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vol 13 issue 7

JULY 2014

total pages 156





Photo: Cyrus Dalal


hosla Associates take in their stride a tricky site to build the Long House - a home that unravels itself in a linear sequence, stringing together natural materials with contemporary verve. Responding to the context and climate of Bangalore, the design team cleverly integrate a 120 feet long verandah that flanks the home creating an inside-outside space that can be enjoyed through the year. Gaurav Roy Choudhury, a young architect also from Bangalore, works his way around the structural constraints of an office building to interlink three floors into a singular spatial experience. He ingeniously punches an aperture through the multiple floors creating a sense of connect and dynamism unifying the space. Taking a cue from its location, Himalesque is possibly one of the world’s highest FM broadcasting stations. Situated in Nepal, in the lap of the Himalayas, this remarkably simple structure is a work of art in stone. Archium Architects, the Seoul-based firm responsible for the creation, stack the naturally available material to build walls that face-off against the unforgiving climate. Once inside you traverse through flat stone floor corridors, stone staircases and even encounter tables and chairs sculpted from rock. Working its mystique into the design are cascading streams of sunshine that run down the monolithic walls infusing crisp natural light into a wondrous space located in the most awe-inspiring mountain range in the world. Turn to page 128 to see what it’s like at the top! Anish Bajaj, Editor

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art form



Vivienne Maun creates the most whimsical and tongue-in-cheek animal heads you’ve ever seen. Her creations underline the similarities between animal and man


Cover Story Using traditional materials and a contemporary design, The Long House designed by architect Sandeep Khosla and his graphic designer wife Tania makes the most of a linear plot

According to me, context is one of the most important aspects of design.



An 18th century neighbourhood of wooden cottages and winding lanes, ‘Khotachiwadi’ reminisces the past in the heart of South Mumbai



Covering the latest in furniture, bathroom and kitchen solutions, we present the iSaloni Special

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Right from the reception area to its interiors, AVA Design Studio infuse an element of surprise in a Noida based office of a home-furnishings company

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Kashyap Rawat Remodelled by young architect, Gaurav Roy Choudhury in Bengaluru, every design stroke in this office exemplifies the growth and development of the company

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A veritable trove of home treasures “The Big Door” located in Pali Hill, Bandra heralds an impressive facade and an equally opulent decor

GREEN PROJECT Architect Ramin Mehdizadeh showcases a simple, yet brilliant design for recycling discarded stone


Tao Architects design a plush apartment based in Koregaon Park, Pune, which signifies a consistent language of construction and material palate






A gamut of simple to complicated minimalistic chic; Brussels-based product designer Sylvain Willenz’s streamlined designs don’t mess with structure - they just enhance it



A broadcast radio station situated 3,000 metres above sea-level in the lap of the Himalayas, designed by Seoul-based firm Archium Architects makes the most of local know-how and materials

136 Landscapes

Award-winning landscape designer Michael Glassman converts a neglected backyard in Land Park, Sacramento, into a functional and stylish space with a personal touch


148 Sumptuousness and high-end sophistication define the RitzCarlton Millenia, designed by Pritzker award-winning architect Kevin Roche

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An end-to-end design studio based in Mumbai, MuseLAB offers a bespoke and leading-edge approach to design

THE MARKETPLACE Get your hands on the latest products to hit the market


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Editor & Publisher Anish Bajaj

Brionie Pereira Freelance Writer Brionie Pereira is a writer, poet and space cadet, based in Mumbai. When she isn’t neck-deep in deadlines, she enjoys seeking asylum in the mountains, backpacking to as far as her bank account can take her, watching disconcerting art films and snuggling with her four dogs.

Creative Director Natalie Pedder-Bajaj Features Editor Mala Bajaj Assistant Editor Shweta Salvi Sub Editors Vikas Bhadra Ulka Vartak Rehana Penwala Contributing Writers Chryselle D’Silva Dias Christabelle Athaide Dhanishta Shah Himali Kothari K Parvathy Menon Shruti Nambiar Designers Asif Shayannawar Snigdha Hodarkar Vikas Sawant

Kashyap Rawat Product Designer Based in Mumbai, Kashyap Rawat is an alumnus of Raffles Design International. As the principal designer of KSR Studio, he brings the proficiency of designing functional yet visually appealing products.

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Khosla Associates A Lengthy Affair, Page 26 Khosla Associates was founded in 1995 by Prinicipal Architect Sandeep Khosla, a New York Pratt Institute graduate and former associate at Charles Correa’s Mumbai office. Sandeep was later joined by co-director Amaresh Anand in 2000. Their contextual approach to design has resulted in a work portfolio that boasts of a wide array of projects and several laurels.

Editorial & Marketing Mumbai Mr. Ganesh Gurav, Mr. Vivek Jadhav, Mr. Rakesh Kini (Digital), B-62, Cotton Exchange bldg., Cotton Green, Mumbai 400 033 T 022 23736133/1, 32958501 F 022 23743069 E Delhi Ms Sumita Prakash Flat F 304, Rajasthan C.G.H.S. Ltd, Plot No. 36, Sector 4, Dwarka, New Delhi Tel 09899179540, Email: Chennai Mr S. Venkataraaman Flat No. 2, 3rd Flr, E-Block, Hansa Garden, 30 Madampakkam Main Rd, Rajakilpakkam, Chennai 600 073 Tel 044 22281180 / 09444021128 Email: Kolkata Mr Subrata Mazumder 2, Nabapalli (Bidhanpalli). Kolkata 700084 Tel 033 2410 4296 Mob 9831131395 Telefax 033 2410 7605 Email:

MuseLAB Uncovered. Page 148 MuseLAB is an end-to-end design studio founded by Huzefa Rangwala and Jasem Pirani in 2012. The studio lays a unique focus on highly customised environments, interiors and furniture. Each space and product embodies integrity - with the same care, skill and attention to detail.

Johnsen Schmaling Architects Green Project. Page 119 The work of Johnsen Schmaling Architects represents a unique synthesis of conceptual rigour, technical knowhow, and attention to detail. Specialising in high-end residential and commercial design, the firm offers a full range of architectural and design services.

Publishing Director Mr. R.I. Bajaj Distributed in India by India Book House Pvt. Ltd. 412, Tulsiani Chambers, Nariman Point, Mumbai 400 021. This issue has a total of 156 pages comprising of a 4 page cover plus 152 inside pages. We welcome unsolicited material but do not take responsibility for the same. Letters are welcome but subject to editing. All rights reserved. Nothing may beprinted in whole or part without written permission of the publisher. The editors do their best to verify the information published but do not take responsibility for the absolute accuracy of the information. All objections, disputes, differences, claims and proceedings are subject to Mumbai Jurisdiction. Editor Mr. Anish Bajaj. Published and Printed by Mr. Anish Bajaj on behalf of the owner Marvel Infomedia Pvt. Ltd, B-62, Cotton Exchange bldg., Cotton Green, Mumbai 400 033

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emails + feedback Skilful Conversion Converting a military chapel into a restaurant is quite unheard of, but Piet Boon Studio manages to attain this task with apt skill and retain the fragments of history in the renewed eatery. Riddhima C By Email

Detail in Retail I have always believed retail spaces can up the ante provided they have a design conscience and proper space management skills; your projects in ‘Retail Therapy’ just prove that. Thank you for keeping me updated. Sarat Kumar Mumbai

Young Guns

Class Coverage

Let us know what you love and hate about this issue. Mail us at

Your feature on Kitchen Trends was well presented; was glad to see some of my most loved brands in the listed products.

The projects designed by Patch Design Studio reflect clarity of thought and vision, I am glad that you guys have consistently featured young designers and their take on design. Please continue to do so! Vivian Smith Goa

Nilima Sen Bangalore

Beauty and Brains The linearity and scale in design and its adherence to a set of stringent yet environmentally conscious guidelines makes the Energinet office building an all rounder; functional yet conspicuous. What’s more it looks good too - beauty with brains! Ashok Kumar Mumbai


In the article “Steaming with Ideas” published in our June 2014 issue “Samanvay” was incorrectly referred to as an architectural firm in the introduction. We would like to inform our readers “Samanvay” is the office building of Essteam, an architectural and urban design practice run by architects Snehal and Saloni Shah. The error is highly regretted.

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E V E N T S The hands-on, free-style and interdisciplinary seminars pull in curious, ambitious and talented students as well as professionals from all over the world for an intense and unique period of research, exchange and enjoyment in a refreshing and inspiring environment. Designers and architects seeking to broaden competences and find inspiration, flock here.

26 MAR 25 AUG TO

Designs of the Year, Shad Thames London

Bay Area design professionals as well as local businesses, non-profits, entrepreneurs, students, the design-savvy public, tourists and more.

Now in its seventh year, Designs of the Year gathers together a year of cuttingedge innovation and original talent. It showcases the very best in varied fields of architecture, furniture, graphic, product and transport design. Featuring Kate Moss’s favourite app, a floating school in a Nigerian lagoon, friendly lamp posts, a mobile phone you can build yourself and many others, Designs of the Year 2014 include international design stars such as Zaha Hadid, David Chipperfield and Miuccia Prada alongside crowd-funded start ups and student projects. This exhibition is a clear reflection of everything that is current and exciting in the design sector.

AIGA SF has partnered with the San Francisco chapters of the American Institute of Architects (AIA), the Industrial Designers Society of America (IDSA), the Interaction Design Association (IxDA), the Society for Environmental Graphic Design (SEGD) and Adobe Systems, to sponsor a full week of events highlighting the diversity and professionalism of the design community around the bay.

Boisbuchet’s workshops are offered in cooperation with Vitra Design Museum and Centre Pompidou and realised by CIRECA (Centre International de Recherche et d’Éducation Culturel et Agricole) – the nonprofit organisation that runs Boisbuchet’s program.

2 TO 5 JUL

New Designers Part 2 Business Design Centre London

22 JUN TO 13 SEP

Domaine de Boisbuchet Boisbuchet, France New Designers sees over 3,000 of the most talented, newly graduated designers from UK’s leading universities who come together to exhibit in one spectacular venue - the Business Design Centre, London.

13 TO 20 JUN

San Francisco Design Week, San Francisco SF Design Week spans the entire Bay Area from Silicon Valley, San Francisco all the way over to the East Bay and beyond. Since 2006, the American Institute of Graphic Arts, San Francisco (AIGA SF) has organised San Francisco Design Week as a way to reach out to a diverse community of over 24,000

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Each year between June and September, the most innovative exponents in the fields of architecture and design share their creative process with students in practicebased workshops that have been developed specially for Boisbuchet.

One of UK’s most important graduate design exhibition, New Designers is full of innovation and fresh thinking, it takes place over two weeks, with each part focusing on a different set of design disciplines. The event also features its own awards programme. The recognitions will be presented to the winners at the awards preview evening on 2nd July.



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E V E N T S 9 JUL TO 12 OCT Louis Kahn: The Power of Architecture Vitra Design Museum

foster that talent. The six-day event is made up of design workshops, panel discussions, fashion shows, fundraisers and great parties. Leading designers and marketers from digital agencies discuss relevant manufacturing issues and topics besides which collaboration with local agency employees focuses on the state of design in Cincinnati. The American architect Louis Kahn (19011974) is regarded as one of the great master builders of the twentieth century. Kahn has created buildings of monumental beauty with powerful universal symbolism. This exhibition encompasses an unprecedented and diverse range of architectural models, original drawings, travel sketches, photographs and films. Highlights of the exhibition include a four-metre-high model of the spectacular City Tower designed for Philadelphia (1952-57), as well as previously unseen film footage shot by Kahn’s son Nathaniel Kahn, Director of the film ‘My Architect’.

Design icons of Cincinnati speak about what inspires them apart from which a workshop entitled ‘Design for Good’ focuses on how to make Cincinnati a stronger community through design.

22 TO 23 AUG

Melbourne Indesign Melbourne, Australia

14 TO 17 AUG São Paulo Design Weekend São Paulo, Brazil

Cincinnati Design Week Cincinnati

The largest city in Brazil, São Paulo is known for its high rises and bustling business community, an artsy bohemian neighborhood with lots of galleries, hip shops, and ateliers. Though the world prefers to classify Brazil as a rabbit hole of football fanatics and samba dancers, there is much more to it.

Cutting edge education, international agencies and Fortune 500 companies make Cincinnati a hotbed for design professionals. Cincinnati Design Week is an attempt to

The São Paulo Design Weekend is an attempt to put Brazil on the designers map, a confluence of designers, the event derives its inspiration from Milano Design Week and London Design Festival.

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21 TO 26 JUL

The Design Weekend festival has more than 360 simultaneous interventions throughout the metropolis. Activities, public and private, paid and free are promoted at strategic points such as museums, galleries, studios, shops, parks, squares and NGOs, among others. Born as the largest event of its kind in Latin America, the city based event infuses design in the heart of millions of Brazilians and aims to be among the most important design event in the world in five years time.

Melbourne Indesign has been held biannually since 2004 (previously named ‘Saturday in Design’) to showcase revolutionary ideas and game-changing new products from high-end international and regional brands and leading architecture and design talent. The event unites four design precincts: Collingwood, Fitzroy, Melbourne CBD and Richmond, with multiple showrooms and pop-up spaces transformed by conceptual installations and product launches. The locations are connected by tram routes and free buses, creating choose-your-own design adventures for industry insiders and design lovers.




All you need to do is download the free Magzter App Apple users can download Magzter from the App Store and Android users can download Magzter from Android Market. Try it out today.

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His buildings may have that ‘Star Wars’ appeal attached to it, but each edifice narrates its own unique story. Architect Arjun Malik’s work is layered beyond the obvious skin of the structure that meets the eye and clings to a paradoxical theory of ‘rational thinking meets intuition’. The heir apparent of the illustrious firm Malik Architecture has more than his prolific genes working for him, his ability at finding clarity in the complex pattern of his craft allows him to attach a holistic vision to his work. After completing his Bachelor’s in Architecture in Mumbai, he went on to experience an intense academic environment at the Columbia University in New York. He returned to work on, what have become highly acclaimed, pathbreaking structures of the country. Visually, his work appears to be suprematist in nature and yet, despite the overwhelming form, the projects appear to be completely in sync with the contextual parameters; case in point being the much talked about Alibaug house - an empirical experience resonates throughout its form and at the same time, it is seamlessly synergised with the surrounding site. Here, Arjun talks about how architecture should not be any different from a meaningful cinematic experience and why he chooses not to stick to conventions.

my space

Interview by Shweta Salvi

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Typically, an architect’s inspirations and inclinations define his signature style. Is there a particular school of thought that you endorse or believe in?

What was your experience like, growing up with your father - celebrated architect of the country? And exactly when did you decide you would like to pursue the same profession? There was always certain inevitability about my decision to be an architect. It was ultimately the paradoxical nature of the profession, and the belief, through constant exposure to my father’s practice, that architecture, like cinema or literature, was a medium for commentary and personal expression, that led me down this path.

What emerged from my time in Columbia was the realisation that the process of design is more of a polymorphous construct than a linear progression.

Through our work, we have tried to develop an idiom that would reconcile the intellectual and intuitive aspects of architecture, that would provide a tangible link to the past without getting nostalgic, that would be technologically progressive without being experientially stunted, and that would, ultimately, speak through the intangible science of perceptual phenomena. The current over-emphasis on the intellectual and conceptual dimensions of architecture has contributed to the disappearance of the physical, sensual and embodied essence of architecture. In our practice, we focus more on generic metaphors rather than specific analogs. We primarily rely on the intuitive reading of context, allegory and functional parameters to generate typological shifts. Empirical mathematical processes are tempered with the exploration of phenomenological precepts to generate architecture that transcends the merely intellectual and visual, while also addressing the often ignored experiential aspects of architecture.

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Whether it is the monumental load bearing massing of a Cancer hospital in Jaipur, or the re-interpreted soaring and brooding gothic profiles of a research centre in Mumbai, we have always tried to establish a link, through spatial articulation or metaphor, to the past.

A conservative, structured education system, especially in a creative field like architecture handicaps the creativity of an individual. What did you learn and take away from the two institutes that you studied in? What emerged from my time in Columbia was the realisation that the process of design is more of a polymorphous construct than a linear progression. Being part of an intense academic environment and interacting with students and faculty from different cultures with a wide range of ideas, led me to understand that perhaps the most important part of architecture was the ability to absorb, assimilate and extrapolate information. What according to you is today the most ignored aspect of design? According to me, context is one of the most important aspects of design. Part of our profession’s malaise today is the repudiation and misinterpretation of context. Whilst being progressive, our work strives to provide a tangible link to the past. We feel that without

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understanding our past, there is no clear way into the future. This philosophy manifests itself in subtle ways. Our planning typologies draw historical archetypes, but are subjected to current contextual parametric forces, some empirical and some intuitive. There are a number of volumetric and spatial allusions to the past embedded in our work.

The concepts of time, continuity, infinity, reflection and introspection provide us with a theoretical underpinning and we try to articulate a syntax of metaphors that allows, through our work, to comment on subjects ranging from urban decay and regeneration to the more abstract and intangible notions such as the subtle differences between homogeneity and purity and contradiction and chaos.

I personally feel that, like meaningful cinema and literature, the experience of architecture should be a gradual process of revealing; where with every successive ‘viewing’ or ‘reading’ layers could be peeled back and embedded constructs and metaphors could be allowed to emerge. Light has always been a subject of fascination, and an integral part of our work, whether as a visceral sculpting tool, or as implied metaphor. Homogenous light paralyses the imagination in the same way that homogenization eliminates the experience of place.

Much of our work draws inspiration from nature, not through its physical forms, but through its principles and processes.

I personally feel that, like meaningful cinema and literature, the experience of architecture should be a gradual process of revealing

Things that inspire you (apart from design/architecture) that eventually also stimulate your design cells. Nature / cinema / travel / literature / philosophy...

Do you believe the scale of a project is detrimental to creativity? What are the creative difficulties working on, for instance, a township as opposed to a small residence? When ideas and thoughts are underpinned by a coherent philosophy they transcend scale. Investigation and evolution are an inseparable part of the creative / extrapolative act, and as a corollary, so is the urge to challenge the boundaries of one’s own comfort zone.

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This departure can take place at many levels, from typology to material to process to scale, but the inherent potential for critical commentary, hovering below the surface of the bricks and mortar, exists at all scales. All projects for an architect have some memories attached to it. Was there one such project where you were left personally enriched? The house at Alibaug and the GMS Grande Palladium are seminal; both projects represented a path into uncharted territory, and like many such forays, there were moments of self-doubt and adversity, but the risk was well worth it. Any one building material that fascinates you and would like to apply in your practice someday?

One quality of your father you admire and would like to imbibe? His clarity and his ability to filter out background noise and cut to the core of an issue. As well as his grace in never overwhelming those around him, instead providing a healthy environment for personal growth.

Translucent concrete and rammed earth walls.

Malik Architecture has built an enviable legacy over these past 37 years, what goals have you set for the firm in the coming years? The question of legacy and achievement is a grey area, especially at a time and in a society whose definition of ‘success’ reeks of misplaced priorities. We love our work, and we value our ideas and, above all, our ethics. There is no goal in sight, no target to pursue.

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Architect Sandeep Khosla and his wife Tania conceived of a luxury home for themselves, with the intention of leasing it out to a family of four. Using traditional materials and a contemporary design, The Long House makes the most of a linear plot. Text By Chryselle D’Silva Dias Photographs Courtesy Shamanth Patil J

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A LENGTHY AFFAIR Home Review July 2014


When an architect builds a house for himself, what does it look like? Awardwinning architect Sandeep Khosla is known for his striking “contextual” architecture which uses traditional and local materials in a contemporary setting, it was therefore inevitable that a luxury home for his family would have the right mix of old and new, of modern and traditional. ‘The Long House’ is in a gated community complex in Bengaluru and is so called because of the linearity of the site. The house has a long frontage with a bamboo grove, which determined the shape of the house.

“The mature bamboo grove was growing wild almost to a height of 20 ft,” remembers Sandeep. “We wanted to keep the essence of the bamboo grove alive, due to its beauty and because it provided the much needed privacy from neighbours on the north side of the property. We took a lot of time with our landscape consultants to prune the bamboo slowly and in such a way that it would co-exist in harmony with the house as well as the rest of the landscape.” The house makes an impact right from the start. A sculpted brick-coloured wall draws attention to the entrance.

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The first visual as you enter the house from the foyer is of the Temple tree set afloat in the linear blue water body against the backdrop of a red wall. The water body flanks the dining and living rooms and extends out into the garden. The water body acts as a reflecting pool with a water spout chiselled out of stone. The house has been intentionally divided into public and private spaces with the ground floor hosting the living, dining, den, study, kitchen and a guest room. The upper floor has three bedrooms and a family room.

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Even with the peculiar shape of the house, the space flows with one room leading effortlessly to the other. The living room leads to a den, which leads to the study through sliding doors. The living spaces flank a lengthy verandah that overlooks the north garden. The verandah uses the linear proportions of the 120 ft frontage very effectively and provides a meaningful dialogue with the north garden.

A double-height wall in form-finished ribbed concrete gives an eye-catching backdrop to the staircase. The house has been designed such that the public spaces on the ground floor open up to the verandah and the private garden, while the bedrooms have views of the fruit trees in the south. That way, every room has an expanse of nature to look out to and an outdoor experience to enjoy. Which can only be a good thing in Bengaluru’s temperate climate.

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Khosla Associate’s signature work has always incorporated traditional and local materials in thier projects. The Long house uses a fairly neutral material palette. The soft beige Italian marble flooring in the main area reflects natural light whereas in the den and bedrooms the Italian marble is juxtaposed with wooden flooring

Polished kota stone has been used in the verandahs and the entrance steps and walkway around the water body was developed with local hand-dressed sadharhalli stone.

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The project was not without its challenges, though. Certain vertical planes were cast in ribbed textured concrete. Special care had to be taken during construction in the accuracy of the repetitive wedge-shaped timber shuttering to achieve seamless joints once the concrete was poured. “This was a challenge since the team had to try and achieve a degree of precision to achieve a seamless ribbed texture. During the construction process, I had to reject quite a few trials before the contractors finally got it right,� says Sandeep.

The Long House pays attention to detail and as a result garners a lot of attention An effective amagamation of traditional and contemporary materials, it blends together all the essential elements for a luxurious dwelling to create a lovely home.

In the long verandah, the same ribbed pattern is reflected as a timber clad ceiling that runs its entire length before folding down vertically in the form of ribbed concrete. The team worked closely with the carpenters to achieve the desired result.

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Try it out today.

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Taurus (the bull) was inspired by the gypsy culture prevalent in the south of France. Gypsies like guitar music, live in caravans and like coloured fabrics. The bull is a symbol of the south of France.

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art form

HEADS UP Vivienne Maun creates the most whimsical and tongue-in-cheek animal heads you’ve ever seen. The likes of apes, sheep, tigers, groundhogs, dogs, etc. become her muses; accentuating the similarities between man and animal. Once upon a time, taxidermy and animal heads showed up only in country décor or in sombre Victorian homes. Today, you’re more likely to encounter well made crueltyfree animals in any medium of your choice, be it wood, stone, ceramic or clay. Or if you are really lucky, you might spot one of Vivienne Maun’s marvellously whimsical papier-mâché creations. The mammals are first given human like expressions and attires; these populate Maun’s quirky bestiary. Her cheeky, papier-mâché animals make you smile. Indeed she calls them “a genuine remedy against melancholia.”

For Isabelle the deer, Maun used purple silk and gold work on the background to make it relevant to the particular taste of the region it was headed to, in this case Egypt.

Text By Chryselle D’Silva Dias Photographs Courtesy Vivienne Maun Home Review July 2014


Using nothing more than chicken wire and a wire cutter, Maun gives shape to her imagination. Inspired by photographs or animals she has seen in the wild, she puts together the proportions of the head “until the shape becomes tangible.” The papier-mâché is then applied slowly, like a protective skin. Next the application of colour takes place and finally some accessories are introduced. The result is a true-to-life, modern sculpture, and one where taxidermy is elevated to a new art form. All of Maun’s animals in the bestiary have a name. And they are inspired by real people! So you have Max the bulldog that looks like Winston Churchill, complete with hat and a cigar dangling from his mouth or Zita Von Flouse, the ostrich in her boudoir. “I like to connect a special animal with a special face,” explains Maun. “Take my camel, for example. His name is Yasser because Yasser Arafat looked so much like a camel in real life with his big lips.” Unlike Yasser, Mariette (the groundhog with flying goggles, inspired by Amélia Earhart, the first woman to fly solo across the Atlantic) is a little different, because Marmots live on the ground or under the ground whereas this Amelian version is all set to fly. Maun belives animals and humans are physically similar and attempts to highlight these intricate similarities through her work.“On looking at the animal head we are most likely to be reminded of a caricature of a person living or dead; the head references the person in expression which could show gentleness or even aggressiveness,” she adds. Max the bulldog looks like Winston Churchill, complete with hat and a cigar dangling from his mouth. Using nothing more than chicken wire and a wire cutter, Maun gives shape to her imagination.

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Maun trained at the Fine Art School of St Etienne, France. Her love of sculpting and her fascination for Ethology, the scientific and objective study of animal behaviour, inspires her creations. “It is this facetious and joyful observation of living creatures that provides the daily substance for my work.”

Mariette, the groundhog was inspired by AmĂŠlia Earhart, the first woman to fly solo across the Atlantic. Unlike the groundhog which actually lives on the ground or under the ground, this Marmot is all geared up to take on the skies.

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She started the series about six years ago “just for fun”, but since last four years, it has become a serious affair which inspires her frequent trips to Africa. Her passion to photograph animals in the wild is yet another reason for her expeditions. “I’m crazy about apes and I try to travel to every country where I can take pictures of apes.” Maun’s work first became popular at the Maison et Objet Trade Fair 2013 in Paris. The mounted faux-animal heads with their distinctive personalities captured the imagination of the visitors. “It was with great pleasure and measured irony that we saw, at this occasion (at the Maison et Objet), gentlemen looking at Leon the pig with familiarity…while some ladies seem to find Zita the ostrich’s distinguished looks more attractive.”

Samson the orangutan gazes pensively at you and you just can’t resist smiling back at him!

Maun’s first major body of work was the Jungle Collection, a series of faux animal heads for Center Parcs, a UK-based holiday company. The Jungle Collection is a straight-faced series of wild animals – no smiling zebras or giraffes with bows on their heads here. “Center Parcs opened a big restaurant in Germany and they wanted jungle-themed accessories. That is why these sculptures are different from the others,” she explains. Some of her beasts are custom orders and their design clearly reflects what the customer wants. “For example, Edmond the sheep and Isabelle the Gazelle went to Egypt as the people there seem to like colours like gold, purple and fabric silk.” This attention to detail is supported by Maun’s use of antique lace and other accessories to complete the montage.

Edmond the Ram was commissioned from Egypt; decked in a pom-pom collar he makes a distinguished picture.

Hunting without a gun and yet giving us creatures that are expressive and evocative, Maun’s animals explore the similarity between man and animal with a sense of humour that brings a smile across our faces.

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Glimpses of Khotachi wadi TEXT AND PHOTOS BY KUNAL BHATIA

Those not in the know would find it hard to believe that an 18th century neighbourhood of wooden cottages and winding lanes has survived to this date in the heart of a bustling commercial district in South Mumbai. Khotachiwadi was originally home to over five dozen bungalows with visible Portuguese influences. The houses are characterised by their wooden construction, deep verandahs and balconies, external staircases, wooden screens, mosaic floors and decorative eaves - all liberally covered in swathes of colours.

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Even though just about a third of the houses survive today, a walk down the lane can instantly take you back in time, at least a few hundred years. The neighbourhood survives, even if only by tenterhooks, thanks to the activism and awareness initiatives of a handful of local residents and some conservation bodies. In the midst of redevelopment a city tends to lose a part of its history and specimens of architecture from an era gone by; and sadly a community also loses a way of living that had evolved over generations.

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iSALONI 2014 For 52 years now, iSaloni has served as the premier platform for celebrating and showcasing the finest in creativity and design. At its conception, the exhibition served as a portal for Italian furniture manufacturers to showcase their wares for export. Today, it is the last word in local and international design; a benchmark event that sets the global standard for the industry. Every year, Milan brims over with the local and international design milieu - from designers, architects and manufacturers to buyers, agents and retailers, who gather to engage in the dialogue of design.

Text By Brionie Pereira

Photo Credit: Marco Covi

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Photo Credit: Saverio Lombardi Vallauri

Photo Credit: Saverio Lombardi Vallauri

While iSaloni features cuttingedge and innovative products by international architects and designers, it also makes space for young talent to exhibit their designs in its SaloneSatellite section. Its 53rd chapter which took place in April, clocked in a whopping 357,212 distinguished visitors from 160 countries, surpassing its previous editions, not just in terms of quantity but quality as well.

Photo Credit: Saverio Lombardi Vallauri

Home Review July 2014


iSaloni is demarcated into multiple arenas: Salone del Mobile and the International Furnishing Accessories Exhibition, SaloneSatellite, the EuroCucina / International Kitchen Furniture Exhibition and its sister event - the FTK (Technology for the Kitchen) and the International Bathroom Exhibition. Each exhibits the latest innovations and high-end products in its category. This year, designers geared themselves toward the theme of ‘Design, Innovation+Craftsmanship’, conceptualised as a response to young designers looking to meld artisanal tradition with modern industrial design and production.

Photo Credit: Saverio Lombardi Vallauri

Photo Credit: Saverio Lombardi Vallauri

Photo Credit: Saverio Lombardi Vallauri

48 Home Review July 2014

SALONE DEL MOBILE This year Salone Del Mobile saw a variety of influences in furniture design, with a particular focus on intimate and oneiric design, self-production, materials, pauperism and new minimalism. Another style birthed by way of the economic situation focused on workmanship and self-made products.

The spirit of the prolific Piero Fornasetti, in wake of his recent critical rehabilitation, inspired several designers to take on a more whimsical, fairytaleinspired approach to design. Some designers borrowed inspiration from the iconic past, transcribing it into contemporary models, while others followed a materialbased approach - where the

entire design of a particular piece revolved around the material of choice, rather than the other way round. Overall, this year’s exhibition saw a sense of simplicity underscoring each genre and style, a stark contrast from the elaborate excesses of furniture design’s past.

HERMÈS JEAN MICHEL FRANK Hermès’ re-editions of Jean Michel Frank’s iconic pieces evoke the austere, avante-garde spirit of the 1920s. The bench, armchair and console - all handmade - consist of wrought iron and leather. Each piece has been crafted with a meticulous attention to detail; the bridle leather polished, tanned, patinaed and laced by hand so it is thick, smooth and supple. The wrought iron is transformed through as tedious a process, its rawness playing off the leather to create a perfect testament to Hermès-appointed savoir faire.


Fendi Casa’s Diagonal Sofa, designed by Toan Nguyen strikes the perfect balance between elegance, comfort and quality. Part of their Contemporary line, the low-seated, modular sofa features a play of clean lines and compact elements, interpreting tradition with a modern twist, while bringing together the worlds of fashion and design. The sophisticated offering is both comfortable and sleek, and comes tailor-made in different versions: one in a thickened nabuk with raw-cut edges, in leather, or inlaid fabric with tone-on-tone or contrasting inserts, that add a playful twist to its modern, minimal lines.

Poltrona Frau presents a re-edition of Gianfranco Frattini’s masterful Albero bookcase, designed at the end of the 50s. The selfsupporting, rotating, adjustable bookcase is a testament to Frattini’s attention towards the laws of static and dynamics, with four vertical uprights and two rack and pinion pylons at its two ends. These and the shelves are made in Canaletto walnut veneer, and can be adjusted in the uprights for a minimum of eight, and a maximum of 12 shelves. The impressive structure serves not only as a functional space for your books, but also as an installation around which the entire ambience of the room can revolve.


Home Review July 2014


MOROSO IL DOGE The IL Doge seat by Serenissima for Moroso pays homage to the heritage of Venice, inspired by the traditional platforms set up on hightide days. The seat consists of two lightweight, down-filled pads in Acqua Alta fabric that rest on the seat’s upholstered backs. Making for a comfortable nook to kick back in, the unconventional design of the IL Doge evokes the atmosphere of age-old Venice with a contemporary twist.

MOLTENI SEGRETO Molteni upgrades your workspace with their classic secretaire. Instead of a clunky, old-fashioned desk with drawers and filing cabinets, the Segreto is a compact triangular unit that can be suspended from the wall. The bottom section opens up to reveal tiny shelves and sections where you can neatly put away your paraphernalia. With the assistance of ingenious stay rods, the bottom part will then double as a top where you can work, or place your laptop. The space-saving unit is equipped with every modern multimedia connection, and comes in eucalyptus and American walnut finishes that will easily blend into any decor.

MAGIS TIBU Magis’ most important invention, the ‘Tibu’ bar stool with a gas lift, is back in a reinterpreted avatar. In order to display the height adjustment feature in a different way, the seat and footrest are connected in a fluid shape, while the trunk and base feature as balanced counterparts. Each individual element of the monochrome stool expresses its possibility of movement, while the surface morphs as needed, from scratch-proof steel to the soft seat. Anderssen & Knoll, who designed the stool, were inspired by strong graphic expression, particularly a calligraphic image, and tried to embody a similar symmetry, purity and simplicity of design in the ‘Tibu’.

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DEDON DALA LOVESEAT Dedon’s ‘White Jungle’ collection is a call to the wild, a dazzling outdoor collection underscored by luxury and comfort. Stephen Burks channels the laidback vibe of a tropical jungle reinterpreted with pristine, sophisticated whites. His Dala Loveseat, a new addition to his awardwinning Dala collection, is a plush, unpretentious and prodigious sunbed, perfect for kicking back for some quality R&R. True to his design policy, Stephen Burks has birthed another piece that incorporates masterful craftsmanship and a spirit of openness and pluralism.

TOM DIXON CLUB Entitled ‘Club’, Tom Dixon’s new collection of furniture, lighting and accessories is a contemporary take on the British gentleman’s club of bygone eras. Drawing the essence of a plush, modern home away from home, the collection comes in metallic colours with tactile finishes, featuring new functions such as task lighting. The Flood lighting series, a highlight of the collection is inspired by the technical prowess of the automotive industry. Fashioned with injection-moulded polymers, it is robust, highly reflective and boasts a commanding profile.

CAPPELLINI CAP CHAIR 2 Cap Chair 2 is an upgraded version of the Cap Chair designed by Jasper Morrison and presented at Salone 2013. The chair with armrests is upholstered completely in leather. This updated version can be placed around tables lower than the standard height, transforming the ambience of the classic meeting room to the comfort of a lounge. The Cap Chair 2 has self-locking wheels, and one can transform its look by covering it in either fabric, or full grain/pigmented leather in natural dark, brown and black.

Home Review July 2014


Har Nais



CAPPELLINI DUO VASE Antonio Facco draws inspiration from the concept of human beings embodied by creative images or objects. His aesthetics are a debate between formal impulsiveness, the possibilities possessed by materials, and the application of technology. His Duo vase, a perfect example of this, is a modular ceramic creation that comes in black or white.

Michele de Lucchi has created two ranges of agile and articulated lamps. The Pantographe and Har Nais collection can be considered siblings in their design: both feature slender light-offerings in minimalistic fashion. While Pantographe is inspired by the draftsman’s tool, Harnais is based on the equestrian world. The range of lamps feature bullcalf leather and metal, opaline shades, bases that double as trinket trays, double dimmers offering both diffuse and directional light and to sum it up: the simple elegance of savoir faire.

CASSINA TOREI Cassina’s Torei collection, designed by Luca Nichetto, adds a playful dimension to any living room with their modern, art-decoesque design. The graphic tables, akin to a colourful jigsaw puzzle were first presented in 2012. In addition to the rectangular model, the matte black metal tables, are now available in a square version with two new dimensions: triangular and round. The hollowed tray-top comes in Carrara marble for the square, and in a bright stained red colour for the rectangular and round. The piece is flexible in design so it can be arranged in different heights and dimensions, or squared off into smaller structures.

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KARTELL PRECIOUS Kartell offers 30 new products under their ‘Precious’ collection, that embody the quality, value, glamour and luxury of Kartell’s perfected plastic. The theme of the collection revolves around how plastic has achieved the status of a precious material through Kartell’s meticulous technologies and design. Several of their bestsellers like Masters, Dune, Stone make a comeback in metallic finishes. The brand has also added new products to their line of furniture, lighting and tableware, all created with their unique polyblend injecting technology, including the ‘Twinkle’ bar tables and ‘Sparkle’ range of stools and tables by Tokujin Yoshioka, meant to emulate the effervescence of crystal.

FENDI CASA STAR TABLE Thierry Lemaire’s Star theme summons energy and a sense of equilibrium, and his Star Table is characteristic of the same. Imbued with rich, modern details, it features round edges and receding lines that characterise its base. Crafted with Ebony Macassar and glossy brass, the standout table features a star motif on the top of it. Immediately arresting, structured and geometric, the table is a conversation starter.

MOLTENI & C PASS-WORD Pass-word’s various wall-mounted and floor-based units are made to accommodate every conceivable multimedia device from TVs and home theatre systems, to tablets and digital modems. This modular storage and home entertainment system is designed by Dante Bonuccelli. It contains a bench that conceals the ugliness of exposed wires and cables and is finished in a dark, warm cedar wood, in addition to various wood ranges and a colour range of matte or glossy lacquered finishes.

Home Review July 2014


POLTRONA FRAU GRANTORINO BED With a design that speaks a compositional language, Jean-Marie Massaud’s GranTorino bed is a lesson in comfort and design. Featuring a distinctively well-proportioned headboard, the bed consists of polyurethane foam padding and polyester wadding to create a panelling effect, while the bed frame is secured in a seamless way to lend a sense of softness to the structure. The frame of the bed and headrest is decorated in rich leather, with a structure made of MDF and fir blockboard, all suspended on blade-shaped legs that give it the appearance of floating in space.


CASSINA MARALUNGA ‘40 The iconic Cassina Maralunga was created as far back as the 70s and still remains a timeless design. The sofa, with its headrest that can be adjusted to create a low or high back, has been remodelled for its 40th anniversary into a modern and youthful version. It is upholstered in fabric or leather with bold stitching that gives it a refined pinch around its edges.

Jorg Shellman’s eponymous collection is inspired by the industrial product: geometric, pragmatic, bereft of ornamentation and superfluous design. Aluminium sliding doors lend pictorial character to the piece with the elements of colour, perforated texture, and the merging of both depending on whether it is open or closed. Made of tubular steel, the austere, conceptual piece is designed to make a statement in any room.

MAGIS PINA ROCKING CHAIR After the roaring success of the Pina chair, Magis has introduced several different variations to the unique seating collection. Featuring a one-of-a-kind wire structure, the rocking chair has a padded pineapple pattern and adds a playful element to the concept of comfort. While bringing back an age-old concept, Jaime Hayon rejuvenates the rocking chair’s characteristic heavy and antique image with clean lines and modern design.

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NLXL + STUDIO JOB ARCHIVE The folks at Studio Job ransacked their personal archive for drawings, images, icons and patterns in order to create their ‘Archive’ wallpaper collection for NLXL. Made from non-woven paper with a matte finish, each composition runs for nine, non-repetitive metres and features vivid, graphic prints. The collection was inspired by the concept of art being presented on silk wallpaper in the 17th and 18th centuries. The wallpapers come in seven different designs: Industry, Labyrinth, Perished, Alt Deutsch, L’Afrique and Withered Flowers, and are available in both monochrome and colour.

CASSINA PECS DESK The Pecs desk by Marcel Breuer has been resurrected as part of Cassina’s SimonCollezione range. The formal desk impresses with its simple, geometric design and carefully-balanced proportions. Its design is based on a play between solids and voids, volumes and thicknesses. Instead of protruding drawer handles, the desk has hollowed rectangular slots that fit the hand. An interesting quirk and exception, is the last drawer, where the handle is carved into the edge of the structure.

MOOOI ZLIQ ISLAND The ZLIQ Island by Marcel Wanders gives one the feeling of being on one’s own private island within the confines of the home. Made of three components, the island constitutes two ZLIQ sofas with a middle component between them. One can roll over the middle component to create a complete, self-contained seating area that allows total comfort and privacy. The sofa is made of a steel box frame covered with foam and dacron, and comes with removable covers and seat cushions.

Home Review July 2014


MOOOI BASSOTTI SIDEBOARD Bassotti sideboards offer the best storage solution for the home or office. The light, wooden compartments offer versatility in space and structure as they can be rearranged in different ways. The stackable sideboards are available in different heights, made out of oak veneer, which one can opt to stain or lacquer in different colours.

KNOLL WASHINGTON SKELETON CHAIR David Adjaya has collaborated with Knoll in order to create the functional yet sculptural Washing Skeleton chair, designed as a play between propping and balancing. The cantilevered chair is true to Knoll’s Bauhaus philosophy that pontificates that decor should complement and not compete with architecture. The seat features a unique leg design and a back drilled down to a fine geometrical lattice. The shell and legs are cast in three parts, and put together with mortise, tenon joinery and stainless steel fasteners.

BOCA DO LOBO NEWTON LAMP The Newton Lamp by Boca Do Lobo is a suspension light, designed with the highest quality materials in order to exude modern luxury. The handcrafted piece made with aluminum and plated with gold, can be customised to any size or colour of choice. Authenticating Boca Do Lobo’s commitment to the artisan’s craft, the attention-grabbing piece combines timeless elegance with its bold character.

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MAGIS THE WILD BUNCH Konstantin Grcic adds two new members to ‘The Wild Bunch’ collection, the ‘Tuffy’ chair and the console/shelf ‘Spike. The chair consists of four wooden legs and a backrest of gas-injected plastic to enhance its comfort. Envisioned as a piece for the workspace, the chair has a turning mechanism for height adjustment.


KNOLL LOUNGE The Lounge collection sees the addition of a new sofa designed by Edward Barber and Jay Osgerb. The sofa is characterised by stitched seams that validate its elegant profile, and curved cushions that soften its face. Its signature cast aluminium leg fits neatly between the upholstered elements, and can be customised in chrome and with painted finishes. Reflecting a laid-back attitude toward interior design, the sofa is neither over-the-top nor plain, a perfect blend of relaxation and class.

The Artu line is an exercise in design and solidity. Created to incorporate interesting details and a contemporary style, its lines make for smaller proportions with unobtrusive armrests that do not jut out more than their enveloping structure. The armchair has a back panel and its curved armrests are made in green velour with a satinfinished brass cylindrical base.

POLTRONA FRAU BABEL The playful, compact Babel drinks cabinet is the perfect addition to a man’s home. The unobtrusive mobile bar can be moved with ease, thanks to its four casters, to create an elegant social nook anywhere in your house. Built like a mini-tower with multiple levels, the base of the cabinet includes a bottle holder while its two lateral wings serve to hold glasses and accessories. Luxurious Cuiio Saddle Extra leather covers its exterior, while its innards are in red Alcantara with ebony wood accents.

BOCA DO LOBO EDEN TABLE Designed to represent the tree of knowledge and the birth of desire, the Eden centre table makes use of top quality materials, textures and shape in order to create a cosmopolitan luxury environment. Crafted completely in polished casted brass with a delicately engraved top, it is meant to expose ‘the heart of a golden tree’.

Home Review July 2014


Salone Internazionale del Bagno The International Bathroom exhibition this year reflected the transition of the bathroom from strictly functional to a space of wellness, luxury and relaxation. The Calvinist aesthetic of the past gives way to decorative elements, colours and materials to create a warm, welcoming space. While manufacturers of sanity ware are redefining the definition of classicity through their products, designers seem to be moving from ‘cold’ to ‘fairytale dimensions’ never ventured into before by introducing rough surfaces, wood, and tactile and material sensations into the bathroom space.

VITRA MEMORIA Curvy shapes give way to defined, sleeker models, as featured in the Memoria collection by Christopher Pillet. The mineral cast and ceramic sinks are a picture of simplicity and functionality, available with an 80 cm and 40 cm bowl that prevents water from splashing. The refined yet subtle design and technologies give the room an integrated feel, while also offering users an efficient, tactile experience. The vanity sinks come with generous storage space that helps organise the bathroom better.

DORNBRACHT HYDROTHERAPY With Hydrotherapy, Dornbracht works toward maximising the healing effects of water through an ease in functionality and use. Through specialised outlets of Water Modules and the digital control technology of Smart Water, the water applications in your bathroom are made more effective. Modular products like the extractable shower hose and the Foot Bath make for better shower experiences, while their technologies make it so you can adjust the temperature and water volume with just a flick of the wrist.


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Kaldewei’s Meisterstrucke range ticks all the checkboxes for comfort, space, craftsmanship and high functionality. Their Conoduo free-standing bath features seamless steel enamel, and comes in size 170 x 75 cm, merging comfort with impeccable aesthetics for a truly luxuriant experience. One can customise it by adding features like the new Sound Wave bath audio system, the Kaldewei Comfort Select electronic controls or the Vivo Vita whirl system.

DURAVIT VERO The Vero collection of bathroom furniture expresses dichotomies in its character: an elementary, balanced model with a bold design identity. A classically modern form is contrasted by inset vertical handles, while material thicknesses and different dimensions create a cubic look. The furniture console has an open compartment with a shiny chrome frame that also serves as a towel holder. LED lighting deepens the ambience created by the Ticino cherry wood surfaces, while discreet high-gloss white finish highlights the cubic design. Designed in a versatile manner, one can combine the individual units for different aesthetic and storage solutions. Unique expression and lively aesthetics define the Vero bathroom space.

AXOR SHOWERPRODUCTS Front designs a line of shower products made to manifest the industrial appeal of the shower. The design is focused on intuitive use and sophisticated aesthetics, with an attempt to open up the bathroom towards the living room. The products turn the mundane pipe, joint and valve into an attractive design object, bearing the concealed functionality of technology. The range includes a hand shower, a shower set consisting of a hand shower, a wall bar, a shower house, an overhead shower, and a showerpipe consisting of a thermostat, an adjustable overhead shower and a hand shower.

ANTONIO LUPI BOLO Part of the new Ceramilux collection of washbasins, Bolo was the result of an innovative collaboration with Mario Ferrarini. The top mount sinks in Ceramilux offer options for every need, bringing together aesthetics and moulding techniques. The word Bolo means vase, the collection drawing inspiration from the ancient process of using paste to make stones. The entire collection has four varieties, each representing an elementary form: circle, square, rectangle, oval. It is further demarcated into two graphics, the bottleneck section and the drain cover integrated in the sink.

Home Review July 2014


KARTELL & LAUFEN KARTELL BY LAUFEN Through a powerhouse collaboration between Kartell and Laufen, comes the Kartell by Laufen bathroom collection, characterised by the unusual mix of plastic and ceramic. It is the first time that Saphirkeramik has been used, adding a new and undiscovered sophistication to design language of the washbasin. The blend of plastic and ceramic retains all the strengths of classic sanitary ware through the addition of corundum. The drain outlets also extend across the width of the washbasin with a concealed drain hole and overflow. In the bathtubs, the overflows have LED lighting and aromatised misting.

VITRA NEST Nest creates a cosy and accessible bathroom for the whole family. Created with the simplicity of Scandinavian design at the hands of Pentagon, Nest sets itself apart with its extensive range of products and functional design touches. The bathroom sink comes in myriad variations, the Trendy bathroom cabinets have sensor-operated LED lighting while the other Trendy fittings and accessories have adjustable modular applications. All doors and drawers are child-proofed with a slow-close feature. There is even a child step that helps the little ones reach the sink and where they can store their toys.

LAUFEN IL BAGNO ALESSI ONE Laufen’s Il Bagno Alessi One collection combines technology efficient, meticulously designed, tailor-made options for the bath space. The collection offers the whole range of bathroom products from their console basins, to freestanding bathtubs to towel shelves and toilet holders. Each piece is created with SaphirKeramik and completed with a white finish. The freestanding bathtub features a soft, enveloping shape, while their console basins come with drawers and shelves in canaletto walnut finish, along with lighted mirrors, each adding a captivating touch to the bathroom.

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DORNBRACHT MEM REFINEMENT MEM makes a trend-setting shift away from cool whites and metallic in the bathroom space to warm, glowing hues of pink gold and copper with the Cyprum finish. The finish, made out of 18-carat pink gold and copper imbue the bathroom with intimacy and elegance. To complement the MEM series, Dornbracht has released a 3-hole mixer for the edge of the bath, and a freestanding bath mixer with a flow spout and bar type, hand-held shower head. In addition to this, they have created adaptations of the rosette dimensions to enable combinations with outlets and controls from other series. The MEM designs are available in chrome, platinum, platinum matte and the pink gold Cyprum hue.

AXOR LAMPSHOWER The Axor LampShower succeeds in opening up the bathroom space towards the living room by adding an elegant piece of furniture. Designed by Nendo, the LampShower merges light with water to create a unique hybrid for increased comfort in the bathroom. The lightweight design, that combines the fluid qualities of light and water, adds a new dimension to the shower. The blend of the wide-rimmed shower crest with ambient lighting makes for a truly rejuvenating experience. It is available in ceiling and wall-mounted versions in a standard chrome finish, but can also be individualised.

HANSGROHE SELECT Instead of complex instructions and twisting knobs, an elegant but simple push button will control the water source with Hansgrohe Select. After a lot of creative research and efforts, the Select button was created to provide the same ease of use to the shower as one does with light switches or the telephone. The new operating concept has been integrated into Hansgrohe’s Raindance Select hand showers and overheads, ShowerSelect thermostats, ShowerTablets and the new Metris Select, a kitchen mixer with the Select function.

Home Review July 2014


EUROCUCINA As per its previously established standards, EuroCucina offered a wide spectrum of goods in terms of style and material, a spread to cater to every taste. Classic kitchens had their place alongside designer kitchens, and materials varied from brick, wood to laminate plastic.

This year, there was a significant shift in the perception of the kitchen space, from purely utilitarian to a convivial space, where families and friends can congregate. Innovative design coupled with the use of natural materials aimed to turn kitchens into warm yet technologically-

efficient domestic spaces. Moreover, the usual divide between a country and modern kitchen fell away in favour of an integrated style that incorporates vintage as well as futuristic elements, making for a rugged yet luxurious workspace.

SCAVOLINI DIESEL SOCIAL KITCHEN Diesel and Scavolini have combined their design prowess in order to create the Diesel Social Kitchen which reflects the philosophy of ‘premium casual living’, designed for smaller homes where the kitchen is not just a functional, but a social space. Put together with unusual materials with a vintage twist integral to Diesel, the kitchen features wood, steel, glass, processed with metal and special treatments. The doors are in natural, knotted oak or wired glass, while the handles are in used-effect metal. The design is based on the modularity of each separate element and on separate modules that can be assembled together.

VALCUCINE SINETEMPORE Sinetempore restores tradition through various ancient handicraft techniques, making use of inlays, carvings and mosaics to decorate the wooden surfaces. Bushhammering is employed for the surfaces of the worktop back panels and grinding for glass. The doors have an “Olmo Tattile” finish, while the surfaces are in marble or porphyry. Carcasses and shelving elements feature solid elm. Inspired by Mediterranean tradition, the shapes and vibrations of this kitchen system play with Venetian, Byzantium and Sicilian influences.

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ALNO AG ALNOVETRINA The Alnovetrina kitchen is meticulously designed with 3 mm high-gloss glass on the chipboards, and every glass surface is polished evenly to guarantee simple sanitation and longevity. Alno AG is incorporating metal too; the high-gloss fronts have real metal frames. The design relies on highquality materials and functionality, true to the company’s design philosophy and follows the trend of glass and metals as a substitute for wood.

PEDINI URBAN CHIC The Urban Chic kitchen space is characterised by bleached ash wood on the doors, the tall units and wall units with boxed glass doors, the floor boiserie, the table and the basement of base units made of pewter finish. The wall worktop consists of thick Laminam Fokos lead, supported by pewter finished steel. Slimmer slabs of gres porcelain make up the worktop and backsplash behind the sink. A black ceramic hob and steel sink complement the pewter finish hood, while the open units go with the bleached ash shelves.

Home Review July 2014


ARAN BELLA The Bella Kitchen is composed of essential lines, naturalness and artisan craftsmanship. The wood and light effects add warmth to the space, while also exuding a contemporary essence, and the surfaces are chromatic and tactile. It features laminate doors with a register pore finish and MDF matte lacquer that is both glossy and luminescent. The space also allows the opportunity of personalisation and is designed in a way that effortlessly reflects your personality and style.

SCAVOLINI EXCLUSIVA Designed by Vuesse, the Exclusiva is the perfect blend of opulent ornamentation and modern simplicity, created for the cosmopolitan homemaker. The programme can offer variations in style and furnishings (straight-line, island, peninsula compositions) while its stand-out elements are the gilded capital installed with its pillar strips and decorative motifs. Carcases are available in cream, white and grey, while the dual-toned, marble-topped island is designed in such a way that it creates a complex ensemble. A bonus point: the kitchen is also eco-friendly.

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PEDINI RUSTIC CHARM The Rustic Charm set-up is dominated by Canaletto walnut wood, present in the storage units, the floating wall units, in the shelves and in the breakfast bar. The worktops of the island and the wall have a thick, weathering steel structure that makes for a reliable, sturdy working surface. The steel hob and sink complement the steel island hood, while the open units are coordinated with the Canaletto shelves. The handles and the tall units that conceal the ovens, fridge and the wine cellar are crafted so that they are aesthetic and functional. Each element comes together perfectly to create a warm, rugged and welcoming space.

VALCUCINE RICICLANTICA Owing to the first 2 mm door to be created in the world, Riciclantica is not only the most technologically advanced kitchen line but also one that perfectly embodies design based on dematerialisation. Materials such as aluminium, steel, layered laminate and glass, and accurate design gives birth to flat joints that need no screws and are resistant to water, steam and heat. The programme features accessorised wall panelling in ‘Rover Tattile Millenium’, the warm rigour of wood and two new additions in the form of the glass Linea C6 worktop and a new version of rugged stainless steel. Visual lightness, a long life, minimum consumption of raw materials and energy and non-toxic finishes round up the Riciclantica.

Home Review July 2014


SCAVOLINI FLUX SWING Scavolini’s Flux Swing kitchen by Giugiaro Design offers an upgrade on the clean, clear lines of the Flux, so it merges perfectly with the living area. The kitchen has an identity that is centred around geometric flexibility with straight and curved lines, featuring base units with steel and glass baskets, a steel wall and a lighting system for the base units and baskets. The carcase is in aluminium grey, with doors available in steel, glass, gloss and matt lacquer; the handles are concealed in either chrome or stained stainless steel, in different sizes. A new innovation of the project is the built-in hood, custom designed for Scavolini. The core of the Flux Swing is its slide effect that immediately blends it with the living space.

ARAN BIJOU The Bijou kitchen is a convergence of design and advanced technology, a holistically durable set-up, in material and process. The kitchen is made with glass and high-tech materials that are resistant to heat, scratches and bumps. The thin porcelain sheet incorporated in the design retains its properties and aesthetic beauty over time. It is available in 10 colours, while the glass door is available in 22 colours, in variations of satin and lacquer finishes.

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PEDINI MATERIKA FLEXIBLE IDENTITY The Materika Flexible Identity is timeless in that it is clean, fluid and its asymmetric design lacks ornamental accents. Moreover, it can be customised in terms of colour and finish to fall away seamlessly to the living room. It is the perfect solution for efficient, organisational cooking with its modern technological solutions. It is designed with natural knotty oak, matt lacquered onto the wall units and base, and blends aesthetically with the white quartz worktop, steel hob and sink. The tall units, including the fridge and steel wine cellar, have doors of Ecomalta brown.

ALNO AG ALNOSTAR CERA A new generation of kitchens is ushered in with the Alnostar Cera. Its uniqueness can be attributed to the use of even and hard ceramic material that is both wholesome and resilient. The smoothness of ceramic is combined with sleek stainless steel and warm wood tones in order to create a harmonious contrast and distinctive design. Neat lines are validated with its completely handle-free design.

Home Review July 2014


FTK - TECHNOLOGY FOR THE KITCHEN FTK (Technology for the Kitchen) ran parallel to EuroCucina, where 35 of the sector’s top manufacturers showcased the latest technologies in built-in appliances and cooker hoods and provided a window as to what can be expected in the future of domestic appliances.


MIELE DGC XXL COMBINATION STEAM OVEN Miele’s combination steam ovens combine a fullfledged oven with a steam oven, and now come in a spacious size with immense interior capacity, allowing the use of 4 rack levels. The ovens offer a variety of cooking options - steam cooking, combi cooking, top and bottom heat, grill, intensive bake, defrosting and much more. It takes a short time to heat up food with excellent results due to its MultiSteam generator while highly intuitive SensorTronic Touch controls improve efficiency of use. The oven has a stainless steel, non-stick interior and comes in different finishes, along with a multi-purpose tray, a combi rack, perforated containers and a recipe book.

ELICA AUDREY Audrey is a light decorative element that takes shape with the beauty, elegance and fluidity of fabric. It offers LED diffused lighting and comes in colours or polished stainless steel finishes. The sophisticated light offering can be mounted on the wall, and comes with a remote control. Its simple design adds an unobtrusive elegance to the kitchen space.

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LED lighting, modern storage technology, stainless steel interiors: the Vario 400 series offers perfected details in their range of cooling appliances, setting a new bar in function and beauty. The refrigerators, freezers, fridgefreezer combinations and wine climate cabinets on offer have controlled climate zones, hygienic materials that neutralise odours, and are energyefficient. They also feature shelves that can be manually and motor-adjusted, fully extendable drawers, durable aluminium door racks and No-Frost technology. The refrigerators have an integrated fresh cooling zone, which keeps food fresh for twice as long.

MIELE K 30,000 SERIES The K 30,000 series of freezers and refrigerators is characterised by versatily and energy-efficiency. FlexiLight lends it a bright interior while PerfectFresh keeps it fresh. Created with high-end product specifications and options, they come in sizes and with such conveniences as the NoFrost function and a ventilator, LED lighting, exclusive touch controls and a clear control panel. The cabinet recesses come in different models to meet a variety of requirements and combinations.

FRANKE CRYSTAL COLLECTION The Crystal Collection by Franke features elegant and geometric design, innovative technology, high functionality and highly professional performances. The hob is available in a black glass finish with transparent jewel knobs. The hob features high-efficiency burners that make for rapid cooking, and magnetic heat guards. It is a combination of delicate aesthetics and efficient technology.

GAGGENAU OVEN 400 SERIES An iconic design language and optimal function is what sets apart the Oven 400 series. A special feature is their integration with fronts protruding by 47 mm, along with the combination of panel-free surfaces and handle-free doors. The entire range - ovens, combi-steam ovens, combi-microwave ovens, espresso machines and warming drawers are crafted in stainless steel and glass. All the appliances feature a control module with TFT touch display, and can be adjusted depending upon the nature of food to be prepared. Each model retains its individuality when combined with other appliances, its modern technology making it extremely user-friendly.

ELICA YE The Ye hood is an original, breakthrough product from Elica’s portfolio, designed by Fabrizio Crisa. Its visual shape and appeal is enhanced by CristalplantŽ, a hypoallergenic, non-toxic material that is resistant and gentle to the touch. The entire monolith is wrapped in a smooth finish akin to velvet and natural stone, which adds a particular lightness to it. iGuzzini LED spotlights offer hidden, diffuse lighting above the cooktop. The YE is a great balance between form, material and colour, startling and familiar at the same time.

Home Review July 2014


SALONE SATELLITE Serving as the principal platform for fledgling designers to showcase their talent and mingle with the best in design, SaloneSatellite saw the participation of 650 young designers and 16 design schools. In its 17th edition, the design community could avail of workshops, design talks, and performances, focused around design, innovation and craftsmanship.

Experts in textile, ceramic, leather, digital, each conducted workshops chalking out the treatment and use of each of the specific materials and technology in the context of modern design. Following its immense success the previous year, the Artisanal Workshop returned to elucidate the evolution of products from idea to actual invention, all of

which culminated in the design awards, judged by an illustrious panel of heavyweights in design. The awards for Saloni Satellite 2014 went to From Industrial Design (Italy), Arturo Erbsman (France) and Avandi (USA), while Honorouble Mentions were awarded to Ruxi Sacalis (Romania) and YOY (Japan) for their masterful innovations in design.

FROM INDUSTRIAL DESIGN’S VOLTA LAMP The Volta lamp experiments with the typology of fluorescent tube lighting, looking to change the ambience in a room from work to a living environment instantly. The lamp is suspended from copper wire loops, while the body of the lamp - a simple aluminium profile, can be rotated independently from the cables. It uses LED strips for directional lighting, and the light can be adjusted as required, turned upside down to function as an indirect source of light. Recipient of the first prize at SaloneSatellite 2014, the lamp was the product of an industrious collaboration between Manuel Amarel Netto, Cesare Bizzotto and Tobias Nitsche.



The Steptool is a maple ladder created for confined yet frequented kitchens. The light, flexible stool leans on the countertop, using an existing structure for support and thus taking up less space. Its rubber bases provide a solid grip and an aesthetically appealing contrast to the natural wood. Ariane van Dievoet draws from her nomadic past to create designs that are durable, portable and versatile, tailored for the urban nomad who shifts base frequently. Like other pieces from her collection, the Steptool was designed to adapt to morphing spaces and received the third prize at SaloneSatellite 2014.

Recipient of the second prize at SaloneSatellite 2014, Atmos is an atmospheric lamp that produces light through the condensation of water. Its aluminum base contains a lighting source and a hand-blown glass bulb with an inexhaustible supply of water. When lit, the water evaporates, forming droplets of water on the inner surface of the bulb, through which light is diffused. In time, the glass seems to crystallise, causing the water to run down the sides and back into the water reserve. Erbsman’s lamp pays homage to the eternal and sacred cycle of water, and attempts to create a space for contemplation and dreaminess.

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RUXI SACALIS’ CHAMOTTE Chamotte adds an aesthetic dimension to ceramic pots, originally used for storage in ancient agricultural settlements. Consisting of three food containers, a vase and a fruit bowl, the pottery project explores the use of clay and chamotte dust in producing objects that are both functional and easy on the eye. The pieces were created using a simple firing process that imbues it with strength and chamotte dust, which helps to reduce shrinking while it dries. Together, they make the final product durable, adding a primitive texture that is pleasing to the touch.

YOY’S PROTRUDE Protrude is a clever, somewhat playful and functional addition to your tabletop: it is a tray fixed to the desk with a clip, at any angle you like. The minimalist design is made to look as though it may fall off the table, although it is securely fastened and can be rotated once it is attached. The same size as an A4 paper, the wood and stainless steel accessory designed by YOY has lifted edges in order to accommodate stationary, cups, etc.

SARA DUQUESNE AND LEVI DETHIER’S PERIMETER The Perimeter collection emerged from the concept of needing nothing more than a flat surface to work and thus began with a simple board. Propped between trestles, the board became a table, slid onto rails, a shelf. The addition of accessories birthed a desk and bookcase. Perimeter offers a desk, a high shelf, a low shelf, mirror collection and desk accessories designed for the home as well as a working environment. Featuring solid ash and metal profiles, the pieces are easy to dismantle and rearrange to personal specifications, designed with utmost simplicity that highlights the bold graphic quality of the materials used.

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POETIC LAB’S BAMBOO FOREST The ‘Bamboo Forest’ is Poetic Lab’s organic collection of eight pieces of furniture created using bamboo and glass, an exploration into traditional craftsmanship and contemporary production. Its raw appeal is offset by elegant shaping while its combination with transparent glass creates a void effect that makes objects on the table look as though they are floating within it. The bamboo is strengthened with special processes, but without affecting its natural shape and look. The collection includes coffee tables, a rectangular and round dining table, a shelving system and pendant lights.



The Fin Light series draws from a variety of sources: geometry, nature and Indian legacy. The ethereal wall-hanging lights are a sculptural interpretation of biomorphism, making use of an array of fin modules around the spine of the structure. An ode to bilateral symmetry, the most highly recognised form of balance found in nature, the lights resemble scaly, bioluminescent marine creatures like sea anemone and jellyfish. They are designed in exact likeness to them, mimicking their geometries through reflection and the rotation of repeated elements. Moreover, the collection of lights are entirely handmade with traditional Indian handicraft techniques, and are available in brass, copper, silver, bronze, German silver and PVC.

Wagner’s collection experiments with ply, playing with the various properties of the material in order to create his collection. The pieces used in the furniture are assembled from individual frames, but the objects have the monolithic appearance of having been carved from the same block. The arrangement of surfaces is linear, while the tapered feet contrast the massive surface they carry. Characterised by uninterrupted structural lines, durability, exchangeable parts and wholesomeness, the collection is an exercise in efficient design and sustainability. The range of offerings include a bed, desk, sidetable, sideboard, bedside table, lamps, vases, socket and storage boxes.

ANDREA BORGOGNI’S CAPRICE AND LADUCAST Designed to bring together the fundamental geometry of a dining chair with a harmonious 3D surface, the Caprice is an attractive and unusual offering. Offering solid support along with freedom of movement, the chair can be split into two parts, easy for storage or shipping. The Ladu Cast shares the portability and space-saving characteristics of the Caprice, with a foldable quality akin to a book. The structure is made of casted aluminum with three stable legs and a backrest of stretched fabric, while the seat can be of a material of your choice, be it wood, plastic or fabric.

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 Advertorial Home Review July 2014



Designed as a cultural accompaniment for the Salone Del Mobile, “Where Architects Live” was an exploration into the living spaces of eight of the world’s most renowned architects. If one can consider a home as the embodiment of one’s mind, then this original installation took spectators on an intimate journey into the mindspace of each architect, by providing an exclusive look at rooms designed by the most respected minds in the industry. The eight architects included Shigeru Ban, Mario Bellini, David Chipperfield, Massimiliano and Doriana Fuksas, Zaha Hadid, Marcio Kogan, Daniel Libeskind and Studio Mumbai/Bijoy Jain. Francesca Molteni, who curated the event, worked alongside architect and scenographer Davide Pizzigoni in recreating the architects’ private rooms via multimedia, reconstructions and discourse. She filmed the houses of the eight heavyweights and spoke with them about their visions, in order to create an interactive exhibition that gives one perspective on what drives them to excellence.


Photo Credit: Hiroyuki Hirai

Photo Credit: Hiroyuki Hirai

Photo Credit: Hiroyuki Hirai

Shigeru Ban challenged himself to build his home without uprooting a single tree in the Hanegi forest in a serene Tokyo district. He accomplished this feat in 1997 and now resides in this apartment complex which has hollowed out circular or oval shapes for the trees and is swathed with natural light. Photo Credit: Davide Pizzigoni

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Photo Credit: Alessandro Russotti

Reflecting the free spaces of Brazil, Marcio Kogan’s home shoots up toward the sky with a panoramic view of the city through a window. His home is a walk-through of signed pieces, travel souvenirs and mementos; the story of each being remembered by Kogan. The focal point here is the grand piano in the centre of the room laden with his personal memorabilia.

Photo Credit: Romulo Fialdini; Architecture Credit: studio mk27, Marcio Kogan


Photo Credit: Romulo Fialdini

Photo Credit: Alessandro Russotti Home Review July 2014


Photo Credit: Davide Pizzigoni

Photo Credit: Davide Pizzigoni

Photo Credit: Davide Pizzigoni

Photo Credit: Brigitte Lacombe

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Zaha Hadid’s storied career is splashed on the walls of her London studio. From her early neoSuprematist drawings inspired by revolutionary Russian artist El Lissitzky, to recent portraits, pieces of furniture and organic, curved surfaces that define the space in her home.

Alongside the seven showcased at the exhibition, was Bijoy Jain of Studio Mumbai. His home, set in the peaceful environment of Alibag, doubles as a workspace where he lives alongside his team of 60 craftsmen. The structure is homage to skilled Indian carpentry and masonry, with a beautiful water feature - a concept that he hopes to affix to his projects worldwide. Photo Credit: Francesca Molteni

Photo Credit: Francesca Molteni

BIJOY JAIN Photo Credit: Studio Mumbai

Text By Brionie Pereira and Rehana Penwala Photo Credit: Francesca Molteni Home Review July 2014


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Expect the Unexpected

How do you react to an office that has no fixed reception area and boasts a settee fabricated from rubber ‘chappals’? According to AVA Design Studio, this project is all about creating an atmosphere of surprise. Text By Christabelle Athaide Photographs Courtesy Ravi Dhingra

Rugs on the floor, ceiling and wall cleverly showcase the client’s product range and creativity.

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The impression that you are in an unusual workplace descends upon you right from the moment you set foot into the office of Sharda Exports, a home-furnishings company in Noida, Delhi.


The ubiquitous reception desk and lounge area are conspicuous by their absence, and in their place a hip bar counter, bar stools and an assortment of chairs occupy the meeting area. Suspended above the counter is a chandelier pieced together from discarded soda cans while a huge mural of a jungle scene stares out of the adjacent wall. Clearly this is not a scene from a typical workplace. “The idea was to create an element of surprise”, explains Vistasp Bhagwagar, Chief Architect and MD of AVA Design Studio, who was roped in to design the corporate office of Sharda Exports. When the client asked the design studio to explore the theme of ‘reincarnation’ for the interiors, the team interpreted this as giving a “second life to discarded materials”. Old soda cans, for instance, were given a fresh lease of life in a lighting fixture and discarded scooter tyres and cycle spokes were upcycled into barstools. Waste yarn from the client’s carpet factory was not only used to create green carpets for the ceiling but was also creatively woven to upholster chairs in the MD’s office. However, the design feature that grabs most eyeballs and is the pride of the export firm is the huge multi-coloured settee entirely fabricated from the soles of rubber ‘chappals’. Vistasp candidly admits that the settee takes inspiration from the collection of designer duo Campana Brothers.


Home Review July 2014


But not everything here is all form and no function. The office entrance area was designed to look like a café with a bar counter not just for design’s sake but in order to maintain a flexible space where the export firms’ rugs could be spread out and displayed when necessary. In the conference room, a wall covered with 600 pegs suggests an abstract installation, when in fact the pegs are a handy medium to display rugs and samples when the firm’s designers are brainstorming or meeting a client. It’s hard to ignore the numerous carpets and rugs that line the floors and in some cases the walls and ceilings too. These rugs and carpets were created by the export firm for the office area and cleverly showcase the company’s capabilities while also adding interesting dimensions of colour and texture to the interiors. Fibreboard, one of the unifying elements in the office is seen everywhere, right from the entrance area to the office desks; it reinforces the concept of ‘reincarnation’.


“We’ve attempted to bring back respect for all that is simple and non-glamorous”, points out Vistasp referring to elements like the tiles in the washrooms that are an odd assortment of leftover stocks and are prudently utilised to create an abstract collage. One of the main challenges of working on a project like this was finding artisans who were willing and had the skill to fabricate the unusual designs drawn up by the team. In a league of its own, this office takes delight in the surprised expressions of first-time visitors who step closer for a second look at the upcycled barstools or the rubber chappal settee.

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A wall shot with 600 pegs is playful and even serves as a convenient display space for swatches and rugs.

Vistasp acknowledges, “Creating out-of-the-ordinary furniture and accessories requires tremendous patience. It also means stepping out of your comfort zone and dealing with carpenters and labourers who have no previous experience of dealing with unusual materials.” For their patience and effort, AVA Design Studio was awarded a ‘Special Mention for Corporate Interiors’ at the IID Anchor Awards, 2013.

Home Review July 2014


In this section we have time and again featured artisans who have dedicated their lives to an art form. A few have tried to engage and uplift not only the art form but also the artisans involved. Sushil Sakhuja belongs to the latter category. “The Bastar region is a district of Chhattisgarh in Central India. Apart from housing the Nagarnar and Tata steel plants which are well known here, the region is also home to tribes who specialise in Dhokra handicraft‌and this is their story,â€? says Sushil on a starting note.

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Artistic Endeavours TEXT BY VIKAS BHADRA Home Review July 2014


Sushil was inspired by Dhokra quite early, back in 1982, when the Government of India made an attempt of saving this fading art form by engaging selected artists and designers - the well-known designer Joghi Panghal also visited Bastar at this time. Seeing him work with local artisans attracted Sushil to Dhokra Art. He felt that finally he had chanced upon what he would like to actively engage in. Sushil regularly started participating in his workshops, besides Panghal, he also acquired training in Dhokra art form from yet another prominent Dhokra artist, Shobharam Sagar. The traditional art of Dhokra has been practised across a number of states in India like Chhattisgarh, Jharkhand and Bengal. These creations which are made using the lost wax process were initially utilised to make creations for gifting in temples and centres of faith.

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These creations were primarily the handiwork of old people of a specific tribe. In return for their quintessential creations the artists were given food grains or felicitated with an award. As time passed, the price of bronze which is the primary material put to use in Dhokra, became costly, besides the day to day use of bronze also diminished. This in turn motivated the artist to look for other avenues of work. In a fast moving world the time and effort required to make a Dhokra art piece was also another factor which led to the decline of this craft. The decline of Dhokra cautioned wellwishers of this art form who decided to preserve it. One idea was to open a museum and house the existing art pieces which were accessible. In order to maintain the continuity of the art form one of the prominent questions which came to the fore was how to engage young people in an art form which was primarily the knowhow of the old. As Sushil got more entrenched with this art form, he too realised that it was heading towards extinction. Keeping this reality in mind, Sushil actively started working with the artisans to ensure the art form survives. As he worked in unison with the artists he amalgamated the craft of Dhokra with different materials like iron and clay. A new era heralded the beginning of this fading art and craft. The artisans and craftsmen became actively engaged in Dhokra, even women folk started getting involved. Erstwhile alcoholics now had a constructive activity to pursue. The art of Dhokra involves a number of steps beginning with the creation of the basic mould using sand and clay. The wax preparation thereafter involves the use of pure bee-wax, found in abundance in the jungles where these craftsmen reside. This is followed by channel building and crucible filling, both these steps requires the use of a furnace. The type of furnaces utilised varies according to the place of origin of the artisan. The nature of fuel too differs from wood (green and dry) to charcoal, cowdung cake, coal, etc.

Home Review July 2014


The initial doubt was that urbanites may not take a liking for a rural art form - but the response was otherwise. Sushil was greatly appreciated for his work by a number of notable names which included the late M.F. Hussain and patrons like Parmeshwar Godrej. The Government of India too felicitated him on a number of occasions. With an aim to keep the artisans and their family in-sync with contemporary times, Sushil introduced them to the world of computers and the internet. “The response was certainly positive and without a doubt I can say that their kids have mastered the use of these new age devices and technologies,” he says proudly. Till date Sushil continues to stimulate the art and craft of Dhokra, besides which he has also taken a keen interest in ice sculpting and creating installations. He has exhibited his ice sculptures in Salekhard, Russia whereas his installations have generated quite a buzz in Vietnam. Getting back to Dhokra, apart from exhibiting his pieces in India Sushil has also exhibited his Dhokra art pieces in Kunming, China. As an artist Sushil has been successful in uplifting the art form, however he laments the fact that art connoisseurs failed to map a constructive methodology to conserve this 250 year old craft. “Though much has been written about it in last 50-60 years apart from gathering and assimilating the artefacts of this secluded art form, critics cite that it is becoming like any other artefact available in the market. I hope the experts take note of such sceptics and preserve this legacy before the artist and not the art becomes an object of inheritance,” he signs off.

Sushil Sakhuja Main Road, Kondagaon, Bastar, Chhattisgarh 494 226 Tel: +91-9425208877

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By Kashyap Rawat


“If you tell people where to go but not how to get there… you will be amazed at the results.” Anonymous. This quote describes my design journey well. Ever since my childhood I was inclined towards creativity. I found solace in colours, sketch pencils and sketch books; they were my preferred pals over expensive toys or clothes.

While some students get to work with designers after they finish their studies, at Raffles, I was lucky to have a rare combination of three senior lecturers, Corrado Cotignano, Lisa Perrine Brown and Samvit Blass who acted as a source of inspiration and helped me in numerous ways. All of them were experienced designers with their own forte.

I have always been inquisitive about how products are created and when I look at something, my brain subconsciously starts pondering on how I can create a customised version myself. Not just understanding products but creating them became my zeal, however I could not find the right course to pursue until I discovered the Product Design course offered by Raffles Design International Institute.

In 2009, Samvit Blass offered me the post of an assistant product designer in his new company LiGHT-FiSH and my first project with him was a colossal and dynamic magnetic picture wall for a jungle themed party at Bonobo, a restobar.

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My association with the Kalaghoda festival which started in 2008 gave me an opportunity to showcase some of my innovative installations like HIGH-LIGHTS (recycle/reuse lighting installation), Psychedelic Avatar (mushroom lights installation) and Chat-in-denim (denim art with graphic expressions).

Stackzy Stackzy can be used both as a seat, a stool as well as a stackable storage cabinet

My key focus was to make it crazy yet sustainable. Enfield bike parts, 108 wine bottles and LEDs were utilised for the project which became a success and a landmark - a completely fresh approach to lighting design. Working with Samvit, I learnt to take my own decisions, never compromise on quality and always strive to beat my own standards.

Kino The lighting scheme is made of wine bottles ,motorbike parts and LED’s

Martman The Martman Plastemart Man is a mascot for that was exhibited at the K Trade Fair, Germany

The party was attended by the architect of Kino 108 who gave us our first big commercial project. The project involved customised lighting for the lounge, based on a retro rock theme. This became my first self managed project at LiGHT-FiSH.

This was the beginning of my design journey, wherein I started getting many freelance projects from companies like JWT (Chandelier for Taj Mahal Palace Hotel, Signage for Taj Falaknuma Palace Hotel), Plastemart.Com (Martman for K Trade Fair Germany), People Interactive (I) Pvt Ltd (CEO Awards), etc.

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We took a form inspired from the Ixora flowers and the purple leaves of a plant keeping in mind the young girl’s liking for nature. Stackzy (multi-utility stacking storage units) is another acclaimed modular and portable KSR product. In the recent past KSR has also done projects based on décor lighting for Surreal Retail Design Pvt. Ltd. in Palladium and Phoenix Market City. We have also received support from the architect community which has provided our products a place of pride in various cities.

Lotus Lamp The Lotus Lamp made from a single laser cut piece of acrylic with an incredible play of red in layers

Ixora The inspiration for Ixora, a premium wall lamp was derived from Ixora flowers Ixora Ixora is a premium light-art lamp collection

My work was noticed by Anjali Mody, principal designer at Josmo Studio and I was appointed as the furniture designer for a couple of their key assignments for hotels and bungalows.

One of our notable projects is the Ixora flower lamp which was designed for a plush residence in Bandra.

Few international designers who continue to inspire me with their practical yet modern designs are Marcel Breuer, Philippe Starck and Alessi. Their influence can be seen in some of my work. The Lotus Lamp designed by KSR for a jewel company exhibited at the India International Jewellery Show is probably one such product. The lamp was made from a single laser cut piece of acrylic with an incredible play of red in layers. As learning is a never-ending process, I continue to learn and evolve as a designer. I look forward to un-wrap a surprise soon with a completely new and crazy, yet high on utility product category.

With my passion towards customised solutions in furniture, lighting and home décor, I started KSR Design Studio in 2012. KSR has designed numerous light and furniture solutions for high end projects.

Home Review July 2014


The main entry is on the third floor of the building, where purple accents add variation to a brown and white linear palette.

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Lines are the language, and a cut-out becomes a punctuation mark in an office remodelled by young architect Gaurav Roy Choudhury in Bengaluru.

Text By K Parvathy Menon Photographs Sindur Reddy Courtesy The Architects Home Review July 2014


On a very busy street in the congested mercantile Gandhinagar area of Bengaluru is a five storied building that houses R.K. Fabrics, an import-export cloth business. In this old, neglected, rent controlled building, R.K. Fabrics can trace its lineage from a small room to a space that now occupies three floors. Explains architect Gaurav Roy Choudhury, “Instead of moving out to another, easily accessible part of the city, the client decided to restructure its office premise and remain at the same place from where it all began.” Credit goes to the client for giving complete creative liberty with merely but a few pre-conditions to the design team of GRCA, a Bengaluru based design practice headed by Gaurav Roy Choudhury. The newly remodelled structure is a far cry from its original avatar. Says Choudhury, “The client had no long list of do’s and don’ts. His only demand was to consolidate his office in the same place from where he started.” The entrance is right below the cut-out and gives a miniscule, yet complete image of the office dynamics. Linear patterns network vertically and horizontally, creating what the architect describes as his ‘favourite space’, where one can see through and through till the skylight from which light comes streaming in.

In its original outline, R.K. Fabrics occupied two and a half independent floors and half of a terrace; all of which functioned separately and were accessed by the common building staircase. The basic design concept which the team defines as, “integrating the floors to create one pulsating space, in perception and in experience” was born out of understanding this building constraint. The team got about the task by sculpting out a cut out in the structural skeleton that started on the third floor entry level and ended in a skylight on the terrace. A perfect welcome is created at this entry point to the office right under the opening, where bright sun rays smile down through all the working floors. Once inside, a network of lines as the predominant pattern narrates the layout of the office. These lines were derived in part from the structure of the building and in part from the logo of the company.

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Wood essayed in two colours - white and brown, script the entire interior spaces starting at the third floor, climbing onto the workstations and continuing through the cut-out to finally terminate at the skylight. Here Gaurav points out, “Since each floor area was small, the cut-out too was narrow and linear. The lines were meant to accentuate these cut-outs as they unified the separate floors.”



“The force and momentum of the lines, hold the office together. They tie and release at the same time. Their ends were left untied as they reach the skylight; their fate is open-ended, just like of the business,” says Choudhury intensely. The third floor level accommodates the administrative part including cabin suites, and work-stations all fused through the white and brown linear pattern. Variation in pattern yet similarity in colour are obvious in the administration cabins on the third-floor level and in the owner’s suite on the fourth floor. The owners suite is placed strategicaly between both the floors it enables him to be in sync with all the activities of the office, it also has a confrence table for internal and private meetings. The design hub located on the fifth floor follows the colour and pattern theme, but adding to the drama are mirrors placed strategically. These mirrors which were thought as ‘a continuation of the lines’ double up as pivoted pin boards for the designers. The cut-out is the epicentre of the design, assuming distinctive duties in each floor. While on the third floor, it dons the role of an entry point; on the fourth floor, the cut-out is the foreground for the linear flow while at the fifth floor the cut-out divides the space into two zones. The idea of the cut-out was to simulate an urban level breathing point - where windows open onto and people interact thus increasing the energy and dynamism of the office.

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In the team’s words, “breaking through the slabs, connecting the floors and eventually hitting light, the volume emerges into the skies.” Through a language of lines and a simple material and colour palette, the GRCA team has decoded the growth and dynamic development of the company into architecture; the final creation resonates with both the ethos of Gaurav Roy Choudhury’s design sensibility and with the business of R.K. Fabrics.

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True to its name, a majestic big green door greets the customers before they step into the store.

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Retail Therapy

Through The Big Door… “The Big Door” lives up to its name, literally. A big ornamental green door greets you before you step inside this fortress of beauty….

Text By Dhanishta Shah Photographs ‘The Big Door’

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Each nook has a story to tell and there are several like this one, just waiting to be discovered and explored.

Just as every fortress has a big door, this veritable trove of home treasures also welcomes its guests with a big door. Spread over 7500 sq. ft. and over three levels, the store is located in the quaint Pali Hill area of Mumbai. This impressive facade inspired by the traditional doors that were used in havelis and palaces in Rajasthan, is just the first of the many wonders of the store. Directors Mr. Vivek Gupta, Mrs. Sunita Gupta and Mr. Alok Mantri have indeed taken a keen interest in the design of the store. The wondrous journey begins with a neatly segregated jewellery section. Big wooden and marble artefacts are aesthetically arranged across the entire ground floor. A lounge area serves as a bespoke meeting place; with its distressed mirror ceiling and opulent décor, it is a fantastic nook.

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A lounge area serves as a bespoke meeting place.

From the ground floor there is a stairway leading to the first floor. This area houses artefacts and furniture and leads to the terrace where quite understandably, outdoor furniture is showcased. But in the journey through the store, there are many recesses where one is drawn to pause and ponder at the absolute beauty of Indian heritage and craftsmanship that is so evident in the décor and products. The terrace is a clear favourite with all visitors. I was enamoured by the huge outdoor tent, a Mughal ‘khema’, which was also incidentally for sale. Here it functioned very efficiently as a canopy to display some of the outdoor furniture. Of course, with the period outdoor furniture, the terrace took on a completely different feel.

The décor of the store is warm and inviting, and at the same time reflects a quiet but royal opulence. The use of colours like brown, red and off-white are interspersed with bursts of red. This adds to an earthy old-world, yet kingly feel that one senses in a castle perhaps. Spanish charcoal coloured tiles grace the floor. The products are a nod to an opulent era of royalty. There is heavy use of wood all through. Vivek Gupta points out that the double height red stair-well also adds character to the store. The special emphasis laid on styling every corner of the store is probably what makes it stand apart from the rest.

Furniture and artefacts in silver, old wood, marble and camel bone make up the heart of the store.

Moreover, the products themselves contribute a great deal to the décor; every piece has a unique story to tell which completely mesmerises the customer. Even by itself, each item is a part of the unique narrative that exists in the store. But more than the products themselves, it is how they have been reimagined that shows the creativity of the shop-owners. They have indeed re-looked at many old pieces and used them for purposes that are different than what they were originally intended for e.g. an ‘urli’ has been converted into a centre table and a decorative mirror has been put on the ceiling! In fact, this is something they do consciously so that the clients too can use the furniture as flexible pieces and make better use of them without losing the essence of their beauty. Customisation as per an individual style adds to the whole buying experience.

The visual merchandising is changed every few weeks as and when new ware is received. The existing inventory too gets constantly moved around to get a fresh look and feel. The store also have a vast and varied collection of furniture and artefacts in silver, old wood, marble and camel bone such as sofa sets, thrones with foot stools, Roman stools and four poster Queen beds. The designs are replicas of originals from that era and they make a conscious effort to not repeat the designs so as to maintain a uniqueness element for the clients.

The dash of royal blue in the bathroom is a welcome change.

The products are either carefully sourced from selected dealers or curated by the Guptas. “Most of the customers walk in with an open mind to discover pieces that fascinate them. We assist our clients with styling options in case they have specific requirements as we largely specialise in custom made designs” says Gupta. It seems like the stage is set with beautifully orchestrated offerings. It is now up to the customers to be a part of the story.

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STOC WHERE Located in the south-east of Sweden, Stockholm is an archipelago of 14 islands all connected by over 50 bridges. It is the capital as well as the political, cultural and economic centre of Sweden. With 30% of the area made up of water bodies and an equal amount dedicated to green spaces, the city provides a breathtaking panorama.

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The climate of Stockholm is relatively warm compared to other places at those latitudes. During summer, the sun barely sets and the long hours of sunlight are ideal to make the most of all that the city has to offer. Thinning crowds and mild temperatures also make spring and autumn a good time to visit the city.

Here, three World Heritage sites and other medieval and Renaissance buildings vie for space with the new-age glass and chrome skyscrapers and modern architecture. The vibrant art and theatre scene and the hundred-plus museums have put Stockholm on the must-see list of the global traveller.

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THE STORY GOES THAT... Once upon a time, on a busy street in Stockholm was an apartment building on the verge of being closed down by the city. Its occupants were mostly musicians, writers and artists and they refused to vacate the city until they were assured that the premises would be looked after. And, then the Story Hotel was born. Swedish company Koncept that designed the hotel wanted it to carry a timeless feel. To achieve this many of the original features of the building were maintained. The wallpaper and the wooden flooring from the original building were maintained and in some spaces part of the original worn-out concrete walls have been allowed to lay exposed.

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Doors from the old building have been reinvented to serve as headboards for the beds. The furniture, bespoke artefacts and modern artwork mingle with these to create an ambience that is both vintage and contemporary. The dramatic artwork that is showcased throughout the hotel public areas and the rooms emerged from the collaboration with Wonderwall art dealers; many of the works have been specially designed for the Story Hotel.

Where The Dust Settles For anyone who is looking for a conversation piece for the table or the mantle, Dusty Deco provides enough options to keep the chatter going endlessly. Framed paintings and photographs, medical posters and neon signs cover the wall. A Victorian statue sits alongside a ceramic cheetah. The collection is so extensive that it is difficult to imagine that it all started as a hobby from the garage of an owner. Home to vintage objects sourced from across Europe, the store is a one-stop shop for just that right piece for that special corner of the house.

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Holding Court

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Food courts are largely a domain where functionality and practicality form the cornerstones of design decisions, K25, a foodhall in Stockholm is a pleasant deviation from this ideology. The usual bright, neon colours make way for a muted and warm palette of greys, black and earthy hues.

Different seating clusters have been created, including a bleacher-like layout at one end of the wall which provides a vantage point to survey the entire space. The interior design is contemporary and stylish, but yet a casual vibe has been maintained. There is consistency in the design that binds the entire space. But, at the same time there is a clear difference in the appearance of each of the 11 food businesses that occupy K25.

All Aboard The year was 1628 and the Vasa had set off on its maiden voyage. Hundreds of Stockholmers had gathered to see the warship set sail, but within hours, catastrophe struck and the ship sank as the crowds watched. For over 300 years the Vasa lay at the bottom of the sea, until in 1961, the wreck was recovered and the Vasa Musuem planned to showcase the historic ship. The three masts on the roof of the musuem depict the height of the ship’s original masts. The main hall of the musuem holds the wreckage of the ship itself, 95% of which is original. Home to the only preserved 17th century ship in the world, the Museum attracts millions every year.

Text By Himali Kothari

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Tao Architecture use a consistent design language that is held together by a rich material and textural palette creating a home that is contemporary and welcoming.

Text By K Parvathy Menon Photographs Courtesy Hemant Patil, courtesy Tao Architecture Pvt Ltd.

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Attached terrace to the living room is treated as outdoor family room, connecting with plunge pool and distant green view. The decor style remains consistently minimal but show stopping.

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Designed by Tao Architecture Pvt Ltd, a Pune based practice lead by Principal Architect Manish Banker, the spatial design of this apartment is ‘established on a consistent language’. Points out Manish Banker, “A clutter free and contemporary quality of space with a combination of warm wooden surfaces, plain white walls and soft coloureds furnishings was the design theme we decided on.” The client, a property developer himself was keen to ‘relate to contemporary interiors’ and his requirements played a major role in outlining the design theme. “When ideas were shared, it was decided not to spend unnecessarily for sake of décor, instead use qualitative products to generate a luxurious and comfortable living,” explains the team. A contemporary and chic vibe begins the moment one steps into the entrance foyer, where the fineness and tone of a warm wooden console and surface finishes under the glow of ambient lighting, ushers you inside.


Once inside, the understated beauty of marble and wood becomes the backdrop for a minimalistic and swank decor in the double heighted living space. The living room continues into an attached double-heighted terrace, and the designers worked to accentuate these volumetric dimensions through select interior composition of the tapestry, artefacts and a television console.

In the entrance foyer, a buffer to the main apartment, ambient lighting works its magic enhancing the warm and rich appeal of wood and contemporary art work

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Explains Architect Manish Banker, “To do justice to the existing double heighted volume, the interiors composition of the room was deliberate, allowing natural light to play a major role.’


An adjacent dining space that is a continuity of the living room, sans the height, gets a clear definition in the form of a wooden wrap. Brown shades of the surface finish and wooden boards draping the walls and ceiling provide an opulent and cosy niche for the dining area. Wall units and accent lighting in these brown surfaces adds to the elegant drama while accentuating linearity of the section. These large expanses were not demarcated clearly in the original layout, so the first step in spatial planning by the design team was to segregate the house into four distinct zones - the entry areas, the living spaces, the service zone and the private rooms. The layout segregation outlined a clear circulation and functional pattern, which helped Tao Architecture to compose a smooth internal anatomy. Without doubt, the material palette and its placement is a vital factor defining the architectural language. The designers stress that the selection of the material palate was a key to meet desired result. Like the dark marble strip which marks strategic elements like wide doors and circulation areas.


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Wood and its textural quality, is perceptibly the favoured choice for most of the surface finishes, wall units and shelves. Differing in finish in each room, ranging from leather textured background surfaces to plain settings, the deep brown hue and woody cosiness exudes warmth into every space of the apartment.

Unifying and embellishing the materialtextural palette is the illumination, an important tool that has been used to redefine the design details. The concept of ‘strip lighting’ charts most of the consoles and shelves, subtly highlighting the linearity wherever called for. One of the innovative aspect of the design is the bathroom overlooking the bedrooms which renders a feeling of larger and continual private space, making the room appear larger and connected without losing sense of functionality.


The apartment is a statement of the innovative aptitude of the designers who deem that the qualitative end result was achieved using a ‘consistent language of construction and material palate alongwith smart coordination of procurements and decision processes.’ Through conscious planning Tao Architecture defined the spatial character of the apartment in a chic, trendy, minimalistic yet cosy and warm narrative.

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No Stone Left Unturned

Sometimes, it takes the sheer shock of seeing abject wastage happening around you to come up with a new idea for recycling. In Iran, Architect Ramin Mehdizadeh showcases a simple, yet brilliant design for recycling discarded stone.

Text By Chryselle D’Silva Dias Photographs Courtesy Omid Khodapanahi Home Review July 2014


Organic wooden shutters and the local stone blend well with the surroundings of Mahallat.

The good thing about the discarded stones that were put to use was that while they were all different in size, shape and colour, their thickness was the same.

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Inside the apartments,the family room and bedrooms are accessed separately. A wall of recycled stone shows up here too, separating the family room from the living room and other rooms.

Mahallat is a town in central Iran that thrives on the mining of travertine stone. More than 50% of the town’s economy comes from this industry. This occupation dates back to the Roman era and the demand for the stone, for exteriors and interiors, continues to this day. A mountain of discarded stone, however, reveals another side of the story. Mahallat’s stone industry currently lacks the investment or technology to cut stone efficiently with a minimum of wastage. Less than half the stones quarried are really put to use. These ‘rejected’ stones, discarded as trash, create an ever-growing pile of unwanted and polluting material. Official records estimate that there are about 200 stone cutting factories in Mahallat with around one thousand tons of left-over stone generated per day.

Architect Ramin Mehdizadeh of Architecture by Collective Terrain (AbCT) returned to his hometown Mahallat after completing his studies at Columbia University, New York, to start work on a new project. While surveying the site and deciding on the materials to be used for the project, he came across the mountains of discarded travertine and was appalled by the waste. He began research on how the stones were excavated in the quarries and then processed. The sharp angles of the stones and the way their gradient height “resembled a city” inspired him to design a project with the quarry in mind. The good thing about the discarded stone was that while they were all different in size, shape and colour, their thickness was the same. All the stones are cut in either 2 or 4 centimetre thickness which enabled Mehdizadeh to stack them together in a horizontal line. The rest, as they say, is history.

Convincing the investors in the project was not easy. The idea of using rejects to create a prominent building did not exactly generate enthusiasm. Mehdizadeh wanted to demonstrate to the conservative local community how recycling the discarded stone could be both environmentally and economically beneficial to everyone. The five-storey contemporary building was designed with modern angles where traditional sensibilities too were kept in mind. The smooth volume of the building is broken by the sharp angles of the triangular prisms; this gives the building a certain dynamism and is also a clear reference to the shape of the quarry. The triangular prisms were a solution to the irregularly shaped site and allowed the architect to create more rectangular rooms as well as add a unique dimension to the exterior.

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Porous walls have been a feature in Iranian buildings since ancient times and Mehdizadeh’s wall of stones has the same peek-a-boo quality, but with an edge.

Elements of traditional Iranian architecture show up constantly in the project. Porous walls have been a feature in Iranian buildings since ancient times and Mehdizadeh’s wall of stones has the same peek-a-boo quality, but with an edge. The size of the windows is contradictory to traditional Mahallti windows, which are small, to protect privacy. Mehdizadeh used large windows to maximise the views and ingress of natural light but added wooden shutters that can be opened or closed depending on the season or the need for privacy. Smaller windows are also included, to bring in more light. In another nod to local customs, the design of the shutters was inspired by old Mahallti doors which are strips of wood connected to a simple wooden frame.

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Interestingly, the shutters are not only useful, but also decorative. They add an organic texture to the exterior of the building and create a sense of movement as they open and close on the various floors; just like unwrapping a gift in slow motion. Inside the apartments, the architects followed tradition by segregating the private and public rooms. The family room allows for entertaining guests while the bedrooms are accessed separately, providing privacy. A wall of recycled stone shows up here, too, separating the family room from the living room and other rooms.

Mehdizadeh reinvented the traditional “taghche”, a built-in shelf located in various rooms. The new taghches are sleek and of varying heights, enabling the occupants to use them for different purposes. In keeping with the eco-friendly nature of the project, local craftsmen were employed to create a lot of the project including the shutters and the intriguing free-standing handrails. Through this project, the architect demonstrated that it was possible to use discarded stone with great success, paving the way for a recycling solution that not only conserves natural resources and reduces the cost of building but also creates a visually-pleasing architectural icon that the residents of Mahallat are now rightly proud of. www.abct.kt


Savings For life

The award winning firm of Johnsen Schmaling Architects clearly demonstrates how architectural innovations combined with lifestyle sacrifices can add up to contemporary, green living.

Text By Christabelle Athaide Photographs Courtesy John J. Macaulay Home Review July 2014


See-through glass walls are not for the shy types; in this case, the family was quite comfortable with the transparent room that integrated visually into the neighbourhood.

The architectural layout takes advantage of the lake breezes and solar exposure to offer maximum cross-ventilation and bring daylight into every corner of the house.

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The combination of operable windows and a shallow building volume allows for a high degree of natural cross-ventilation.

The OS House in Wisconsin is exalted for its genuine approach to environmental stewardship: a process that questions the conventional, right from choice of location and number of bathrooms to construction methods. The house was designed for a family of four who were keen to realise their vision of a green home in Racine. Designed by Architects Brian Johnsen and Sebastian Schmaling, co-founders of the award-winning firm, Johnsen Schmaling Architects, the 1,948 sq. ft. three-bedroom house was built on a narrow infill lot that overlooks Lake Michigan, and is easily distinguished from the classic Victorian houses on the block by its modern, airy and cheerful design. Since the site was partially filled with debris, the architects set to work starting with an extensive geotechnical analysis to understand the site’s drainage characteristics and ensure its long-term stability.

Installing green features can be complicated. The geothermal system required the well-digger, heating and cooling specialist and plumber to work together in tandem.

By restricting the built-up area to the upper plateau of the plot, Johnsen Schmaling presented the family with the concept of a compact house that would minimise its ecological impact. To their credit, the family offered to reduce their living space even further with the suggestion of a common bathroom that they could all use in turns. It is often personal sacrifices like these and not just architectural or technological innovations alone that can make a genuine difference to the environment. Nevertheless, the family did invest in green technology with the installation of photovoltaic system. The 4.2kw photovoltaic system made up of PV laminates adhered to the roofing membranes as well as a free-standing array. In summer, the excess power generated by the PV system is purchased at a premium by the utility company and fed back into the main grid. Home Review July 2014


The building’s roof feeds about 65% of rainwater into a designated groundwater percolation area.

Naturally irradiated, thanks to carefully sized windows that eliminate the need for artificial lighting during the day, OS House also harnesses solar energy to manage a portion of its hot water needs. The climate inside the house is maintained by a closedloop geothermal system which is further enhanced by tightly-fitted doors through which no air can leak out or in. Inside the house, sustainable bamboo flooring, locally fabricated casework with no added urea-formaldehyde, FSC certified engineered wood veneers, domestically-made wall and floor tiles, and VOC-free or low-VOC finishes keep up with the green theme.

About 70% of the electric power consumed in the house is generated by a 4.2kw photovoltaic system. Whereas the hot water is generated by a solar hot-water panel.

What’s more, as part of LEED - the green certification program under which the building was designed, the contractors were required to follow certain building techniques – like collecting, sorting and shipping scrap material to a recycling yard in order to minimise construction waste. No doubt, all of these measures added up nicely to make OS House a vision of the future, but at what cost? Sebastian Schmaling acknowledges, “Highperformance insulation materials, tripleglazed windows, recycled materials - all these add to the cost. Our experience is that a green home will cost about 20% more than a non-green one. That said the cost for green technology (like solar panels, etc.) has decreased dramatically over the last 5 years, so it will become increasingly more cost-effective to employ it in all of our future projects.”

Sensitivity to the environment was not restricted to nature alone; the community too benefited positively when the architects decided to go local for labour and construction by contracting neighbourhood firms. Since the local residential contractors had only marginal exposure to green technologies they took time to learn and adapt to the scrutiny of LEED standards. On completion, the project was enrolled in the ‘LEED for Homes Pilot Program’ and subsequently earned a Platinum Certification. In 2011, it was picked as one of the top 10 green projects in the country by AIA and has since earned several other noteworthy awards. Sebastian Schmaling summarises the project: “The house is built around a palette of sustainable and durable materials to make this a house for life.” In a subtle way, OS House demonstrates how the process of greening the planet really begins at home.

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syl v a i n w ille nz

If you are reading a design magazine, chances are that you will start appreciating and coveting beautifully crafted products for your home and office spaces. It would do you immense good then to also peruse Brussels-based product designer Sylvain Willenz’s simple and elegant designs which prove that good design need not be complicated.

Text By Chryselle D’Silva Dias Photographs Courtesy The Designer Home Review July 2014


Born in Brussels in 1978, Sylvain Willenz studied MA Design Products at the Royal College of Art in London and graduated in 2003. In 2004, Willenz opened his design office, based in Brussels. The studio describes its approach to design as characterised by “a clear inquisitiveness for products, industry and processes.” The designer has won several prestigious awards including the iF Awards and Red Dot “Best of the Best” Awards in Product Design.

Torch Light Series


Willenz’s range of furniture and lighting products span the gamut of simple to complicated minimalistic chic. One of his earliest designs for lighting was the award-winning Torch light series (2008). This Torch light is made from a “flexible polymer with a matt grainy and tactile finish”. Inspired by the hand-held torch, the series includes the Torch Table, Torch Bunch, with the lamps bunched up together, and the Torch suspension, a neat row of Torch lights in many colours.

Landmarks Cone Light and Roof Light

Ray Pendulum Lamp

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In 2009, Willenz designed Landmarks, a range of roof lights designed to be “seen from the sky.” The light was “inspired by signs found on the road which indicate mileage and underground gas conduit trails.” The Landmark Cone light was inspired by the windsock which is essentially a textile tube attached to a pole and used to indicate the direction of wind.

The Print Lamp

The Print lamp (2010) is a round globe reminiscent of vintage hand-blown lampshades. This lamp is unique as it is made out of a single bubble of blown glass where the reflector and diffuser are made out of the same piece. In 2011, Willenz created Ray, a pendulum lamp which was made out of Bakelite balls to create a domestic light fixture with Tubular Lighting technology.

Homerun Chair

Setting the tone for his simple designs, the uChair (2010) one of Willenz’s first designs in furniture, was intentionally kept low-tech and simple and aimed at use in homes and offices. The colourful Homerun Chair (2010) for Japanese furniture maker Karimoku was inspired by the “bold and rounded features” of old cartoons. As part of the Homerun range, Willenz also created wall pegs that are reminiscent of raindrops.

The Lock

The Lock (2010) is a deceptively simple chopstick-like coat stand made out of three sticks and a Bakelite ball. The ingenious design has just one sole screw that holds the whole outfit together.

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The simplicity of Willenz’s designs are similarly showcased in a range of products designed for Cappellini including the Candy Tables. Other products in this range include Profile table and chair (2012) and Candy Shelves (2012). All of these have straight elegant lines that reinforce the ‘form follows function’ ethos.

Candy Tables

Apart from designing furniture and lighting, Willenz also creates electronic products such as sleek USB drives and stationery products like the Block Office series made using a glass cutting method inspired by the lost-wax technique. Instead of using wax, each piece is made and hand assembled using Expanded Polustyrene (EPS) board as base material. The series includes paper-weights, bookends, file boxes and trays, among other things. I am especially partial to Sylvain Willenz’s textile designs. Among his recent designs is Razzle Dazzle (2014), named after the “camouflage painting technique that inspired its complex pattern of intersecting lines.”

Block Office Series

Razzle Dazzle

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The Folk pattern for Chevalier (2012) is a more traditionally patterned rug where the motifs “organise geometric forms while exploring colours and structures.” One of my favourite patterns is the Scribble (2013), which was born out of Willenz’s love for cartoons. The lines are hand-drawn with a thick marker and silkscreened. The pattern is available on various home linen series produced by the One Nordic Furniture Company. The Folk Pattern For Chevalier

Simplicity is the hallmark of this young designer and as discernible, his streamlined designs don’t mess with structure - they just enhance it.


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High and Mighty

Himalesque is a broadcast radio station situated 3,000 meters above sea-level, and built in the lap of the Himalayas in Nepal.

Text By Shruti Nambiar Photographs Courtesy Jun Myung-Jin Home Review July 2014


This radio station blends in so well with its surroundings that one will be forgiven niggling thoughts of some clever camouflage being at play here. To start with, the setting is mind-bogglingly spectacular. These are the mighty Himalayas, and they circle this 1,500 sq. mt. site in all glory. The terrain is tough and ever-changing, and demands extreme preparedness for survival. On this site, 3,000 metres above sea level, is Himalesque, a radio broadcast station that can confidently claim to be beaming live from the top of the world. The one-storied, sprawling structure is home to the Mustang Broadcasting Community (MBC). The Seoul-based firm, Archium Architects, was commissioned by MBC and Korea International Cooperation Agency (KOICA), to design Himalesque, and the team, led by veteran architect Kim In-Cheurl, planned and executed the project with an acute awareness of the local conditions. The stone exterior is a highly sensitive touch, because it sets up a faรงade that seems a continuation of the existing greyness of the terrain of the town of Jomsom, in western Nepal. The stone walls, with their stacked-up appeal, exude something primal, a perfect micro atmosphere to have been built at the site.


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Walking through the corridors, on the flat stone floor, facing broody stone walls, and down the stone staircase, it will be difficult not to observe the contradictions of hue and texture with the august natural setting. The mountains and the changing skies seem always within reach, and the gentle streams of sunshine that run down the minor monolithic stone walls are like cascades. Adding to the rugged feel is the series of columns that surround a sunlight-washed atrium.

It was Archium’s express strategy to make the most of local know-how and materials. For centuries, the homes of the local populace have been protected against the torrid winds, biting cold, and unabashed sunlight, by thick rock walls. This impermiability is at work at Himalesque as well. The stout walls form a barrier to the sometimes unforgiving natural forces of the Himalayas, but for the station itself, it is a highly inspired aesthetic addition.


“Site conditions facing strong winds with changing directions, from rainy seasons to dry seasons, and environmental conditions require that a cool, unheated space is maintained, in spite of the extreme daily temperature differences, reorganized by contemporary methods with local materials,� affirms the team. The effect goes up a notch when viewed in contrast to the 8mm thick THK glass that bulwarks the interiors. This is a relatively modern touch, but instead of jarring, it complements rather well. It also splits the natural and the synthetic light into interesting shadows, also acting as collecting bowls of ochre light in certain spots. Strings of Buddhist prayer flags, tied to the main reception tower, form a pious cone above the atrium, and bring in some fluttering colour credentials.


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Most of the seating and tables are stone too, albeit with an unchiselled feel to them that screams avant garde. There is a smattering of wooden detail, mainly to support the glass swathe. Natural light is abundant, and even in the cavernous rooms, it swoops in like divine communication. In short, this building is a cosy ensconce in the pit of the most awe-inspiring mountain range in the world. It has a fortified skin, but it has mellow spots of illumination within that are as subtle as pockets of candle-light. These ‘gaps’ are crucial to making this building homely. A little garden fosters in these gaps too, forming slender bridges between the outside and the inside. What else is ‘Himalesque’ if not an exemplary marriage of the rough and the delicate?

Most of the seating and tables are stone too, albeit with an unchiselled feel to them that screams avant garde.

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Himalesque is architecturally significant in that it is a zen mix of the traditional and the modern, both in form and the building material used. It is a remarkably simple structure, but it is a product of some very strident planning and execution.

The structure takes all cues from the traditional architectural style of the Himalayas.

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The waterfall with the colourful tile mural was another focal point and added not just drama and animation, but the pink and blue wall, framed by roses, now also acts as a privacy screen from the neighbours.

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A GARDEN WITH A SOUL Award-winning landscape designer Michael Glassman converts a neglected backyard into a functional and stylish space with a personal touch.

Text By Chryselle D’Silva Dias Photographs Courtesy Michael Glassman Home Review July 2014


The renovated backyard is now cosy and functional. Outdoor seating encourages eating by the pool and the design is cohesive leading to a seamless blend of the inside and the outside.

Award-winning landscape designer and author Michael Glassman once co-hosted a TV show called ‘Garden Police’. With his fellow co-host, garden designer Shirley Bovshow, he ‘busted’ dilapidated and neglected gardens and brought a new sense of purpose and colour to forgotten backyards. Glassman is no stranger to rescuing derelict gardens. With more than 30 years of experience in landscape design and waterworks, he has carved a solid niche for his work in the field. When Glassman was commissioned to tackle this private garden in Land Park, Sacramento, his first reaction was not complimentary.

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Glassman and his team gave the tea house a new lease of life by opening it up, installing new laser cut decorative steel panels, adding a new roof and painting the structure a bright red.

“The project ‘Before’ was a mess,” he says, “The concrete was cracked and the old deck was coming apart. The pool was outdated and the Tea House was falling down - the place was an absolute dump!” The challenge was to convert the backyard into “a contemporary paradise.” The main issues were the rotting decking, the cracking concrete, the lack of a focal point and the sheer absence of any features worth looking at. The only greenery was random plants growing along the edges and in terracotta pots.

Glassman believes that every inch of a garden must be attended to and addressed otherwise it will continue to irk you. One of the first things he did was to commission the owner, a part-time tile artist, to create an exuberant tile mural to be used as the backdrop of the newly renovated swimming pool. The owner also created a custom tile design for the steps as well as for the outdoor kitchen where a dining table and benches, shaded by an umbrella, provides a charming alternative dining area for the family.

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One of the three tile murals commissioned by Glassman from the owner, a part-time tile artist.

The tea house was run down; it had overgrown plants around it, a sagging roof and a non-descript decor. Glassman and his team restructured the tea house by opening it up, installing new laser cut decorative steel panels, adding a new roof and painting the structure a bright red. Contemporary furniture gave the space a sense of elegance and formality. The shrubbery around the teahouse was pruned and new plants were brought in to add structure, texture and colour.

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Concealed outdoor lighting illuminates the pathway and accentuates the plants after dark. For the flooring, Glassman used coloured broom finished concrete “to give it a more contemporary appearance.” Privacy was also a huge issue. “We used fast growing, giant clumping timber bamboo (Bambusa Oldhamii) to create a screen.” says Glassman. Other plants were used around the backyard to create “living art”. “A Japanese Black Pine bonsai and a weeping Atlas Cedar were used as living pieces of art and as focal points. Several varieties of ornamental grass including Mondo grass were used as ground cover and to provide textural accents.

The renovated backyard now has a focal point that is not only artistic but also acts as a privacy screen. The splash of colour is welcome and along with the greenery, the space is now a pleasant place all year round.

We chose low-maintenance, low-water requirement plants that would be easy for the homeowner to take care of.” The waterfall with the colourful tile mural was another focal point and added not just drama and animation, but the pink and blue wall, framed by roses, now also acts as a privacy screen. The newly transformed backyard with its modern gray wall now accents the residential architecture and does the seemingly impossible – it blends together the interior, the exterior open spaces, the garden art and various other focal points.

What does Glassman think of the transformation? “I loved the outcome. The landscape is contemporary, beautiful, hip and artistic and even has a slight Asian touch. The garden is now very colourful and I loved working with the client to create personalised art pieces; these are sure to bind the client to the landscape. It has given this landscape a SOUL...”A garden with a soul. Now that is a result any designer should be proud of.

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Cover Story


ost leading chemical companies offer construction chemicals and building materials and are willing to continually invest in innovation to expand design and performance possibilities. Construction chemicals account for 2-3% of the overall construction cost. Widely used products include concrete admixtures; cement and asphalt additives; protective coatings and sealers; concrete surface treatments; waterproofing materials; wall cladding, including exterior insulated finish systems (EIFS); adhesives; sealants; grouts and mortars; flooring components; and sprayed poly-urethane foam. These chemicals are specialty ingredients in the construction process and are designed to be more effective in safeguarding buildings and infrastructure from the elements, extend the lifetime of structures, make the production processes faster and easier, reduce energy consumption and also increase the sustainability of the building industry. Some examples include polycarboxylates, lignins, cementitious formulations, polyurethanes, epoxies, acrylic dispersions, silicones, silanes, SBR, and others. The beauty of construction chemicals is that they allow for the development of customised

The Chemical Technology Era Of Construction

The construction industry in India relies heavily on chemical technology to provide many functional properties expected of construction materials. BY ULKA VARTAK performance mixes tailored to meet the specific needs of each project given considerations such as the geographic location, the time it takes to get the premixed concrete to the job site, the configuration of the job, and the end-use application. We give you an insight into some of the types of chemicals that are widely used in the construction sector today. Super Plasticers Dr. Fixit’s Pidicrete CF 21 is a solution of sulphonated naphthalene formaldehyde and additives in water. It is a superplasticising admixture to produce ‘pumpable’ or ‘flowable’ continued on page 2

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142 Home Review July 2014

One has to only look up in the lobby to marvel at a specially commissioned piece called Cornucopia that hangs from the ceiling.


Centrally located in the heart of ‘new’ Singapore, the swanky Ritz-Carlton Millenia boasts killer views of Marina Bay. Only minutes away from all the local attractions, this über luxe hotel takes living to a whole new level of opulence and high-end sophistication.

Text By Natalie Pedder-Bajaj Photographs Courtesy Ritz-Carlton Millenia Home Review July 2014


Designed by Pritzker award-winning architect Kevin Roche, the Ritz-Carlton has been built on reclaimed land, purposefully constructed 37 meters above ground so that every room has a jaw-dropping view. The hotel has been built on stilt-like ‘legs’, making the main entrance the third floor of the building! Another marvel is the winding stairs that lead down from the lobby level onto the lower floors - having no pillars holding them up; they are completely suspended and self-supporting. Art buffs will rejoice as the hotel has one of the finest corporate modern art collections in Singapore and Southeast Asia, comprising of 4200 pieces valued at a staggering S$5 million. Self-guided iPod tours direct art aficionados through 30 key works. On display are Andy Warhol and David Hockney’s exuberant colours, Rainer Gross’s geometric compositions, Henry Moore’s restrained monochromatics, the lush botanicals of Robert Zakanitch, including 350 major museum quality pieces that have been mindfully placed throughout the hotel to enhance its distinctive contemporary architectural design. One has to only look up in the lobby to marvel at a specially commissioned piece called Cornucopia that hangs from the ceiling. This massive three-ton Frank Stella installation at the entrance and the pair of Dale Chihuly crystal glass sculptures that anchor both wings of the building are only some of the highlights in this stunning collection. Designed by Burega Farnell Pte Ltd, The Ritz completed an extensive renovation of its rooms and suites in early 2011. The interiors are warm with accents of light teak wood, combined with strategically placed mirror panels giving the feel of airy spaciousness.

The beautiful glass porte cochère where vehicles stop to pick up and drop off hotel guests.

144 Home Review July 2014

Situated on level 32, the Ritz-Carlton Suite has been designed by Hirsch Bedner and Associates. Offering breathtaking views of the vibrant Bay, a timeless décor permeates through the design. The contemporary interiors are softened by the use of light timbre finishes and Oriental woven carpets.


350 major museum quality pieces have been mindfully placed throughout the hotel to enhance its distinctive contemporary architectural design.

Home Review July 2014


The bathrooms of all 608 rooms and suites are characterised by octagonal windows that breathlessly overhang Marina Bay.

The luxuriously appointed master bedroom is a haven of tranquility with an adjoining marbled bathroom and Jacuzzi bathtub. The bathrooms of all 608 rooms and suites are characterised by octagonal windows (to boost the Feng Shui of the hotel as eight is a lucky number for the Chinese), breathlessly overhanging Marina Bay. Re-launched in August 2013, the Club Lounge has also been designed by Burega Farnell, offering privileged guests exclusive access within a unique drawing room setting.

146 Home Review July 2014

A private library and alcove forms the vantage point where guests can sketch the panoramic views or simply enjoy a taste of the champagne and caviar life. Bespoke furniture and hand-woven carpets complement Indonesian teakwood floors and Italian marble, while wooden paneling and shimmering crystal design features contribute to the overall elegant aesthetic.

Guests can dine in the Chihuly Lounge named after famed American glass artist Dale Chihuly, under an iridescent glass-domed roof.

Dining options at the Ritz include The Summer Pavilion. Set in a Suzhou rock garden amidst picturesque greenery, this restaurant is set apart by floor-toceiling glass windows that filter in natural light, with a refined interior that uses soft fabrics, leather and gold accents to complete the look.

Whether you are lucky enough to be a guest or merely passing through, the Ritz Carlton is where the Singapore swish-set enjoy a champagne breakfast, high-tea, hand-crafted cocktails or simply watch the world go by. Guests can also relax in the lounge named after famed American glass artist Dale Chihuly. Covered by an iridescent glassdomed roof and an awe-inspiring glass sculpture by the artist, Chihuly Lounge exudes a warmth with its plush sofas and delicately designed tables of rich woods. Home Review July 2014


Mumbai-based MuseLAB is an ambitious but level-headed firm that is slowly building up a portfolio of elegant projects. Architects Huzefa Rangwala and Jasem Pirani bonded over a common love for food, travel and design to form MuseLAB in 2012. Since then, the young team has been gradually building up a work ethic founded on an aesthetic of elegance and attention to detail. MuseLAB’s flourish is in the not-so-obvious details of a project. When presented with a simple plan, the team has the gumption to go simple, while always being attached to a philosophy of adding interesting, slightly impish accents to the scheme, just to make sure nothing ever gets boring. The bedrock of the MuseLAB team’s understanding of beauty is restraint. Clutter will be hard to come by in their designs, instead there will be neutral colours awash with sunlight and breathy spaces that just happen to have some essential furniture in them. For this young firm, everything synthetic is an accessory to enhancing the naturally beautiful.

148 Home Review July 2014

This resplendent apartment at Khar is a classic MuseLAB specimen – spare and serene, but spotted with delightful surprises. The credit of this project’s implementation lies not in its blatant flourish, but in its calm aesthetic. The clients wanted a simple and straightforward house, and the design team decided to follow this by the letter. The two bedroom flat was to stand in the midst of abundant sunlight, so MuseLAB hatched up a smart plan; they installed screens with dramatic geometric patterns to make the light slit and slide in. Such a screen stands at the entranceway to the house, while another blocks the bedrooms and the puja room from behind the bar. Aiding these effects is a window grill fitted with patterns resembling distant birds in the sky. These elements team up with the tastefully subdued ochre and grey tones of the house and unleash a constant ‘play’ of light, shade and patterns, on the floor, walls and the curtains. Not to mention, they also bring in an overall sense of impetuousness that will break any possible monotony for the four residents of the home.

Text By Shruti Nambiar Photographs Courtesy Sameer Tawde and MuseLAB Home Review July 2014


To identify MuseLAB’s leitmotif, look for tasteful geometric patterns, sometimes in unexpected places; a romantic exploration of natural light; and one common design detail that will be peppered around the space. The living room furniture here has a distinct thick braiding pattern that makes it look sturdy and long-lasting. The light curtains are breezy, and the colour scheme is populated by red, grey, and ivory, with surprises of lively blue. The shiny surfaces ensure generous sweeps and spots of light all around. While basking in the overall aura, don’t miss the lamps that look like they were made of crumpled paper, and the brilliant blue chaise lounge against a silken patterned curtain background. MuseLAB has succeeded in designing a home that is both warm and welcoming for kids, and of a bespoke feel for the adults.

150 Home Review July 2014

With this project, MuseLAB wants to turn the definition of social housing design on its head. First Social is still in the proposal stage, but its ambition is to be a 40-acre, valley-facing example of a sensitivelyplanned living area for three segments of a population - EWS (economically weaker section), LIG (lower income group), and LMIG (lower-middle income group). The construction area ratio here will be of 1:2:4, and the plan includes a primary health centre and school; a green court; a shopping complex; a pre-existing nallah that will be revived to form a canal with its own street walk; a park; and more. “The idea is that a social housing project doesn’t have to look bad. The plan is to make it more live-able and more social, where life is also much better,” says Pirani.

Home Review July 2014



Mukul Goyal’s Mr. Lean Doorstopper

After researching multiple small businesses, Steelcase noticed something: people are mobile, even when seated. Whether you’re an executive, a manager, or you’ve got jazz hands, Buoy lets you move freely. So feel free to pull up a seat. Or lean in. Or hunker down. Mobility matters. When we’re not standing, leaning or walking around, we’re most likely sitting which can take up a good portion of our day. But there’s more to sitting than you might think. It is important to promote and support seated movement, be comfortable regardless of a person’s size or posture, and even be fun too. Movement is good for you, which is why Buoy swivels, turns, tilts and moves up and down. It’s active sitting. It is flexible at the perimeter to allow a range of postures without pinching or cutting off circulation of the legs. Buoy is designed to go wherever you go. Got a touchdown meeting to attend? Want to focus on your thesis? At work, at home, or anywhere in between, Buoy gets around. Size doesn’t matter. Buoy was designed for everyone which is why Buoy comes with a

Mukul Goyal’s Mr. Lean Doorstopper while being a gentleman holding the door open is also reminiscent of the natural inclination of people in general to lean against the first steady thing that they find! Pivoted on the heels and standing firmly, Mr. Lean rests against the door when wedged in. Mr. Lean Doorstopper is made from rubber coated aluminium and ensures that your door stays open when needed. generous 18 inch diameter and provides five and a half inches of height adjustability with the lift of a lever. There are plenty of colours and patterns to choose from to personalise your Buoy which means Buoy never gets old. Pick a colour. Choose a cap. And make buoy your own. If you decide you’re no longer into your old cap, swap it out for a new one. With six bold colours and endless ways to personalise, Buoy is a moving experience.

Ebax Bathroom Accessories

Featherlite Encourages Correct Seating Posture

The exquisite range of EBAX bathroom accessories add that much needed ‘look and feel’ to any bathroom. Superbly crafted in immaculately styled finish, you have a variety to choose from - stainless steel and ceramic bath sets available in various colours and finishes. Ebax bathroom accessories come in a set of four pieces (soap dispenser, tooth brush holder, soap dish, tumbler) that complete every requirement in a bathroom. What’s more, its elegant and aesthetic craftsmanship makes it an ideal gift idea too.

Featherlite understands the user requirements for various seating jobs and this understanding of issues helps them to analyse the problem areas and design their chairs to offer utmost comfortable seating. The chairs manufactured in their state-ofthe-art chair facility at Bangalore are as per the Indian Anthropometry.

Ebax bath accessories are marketed by Jyoti Industries (India), makers of NIRALI, India’s No. 1 stainless steel kitchen sinks.

152 Home Review July 2014

Anthropometry is the measurement of the human body and helps to design products for majority users and allows inherent variability for users. To design appropriate

match between users and the chair they have to take into consideration the chair height, seat pan depth, backrest height, armrest and lumbar support. Featherlite’s chair design team never compromises on these aspects and to ensure the supportive and comfortable recline movement on chair, the mechanisms are designed to allow 1:3 degree movement between seat and back. They also suggest high backrest when the angle is around 105120 degrees for thoracic support. Cushioning is another important aspect of a chair. The chair’s foam is tested for compression and relative degree for softening, which guarantees longer life of the foam used. Along with these features, Featherlite also tests the foam for tensile strength and elongation test at the facility. These stringent tests at the design and manufacturing stages allow only the best chair to come out into the market from the Featherlite stable.


Home Review July 2014



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Home Review July 2014


Home Review July 2014



156 Home Review July 2014

Home Review July 2014  

Khosla Associates take in their stride a tricky site to build the Long House - a home that unravels itself in a linear sequence, stringing...

Home Review July 2014  

Khosla Associates take in their stride a tricky site to build the Long House - a home that unravels itself in a linear sequence, stringing...