidance and mentoring is critical and imperative in shaping the outcome of any product, and Design Matrix is no different. To acknowledge this we decided to share with you one of the most successful yet probably the least known mentorpupil relationships – that between architects Hafeez Contractor and Sanjay Puri. As I come to completing a decade and a half in the industry, I look back and reminisce how architecture has become synonymous with Hafeez. Having known Sanjay as a friend during this period of time, understanding and following Hafeez’s professional accomplishments and larger-than-life persona, I was really looking forward to witness their interaction, especially since individually they spoke about each other with such warmth. The chemistry and affection they share is hard to describe in words – and I have to admit it was one of my most memorable mornings. To say that this is the most befitting “Anniversary Gift” won’t be wrong.

Each story in this issue reflects something special, diverse and enriching.

Whether it is the creative excellence in corporate design, architectural photography, designing books for children, paper art or The Aga Khan Foundation’s relentless pursuit to conserve architectural traditional craft, like their work in Humayun’s Tomb.

As we look forward to the various events waiting to unfold in our second year, beginning with the Design Matrix-Ultratech Paints Excellence Awards, our quest to be different and innovative continues. Keep coming back with views while we get ready for the birthday bash. Pictures and reports in the next issue. Till then happy reading and enjoy!

Season’s Greetings and a Happy New Year!

Babita Krishnan

Now follow us on www.facebook.com/DesignMatrixMagazine

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Grescasa Ad

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62

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20

121

• Cover featuring: Ar. Hafeez Contractor & Ar. Sanjay Puri • Photograph by: Prashant Bhat • Location: ITC Grand Central, Mumbai – a Luxury Collection hotel.

COVER STORY

RESTORATION

SET DESIGN

Unveiling the strong bond and warm vibes between architects Hafeez Contractor & Sanjay Puri Pg 20

The conservation & restoration of The Humayun’s Tomb is resurrecting some fastfading traditional skills while renewing architectural ties between regions Pg 70

The onus of a play’s success rests not only on the theme, acting and direction, but on the stage and ambiance created for it as well Pg 102

LANDSCAPE DESIGN

UNMASKING TALENT

Indoor landscaping can begin small via a salad garden in the confines of your home Pg 64

We visit Karen Bit Vajle’s Psaligraphy – the slow and painstakingly beautiful art of paper-cutting Pg 114

PERSONA DESIGN

PRODUCT LAUNCH

DESIGN PROMO Get your dream kitchen in 48 hours with Sleek Kitchen’s latest offering Pg 40

FUTURISTIC DESIGN Michael Brown of NAU Architects, Zurich perpetrates new design ideas for a globally mobile generation Pg 42

Deft artistic skills complete the daunting task of body sculpting Pg 80

All the news from the market this festive season Pg 121

LEGENDS Ar. Masud Taj relives his meeting with the legendary Ar. Hasan Fathy Pg 50

CORPORATE DESIGN Ar. Ninad Tipnis of JTCPL Designs on how to be dynamic & creative when designing for the corporate world. Pg 54

ARTY-TECHTURE

PHOTO FEATURE When not on the drawing board, Mujib Ahmed & Lalita Thadani of Collaborative Architects, follow a different creative pursuit Pg 88

MUSINGS We discover that creating books for children is no child’s play Pg 98

Origami throws up endless possibilities that can augment the practical world of design Pg 62 NOVEMBER-DECEMBER 2011 • DESIGN MATRIX 15

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M A T R I X

2011 September - October VOL. 1 • ISSUE 6 • `80

NTERIORS LE • DESIGN • I PEOPLE • LIFESTY

Reboni Saha „Sometimes a casual discussion could lead to brilliant designs‰

Dean DÊcruz „At Design Valley, we aim to create an alliance of creative minds for functional solutions‰

A

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Each issue, you have the chance to win a special gift courtesy

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

I loved the latest issue of Design Matrix very

Really loved the cover and the cover story, it

much and was really impressed by the team

came across as a very happy issue. What really

spirit and chemistry between Dean d’Cruz

caught my attention was the way you create

and Reboni Saha...when awesome people get

drama around a story visually, forcing the reader

together fantastic designs happen. I want to

to acknowledge each page and read it – espe-

wish the duo all the very best. I also liked the

cially the Tree House and Nils Ferber stories. The

feature Concrete Ideas, Green Design. As always,

magazine is truly a celebration of design.

the content is so well put together that it

Chanda Kalra,

keeps the reader engrossed. This is one design

Designer, New Delhi

magazine that impresses me with each issue and I’m happy to see it on my table. Way to go

I bought a copy of the magazine at the airport

Design Matrix team!

along with a few others on my way back from Bhavya Kenkare

Bangalore. Not only did I end up reading the

Architect, Mumbai

entire issue in one stretch, I even read a few

articles twice. The freshness of the magazine Shakespeare once said, “What’s in the name!”

is still intact as I don’t mind browsing through

I feel it is a paradox. Design Matrix – a perfect

it now and then a month after I had bought

name clearly redefining the magazine about

it. Hope you make it available in Dubai as well

– people, lifestyle, design and interiors. The

or else I have to wait for my next visit to India.

magazine is crisply combined with a perfect

Roshan Khatri,

flavour in each segment. It’s like a journey

Entrepreneur, Dubai

which every design lover would enjoy. I really liked the magazine. A special note that the

I was really happy to see a product designer on

photographs, paper quality, cover page and

the cover of the last issue. So many designers

not to forget the informative glossary and

in different fields go unrecognized, even if they

events are simply great. Eagerly awaiting the

are commercially successful, simply because

next issue. All the best!

they get no media attention. There is so much Ujwala Kumthekar,

more in the design world for you to explore.

Interior Designer, Mumbai

Wishing you the very best in your endeavours and looking forward to more diverse stories.

I think Design Matrix has beaten all national

Ramneek Singh Panesar,

magazines with its standard of content, pre-

Designer, Ludhiana

sentation and printing. Right from the way you design the covers and your uniqueness

I am avid fashion junkie and your story on eye-

in portraying the personalities, it makes for

wear trends really had me at hello. Kudos to

a wonderful read. All the best for the future

the Design Matrix for paying tribute to design

as well.

across genres.

Rupana Reddy Nellari,

Abner Malik,

Designer, Hyderabad

Student, New Delhi

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Cover story

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KARMIC CHAKRAS Words: Savitha Hira; Images: Prashant Bhat; Location: courtesy ITC Grand Central, Mumbai

That they are institutions in themselves is well known to those even remotely connected to the cityscape of India, but that architects Hafeez Contractor and Sanjay Puri share an unusually warm vibe is a little known fact.

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A

n aspiration impelled by self-initiative brings a classic example to mind: that of the legendary mythological Ekalavya, whose consummate skill was abruptly put

to shame through a disparaging guru-dakshina! Yet here was the perfect example of the guru-shishya parampara that is till date, well ingrained in the contemporary fabric, but so subtle that escapes the eye.

Applying the tenet to architecture brings to mind two very analogous entities – architects Hafeez Contractor & Sanjay Puri.

While Hafeez started absolutely raw with Ar. Khareghat, who initiated the young lad, uncertain of his career, into the dynamic field of architecture; Sanjay, too, began equally raw with Hafeez, but with a premeditated intent to be an architect. Both pledge their knowledge base to their respective gurus. “A lot that I know today, I have learnt from him” each of them recalls; both have tread a trailblazing path in the Indian architectural scenario; both are dynamic yet humble… amidst a host of so many other factors.

“I saw the dynamic streak in Sanjay from early on,” says Hafeez, “He had his originality and would very carefully make a suggestion, ‘can we do it this way or that?’ and yes he was good with his work and I readily encouraged him. He was also very well-behaved; quiet…I don’t think I ever shouted at him.”

“I remember after finishing my exams and having done with studies; when I went into the office, Hafeez immediately announced, “Arre, Sanjay is now an Associate,” recalls Sanjay, beaming even today at the memory. The pride in his eyes of having accomplished his dream is still alive and burning, as is the reverence for his mentor.

Between the two stalwarts, we discover the strength of conviction and forbearance as it bears the fruit of success, journeying through the milestones and the milieu …

Savitha Hira: You worked thirteen years with Mr Khareghat.

What was the most important lesson you learnt from him?

Hafeez Contractor: He is the one who introduced me to architecture. I was going to become an army officer; he told me to drop everything and join architecture. Everything I am today is thanks to Khareghat. In fact, I had no place to stay in Bombay, so he let me stay in his house, I used to eat with him and learn little things from him every day - how to curtail costs, how to be simple in life and about spirituality… I even learnt to speak in English from him! I feel whatever I am today, after my mother, he comes a close second.

SH: And Sanjay, you worked with Hafeez for nine-and-a-half years. What about you?

Sanjay Puri: Learnt a lot… but the most important thing I learnt was ‘closure’; to finish a thing immediately; not to keep anything pending, so one saves a lot of time going back and forth between projects. He also taught me how to close a deal; no ‘I’ll revert to you’ or ‘let me think about this’. It was always complete focus on the project at hand – that means all the why’s, what’s, 22 DESIGN MATRIX • NOVEMBER-DECEMBER 2011

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‘‘The most important thing I learnt from Hafeez was ‘closure’; to finish a thing immediately; not to keep anything pending, so one saves a lot of time going back and forth between projects.’’

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how’s, when’s – at a given time and a closure of design and deal.

This is part of the reason that you can do more work.

SH: Did you see any qualities in Sanjay that were a reflection of yourself?

HC: From early on, he was very polite, well behaved, and hardworking. Very good at his design and a good contributor. Very promising. I was also like that – very creatively inclined and I never bothered about the money; but I do hope you are taking care of these things and not making the same mistake I did – of realizing the value for money a little late in life. (Laughs) SH: How do you find the time to do everything? How much of design do you work on yourself?

HC: Sometimes it is 70 per cent, sometimes 60 or 45 per cent, but my percentage is always there.

SP: Of course, I don’t do the working drawings myself. But I devote my mornings to designing.

SH: What are your other interests?

HC: Work is my interest. From childhood, I have been designing things. It was my pastime – it became my profession. I read, listen to music, I used to do a lot of photography, but I think all of that is part and parcel of architecture. For me, the best thing to do is devote a lot of time to work.

SP: Nothing comes a close second…

SH: Apart from work?

SP: It isn’t work, it’s my passion. There is no work happening.

SH: Alright, apart from designing, what else do you do?

SP: When I was working with him (Hafeez), he once asked me what I did on Sundays; and I said watch movies … and he had said, “Forget all that; go and look at the construction sites around your residence… Observe, ask questions and if you don’t understand anything, come and ask me. In those days, I knew almost everything about every construction site in South Mumbai! That grew into an interest and now I love seeing interesting buildings, places…

SH: What about your painting?

SP: Painting doesn’t give me that kind of satisfaction anymore.

It, after all, is just a picture within a boundary that may elicit a ‘wow’ but doesn’t do anything to your behaviour, or senses… architecture does that; goes way beyond; because you’re creating spaces that are exciting, where somebody is interacting with so many aspects of what you’ve created. I’ve painted a lot; sketched a lot. But it doesn’t give you the high that designing does. It’s a totally different high putting everything together to arrive at a final structure; yet another high watching it being executed; seeing it complete is again a high…

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SH: And getting the award is…

SP: Yet another high! (Smiles)

SP: What I need to better is my team where the overall output is better in terms of quality. When I was working with him, I was in the know of all the projects irrespective of what was given to me.

SH: What do you feel about the way Sanjay designs? Especially his award-winning spree of late?

HC: He is doing good work. Regarding awards, I would say no award comes for a single design. It is a cumulative effort of many

This kind of enthusiasm and wanting to be aware of everything that is happening around you is grossly missing in the present times and I need to motivate my team towards this. You know you are here for the journey…so then learn.

things that have gone into making that design. Many factors contribute and then the project is worthy of the award.

SH: What would you say are your strengths and weaknesses as you see them?

SH: You must be facing criticism too. How do you take that?

HC: My strength is that I have concentrated on only one subject

HC: If I am honest about my work and I believe in it, then let the

– that is architecture. On the other hand, it is also my weakness. It is

criticism come. Many times, people are not capable enough and

taking up a lot of my time.

so criticize when someone else does it. When somebody can cook

SP: Strength is the ability to design fast in a contextual way and

one cuisine and not another, he says that he does not like it. Maybe

evolve; and weakness is that I haven’t got down to motivating my

he has not learnt how to do that. As architects, we are in a service-

office enough. I keep doing it on a one-to-one basis but to collec-

oriented field. One does not have to impose oneself on others. One

tively be able to gear them up… (shrugs)

has to serve the others. That is the basic difference between me and other architects. Other architects say that they are great and they show to the world what they want. I don’t think like that. I think that on certain areas like corporate jobs, we can put our foot forward and provide a design as per our sensibilities, but for housing, you have to do what the people are happy with.

SH: Any particular attribute you would say is your key to success?

HC: There is no substitute for hard work; even brilliance will not pay by itself.

SP: Luck to a certain extent… Ideas have always been there.

SP: Criticism is good. It is welcome. Most of the time you are

There are so many projects that I have conceived and designed for

own critic; it comes from within. So either you are changing things,

years and some projects that were designed long back got built

evolving or starting from scratch again… And whatever somebody

many years later due to various reasons; now those very projects

tells you stays within. You may say it doesn’t affect you, but it is

are being appreciated.

there…

SH: Was there any project where the two of you have been SH: Anything specific to better yourself?

HC: We learn from somebody else. We innovate. Demand and supply are the most important things. That is what keeps you going.

pitted together, against each other?

HC: (Thinks) Not that I can remember…

SP: Not just the two of us but the two of us amidst 4-5 others…

The demand is always right and what the market says is the most important thing. That’s it. So, if you are not sensitive to the market,

SH: So who took the project, you or he?

and you don’t listen to your clients, then you won’t be in the market.

SP: Feroz Kudienwala took it! (They laugh)

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“As architects, we are in a service-oriented field. One does not have to impose oneself on others. One has to serve the others” SH: What is next?

HC: I want to work towards affordable housing for every Mumbaikar. The problem is that our politicians are not architects and ….

SP: I want to do more, much more… mega projects...ground-breaking ones.

Ask them about similar ‘disciples’ that they may have come across and the answer is a sombre ‘not really’. Times have changed, consequently so have circumstantial solutions. Yet, the inherent character traits of an individual do not change; they adapt. As Hafeez puts it, Kharegat did not instruct him to imbibe the way he did; and nor did he do that with Sanjay. It is up to an individual to respond to the wealth in front of him; how much and what parts of it he can hold, and how much he can let slip through. Like a sponge, soaking in as much as possible, but squeezing out in proportion to the pressure applied.

Both are believers of destiny - the ultimate force to reckon with… the rest as we see here, is history-in-themaking

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Sanjay publicly thanked Hafeez for all that he had learnt fom him when they were both voted among the ‘Top 10 Architects of India’. Hafeez responded, “I wish someday someone who has learned with you says the same to you, then you will experience what I am experiencing now.”

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HAFEEZ CONTRACTOR

T

here is so much to do, says Hafeez, talking about his work, that he feels is no work at all, but a way of life. “One doesn’t have to feel that one is successful and one has to keep on

working. The day you feel that you are successful is the day of your downfall,” he emphasizes.

Amidst handling vast projects that run into several thousand square feet, and necessitate multi-design options, the project closest to his heart is that of his social responsibility. That every Mumbaikar should have a home has been his long awaited dream. “I am no Archarya Vinobha Bhave or Anna Hazare that I will fast and lead marches; I am an ordinary man and believe in a balanced diet,” he explains. So despite globetrotting with projects, he poignantly questions the sorry state of housing in the country, “With the current rate of inflation, how are our people going to find housing for themselves?” With a categorical mathematical calculation, he goes on to explain a bleak housing future and expresses his desire to make a difference by positively influencing the policy makers.

“Every Mumbaikar should be able to have his own house at an affordable price,” he muses.

Influencing the architectural fabric of the country is a given with Ar. Hafeez Contractor. His name is synonymous with Mumbai’s Hiranandani township at Powai, Delhi’s DLF corporate park among others, which are distinctive landmarks and bear his indelible stamp. His has been a path-breaking journey, where he has become the ‘architect of the masses’ lending a sympathetic ear to builders’ woes whilst chiselling his design responses in tandem with peoples’ preferences. His designs and approach have evoked admiration and applause; likewise, blasphemous comments and controversies. His repertoire has changed with the times and Hafeez Contractor Associates has moved on to respond to the current rise of organic forms that conform to global iconic architecture.

Dynamic as a livewire, one spots the genius behind the staid impresario as he commands a coterie of young architects and clients, effortlessly switching from project to project, answering queries while redrafting layouts; simultaneously, politely promising to call back in a brief telecon and yelling for his tea… all in the same breath.

But that is the way it has always been with Hafeez. While his four-member office grew from a few hundred square feet to a massive multi-level buzz of design activity, his white-shirt demeanour has grown in the stature of his command of the subject and the business. Not every architect is a businessman but like M F Husain in the field of fine art, Hafeez has shown a marked affinity for the moolah, albeit a trifle late in his career. He recalls a conversation he once overheard between his clients, who seemed to think that he was a fool just because he craved creative satisfaction; that was a changing point in his career. Hafeez then began to comprehend that no matter what lay underneath, the facia had to glitter – that moolah when translated, meant success

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SANJAY PURI

T

hat lessons began in the cradle, so to speak, for him, is an understatement. Whilst Sanjay was just out of 12th grade, his fascination with being an architect led him to perform just

about any job that was given to him at Hafeez’s office. In fact, as the junior-most staffer, Sanjay was initially given all the ‘tedious’ work of correcting layouts, etc., which he would accomplish by working extra-hours into the night so that he was ready for a new assignment the next morning. Such enthusiasm, he reminisces, is grossly missing in the present day.

Watching and working with Hafeez was a complete eye-opener, he recalls. From day one when he was asked to read W B Mackay’s construction book and within five minutes of opening and glancing at it, he was learning to trace a drawing, assimilating simple tenets of sticking paper to drawing board and drawing lines. Then came the site visits, and loads of observation that was directed by Hafeez and religiously followed by Sanjay.

“It was one experience after another,” Sanjay recalls, “Hafeez taught me everything. The way a lot of architects could not have got it after getting qualified also.” Sanjay was a fast learner and Hafeez recognized the genius in the boy and encouraged him selflessly; instilling in him a strong quotient of self-confidence. A confidence that has precariously bordered on thinking futuristically and staying grounded, all at once.

The spate of recognition in terms of 54 national and 16 international awards has brought Sanjay closer to global influences in a manner of actually experiencing different places, trajectories and environments. The young architect is naturally on a high and raring to accomplish many more out-of-box projects that will pit his wit and his design sense against the given programmes, taking the man to newer levels of design evolution.

His fluid forms, almost sculptural of late, where the emphasis is always dictated by function, when examined under the fantastic visual overtures, are carefully meditated programmes in design and aesthetic sensibilities. Here is an architect who is waiting to push the envelope, evolving one winning schematic after another

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40 DESIGN MATRIX • NOVEMBER-DECEMBER 2011

Design Matrix_Nov-Dec11.indb 40

10/31/2011 4:45:47 PM

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NOVEMBER-DECEMBER 2011 • DESIGN MATRIX 41

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Futuristic ideas

LEAP

FORWARD Words: Savitha Hira; Images: courtesy NAU

In a globally mobile generation, one arm of design appropriates some serious contemplation into creations that express not only mobility, but new ideas of ownership/sharing and impermanent living.

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THE LIVING ROOF is conceived as individual suites of an urban rooftop hospitality getaway – airlifted into most sought-after locations, condensing daily needs into a compact and self-sustaining capsule. The ultra-insulated shell and regenerative systems are equipped with a functional ring that vertically combines sleep, lounge and work areas, and rotates the desired module downwards, into operation. Integrated photovoltaic cells make it one of the world’s greenest structures.

Design Matrix_Nov-Dec11.indb 44

10/31/2011 4:49:20 PM

ECCO: Automobiles are as much about freedom as passion reinstates Ecco, compact, stylish and aerodynamic; associated with luxury, performance and safety. Riding closer to the ground, this designclassic camper is an all-electric vehicle with no emissions of its own; it can be quickly charged at a standard 240V station or its built-in photovoltaic panels and solar sail roof can charge directly from the sun.

The exterior is a harmonious blend of precision aluminium and glass; its direct and sculptural form provides a vastly improved interior volume, wonderful sight-lines for passengers, and less wind resistance.

I

ized that architecture had little to do with

to seek out new, extreme experiences

in our dreams. Instead, it should transport

Aspria Hotel, a refurbished industrial build-

and not be tethered to the things that they

people to different corners of the world,

ing in Berlin. Three floors of an innovative

own,” muses Michael Brown, partner NAU,

with gourmet food, beauty treatments,

series of calming, highly modern spaces

a multidisciplinary collective of designers

climbing walls, and bungee jumping along

that blend harmonious lines, soft colours

in Zurich. NAU’s design interests embody

the way; it needed to have that level of vital-

and modern materials, the hotel has guests

the full range of diverse projects, where

ity, and that’s how we eventually came to

enter their room to view a panoramic win-

built architecture and interior projects

the solution of a lifestyle zeppelin.” And so

dow and a tailor-made pedestal bed float-

coexist with fully-digital designs for films

were born ideas like the Immersive Cocoon,

ing in the middle of the space. The bed

and commercials. With an eye on a future

which was conceptualized when CNN asked

unit conceals the wardrobe and minibar,

perceived as mobile, lightweight, and self-

Michael to contribute to their “Just Imagine”

and integrates reading lights and storage

sustaining, they have perpetuated a service

series with an idea on what the future of

niches. Nearly 3.5m overhead, the original

simply called ‘Future Design Series’ (FDS).

video games would look like. Designs like

ribbed concrete structure is visible, with a

Started almost accidentally with the first

the Ecco and Living Roof lie in this grey area

portion of the ceiling sloping down to pres-

project, which became the Stratocruiser, for

between product, architecture, and vehicle

ent a flat-screen television to guests in bed.

a book on ‘dream’ architecture, the series

design, and were born primarily because

View angles are calibrated to allow them

now has 5-6 concepts in the offing, ready

NAU had stories to tell about how people

to watch a film while sitting or lying flat in

for take-off.

could live in the future, and so on…

bed, while gazing out along the tree tops.

think many people are looking for ways to

sharper tool in their design thinking, NAU

increase their flexibility to see the world,

bricks and buildings that just sit around

has even perpetrated one of the ideas – The

Michael explains, “The series came

With research being an integral compo-

Carefully selected furnishings from Vitra

about when, once deliberating, we real-

nent of their regular practice and an even

appoint the room, and a custom-built desk

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IMMERSIVE COCOON : What began

along the window leans downward to form

intended to be completely assembled in

as a vision for the “future of gaming,”

a window seat.

factories before delivery to the consumer.

grew into a virtual world, where we

The premise of FDS is to imagine how

This ensures that size and weight are kept

physically communicate with digital, or

life might develop 10 years from now. So

at a minimum to allow transportation in

virtual space. This seemed to open up

most of the products are not invented

one piece.

possibilities that were not only for video

out of thin air, but are grounded in exist-

Elaborating on these defining factors

games, but a whole range of activities.

ing technologies that are combined in

of portability, modularity and a high coef-

This 4m sphere provides the gateway to

new ways. Intended on the one hand as a

ficient of aesthetics, Michael says, “I think

these worlds with a 360° interior dome-

provocation to a like-minded investor who

that society and our ideas of wealth and

display and sophisticated motion-sens-

may want to make them a reality, FDS also

accumulation are starting to shift. We are

ing software. Suddenly ‘virtual’ space

serves as a vessel to capture ideas that can

moving away from a model of “ownership”

surrounds the user in built form; naviga-

later inform some viable projects. With this

towards one of “access.” Wealth and status

tion is accomplished using simple hand

vision of a future, where luxury is intimately

will always involve some level of accumu-

gestures and intuitive body movements.

intertwined with ecology, NAU proposes

lation of exclusive goods; but for most of

The applications are nearly endless.

that the concepts make heavy use of car-

us, experiences matter more than objects.

bon fibre from the automotive industry for

We don’t need to go out and buy DVDs; we

the exterior, and fibre glass panelling and

can stream them when we want to from

leather for the interiors, keeping the materi-

Netflix.”

als lightweight to enable the structures to

And what is the response to this aspect

be air-lifted. Also, most of the designs are

of futuristic vision that the collaborative

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STRATOCRUISER: The modern world and transportation in particular, is getting faster and cheaper, but more stressful in the process. Contracted as a study for future travel, the Stratocruiser proposes mini-cruises – with gourmet dinners, spa treatments et al whilst overlooking glaciers, tropical jungles or Mayan ruins.

With its carbon-fibre skin, sectional helium chamber design and photovoltaic cells, the Stratocruiser’s construction brings new levels of safety, speed and ecology to travel. Its “doughnut hole” atrium reinvents the zeppelin concept with a sky lounge on top, the earthward viewing restaurant on the underside and a recreational climbing wall in between.

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DOUBLE HORIZON CINEMA: Recalling the Bohemian cinemas of the 1920s, Double

speaks of? “Well,” laughs Michael, “We’ve

Horizon Cinema combines Kubrick’s futuristic vision with a rich décor. With cutting-edge

had a rather wide range of responses. Per-

technology and deluxe comfort, it creates a new mélange of bar, restaurant and the-

haps the most extreme example is the

atre. Conceived as a transportable structure, the core services are located in a modular

Immersive Cocoon. We were contacted by

podium. The spectacular roof and auditorium are made of a dual-layer pneumatic skin

real estate barons, who wanted to be able to

reinforced with light steel structure. Hosting film premieres and special screenings, the

walk their clients virtually through a proper-

cinema can be erected quickly by crane on urban rooftops or tranquil natural settings.

ty half a world away. Educators were looking to use a simplified version of the Cocoon as an interactive learning device. They were

ABOUT THE FIRM:

attracted to the idea of being able to take

NAU is an international, multidisciplinary design firm, spanning the spectrum from archi-

their classes through a virtual field trip

tecture and interior design to exhibitions and interactive interfaces with offices in Zurich,

through a recreated Pompeii, for example.

Berlin, and Los Angeles. As futurists creating both visual design and constructed projects,

At the other end of the spectrum, we were

NAU melds the precision of experienced builders with the imagination and attention-to-

contacted by the military, who I’m guess-

detail required to create innovative exhibits, public events and architecture. Distilled in

ing wanted to use the Cocoon as a training

clear, contemporary forms, the designs of NAU promote modern, flexible solutions that

device for their troops. The possibilities are

engage and welcome.

sometimes frighteningly broad” NOVEMBER-DECEMBER 2011 • DESIGN MATRIX 49

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Legends

Noted poet, academician and architect H. Masud Taj reminisces the time spent with Hassan Fathy (1900–1989), the noted Egyptian architect who pioneered appropriate technology for building in Egypt, especially by working to re-establish the use of mud brick (or adobe) and traditional as opposed to western building designs and lay-outs. Fathy was recognized with the Aga Khan Award for Architecture Chairman’s Award in 1980.

THE VISIONARY

Words: H. Masud Taj THE CORD

on my schedule, I decided on impulse to

A flight of wide stone steps. Through the

visit it. I pull the cord again. Perhaps he isn’t

ages its centre has flattened into a ramp. By

at home but I decide to linger awhile. There is

the side, an ancient structure, the colour of

a serenity about this courtyard which I want

sand, and ahead in the hazy heights, the cita-

to soak in before facing the Cairo outside —

del touching the sky. Turning left into a short

chaotic, dusty, exuberant, abounding with

lane, dusty and unpaved — urchins playing

life and people. I pick up a piece of paper and

about in the nine o’clock heat. A little further,

address it to Fathy. I am a student in search of

a massive wooden door. There is no knocker

Architecture, I’m here for two days and will be

or bell so I push and it opens rather smoothly.

leaving tomorrow evening... I am engrossed in

It is dark and cool. My eyes adjust; I am in a

writing and look up to find him next to me. I

courtyard a Thousand and One Arabian Nights

greet him in Arabic and spontaneously hand

in its details. I call out the name of Hassan

over the note. He smiles. Although nearing

Fathy; no one answers. There is an earthen

eighty there is a childlike innocence about

pot in the centre and a low arch opposite.

him. Immaculately dressed in earthy browns,

Through it I emerge into another courtyard,

it is his eyes that impress — dreamy and very

cooler and less dark. By a stairway sways a slim

expressive. I was wrong about leaving the

white cord. I pull. Somewhere above a tinkling

next evening, I stayed for a month.

sound.

Design Matrix_Nov-Dec11.indb 50

Bells, I had heard them all through my

THE MUSICALITY

travels. In the remote islands of Yugoslavia at

The Garden City is a modern zone in

the stroke of every hour; the electrically-con-

Cairo. On the map it appears like a tangled

trolled bells in Ronchamp, France; low octave

mass of rope that some town-planner forgot

ones round the neck of Swiss cows, and the

to pick up. Once inside you lose all sense of

usually out-of-tune Big Ben. I pull again, and

direction, Fathy and I are heading for the Arab

again the delicious sound.

League’s Headquarters. What a mess, he tells

Yesterday I was in Athens, in the library

me. These streets, like the car, are ambigu-

of Doxiadis leafing through magazines and

ous — you can hardly tell the front from the

papers. I came across an article on bricks. It

rear For town-planning, look at the trees. See

was simple and refreshing. The author was

how the main trunk flows into branches twigs

Hassan Fathy. I got his address from the librar-

stems and veins of the leaf — there is hierar-

ian, it was in Cairo. Although Egypt was not

chy and you know where you are. He pauses.

10/31/2011 4:52:13 PM

Academic training is nonsense, schools turn

we would be strolling through breezy lanes

from a particular standpoint and in doing so

out student machines with no imagination.

and trees instead of being confined in a

imposes its own order. Things appear big or

It took me ten years to purge myself of it, he

machine for three hours.

small, important or trivial depending on the

says. Again the leaf, before it joins the twig

The house, like all Fathy’s houses, is

relative position of the viewer. It is subjective.

there is the stem — the stem is the transition;

remarkably cool. The mud-brick dome is

The miniature painting on the other hand is

like the musician who moves from the mode

pierced with round holes that have coloured

‘realist’ in the sense that it strives to capture

to the melody — there is a system of connec-

glass panes. When I climb to the top of the

the essence of things and not merely their

tion. In fact I’m trying to introduce musicality

dome, I find them to be merely coloured glass

appearances.

in the teaching of town-planning in schools. A

bowls that were fixed inverted, covering the

A week later Fathy gives me the keys to his

music composition has more to do with mel-

holes. I had seen them being sold in plenty

house in Gourna, where I stay for some time

odies than with scales; likewise, architecture is

by the street side, in Cairo’s crowded bazaars.

before moving in deeper into the Valley of the

more to do with space than with shape — it is

From dusty pavements to the top of the

Dead. There I come across the ramped Tem-

the space between the walls and not the walls

dome — such transformations are character-

ple of Deir D Bahri with a backdrop of a sheer

themselves.

istic of Fathy’s style. The interior of the house

rise of limestone mountains and the intense

Music is important to Fathy; someone

is bare. Fathy is asking the caretaker what has

blue sky above. In its colonnade I notice a

told me that he is an able violinist. In the first

happened to all the curtains, tapestries and

bas-relief. It shows Queen Hatsheput’s ship as

few days he said he had difficulty getting

carpets. The man gives evasive answers — it

viewed from the side with a row of oarsmen

accustomed to the musicality of my voice — I

is clear that he is behind it all, but Fathy does

dipping their oars in the water which with its

suppose he meant my accent. One night, after

not accuse, only his eyes show his surprise. He

variety of fish swimming in it all shown as if

dinner Fathy put a Brahms on the stereo. The

is hurt. And so it has been throughout his life.

viewed from above. Both viewpoints in the

western classical was not out of place in the

If it is not the officialdom, it is the petty thief.

same continuous scene...

Arab setting. He then sat down and contin-

When we leave, Fathy asks me what I think of

ued to work on a township he was planning

the house. I tell him also saying that it needed

around the oasis of El Kharga. He worked late

looking after. And yet noble, he adds. When

It is one of my last meetings with Fathy,

into the night. I watched. I began to under-

we reach the road, a short distance away, I

and he is rather silent the sun begins to set.

stand through his drawing what I had been

can no longer see the house. It is hidden by

Come, he says, I shall show you my piece

unable to grasp in his words.

a dune.

of sky. The sight from his terrace is stun-

THE TWILIGHT

ning. The house is at a height and we stand THE GLASS BOWL

THE NICHE

level with the top of the gigantic ancient

We speed towards the ancient city of

Fathy’s diet is ascetic but he dines like a

mosques. The sun’s rays are bursting from

Alexandria In a black six-seater, Fathy has

king. The cutlery is a good example of Turkish

behind a minaret. The Earth must meet the

designed a house there, which I think he par-

silver craftsmanship. The translucent dishes

Sky, he says, the body with the soul. Look at

ticularly likes. Perhaps that is why he wants

and bowls, I think, are Alexandrian. Chicken

the castings running upon the length of the

me to see it. We pass a factory, a concrete box

broth with bread-sticks, followed by sweet-

wall. The shape of their Earth-mass is a rep-

squatting uneasily in the desert sand. Fathy

ened guavas and a red sherbet from Sudan

lica of the shape of the sky-void between

looks away — he does not like what he sees,

made of dried petals. We eat in silence, his cat

them. The shape itself is that of a trl-foll lily

and I understand. There were certain areas,

Mish-mish at our feet. In the wall behind him

(‘brides of the sky’ the Arabs call them). With

however, where I tended to disagree with his

is a niche with a lamp. The niche is covered by

the cresting, the contact is made on an indi-

viewpoint. To give an instance, there are many

a hinged traditional wooden screen (mushra-

vidual level, with the minaret, it is on a com-

structures in the West which I have seen and

beya) which diffuses the light. When he needs

munity level. The sky was now a spreading

for which I have regard. I like Corbusier’s Ron-

more light he simply opens the screen. Next

red, the silhouette of the mosques and

champ Chapel very much and he does not.

to it is one of Fathy’s miniature paintings. My

minarets stood defined dark and powerful.

Fathy also feels strongly about the car. The

eyes are on it while I eat. I find it puzzling. It

See how the minaret accelerates your vision

man behind the wheel, he says, is reduced to

shows a dome and vaulted building as seen

upwards. It is divided into sections that

a mechanist being. But, I interrupted, were it

from the front, and yet the courtyard of the

rhythmically shorten the higher you go, like

not for the car it would have been impossible

same building is as if viewed from the top.

an accelerando, in music. And the sections

for us to go all the way to Alexandria to see a

Both viewpoints in the same scene. Is that

keep getting narrower and their shapes

house you’ve designed, and return the same

building in plan or elevation, I ask Fathy. He

also change — from square to octagonal to

day. Not so, he smiles. In that case, the house

does not like my question. That is irrelevant, he

cylindrical, adding to the acceleration. Fathy

would never have been that far, it would be

says. Through subsequent discussions I began

talked on till twilight merged into darkness

within a radius of half a day’s walk and then

to understand. A perspective views the world

and the stars gathered their intensity

NOVEMBER-DECEMBER 2011 • DESIGN MATRIX 51

Design Matrix_Nov-Dec11.indb 51

10/31/2011 4:52:25 PM

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Sanitation: 2320082; HARYANA: Gurgaon :- Aggarwal Paints & Hardware: 01244146332; Chawla Sanitation & Hardware: 0124-2330379; Bath and Light, DLF City Court: 0124-4307844; Kurukshetra:- Bathwell: 9896455582; KERALA: Aleppy:- SISCO, Kayamkulam: 0479-2445002; Madhuranshardwares Paints, Cherthala: 0478 -2820261; Royal Sanitary House, Aleppy: 0477-2264147; Somanadan Nair & Brothers, Harippad: 0479-2412215; Calicut:- Bright Electricals, Balussery: 0496-264489; Inter Dec, Vadakara: 0495 2526088: Kairali Traders, Mukkam: 0495 2295430; Mansoor Tile Centre, Nadapuram: 0496-2556212; Poonoor Traders, Poonoor: 0494-2222060; Power Traders, Kuttiyadi: 0496-2599739; Thomarakattil Tiles Gallary, Thiruvambady: 0495 2252128; Eranakulam:- Balak Traders, North Paravoor: 0484-2442129; Bissco Tiles & Sanitaries, Athani: 0484-2474099; Fancy Granite & Ceramics, Mulanthuruthi: 0484-3255068; Gem Light, Kalamasserry: 0484 3128088; Kay Bee Agencies, Vennala: 0484 2807236; K M Marketing, Aluva: 0484-2620828; Matha Agencies, Muvattupuzha: 0485-2831849; Matha Enterprises, Kothamangalam: 0485-2862605; Orient Corporation, Palarivattom: 0484 2341674; Thadikulangara Agencies, Perumbavoor: 0484-2525934; Idukki:Mundamattom Traders, Kumaly: 0486-9222557; Mareena Enterprices, Thodupuzha: 0486-2222451; Kannur:- AV Electricals, Panoor: 9846701240; Classic Tiles, Pallikkunnu: 0497-2747227; Kattumadam Hardwares, Peravoor: 0490-2444909; Kattumadam Tiles & Sanitary, Kuthuparambu: 0490-2380293; Masco Tile Park, Thaliparambu: 0460-2203203; M K Associates, Iritty: 0490-2494799; Nel-Tech, Thalassery: 9995529445; Pipe Land, Thalassery: 0490-2321093; Power N Shower, Kannur: 0497-2769166; Tile Zone, Payyannur: 0498-5229799; Zonic, Thalassery: 0490-2344402; Kasargod:- Euro India Sales Corporation, Kanhangad: 0467-2217477; Krishna Trading Company, Kasargod: 04994-230535; Mihraj Electricals, Nileashwaram: 0467-2282648; Kollam:- Nas Trading Company, Karunagapally: 0476 2625595; Karthika Agency, Pathanapuram: 0475-2352772; Thottukadavil Traders, Punalur: 0475-3264358; Kottayam:- Philips Electricals, Kaduthuruthy: 04829-283603; Mahe:- Pee Pee Traders, Chokli: 0490-2338904; Malappuram:- Asian Tiles & Sanitary, Perintalmanna: 04933-225739; Builders Field, Tirur: 0494-2423865; Ceramic World, Parappanangadi: 0494-3225150; Classic Tiles, Kottakkal: 0483-2747890; Hafco Tiles, Kottakkal: 0483-2751346; Johnson Ceramic Centre, Malappuram: 0483-2736762; NC Electricals, Puthanathani: 0494-2544782; Nadakavil Agencies, Puthanathani: 0494-2549152; Zenith Sanitations, Nilambur: 04931-220794; Palakkadu:- S & S Enterprices, Pattambi: 2212882; Clifton Sanitary, Kunnathurmadu: 0491-2540595; Pathanamthitta:- Panavelil Hardwares, Ranni: 04735-226250; Thrissur:- Asian Sanitary, Chavakkad: 0487-3291756; Atlas Sanitary, Kallettumkara: 0480-2881228; Classic Sanitary, Irinjalakkuda: 0480-2820885; Home Style, Kodungallur: 0480-2854256; Mannamthara Tiles House, Kodungalloor: 0480-2804439; Navaratna Tiles & Sanitaries, Mathilakam: 9846758489; Nova Collections, Choondal: 0485-242167; Paul & Sons, Ashtamichira: 984758426, Top Star Agencies, Kunnamkulam: 04885-224224; Trivandrum:- Ananthapuri Sanitiations, Trivandrum: 0471-2350921; Amsam Marbles, Trivandrum: 9846300011; A S N Enterprices, Nedumangadu: 0472 2801982; Bhavanam Enterprises, Chalai: 0471-2570498; Devi Agencies, Kanjirampara-tvm: 9387223838; Modern Agencies, Sasthamangalam: 0471-3018245; Naveen Enterprices, Kattakada: 0471-2290872; Nisha Agencies, Neyyattinkara: 0471-2224157; Padmanabha Agencies, Sasthamangalam: 0471-2312474; Royal Bath, Trivandrum: 0471-6578245; Senthil Enterprices, Muthada: 0471-2640401; S M Stores, Kaniyapuram: 0471-2750371; Sree Venkideswara, Valiyabala: 0471-2470779; United Traders, Vattiyoorkavu: 0471-2361546; Veenus, Attingal: 0470-2825831; Wayanad:- Punnackapallil Associates, Pulpally: 9447350347; Royal Sanitary, Mananthavady: 04935 243151; MAHARASHTRA: Mumbai: Style N Tile, Mira Road: 9820299266; Victor Ceramics , Borivali ( West): 28921106; M.R.Ceramics, Borivali (west): 28998267; Shree Shanti Enterprises, Borivali ( East): 28065943; Om Ceramics , Borivali( East): 28619466; Abha Ceramics, Kandivali ( West): 28637158; Vaibhav Metal & Hardware, Kandivali (west): 65936507; Delux Enterprises , Goregaon ( East): 26864453; The Bath Antique , Vile Parle ( West): 26129080; Cute Ceramics , Khar (west): 26054352; Ayesha Ceramics , Andheri ( West): 9820007383 PUNJAB: Ludhiana :- Rajkamal Marbles: 09216182821; Aman Supreme trading company: 0161-2760043; Gupta sanitations: 0161- 2410410; Amritsar :Shri Vaishno Pipe House: 0183-2212717; Kala Sanghian :- Krishna sanitations: 01822-230706; Khanna:- Dhand Sanitary Store; 01628-508806; Kapurthala:- Pammi Marble House: 01822-236038; RAJASTHAN: Jaipur :- Nector Overseas: 01412391841; Krishna Bath Collection: 9828154674; Om Manglam: 9829017628; Mangal Sales Corporation: 9829017629; Jodhpur :- Soni & Co: 0291-2431270; Udaipur :- Guru Nanak Sanitary Store: 0294-2522463; Good Will Enterprises: 9413318597; Beawar :- Radhey Krishnam: 9829071131; Jaisalmer :- Rathi & Co.: 0299-2254301; Ajmer :- Shree Nath Trading Company: 9829073098; Alwar :- Sangam Saint.: 9414016709; Balotra :- Marudhar Tiles: 9413524172; Hanumaan Garh :- J. K. traders: 9414093921; Sikar :- Unik Tiles, : 9783900947; Kishangarh :- Chordia Agencies: 9414213076; Fatehpur:- House Care: 230046; Bhilwara:- Sanitary House: 9414115282; Chittorgarh:- Maheshwari Sanitaryware: 9413047897; Bikaner:- Balaji Pipes: 9413013356; Shree Ganga Nagar:- Vikas Marble: 9414087130; UTTAR PRADESH: Noida :- Krishna Sanitation: 0120-3268817; Shri Krishna Traders: 9899588440; Ghaziabad:- Cement Syndicate: 09310020962; Radheysham Marble & Suppliers: 9313411340; Mathura :- Hindustan Tiles & Sanitary: 0565-2412122; Kanpur :- Sonu Ceramics: 0512-3294225; Adresh Sales: 0512-2584467; Lucky Sanitary & Tiles: 0512-3246201; Kapoor Sanitary & Hardware Store: 0512-3946289; Jaiswal Tiles & Sanitaryware: 9307686667; Lucknow :- Vishal Enterprises: 0522-2624501; Om Sai Interprises: 9415211115; Anuj Sanitary & Tiles: 0522-4025092; Jai Maa Bhagwati Sanitary & Hardware: 9236015727; Aashirwad Sanitary & Tiles: 0522-3250106; Moradabad :- CSS Enterprises: 9319053141; Muzzafar Nagar :- Dharmdev Tank Agency: 9412711458; Hapur :- Hapur Sanitary Store: 0112-2335515; Aligarh:- R S Sanitary; 0571-2525108; Saharanpur:- Super Traders: 9837262460; Behari:- Rakesh Trading Co.: 9259101264; Badaun:- Ram Asharay Lal & Sons: 9219563174; Bareily:- Ram Murtilal Jamindaar: 9259451265; Bhadhoi:- Sanitary Palace: 9838554808; Mirzapur:- Bharat Trading Co.: 9415232912; Gorakhpur:- Deepak & Brothers: 9451958814; Agra:- Bhavan Adhar: 9837040141; Leelavati Sharma: 9359327225; Agra Hardware & Tool Enterprises: 9319102282; UTTARAKHAND: Haridwar :- MaheshwariTraders: 01334-260302; Hardwar Sanitary Store: 9837083392; Dehradun :- Chandan Marbles: 0135-2625035; Manohar Lal & Sons: 0135-2787231; Kichha:- Mangha Ram Harish Chandra: 9837044226; Haldwani:- Shree Shyam Marble: 9359130442; Rudrapur:- Adlakha Bath Assets: 9837415757; Bajpur:- Ganpati Enterprises: 9412123228; Kashipur:- Shree Traders: 9897084560

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Corporate design

A DISCIPLINED

APPROACH Words: Babita Krishnan; Images: Prashant Bhat

A designer’s responsibility lies primarily in giving his client not just the best but also the most appropriate design solution. A case in point is the STCI corporate office in Mumbai designed by JTCPL Designs.

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H

ow creative can you get when

ing on your head, you have to make a mark

soon after they had completed the STCI

designing an office space? How

for yourself. It’s all about your actions and

office. “Typically we plan leasehold work-

can

work,” he says.

space developments for at least five years.

somebody

get

creative

satisfaction in doing only corporate

So what do you do when the need to

But since we had created this office space

projects? How does one decode this

recreate the brand image of your hi-profile

just a year ago, we challenged ourselves to

creative mind?

client comes shortly after you have done it

reuse as much as possible,” Ninad reveals.

Having earned the reputation of being

the last time? You challenge yourself and

This 20,000 sq. ft. office space is

one of the leading firms in the corpo-

offer an outstanding solution that would

very easy to decode as the fresh design

rate design sector, Mumbai-based JTCPL

not only grab maximum eyeballs but also

approach is concentrated on only three

Designs along with its Principal Architect

be the most viable. “We don’t restack plac-

areas – public interface area, cafeteria &

Ninad Tipnis provide the answers. “What

es, only those that we have done earlier,”

boardroom – everything else is recycled.

resonated within me, and I found com-

Ninad says and adds that there is a very

The widest spectrum of visitors to an

mon in the corporate sector, is discipline.

nice way of developing a method to the

office is at its public interface or reception

Here discipline is exercised in two verticals

madness. Your crazy ideas as a designer

area, and a part of its role is to represent the

– time and cost. Though you have a struc-

get disciplined into a method owing to

image of a company besides its work. “We

tured journey, there is a lot of play that you

the various constraints, as you always

decided that the reception should be very

can enjoy within that structure,” Ninad

crosscheck them to see if they are feasible

strong in its design language, explanative

explains. A corporate is essentially a body

within the time frame and budget.

and assertive without being in your face,”

of highly motivated individuals working

A case in point is the office of Securi-

explains Ninad. The design team used the

towards a common goal that depends on

ties Trading Corporation of India Limited

‘busy ceiling’ to visually convey the design

a strong sense of collaboration between

(STCI). It was important for a company

concept without obstructing the func-

different streams of work. “You learn from

like STCI, which has its own unique set of

tioning on the floor. They worked out the

them and then implement it in your studio

financial services, to have a brand image

progressions given by the curvilinear form

because an architectural studio is all about

that reflected not only by its values but in

on the ceiling and after resolving it in 3D,

collaboration. The biggest learning is that

the interiors of its office too. The challenge

decided to adopt one particular combina-

everybody is dispensable and in spite of

according to Ninad, was the fact that they

tion as a unifying element throughout the

having the sword of dispensability hang-

were asked to redesign the space quite

office space. Grains of the expressive Ser-

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ABOUT THE FIRM: JTCPL Designs is an ISO 9001:2008 certified studio, specializing in creating aesthetic workplaces and is today recognized as a design company with incessant creativity, discerning taste and for meticulous execution. The team is a diverse mix of Architects, Interior Designers, Engineers and Contractors that brings together an ideal mix of theoretical and practical knowledge.

The studio focuses primarily on corporate office spaces ensuring deeper understanding of all design nuances, quicker response times, and flawless execution of all tasks at hand. Their designs are not only characterized by simplicity, but also by distinct lines and elegant forms incorporating a sense of movement, flexibility as well as scalability.

Website - www.jtcpldesigns.com Facebook - www.facebook.com/pages/ JTCPLDesigns/150942528275885 peggiante marble flooring complement

tor Undertakings. “We knew who would

give a design solution rather than just

the ceiling and create a sense of depth.

use the space and the average age group.

provide a masonary wall in the middle of

Though Ninad would have liked to cre-

We tried to completely shed the image of

the structure. “We designed a storage unit

ate the cafeteria afresh, he felt it was not

a Govt. of India Undertaking, which does

and played with it graphically.” Also the

fair to make the client invest in something

not project a very desirous image,” Ninad

circulation of the visitors within the space

that was still relatively new. “Though it is

explains. It meant increasing the luxe lev-

was visualized and needed to be guided

not a LEED-certified project because of

els and so this area gets a fancy ceiling

via access control – the areas were then

the building, it is a highly sustainable one

and the concept of the “tree of prosper-

divided as pre and post access control. All

because we have a strong recycled ele-

ity” that runs on the ceiling and the ver-

that is pre access control definitely grabs

ment to it,” he smiles and reveals that they

tical panelling. Being one of the largest

more eyeballs in comparison.

decided to be very loud and excessive in

financial dealers of the country, they deal

These three areas reflect the image

terms of colours, geometry and the kind

in wealth – this motif gives a touch of Indi-

of the company – to the uninitiated it is

of elements used in the ceiling. Choosing

anness. With a very stark, dark and formal

glamorous; those who understand can

to use the existing air conditioning (cas-

look, everything has a place and reason to

read the study of the curvilinear form and

sette units) was deliberate as it provided

be here and only areas that highlight the

to others it is just a conscious effort of

the flexibility of use with minimum occu-

concept are lit.

shedding the existing image. A corporate

pancy. In a smart move to divert attention

“There was another challenge that

workspace has always been the micro-

from the not-so-new elements, a very

we had to resolve. An entity of STCI had

cosm of the market place, so the way the

expressive false ceiling was created to

grown from a fledgling into an inde-

workspaces have evolved tells us how

draw the vision away from the AC covers.

pendent function and we had to house

the economy has evolved globally. With

The vertical planes also work towards the

it as a separate unit within the whole

access to the best technology and mate-

same end with appealing graphics that

office schematic – so we created a verti-

rial in the world, the most important thing

were developed by the JTCPL team.

cal separation,”Ninad reveals. This meant

is achieving uniformity in design. The STCI

The third space with a fresh look – the

essentially two offices with shared servic-

office proves beyond doubt that corpo-

Board Room – is a unique study in itself

es – reception, cafeteria and board room.

rate design is not only evolving but can be

because it caters to a very high-powered

The challenge was to slice an enormous

as dynamic as one wants – discipline is the

Board that constitutes heads of Public Sec-

space into half and the team wanted to

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Arty techture

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ORIGAMI D ESI G N A N D B E YO N D Words: Udit Chaudhuri; Images: courtesy Hafeez Contractor Associates Paper Art: Pravin Pereira

Going beyond paper hats, butterflies or book-marks, Origami is a discipline that throws up possibilities as a means of exploring shape and form, besides standingin as an efficient and economical prototyping tool.

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No cutting or pasting is involved in single unit folding; yet, folds and surfaces show up a range of light and line effects as well as structural properties that make it difficult to believe that these are paper objects!

Possibilities increase as more forms of paper enter the market. Papermaking is catching on as a hobby, art form plus rehabilitative activity.

With a progressive ban on plastics, especially treated and coated papers for a variety of purposes are being developed to substitute plastics.

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A

lthough designers use a slew

in Bases - Waterfall the most commonly

using multiple layering, recycled packing

of computerized 3D modelling

known, beside Kite, Bird, Fish, Frog and oth-

and newsprint, pleating and creasing for

programmes,

computer

ers. Then are disciplines in folding, creas-

strength, not always in commercial interest.

monitors are 2D. Designers fear bugs,

ing, shaping, etc. Like Euclidean geometry,

A lead designer at a European auto giant

sometimes inevitable, despite the facilities

origami, too, has its repertory of postulates,

apparently found similar inspiration and

of revolving, animating and rendering

axioms and theorems, contributed by mas-

designed the first monocoque automobile

to simulate reality. This is why many still

ters over the ages. But, just as music and

shell. He folded a mini-bus body entirely

insist on at least one sketch-model prior to

geometry are light and recreational, origami

from a single sheet of steel. Complex and

refinement and prototyping. While most do

has its facets – pure fun, as a tool for math

costly in tool-up, this revolutionary design

a cut-and-paste job, select designers use

learning, analysis, design and as a great chil-

however, gave inherent strength on a

origami techniques, systematically folding

dren’s outlet. Websites like www.origami.

lighter weight and set the trend, followed

the component forms of any solid shape –

com, www.oriland.com, www.paperfolding.

world-wide.

cubes, cones, cylinders, prisms, pyramids,

com and David Mitchell’s www.origamiheav-

Likewise, several decorative lamp-

etc. This is not only fast, but also helps in

en.com are a feast to the eye and mind alike,

shades and danglers are improvised by art-

debugging and calculated modifications

as are the downloads and gallery pages at

ists and designers alike. Shapes vary from

via incremental changes, compared to

the Origami Mitra website. Courses are also

polyhedral forms to volutes and spirals, cre-

conventional surface development, cutting

coordinated by cultural-diplomatic bodies

ating a pattern of shadows from their folds

and pasting. Thus, they use paper to do the

including the Indo-Japanese Association.

and glow or reflection from the surfaces

our

Inspired by origami, architects for

that make you wonder if these are crystals

Albeit classically a Japanese art - ‘oru’

example, use multiple-folding as a stiffener

or jewellery, especially when a light source

for paper and ‘kami’ for folding – there are

in designing thin zig-zag walls, roofs and

is added therein. Not to be left out, math

variants. Just as classical music has its notes,

shades, greatly saving on material. Some

teachers have used origami as a teaching

scales, harmonies, melodies and sympho-

improvise thin-slab roofs and arches. Few

tool that breathes life into an otherwise dry

nies, origami has its elements beginning

have attempted developed paper homes

and dull subject, firing childrens’ imagina-

job of wire-frame models.

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tion. Student-teacher groups like Origami

Packaging, especially caters to the young

could help researchers understand how

Mitra (www.origamimitra.com) showcase

mobile professional, who gets a smart

proteins fold in our bodies, for example,

their collective talent periodically at Mum-

quick-setup solution on moving into an

to treat protein-folding disorders like Mad

bai. Practically any exhibition by serious ori-

apartment. A choice of colours with coat-

Cow disease. Origami may also help unclog

gami practitioners will have one display of a

ing makes this quite durable and attractive,

arteries by improving the traditional stents

rock, pile of books or a box supported by a

whereas with each (frequent) shift, this user

used in coronary surgery. However, Lang

hand-corrugated sheet of paper.

has the choice to change.

also makes elaborate models like those of

The packaging industry abounds with

Scientists are inspired by origami to

a reptile or insect, detailing each scale and

uses of origami discipline, from wrap-cov-

understand and analyse concepts and

antler with the same method. A programme

ers to paper-boards. Possibilities increase

some have made significant contributions.

called Tree-Maker is available for download

as more forms of paper enter the market.

Robert J Lang (www.langOrigami.com) a

from his aforementioned website.

Paper-making is catching on as a hobby, art

PhD from Cal-Tech and retired engineer,

Origami provides the wise one as much

form plus rehabilitative activity. With a pro-

made it possible to develop solid forms by

to think about as it proves a perennial toy

gressive ban on plastics, especially treated

writing algorithms inspired by origami, thus

to the playful – as a source of inspiration

and coated papers for a variety of purposes

evolving the art of Computational Origami,

as well as a means of expression. A lifetime

are being developed to substitute plastics.

along with Erik Lang and Erik Demaine of

may be too short to explore all its possibili-

Further, devising heavy-duty paper-

the Computer Science Lab at MIT. They

ties!

boards, improvising folding methods and

have proven that any shape can be folded

economical glue-free joints, designers have

out of a single surface and a single edge!

Udit Chaudhuri is a Mumbai-based full-service

developed entire furniture systems from

Lang’s algorithms have improved air-

product launch consultant, who has been part

garden chairs to full home systems. These

bags and expandable space telescopes.

of several design and manufacturing initia-

combine weightlessness with strength.

Bioengineers are using computational

tives since 1979. A design strategist and prolific

One range designed by Industrial Design

origami to understand physiology and

writer, he can be contacted at uditnc@gmail.

Centre, IIT-Bombay and produced by Jaina

improve medical devices. Lang’s method

com

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D ES I G N A N D B E YO N D Speaking of origami as a popular design tool is one thing and seeing the way these actice is folds can actually be applied in practice quite another!

Words: Babita Krishnan; Images: courtesy Mansi Mehta

I

t is amazing to see a concept or design thought translated into actuality. Young designer Mansi Mehta, who had conventionally accepted paper as a mere writing medium during her growing years, was pleasantly surprised to discover its latent potential when she was

introduced to the Japanese fold of origami and kirigami. A product and furniture designer, Mansi soon decided to apply the methods of folding and cutting with an understanding of math. This scientific approach and a focussed application translated the inane activity into an inspirational art.

“It was inspiring to see how sculpture of paper can be applied to design in life,” she says. The art of origami and beauty of shapes inspire her and she believes that simple things in life are the most extraordinary. Talking about her own origami-inspired furniture range, Mansi leads us through centre tables, pouffes, chairs, benches, consoles, TV units, etc. that are as remarkable in their design as they are simple.

But is it really as simple? Apparently not… “It wasn’t as easy as I thought it would be to translate the model into a furniture piece. It was rather challenging to be creative while keeping the technical points in mind,” confesses Mansi. But given the newness of the idea, she found people responding to each piece of furniture as a work of art 68 DESIGN MATRIX • NOVEMBER-DECEMBER 2011

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Restoration

PRESENTING THE

PAST Words & Images: Baya Agarwal

The faint memory of a forgotten architectural marvel published in school textbooks came alive when a masterpiece stood commandingly tall on a drizzly morning, against the backdrop of an ash-laden sky.

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U

Islamic buildings in India. The decaying

with activity even at dawn.

conservation plan chalked out aiming to

full disappearance of the colourful tiles),

Located in Delhi’s Nizamuddin area, the site

recover the integrity of the mausoleum,

and replaced-with-cement canopies were

is undergoing major conservation work.

authenticity of design, form and material.

thoroughly studied via a series of physical

The magnificent mausoleum of the Mughal

The structure, which, over the years, was

and chemical analyses by the authorities in

Emperor Humayun was commissioned

robbed of its character by using 20th cen-

charge of the conservation. It was deduced

by his wife Hamida Banu Begum and

tury modern materials, is undergoing the

that the restoration mandated original pat-

designed by a Persian architect, Mirak Mirza

process of rediscovery, wherein restoration

terns to be recreated. Four craftsmen from

Ghiyath, illustrating the heavy influence of

of the original aesthetics of the monument

Uzbekistan with closest matching samples

Samarkand architecture in the construction.

is being carried out. For this, native crafts,

have then been entrusted the job to ensure

As soon as one enters the majestic

long-neglected skills and traditional tech-

the most accurate restoration of the tile

green gardens – lending the structure its

niques are being revived. Craftsmen trained

work at the tomb.

popular tag ‘first garden tomb of the Indi-

in specific skills are being called upon from

Under the leadership of architect Fark-

an sub-continent’. The red sandstone and

various regions to ensure that the conserva-

hod Bagirov, trained artisans Namandjon

white marble structure is a reminder of the

tion is as true to the original as possible.

Mavlyanov, Kurbon Melikov and Bakho-

nlike the rest of the sleep-washed

decoratively clad in glazed ceramic tiles,

city, Humayun’s Tomb is abuzz

structure was first inspected and then a

the now worn-out (leading to partial or

site’s splendid past. Efforts are now being

Though most of the craft traditions

durkhuja Rakhmatov, who have picked up

made by the Aga Khan Trust for Culture

used in the structure at the time of its con-

the traditional art form from their ances-

(AKTC) in partnership with the Archaeo-

struction continue to thrive in India, it was

tors, have managed to recreate the exact

logical Survey of India with co-funding from

discovered that the tile-making traditions of

shades of green, lapis blue, turquoise blue,

the Sir Dorabji Tata Trust to conserve the

the Mughals had long been abandoned. A

yellow and white on the tiles using varying

extremely significant archaeological and

fine example of reviving the long-forgotten

proportions of local soils. Cobalt, Copper

architectural heritage of the site.

glazed ceramic-tile technique is seen in

and Antimony are being used to create tile

The Humayun Tomb is part of one

a restoration of the eight small canopies

bodies matching the original. Dressed in

of the densest ensembles of medieval

on the roof of Humayuns Tomb. Originally

his traditional outfit, craftsman Namandjon

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Some interesting facts on the conservation project at Humayun’s Tomb : • Initiated in 2007 • A million kilos of 20th century concrete has been removed from the roof • 12,000 sq. m. of the mausoleum’s plinth got rid of concrete.

• Plinth repaved with gigantic Quartizite blocks that can weigh up to 3,000 kilos each.

• Over 100,000 sq. ft. of lime plaster carried out on the lower cells.

(Source: AKTC)

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Mavlyanov is overwhelmed with the experi-

youth receive training, craftsmen from

ence of recreating what the great rulers had

other parts of the country have also been

originally made.

called to the site to start work on areas of

Architect Farkhod Bagirov, while try-

their expertise. The artisans tirelessly trace

ing to match the colours of the hot and

drawings of the original jaali patterns in the

baked hand-made tiles from the kiln, says,

Tomb using natural dye; and then cut out

“Tile-work is a complex, traditional art form

the lattice screen from the stone with their

in Uzbekistan, passed down from genera-

cutter tools. These lattice screens demand

tions. The tomb of Humayun, modelled on

extreme hard work and precision. It takes a

Gur-e-Amir, the mausoleum of his ancestor

minimum of four sandstone craftsmen, and

Timur in Samarkand, Uzbekistan, is the key

almost two months to carve a single screen

link between the Indian monument and our

to be installed in the doorways of the gates.

tile-making style.�

The sandstone craftsmen employ the

Local youth are being trained in tile

traditional hand-chiselling technique, rath-

production and the knowledge is being

er than using machine tools, as it allows the

passed on to them to ensure that restora-

finish to match the original and eventually

tion of the grandeur of a structure can also

result in a similar surface. Currently, around

facilitate resurrecting a craft tradition that

200 craftsmen are employed to prepare

has been lost in the last generation.

the required sandstone elements that have

As the tile work proceeds and the local

deteriorated beyond repair or to incorpo-

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rate new elements such as paving, benches,

fered partial or total loss is being repaired

etc., as part of the ongoing conservation.

by using the techniques and materials

Decorative and ornamental plaster-

close to the ones that were perhaps, used

work, buried under thick layers of cement

in the original process. A series of arches

is being revealed and redrawn to match

originally burrowed in the enclosure wall,

the authentic patterns. Concrete on the

are now being rebuilt. Restoration of

roof has been manually removed by metic-

the collapsed portions is also underway.

ulous chiselling. The dilapidated ceilings

Decayed water sprouts in the Charbaghs

are being re-plastered and the original star

(a Persian style garden) are being repaired.

pattern in the ceiling revived.

The conservation and restoration

Due to replacement and partial repairs

work of this architectural marvel when

carried out in the 20 th century, portions of

complete, is expected to bring back to life

the upper platform plinth faced water-log-

various traditional techniques involved in

ging; thus causing serious structural cracks

Islamic architecture. The Humayuns Tomb

in the ceilings of the cells below. To ensure

is a blend of various architectural styles;

easy rainwater disposal and to give proper

its conservation is indirectly helping in

slope to the paving, the existing red sand-

bringing together artisans and resurrect-

stone paving has been manually lifted and

ing some fast-fading traditional crafts in

replaced with stones of the same size.

India and renewing the architectural ties

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BODY BEAUTIFUL

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Persona design

Vanity or insanity, we aren’t sure; but the quest for the perfect body can be quite daunting.

Words: Varun Godinho Images: courtesy Time Out

Y

T

he quest to gain that perfect body is anything but new. Body contouring cosmetic surgery, smile clinics that offer smile rejuvenation, nail art, tummy tuck, tongue, lip, body piercing in general, eyeball tattooing,,, you name it!

From models, who want less than a centimetre of fat removed from their thighs to

actresses, who need more than a couple of centimetres added to their breasts, it’s all in a day’s work for a cosmetic surgeon. Dr. Sandip Jain, a cosmetic surgeon, who practises at Breach Candy Hospital and Saifee Hospital in Mumbai, finds himself on speed dial for many from the glamour industry, who have just made it to the city. “Once I had the 26 or 27-yearold lady from the entertainment industry come to me. She was of absolutely normal weight and all she wanted was a very subtle improvement in the lower body. These are the most difficult cases to treat since what they are looking for is the transition from what they perceive as normal to what they perceive as perfection. So we require more artistic rather than surgical skills,” he says.

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Even if nothing noticeably requires improvement, a wedding could just about be the excuse that brides use to get cosmetic surgeries done.

While the role of Dr. Jain may swing from being an artist to performing as a sur-

layer of the enamel with the image pasted

they can’t pinpoint what they want done,

on it!

then I would discourage them from doing

geon, Hetal Turakhia of Beyond Smiles is a

Although procedures like tooth tat-

any procedure because they will never be

dentist who can also get you a tooth tattoo

toos are relatively harmless and complete-

happy with what we do.” Another telling

along with your root canal. Beyond Smiles,

ly reversible, cosmetic surgery is almost

sign that sets off warning bells in his head is

with centres in Pune, Goa and Mumbai have

always accompanied by psychological

when patients ask him questions like, “What

specialized in dental tourism and tooth tat-

baggage. Psychologists can play the role

is wrong with my face?”

toos. “There are two methods that I use to

of an arbitrator and ombudsman in the

Even if nothing noticeably requires

tattoo patient’s teeth. The first is the den-

scuttle for beauty incomparable. Body dys-

improvement, a wedding could just about

tal crown procedure. This includes a sticker

morphic disorder, where a person continu-

be the excuse that brides use to get cos-

pasted onto a sheet that then caps the

ously perceives an imperfection with their

metic surgeries done. Institutes like the

crown. The other is the airbrush technique,

appearance, is something that cosmetic

Cosmetic Surgery Institute, Mumbai, offer a

wherein a sticker is pasted on the enamel

surgeons often encounter. If a psycholo-

bridal package, which will give you the rea-

of the tooth,” she explains. For between

gist hasn’t stepped in and red flagged a

son to smile perfectly if everything’s going

`3,000 - 6,000, you could get a simple Ich-

patient intent on unnecessary, or at times

hunky-dory or even pout just as well, if the

iban (‘one’ or ‘first’ in Japanese), smiley or

dangerous, cosmetic procedures, then doc-

event manager can’t seem to figure out

any other symbol of your choice. The paint

tors do the job. Dr. Jain elaborates, “If there

what you want. Irrespective of age, reason

used is completely safe even if it is ingested

is a disconnect between what the patient

or season, remember that your rump and

and the procedure can be easily reversed -

is describing and the amount of concern

breast, arm and waist, tooth and nail, aren’t

all that needs to be done is to scrape off a

it is actually causing the patient, or when

beyond the reach of a perfect ten

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Photo feature

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ON A DIFFERENT

PLANE When they are not putting design concepts on paper for their clients, Mujib Ahmed & Lalita Thadani of Collaborative Architecture, are trotting around the countryside armed with a camera (Lalita) and a sketch book (Mujib), flirting with light and space through pinhole views and laced perspectives, and capturing their artistic inclinations on distinctive canvases. We unveil their latent talent‌

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Musings

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THROUGH A CHILD’S EYES Words: Priyanka Mathur; Images: courtesy Time Out

Creating children’ story-books is probably as fascinating as tapping into a child’s imagination. So what does it take to create these books?

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K W

hat was your favorite book

ing impression on their personalities. Thus,

Illustrations are as important as the

as a child? Was it Winnie the

most story-books that are created, impart

edit, she continues. As a lot of young chil-

Pooh series, a book of classic

a moral or a lesson, which will help in the

dren are learning to read, it is important to

fairytales, or Peter Rabbit? Some children’s

child’s development. (“And the moral of the

support the text with good visuals. The old

books never seem to lose their popularity,

story is…” still rings in my ears!) However,

habit of reading books has taken a back

no matter how old the stories become. But

this is done in a way that the child can best

seat in most households, where cartoons

have you ever stopped to wonder what

understand, especially with fun ‘tools’ like

on TV and DVDs have enticed young chil-

made them so popular in the first place?

talking animals and vibrant colours. For

dren into a more visual medium. But for

Was it the story or the visuals that made

example, stories from Aesop’s Fables, such

those who continue to rever books, there is,

you love it so much? Or perhaps, it was the

as the Boy who cried Wolf and The Hare and

what she calls, the Disney illustrative style.

imagination behind creating such a book

the Tortoise, make use of the natural tenden-

In an attempt to ingrain Indian morals and

that struck a chord with you?

cies of animals to focus on human traits and

philosophies among young children, this

Imagination is probably one of the

wisdom. The tortoise was shown as slow,

Western ideology is adapted to the Indian

greatest gifts that have been bestowed on

the hare as quick, wolves as cunning, and

context, where Radhika and her team of

children. The ability to look at anything – be

so on.

illustrators make use of Indian art forms in

it an object or one of life’s basic lessons –

Radhika Menon of Tulika Publications,

their visuals. They try and give a more folksy

from a completely different perspective

Chennai, explains, “Children’s books are all

appeal to their books, and work on devel-

is something only a child can possess. So

about fun and creativity. Most of the sto-

oping new illustrations in this vein.

in order to create anything for children to

ries have a moral ingrained in them, and

Citing an example, she says, “Tara

read, it is important to start thinking like

in order to draw the young reader’s atten-

Publishing is one of the few publishers of

them.

tion to it, we ensure that the message is

children’s books in India that makes illustra-

There is an elaborate thought-process

conveyed in an enjoyable and interesting

tions based only on Indian concepts. For

that goes into conceptualizing and creating

manner. Thus, we try and stay away from

example, our books have made use of Warli

a children’s book. Most children’s minds are

the didactic style of teaching, and ensure

art in one publication, which later went on

in a formative stage, and what they see in

that the books we publish are in no way

to become a huge hit. Till date, Tara Publish-

their daily lives, does eventually have a last-

preachy.”

ing has won two awards for its book arts at

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KIDS the Bologna Book Festival held in Italy.”

pler, the better,” she emphasizes. The fonts

Another publisher echoing the same

chosen are simple and readable, the imag-

sentiment is Sangeeta of the Mumbai-

ery easy to understand. After visiting the

based publishing house – Vakilsonline.

Bologna book festival, she realized that

Keeping in tune with the ideology of devel-

the books exhibited had left a lot of white

oping visuals that have Indian influences,

space on the pages, thus giving the reader

Vakilsonline goes a step further and ropes

the chance to appreciate and understand

in its corporate social responsibilities into

the imagery. Whereas, Indian books tend to

its artwork.

have several illustrations crammed up into

Sangeeta explains, “In India, the amount

empty spaces, giving the entire book a very

of talent is phenomenal. At Vakilsonline, we

busy, and often, chaotic feel. This, she feels

try to make use of talented disabled indi-

makes it difficult for the child to understand

viduals. For instance, we once had a boy

what is being conveyed in the image, and

from the NGO, Akanksha make an illustra-

as a result, the entire purpose of placing the

tion for one of our book covers. Because of

illustrations on the page is lost.

his young age, he was able to understand

With the evolution in book art and

the brief given to him and was able to make

design, new ideas have emerged. Keep-

artwork that aptly reflected what was being

ing aside the set formula of talking animals

said in the book. The overall result was a

and vibrant colours, pop-up books, books

child-like illustration, which turned out to

with moving images, 3D books, and books

be an instant hit with our readers.”

with audio facilities have been developed

Keeping in mind that the audiences

and have become equally popular. Just as

being targeted are children within the age

how a child’s imagination has no boundar-

group of 3 – 8years, Sangeeta goes on to

ies, creating a children’s book has countless

explain some of the factors she keeps in

opportunities… provided you unleash the

mind when designing a book. “The sim-

child in you

The ability to look at anything from a completely different perspective is something only a child can possess.

So in order to create anything for children to read, it is important to start thinking like them.

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GET SET GO Words: Akhil Sood; Images: courtesy Paresh Daru & Time Out

Speaking from the realm of the behindthe-stage scenario, set designers Bhola Sharma and Chhel-Paresh talk about the different aspects of this very intriguing design discipline.

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A

single space holds you captive

that the play highlighted, as well as sus-

the requirements. However, due to trav-

– time and again – fashioned

tain a mood of suspense and horror. “We

elling plays as well as the dynamic nature

differently

diverse

tried to make the backdrop modern and

of theatre, a set is designed keeping in

narratives. Theatre in India has a rich

completely graphic. It was a very chal-

mind the size and dimensions of all the

history, with the earliest known form

lenging task,” Bhola reveals.

venues that the play will be staged at,

to

suit

being Sanskrit Theatre, dating back to

Partners Chhel-Paresh, stalwarts in

with minimal scope for alteration. It is

the 1st century CE. Till date, drama in its

Gujarati theatre with 50 years in the field,

also important to ensure that the sets are

multifarious forms rules the roost of

reveal some of their most challenging

cost-effective, mobile, easy-to-assemble,

cultural exchanges, social change and

tasks in the past, “For a play called Hat-

as well as convenient and comfortable

political comment.

amne Ojhal Maha Rakhma, we created an

for the actors. The other challenge is that

entire airport on stage. This was around

a change of set has to be accomplished

Elements of Design

20 years ago, and while the set was most-

in a limited time and hence versatility in

Bhola Sharma, who has been in charge of

ly created through paintings, the audi-

material and application is a must.

designing sets of productions like Broken

ences were also able to see the aircraft

Images, directed by Alyque Padamsee,

landing and taking off. We played around

Developments

and Sammy! directed by Lillette Dubey,

extensively with perspective and lighting

Set design has also evolved considerably

mentions abstract concepts such as cre-

to make it realistic. In fact, people used to

over the years in terms of approach and

ating moods to fit themes in a play, in

come to see the play especially for its set

methodology. The changes are notice-

conjunction with elements of practicality,

design,” says Paresh with a hint of nostal-

able, as painted backdrops made way for

such as the understanding of light, kind of

gia and pride.

the real thing in wood, cloth and metal;

This design was made possible

and more recently rampant use of acrylic

A lot depends on the production

through the use of a sliding stage, one

and plastic. The digital application is not

budget, the given space and how much

of the many tricks at the disposal of set

far behind. “We can even screen videos

room there is for interpretation. For

designers. He talks about creating sets,

on to the backdrop using a projector

Alyque Padamsee’s Broken Images, the

which allowed audiences to witness

these days, which is particularly useful to

play had to reflect self-deconstruction,

events such as floods and their after-

show one flashbacks.” Just as the logisti-

and had scenes where the protagonist,

effects. To create elaborate sets, which

cal side of set design has undergone tre-

played by Shabana Azmi, had to have a

change from scene to scene, designers

mendous changes, the visualization and

conversation with another version of her-

use sliding as well as revolving sets, the

execution of design allows a vast scope

self. The set had to reflect all the themes

jack-knife technique, etc, depending on

for creativity to the set designer.

props and furniture, etc.

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Qualities of a Set Designer

props and height are all in a day’s work

more realistic up until a few years ago,”

The highly-stylized and specific nature

and you can’t afford to crack under pres-

muses Bhola. “Back then, I would create a

of set design means that the learning

sure,” he concludes. The show, as they say,

basic box set and work around that. Now-

curve is very steep while on the job.

must go on.

adays, creativity is key.”

Paresh reveals that one of the notable

“I think sets were expected to be a lot

courses, which trains set designers, is at Light and Colour

the National School of Drama, Delhi; but

Many a time, the backdrop in a play

this generally is preliminary and theo-

doesn’t change at all; or there is no re-

retical training; the only way to grow as

quirement of a set at all, in which case

a designer is to be involved in the thick of

the lights and colours become important

things, learning through first-hand expe-

to portray a certain mood. Paresh states

rience as well as interactions with those

that in such cases, “The lights are alive

in the know.

A set is designed keeping in mind the size and dimensions of the venue. It is important to ensure that the sets are cost-effective, mobile, easy-to-assemble, as well as convenient and comfortable for the actors.

– where in lighting and the correspond-

A designer also needs to be cultur-

ing dialogue indicates change of period

ally aware, as designs are appropriated

or location.” Usually, the colours are dic-

to theme, language, regions, and other

tated by the mood and tone, with design-

socio-politic aspects incorporated in a

ers not working with any definite palette,

play. For example, if a family depicted in

being flexible with the requirements. “It’s

a play is Maharashtrian, then the design

necessary to ensure appropriate light-

and the external appearance and mood

What Lies Ahead

ing and to prevent any undue reflection

of the play will be appropriate to Marathi

“I feel,” says Paresh, “That with a growing

of lights,” he adds. The set designer and

culture.

number of tours and rising prices, set de-

lighting designer work in tandem to cre-

Also, the challenge lies in reworking

sign will undergo even further and more

ate a seamless blend that works. Paresh

existing sets and creating unique sets for

remarkable changes. Sets may become

cites an example: “If a set designer creates

new productions without compromising

more symbolic and suggestive, with use

something in yellow, while the lighting

on quality; so a set designer needs to be

of wooden wings and cloth likely to be

designer uses blue, then you get green.”

innovative and creative. “He also has to

replaced by aluminium, cardboard, and

So it’s important to communicate, and

have the ability to think on his feet,” adds

other materials.” It’s an exciting time to be

work with perspective to create “different

Bhola. “Last minute changes, quick dam-

part of this movement, with progressive

levels through light”.

age control and improvising with space,

changes on the horizon

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Unmasking talent

MYSTIC PAPER Words & Images: Karen Bit Vejle

Karen Bit Vejle is the creator of beautiful, luxurious and unique paper-cut designs, each one meticulously crafted by hand at her studio in Trondheim, Norway.

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There is a great degree of humour in Karen’s world of imagery; humour and the ability to identify joy in small things.

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M

y heart and soul are at peace when I have scissors in hand and the paper dances between the blades.

If my scissors can manage to make you stop and

wonder for just one instant, I will be happy,” says Karen Bit Vejle, whose form of expression, psaligraphy, literally means the art of drawing or painting with scissors.

Psaligraphy – the art of paper-cutting – requires time; both, when it comes to creation and experience of the work of art.

Contrary to almost everything else in the world today, psaligraphy is a slow art. It takes time to master, plan and perform it.

Karen creates images of air and paper. The works are formed from a large, continuous piece of paper, folded once, twice, thrice or more times, and then cut using only a pair of scissors. Every single scissor-cut is carefully planned, as the slightest mistake can have disastrous consequences for the finished result. This is a slow art of painstaking precision and patience that demands the utmost concentration – which part

“Psaligraphy is a slow and time-intensive affair,but I enjoy every minute of it, and time spent with my scissors and paper has become my catharsis!”

shall be cut out and which shall not.

Her magical cuttings have chiselled out a personal style and technique that are entirely her own. For more than 35 years she has been absorbed, fascinated, and deeply committed to this art form that developed from small, simple snowflakes to unusually large and highly complex image cuttings. She is one of very few in Europe, who can cut at such an advanced technical and artistic level. There is a great degree of humour in Karen’s world of imagery; humour and the ability to identify joy in small things. Just as often, though, she confronts deep seriousness and themes intended to invoke involvement and reflection. Her works are captivating surprise packages.

The decorative and almost ornamental aspect of papercutting makes psaligraphy an art that goes well both together with and applied to other materials. The artist is known to custom design patterns for exclusive woollen plaids, dinnerware, logos, etc., where each design evolves from facts and stories that create a foundation for her interpretation. “When I am about to do a cutting, I spend a very long time visualizing and memorizing the design of the cut. Both technique and image composition must be entirely complete in my mind before I can put scissors to paper. Once I have the image clear in my mind, I draw guidelines on the paper and then I begin working with the scissors,” she explains. “The most time-intensive cut to this day, however, is ‘The Fifth Season,’ which I spent six months working on,” she informs.

Since the five-six years of her prominently opening up as an artist, Karen has held a travelling exhibition – ‘Scissors for a Brush’, the concepts for which are rooted in a tradition that has known a long journey through history. Interestingly, she is currently working on Danish poet H C Andersen’s fairy tale, ‘The Snow Queen’ – an exceptional 29 ft. paper cut that she proposes to finish in 2013

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L

120 1 12 20 2 0 DESIGN DES D DE ES ESIG IIGN GN MATRIX GN MATR MA TTRI R RIIX • MAY-JUNE MAYMA Y-J Y -JU -J UN UNE NE 2011 NE 201 20 11 1

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T C U D O R P

H C N LAU Washbasin from Dansa n

i

The Birka 100 from Danish Company Dansani is a por celain washbasin in clean per fect for a bathroom sparkling white, that needs an elegant and classic touch. The basin drawer vanity unit in a ple is comes with a asant shade of walnut. Cyl indrical lights and an in-b and pull cord complete uilt shaver socket the out fit. Two handy uni ts flank the basin ensuring aesthetic value. Dansan fun ctionality and i is the worlds largest ma nufacturer of bathroom 2000 designs to suit eve furniture with over ry interrior requirement. ww w.dansani.com

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Outdoor shoes from

Woodland

Woodland, the global adv enture-wear brand has launched yet anothe r revolutionary and innovative product-the wa terproof outdoor shoe. This innovative pro duct is a result of two years of extensive R&D and caters to the demand of adventure enthusiasts, who need additional protection to fight the cha llenges thrown by nature. The brand is kno wn for its environment friendly processes, which have been adopted for manufacturing all Wo odland products. The same processes are used for manufacturing the Waterproof outdoor sho e as well. The footwear is available at all Woodland stores. ww w.woodlandworldwid

Lunch Boxes from

e.com

Home Collective

Lunch hour will never be the same again. Home col lective has a range of lun functional but oh-so-pre chboxes that are tty. The clear lid locks to the container with a water itself has a sauce dipping tight seal. The container area and a sauce pot ide al for salad dressing (or ket your salad just before you chup), so you can dress eat it. An inner dish allows you to split different foo d so you can microwave por tion of your lunch, but a keep the other food cold.

It also includes a fork Contact: (022 6655 5304)

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Home Accessories fro

m

Dreams Home Furnishing Dreams Home Furnishing s has a range of home acc essories that will ass a fes touch to your interiors. The tive Dreams’ Festive Flavours Collection which compris cushion covers and diw es an linen, is predominantly in hues like reds, maroo cream, and gold with trad ns, itional designs and a ble nd of rich metallics. Under tones of green and wine enhance the palette of this collection.

You can also choose hig h quality fabrics in shim mering silk s, brocades, vel chenille to cot tons and pol vets, y-cot blends which var y from plain and pat terned embellished designs for to that per fect festive ambie nce. ww w.dreamsfurnishing. com

If you believe that the Disco shouldn’t have died, then you have to have one of NeXtime’s latest collection of Retro Clocks to spice up your walls and bring some funk into your room. Disco ball clocks, music clocks and pop art clocks are only a few of these creations and each one is zanier than the other. NeXtime clocks can make a perfect gift as it caters to even conservative tastes. (So you could give one to your bachelor uncle, who still has his Boney M vinyl records.) NeXtime also has 3D clocks, projection clocks, children clocks, flip clocks, skeleton clocks, floor clocks and cuckoo clocks.

Clocks by

www.nextime.nu

NeXtime

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One&Only- Flagship Furnishing store in

Gurgaon

One & Only will now hav e a store in Gurgaon.

The brand specialises in Heritage interiors and Victorian furniture for hom es and offices having a classic line-up of mante lpieces, bars, wooden chandeliers, entrance doo rs, chairs and poster beds as well as a unique line of modern contemporary furniture. All the pie ces are designed, detailed and produced in the factor y of One&Only situated in Gurgaon, Ind ia, under the tutelage of veteran designer Sum an Saith, alumni of Sir JJ School of Arts, who has created elegant interiors for some of the finest nam es in the countr y. Every O&O piece bears his distinct signature style.

Contact 99717 65333 for det

ails

ssories Home & Garden Acce from

Peacock Life

tive season for It doesn’t need to be a fes e with light and you to beautif y your hom you can pick up elegance. At Peacock Life ories for your ess acc exquisitely designed ories comprise ess acc The . den home and gar elegant candlebra of a range of lanterns and int mirrors. We as well as glass jars and qua dy, teal-coloured han the also fell in love with wheels. The on und aro s cabinet that roll the ear thy and products have a touch of an, fuss-free finish. traditional but with a cle ww w.peacocklife.com

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Bedroom Sets from

Furniturewalla If you’re looking to give you r bedroom a facelif t for the New Year, then you don’t need to look any fur ther.

Furniturewalla places qua lity furnishings at top prio and has two new bedroo rity m sets designed with bot h style and functionality. you’re looking for a slightly If ornamental facelif t you can choose the Hengfeng Catalogue which compris es a king-size bed with a luxurious cushioned hig back, dresser with drawe h rs and mirror and a large four door wardrobe. Thi comes in a tasteful black s line polycoated finish with silv er leaf detail. Alternative you can choose the ligh ly, ter set-shades of walnu t with crisp black leathe bossing on a king-size bed r em , dresser and wardrobe. ww w.furniturewalla.com

This season give your bathroom a makeover with Bathline Sensations designer Faucets and Shower fixtures - GRAFF. These products embody the essence of refined elegance and satisfy the most refined tastes. The faucets have a sleek semiarched shape and look completely unisex. You can fix a facet to your washbasin or countertop or opt for free-standing faucets for bathtubs. The GRAFF line of faucets offers discreet luxury to any kind of interior space whether it’s dark stone or bright tile and will provide an instant touch of glamour to your bathroom this season.

Faucets from

www.bathlineindia .com

Bathline Sensatations

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House of RARO- Show

Delhi

room in

The luxury interior brand, House of RARO has a beautiful new store at Ne w Delhi’s DLF Emporio, Vasant Kunj. The 1000 sq ft space showcases the exquisite creations of House of RARO and is separated into two seg ments - individual pieces as well as high-end ensembles.

The essence of grandeur and luxury, the store brings elements such as a Venetian mirror and wood of the highes t quality to create a conceptual space.

Launched in 1997, RARO has car ved a niche for itself in the luxury home segment. A typical RARO design is truly unique and exquisite but with a dash of an heirloo m quality. The brand remains commit ted to the high-end nature of its products. ww w.houseofraro.com

Orthopaedic Bed Rang

e from

Spring Air

Spring Air has unveiled its new Premium Orthopaed ic Mattress Europedic Ma The mattress ranges on ttress for the first time in offer include “Perfect Com India. for t”, “Ultimate Comfor t” tresses use high density and “Majestic Comfor t”. open cell structured foa The se matm along with visco-elastic of 14 on the top in their memory foam with liste assembly to provide the d ILD rati ng slee per with the ultimate comfor mattress, a quality sleep t throughout the life of the sur face like none other, and for that per fect night’s slee accessories like memory p. Europedic also offers ess foam Comfor t pads in all ential sizes, memory foam Con tour pillows as well as clas sic comfor t pillows ww w.springair.in

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L AST

B Y T E

QUINTESSENCE

C

hange is constant; so is Design. The definition of design has been periodically debated and continues to intrigue with newer connotations emerging every day. Just as it means various things to various people, it also penetrates the minutest recesses across industries in absolutely diverse applications.

Each time that I have met a design professional, I have felt good about my vocation and my connect with the prominent history-in-the-making mavens, who have touched a chord in me with their winning innings and their humility.

Design Matrix was conceptualized as an attempt to touch the lives of designers beyond their work-front. It has been a pleasure to compute content that interlaces the warp and weft of the multi facets of design (big, beautiful, and widespread) and discerningly select contributions from a realm that is not genre-specific.

The last one year’s issues have been an attempt to add the best to the floral bouquet of creativity; synchronize the musical notes. There is much, much more in store – evolving, shaping up, to be gradually unveiled, keeping you asking for more.

We seek your appreciation, your grouses, your wants and your preferences. Let us weave this matrix… together.

Write in to me at savithahira@designmatrix.co

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GLOSSARY I F C: DANSANI Bathroom Furniture Ultramine Group For appointment call + 91 9874430000 (10.30 am – 6.30pm, Mon-Sat) Email: indiadansani@vsnl.net www.dansani.com

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

Pg. 2 & 3: The Great Eastern Homes The New Great Eastern Mills, 25-29, Dr. Ambedkar Road, Near Rani Baug, Byculla, Mumbai 400027.

Tel No. 022-22910764

Pg. 5: NSD Natural Veneers 307, Traffic Lite, Next to Bank of Baroda, M.G. Road, Ghatkopar (West), Mumbai- 400 086 Tel: 91-22-25114285/86 Email: info@naturalveneers.com www.naturalveneers.com

Pg. 6: Jalaram 



Agar Bazar S. K. Bole Road, Dadar (W), Mumbai 400028.

Tel: (022) 24318444/555 Email: Jalaram_timber@yahoo.com 9/b, k, Laxmi Ind. Estate, New Link Road, Versova, Andheri (W), Mumbai – 400053.

Tel : (022) 26327733 / 34 Email: jalaramvnf@gmail.com

Pg. 12-13: Durian Industries Ltd. 401, The Chambers, Western Express Highway, Vile Parle (E) Mumbai 400057 Tel : (022) 26269000, Email: info@durian.in www.durian.in

Pg. 16 & 17: Le Cdeor 8/H, Laxmi Ind. Estate, New Link Road, Versova, Andheri (W), Mumbai – 400053.

Tel : (022) 26327733 / 34 Email: jalaramvnf@gmail.com

Pg. 18: VITA Vitrified Tiles

Pg. 84: Delta Laminates Olympic Laminates Pvt Ltd Block No. 49-50, Village Karoli, Taluka – Karol, Dist. Gandhinagar 382721 Gujarat, Tel: +91 2764 281503 / 04

Pg. 85: Uniply ATS Plywood

Pg. 19: Fevicol Marine

Pg. 86: Le Cdeor

Pidilite Industries Limited Ramkrishna Mandir Road Off Sir Mathuradas Vasanji Road, Andheri (East) Mumbai - 400059 Tel: 022- 33087000; Fax: 022- 28357700 Email: pil@pidilite.com

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

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

Pg. 31: Durian Home Furniture

Natural Veneers 307, Traffic Lite, Next to Bank of Baroda, M.G. Road, Ghatkopar (West), Mumbai- 400 086 Tel: 91-22-25114285/86 Email: info@naturalveneers.com www.naturalveneers.com

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

Pg. 52: Dorset Luxury Faucets

Pg. 7: Bharat Floors & Tiles Pvt. Ltd 32, Mumbai Samachar Marg, Next to Stock Exchange, Fort, Mumbai 400 023 Tel: 91 (22) 4057 4444, 2265 4837

Pg. 53: Heritage Decorative Laminates

Pg. 8: Design Matrix Ultratech Excellence Awards Email: response@designmatrix.co

Deco Mica Pvt. Ltd. 306, 3rd Floor, Iscon Mall, Star Bazaar Bldg., Jodhpur Cross Road, Ahmedabad - 380 015 Email: decomicaltd@yahoo.in

Pg. 10: Geeta Aluminium Company Pvt.Ltd.

Pg. 69: Uniply Elementz Decorative Veneers

D/4, Ansa Industrial Estate, Saki Vihar Road, Saki Naka, Andheri (East), Mumbai – 400 072.

Tel : +91 99308 06685 www.geetaaluminium.com

Uniply Industries Ltd #52, Harleys Road, Kilpauk, Chennai - 6000010.

Tel : (044) 26605995

Grescasa Ceramics Limited 5-E, Laxmi Industrial Estate, New Link Road, Andheri (W), Mumbai – 400053, Tel No. 022-26313096/66992409

Natural Veneers 307, Traffic Lite, Next to Bank of Baroda, M.G. Road, Ghatkopar (West), Mumbai- 400 086 Tel: 91-22-25114285/86 Email: info@naturalveneers.com www.naturalveneers.com

Vita Granito Pvt. Ltd. 283 – A, Vasu Smiriti, Flat No.4, 1st Floor, 13th Road, Khar(W), Mumbai : 400 052.

Tel : 022- 42367900/909 Email : cermalvisa@cermalvisa.com

A-88, Road No.2, Mahipalpur Extension, New Delhi – 110037 Tel.: + 91-11-46138800 Email : faucet@dorsetindia.com www.dorsetindia.com

Pg. 11: Grescasa

Pg. 79: Gemss (Solid-Wood Mosiacs)

Pg. 78: SHAH CREATION PVT. LTD. Building No.2, Gala No.8, Ram Mandir Industrial Estate, Ram Mandir Road, Goregaon (E) , Mumbai 400 063 Email: shahcreations@hotmail.com Hasmukh Shah: 9820228852

Uniply Industries Ltd, #52, Harleys Road, Kilpauk, Chennai-6000010.

Tel : 044-26605995.

Pg.87: Advant Edge

Pg. 112: MRJ 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. 113: Surface Décor (India) Pvt. Ltd. Abdul Satar Lakdawala Compound, W. E. Highway, Besides TATA Motors, Jog-Vikroli Link Road, Jogeshwari (E), Mumbai 400060 Hasmukh Shah: 9820228852

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

BC : 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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