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Volume 4 No 9 ` 250

R.N.I. MAHENG/2013/50949

A Times of India publication


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Contents THE GALLERY 8 DESIGN IN CONTEXT TRENDS handpicks products where design blurs the lines between art and functionality

16 PREVIEW The Kochi-Muziris Biennale 2016 addresses art traditions through a contemporary lens

18 PREVIEW The Overview exhibition explores the gradual evolution of eyeglass design

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20 CONCEPT Studio Symbiosis Architects gives the Punjab Kesari headquarters an intricate jaali faรงade

22 PUBLIC ART Transformative art that alters perceptions & neighbourhoods

24 PORTFOLIO Marie-laure Cruschi creates architectural illustrations that portray modular residential forms

34 ICONIC DESIGN We take you to the United States Air Force Academy Cadet Chapel in Colorado, US

BUILDING CONVERSATIONS

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38 TRENDS PERSPECTIVE Volume 4 No 9 ` 250

A Times of India publication

Cover Airbnb's new Dublin office, designed by the in-house Environments Team and heneghan peng architects, echoes its 'Belong Anywhere' ethos. Photo courtesy Donal Murphy, courtesy Airbnb (www.airbnb.com) and heneghan peng architects (see page 84)

TRENDS studies the significance of opting for an eco-friendly path to architecture

46 INTERVIEW Italian designer Patricia Urquiola speaks to TRENDS about her design philosophies

50 MY VIEW Prominent designers reveal their most satisfactory stage in the design process

52 GUEST COLUMN Architect Khozema Chitalwala shares his views on sustainable hospitality spaces

INTERVIEW

Patricia Urquiola

GUEST COLUMN

Khozema Chitalwala


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54 IN THE SPOTLIGHT t 4POB3FEEZPG3PPN5IFSBQZEJTDVTTFTUIFSFUBJMEFTJHOJOEVTUSZBOEJUTEJTDFSOJOH Indian consumer t 4JEEIBSUI4JSPIJBOE4SJMB$IBUUFSKFFUBMLBCPVUUIFFTTFODFPGUIFJSFYDMVTJWFGVSOJUVSF store, Baro

56 CONTEMPORARY HOMES Essential viewing This low-slung holiday home by Regan Johnston enjoys a stunning view of its site

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Method in chaos Untitled Design fights a challenging site to create a home with a strong identity

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In with the new This sea-facing apartment by KdnD Studio is a modern mix of textures and tones

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84 COMMERCIAL SPACES New in the neighbourhood Airbnb’s new Dublin office features a central anchor that brings its design together

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A sculpted box DIG Architects successfully incorporates functionality and form in this Mumbai office

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The face of change With a dynamic façade, this building by JCY Architects epitomises smart design

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Fresh agenda Contemporary workplace ideals come to the fore in this office by TKD Architects

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120 PROPERTIES ON THE BLOCK 122 SHOWCASE 124 DESIGN IQ Crossword 007 – Find your way through a labyrinth of architectural clues

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Mrigank Sharma (India Sutra)

From the editor February augurs a beautiful cusp in our annual calendar. Each year, the team sets the ball rolling on new standards in design, with the latest edition of the TRENDS Excellence Awards. It starts with the first step as we update the website and add in the current details, from picking out the Jury with careful deliberation to wondering what new talent the results will discover. It's a time of great learning, sharp insights and superlative expectations. From us, of ourselves. As colleague and contemporary, I've witnessed the process unfold and unravel to stunning fruition in the years gone by. As exacting Juror, this year is my first up-close and personal association with the Awards. I have to say, my stomach is tied in knots. Our micro-site for the entries closed early last month and we've been collating results ever since — in fact, the process is still on. We'll be going through the preliminary elimination rounds as this issue goes into print. The Jury convenes around the same time that you'll be reading this issue — that brings me back to the cusp. I see it as a remarkable threshold that both, new talent and I, will be waiting to step over. New talent, because I do believe that we help them find their competence, their aptitude and finally, themselves. Me, because this year will see my initiation into this esteemed process of providence. I know I’ll sit up straighter after. As a team, we hold the thought dear that it's not only a responsibility but also the confidence that the entire fraternity has in our calibration of the final winners. It’s almost like being under oath. And a promise we have made to ourselves, to bring you the best of all design, in design. Naturally, looking forward!

Ronitaa Italia-Dhanu trends.edit@wwm.co.in

trendsmagind

TRENDSMagIndia

Home & Design TRENDS


Chief Executive Officer Deepak Lamba Chief Community Officer & Editor Ronitaa Italia-Dhanu Assistant Editor Aziz Amin Features Editor Tina Thakrar Senior Art Director Suneela Phatak Assistant Art Editor Navin Mohit Digital Imaging Editor Shailesh Salvi Senior Editorial Coordinator Harshal Wesavkar Brand Publisher Anupama Bhalla Assistant Brand Manager Nikita Dhanani Chief Financial Officer Subramaniam S. Publisher, Print & Production Controller Joji Varghese Subscriptions General Manager Product Strategy Priyadarshi Banerjee – subscriptions.wwm@wwm.co.in Assistant General Manager (RMD Magazines) Suparna Sheth – suparna.sheth@timesgroup.com Subscriptions Centres North 011 – 66111255 crm.delhi@timesgroup.com East 033 – 39898090 crm.kolkata@timesgroup.com West 022 – 39898090 crm.mumbai@timesgroup.com South 080 – 39898090 crm.bangalore@timesgroup.com To subscribe online, visit: mags.timesgroup.com/home-trends.html SMS: TRNDSUB to 58888 Brand Solutions Director Jyoti Verma – jyoti.verma@wwm.co.in West Vice President Armaity S. Amaria – 9820137238 armaity.amaria1@wwm.co.in Mumbai Mansi Negi – 9892087880 mansi.negi@wwm.co.in Ravyanshi Mehta – 9820004335 ravyanshi.mehta@wwm.co.in Pune Ekta Dang – 9763117691 ekta.dang@wwm.co.in Ahmedabad Kamal Rajput – 9925044862 kamal.rajput@wwm.co.in North Vice President Anjali Rathor – anjali.rathor@wwm.co.in Delhi / Noida General Manager Shikha Suri – 9811997344 shikha.suri@wwm.co.in Atif Shakeb – 8860278277 atif.shakeb@wwm.co.in Saurabh Singh – 9717441735 saurabh.singh@wwm.co.in South Vice President Pravin Menon – 9840323246 pravin.menon@wwm.co.in Manager Meenakshi Nag Roy – 9886618653 meenakshi.nag@wwm.co.in

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The Gallery The latest in global design — from products to exhibitions and must-attend design events

Design in Context


Preview

Preview

Concept

Public Art


Design in Context

TRENDS presents a selection of products where design blurs the lines between art and functionality

Eye candy Combining the natural ergonomics of seating and the beauty of ordinary forms, Jaroslav Jurˇica designed the Candy collection for JEL�NEK with candies as inspiration. The round shapes and pastel colours are primarily used to brighten up interiors and inspire playfulness in a room. The foundation of the product line is a wooden structure that provides optimum comfort while exposing the beauty of solid oakwood. Natural materials have been used for the frames as well as the upholstery, to add a fresh perspective to furniture. Retro-inspired accent chairs are made of lacquered fibreglass, with the seat and back upholstered in velvet. The chairs can also be used individually in living rooms, restaurants and hotel lobbies.


Folded and grooved Designed by Victoria Wilmotte for French retailer Matière Grise, the Wind table is a modern interpretation of a traditional Japanese technique. The original art of Origami involves folding paper into decorative shapes and forms, but Wilmotte has applied the same technique to steel. The vividly-coloured side tables come in different shapes, all of which have a steady, almost cylindrical base. The top of the table is the highlight, with half the steel sheet being folded in grooves. Besides serving as a decorative detail, these grooves act as storage slots for books and pens.

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Locally rooted Combining Belgian design skills with Indonesian craftsmanship, designer Sep Verboom has created the AYA collection that is not just modern, but sustainable as well. An honest believer of transparent and durable design, Verboom collaborated with Vincent Sheppard to create the rattan furniture, combined with metal and Belgian textiles. The AYA lounge chair is lightweight and airy, with an intricately-woven back. Rattan armrests run around the backrest to the front, connecting to metal legs.

Saddled up

ANDERS GRAMER

David Rockwell’s Valet collection is essentially suited to modern living. Each of the 14 pieces in the collection, comprising chairs, tables, shelves and benches, has a streamlined functionality with luxurious embellishments, from leather cords to matte brass hardware. The products can be used individually as statement pieces, or grouped together to suit any residential or commercial setting. Designed for everyday living, working and entertaining, the Valet collection is made using full-grain saddle leather, American walnut, black steel and brushed brass.

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Up-cycled seat When an item of furniture becomes a piece of junk after years of use, Egyptians find ways to re-use it. The Chaotic Design Collection by Mariam Hazem and Hend Riad of Reform Studio is testimony to this cultural creativity, which involves merging bits and pieces together, or adding replacements. The design studio has put together a series of extraordinary beech chairs that have been re-assembled from broken chairs. The durable furniture is designed by putting backrests, seats and legs together with a comfy seat. With this one concept, Reform Studio has come up with multiple designs, each of which tells its own story.

A blend of shapes The Triangle table by Arnaud Lapierre has a purely geometric structure; it is an artistic combination of a triangle, a rectangle and a circle. Designed using tainted glass and stainless steel, this side table has been composed as a collage that fulfills both visual and functional needs. The round glass top of the table rests on a triangle base with two legs that stretch out at an angle. The delicate and well thought-out design offers completely different perspectives when looked at from the top, bottom and sides.


Of past and present Designer Davide Aquini straightforwardly admits that in his new collection of coffee tables, shape does not follow function. The design was born out of respect for the material used and to minimise its wastage. Even the base of the table, which represents the round arch in Roman architecture, is the stone left over after cutting the tabletop. Although aesthetics was not the focus, the resultant product is an artistic juxtaposition of a vibrant Klein blue with travertine, an ancient Italian stone. The TuttoSesto set of tables plays off the neoclassicism of the 1980s, combining a material of the past with tastes of the present.

A seamless mosaic

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Home & Design Trends

Entirely fascinated by the visual expressiveness of cement tiles, designers Alvaro Catalán de Ocón and Francesco Faccin created the Riad table to isolate and decontextualise the simple hydraulic tile. Relying on traditional designs of the Alhambra of Granada and the Great Mosque of Damascus, these tiles are laid in a hexagonal shape with metal legs that work as the node. The table can be used both indoors and outdoors and also offers the possibility of expanding into something of a ‘raised floor’, by attaching as many pieces to it as needed. With a great deal of research, the design team has used a more technical form of the material to lighten and resize the product.


Fluid form Its steady rhythm gives the Vava stool a unique appeal. The ashwood product by Kristine Five Melvær, offers varied perspectives at different angles by taking classical elements and portraying them in a contemporary manner. The sitting disc of the stool is plugged within three unusually angled legs that seem to flow continuously from top to bottom. They have an expanded base at the top and three standing points at the bottom, giving stability to the sitter. It is available in a white pigmented oil treatment or in black matte lacquer.

"SUJTBOBMÞOFTTF Reminiscent of the traditional geometric patterns found in indigenous Guatemalan textiles, the Levita desk and chest were designed by Ricardo and Lorena Vasquez of Labrica. Artisans from a small town near Antigua Guatemala bring their long tradition of woodworking into these contemporary designs that are manufactured for residential and hospitality markets. The concept of Levita is to make the chest and desk appear as if they’re levitating, when they’re actually supported by a delicate criss-cross structure.


Wraparound Gamfratesi’s new Targa range has been designed for Wiener GTV Design as a new concept of comfort, derived from the basic need of adequate body support and aesthetic design. It is named after the ellipsoidal plate in the woven cane edge in its upholstered backrest. The product family consists of two-seater and three-seater sofas, an armchair and a pouf designed to curve around the user. The bent beech structure holds a wide seat cushion to create a warm and intimate environment.

Broken glass Zanzibar depends largely on its tourism as an important source of income, but an adverse effect of this has been an increase in wasted glass. Understanding the need to recycle these pieces, Bottle-up joined hands with Dutch designers and craftsmen to launch a sustainable furniture range at the Dutch Design Week. The new decorative material called Trending Terrazzo is made using white cement and glass to showcase the gleam of glass fragments. Even the moulds used to form these products were found on the island.

By Tina Thakrar

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Why does Bheru Jangid of B.Design24 Studio value TRENDS? As a designer, it is vital for me to keep a check on the latest design trends in the industry and there is no better source than TRENDS. The magazine actually lives up to its name and has always been a source of inspiration for me. It is an international platform that showcases the best works of architects, interior designers and product designers from across the globe. Taking cues from the works of such designers helps me evolve and understand my designs better. I truly appreciate the quality of the content; it includes art and design that is unique and functional as well.

Incorporated by Bheru Jangid in 2009, B.Design24 Studio is a firm of architectural designers and technologists including an in-house graphic design team, and liaisons of different departments. The team at B.Design24 strives to deliver the quality and design of architecture that is witnessed in rich Indian heritage constructions. Amalgamating spaces and inducing elements of traditional with vernacular architecture has been the outcome of their recent works. The firm has grown to be one of the most renowned architectural practices in Surat.

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Preview Kochi, December 12, 2016 — March 29, 2017

Curated by Sudarshan Shetty, the Kochi-Muziris Biennale 2016 addresses active art and design traditions through a contemporary lens

KOCHI BIENNALE FOUNDATION X9

An artist-initiated organisation, the Kochi Biennale Foundation was setup with the intention of highlighting the importance of art in society today. With this aim, the third edition of the Kochi-Muziris Biennale (KMB) was launched in December last year, with curator Sudarshan Shetty leading the way. Counted as one of the largest art events in South Asia, KMB 2016 follows the theme of ‘forming in the pupil of an eye’. This edition of the Biennale attempts to question and blur the boundaries that categorise the various disciplines of artistic expression. Shetty was inspired by mythical accounts of India

The Sea of Pain by Raul Zurita

Bathroom Set by Dia Mehta Bhupal

Multiple artworks by Wura-Natasha Ogunji

Upcoming Events India Arch Dialogue Gallery 1AQ New Delhi, till February 21

Give Me Yesterday Fondazione Prada Osservatorio Milan, till March 12

Here After Here National Gallery of Modern Art New Delhi, till March 14

An architectural exhibition of sketches, presentations and dialogue with 30 prominent designers from across the globe

The newly launched venue explores the photography of 12 Italian and international artists

A comprehensive show of over 100 works by Jitish Kallat, exploring his recurring processes and ideas

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as the ‘land of seven rivers’. The idea of streams flowing individually, then converging and finally diverging, encouraged the team to engage artists to create something that flowed with time, and could stay relevant even beyond the duration of the Biennale. KMB 2016 features works by visual artists, poets, musicians and performance professionals from diverse cultural and artistic traditions through talks, seminars, the Students’ Biennale, the Art By Children exhibition, workshops, film screenings and music sessions. Installations by Abhishek Hazra, Liu Wei, Himmat Shah, Desmond Lazaro, Sunil Padwal, Chittrovanu Mazumdar, Bharat Sikka, Rajeev Thakker, Orijit Sen and numerous other Indian and international artists are on display at the event.

Studio Flood by Tom Burckhardt

GARBH by G R Iranna

Room for Lies by Sunil Padwal

River of Ideas by Chittrovanu Mazumdar

Cut-Out Archive - Sculptures in Coir by Praneet Soi

Farewell, Spring and Autumn Pavilions by Wu Tien-Chang

Tony Cragg: Unnatural Selection Hessisches Landesmuseum Darmstadt Darmstadt, till March 26

The Brutalist Playground Vitra Design Museum Weil am Rhein, till April 16

Timber City National Building Museum Washington, till May 21

A display of Cragg’s impressive sculptures inspired by organic shapes and aesthetics

Architecture collective Assemble designs a foam playground resembling post-war structures

This show demonstrates the innovative methods of timber construction and its architectural advantages

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Preview Holon, December 20, 2016 – April 29, 2017

The Overview exhibition explores the relationship between vision and design, and the gradual evolution of eyeglasses

Personalization in the age of experience by Anuk Yosebashvili and Yaron Shmerkin

Folding lorgnettes with pearl necklace

Touch Lenses by Tal Gur

The initial purpose of eyeglasses was to correct a flaw; the function was more important than form. However, over time, the eyeglasses have played a central role in defining social and cultural phenomena. The designer’s role has become more important, as this common object now defines vision, perspective and self-image.

ELI BOHBOT X8, SHAY BEN EFRAIM X10

Following the development and future of eyeglasses from the perspective of the user, Design Museum Holon is hosting Overview, an exhibition that analyses everything from retrospective eyeglasses dating back to the 17th Century, to the new Virtual Reality (VR) technology in the 21st Century. Trans.form by Ohad Benit, mishmaacol, Undesigner

Folding Lorgnettes

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Placing Gestures Glasses by Aya Bentur

Florentin 001 by Omer Polak

The entire museum is showcasing multiple eyewear designs — 40 Israeli designers from different backgrounds display their contemporary interpretations of eyeglasse and collector Claude Samuel displays 400 items that depict the ways in which different cultural milestones actively influenced and were influenced by the invention and evolution of eyeglasses. ‘Vision Test’ presents visitors with various objects that challenge the interaction between sight and design through activities and optical illusions related to focus, colour and perspective.

Monocular opera spyglass fan

Conjoined glasses by Gregory Larin

Benjamin Martin eyeglasses

Flannelette by Adi Zaffran Weisler

To complement the overall theme of the exhibition, Design Museum Holon's Design Lab is predicting the future of eyeglasses through a display of VR glasses. Other activities include a ‘repairing reality’ workshop where visitors can bring their old glasses and have them refurbished according to their preference. Additionally, a projection application allows visitors to see an image of themselves trying on the various glasses on display.

Folding Chinese spectacles

Opera binoculars

Double frame glasses

The 3rd Eye by OTOTO

Sketch by Daniel Gaultier for Pierre Cardin

Cone of (no) Vision by Eitan Sharif & Sigal Baranowitz

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Concept Delhi NCR, 2017

The soon-to-be-launched Punjab Kesari headquarters by Studio Symbiosis Architects is a fusion of traditional Indian architecture with contemporary ideas

View towards entrance

The year 2017 will see the launch of the Punjab Kesari headquarters, as it effectively integrates traditional Indian architecture into a contemporary office space. The almost 2,00,000 sqft structure in Delhi NCR has been designed by Studio Symbiosis Architects with the main objective of reducing heat gain and optimising the faรงade opening ratio to ensure that no artificial lighting is needed during the day.

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The design team opted for the traditional Indian jaali design on the building faรงade, made of glassreinforced concrete panels. A hexagonal pattern was used as the base, and then given varied levels of porosity to create different light conditions. This variable opacity condition gave the faรงade an animated design based on an inherent meaning. The resultant performative architecture has created a responsive built form that is sustainable and culturally relevant.

Overview

Main entrance

Front view

View from the street Atrium view

Optimised natural lighting, cross ventilation, reduced heat gain and well-maintained indoor temperature are the highlights of this massive project. The double jaali screen outside the glass faรงade filters the hot air, encouraging natural ventilation and the circulation of cool air. The interior connects with the exterior through an urban lobby with the landscape seamlessly flowing into it. This allows users to feel connected with nature, while working in natural lighting. The inside is treated as an interaction zone, with a central atrium connecting the various floors. This blurs the boundaries between people working on the different floors and generates a visual porosity between them.

Office interior

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Public Art

Transformative art that alters perceptions & neighbourhoods

TIM FOX

Sky Garden by SO? / Sevince Bayrak & Oral GÜktas¸ Istanbul, 2016

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Sky Garden is a suspended garden in a busy square by the Bosphorus river. To ensure that the walking area remains unaffected, the design team kept the ground accessible by hanging the plant pots on a frame. It serves as a canopy on sunny days and provides opportunities for people to sit by the river. A simple pulley system moves the pots up and down. Since the pots are equally weighted, they remain aligned when in balance.

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Untitled by Studio Weave London, 2014 Originally conceived as an outdoor space for the students of London College of Fashion (LCF) to relax, the roof garden combines its concrete frame with colours and shapes seen in the skyline. These colours are reflected in the decking laid in a herringbone pattern, a nod to LCF’s roots.

Oscillation by Atelier Vecteur Nantes, 2016 This installation has been realised to protect a construction site and be part of the Festival Voyage Ă  Nantes in France. A succession of wooden frames guides the visitor along a singular journey. The journey is not straight, but winding, filled with surprises and pitfalls. The installation plays with light and responds to the street, creating an experience of voids, shadows and lights.

By Tina Thakrar

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Portfolio

Marie-laure Cruschi’s architectural illustrations portray modular forms in playful environments, while staying true to the original concept About the illustrations There are homes of all shapes and sizes – holiday homes amidst forests, farmhouses on expansive ploughed lands, modular homes in metro cities, small cabins on the edge of mountains, beach houses with spectacular views, wooden cabins in valleys, sustainable homes that run on natural resources and luxury homes in exclusive residential complexes. Architects and designers across the globe have the luxury of designing these homes as per a vision that only they possess, and consequently implementing it to match that vision. However, French illustrator Marie-laure Cruschi has the luxury of being able to visualise, design and create these houses on paper. Her intricate and detailed architectural illustrations play with the residential structure, placing it in dream-like localities and situations. The surroundings are as important as her drawings, as they reinforce the design of the homes. Her illustrations portray a fine balance of effervescent colours that are bright enough to draw attention but subtle enough to make the drawings almost life-like. She takes into account multiple scenarios and places her homes in settings that are relatable, and also desirable.

MARIE-LAURE CRUSCHI X9

About the artist French illustrator Marie-laure Cruschi sublimates architecture, nature and people into her unique and very contemporary drawings. After studying at Estienne and l’École des Arts Décoratifs in Paris, she moved on to become an artistic director in the luxury sector. She followed this successful stint by setting up the Cruschiform Studio in 2007, creating drawings that sit firmly among graphics, illustration and typography. She combines geometry with graphics using colours and modular forms to create a universe that is not only narrative, but also poetic. She has created everything from book covers and tourism posters to animated film sets.

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By Tina Thakrar

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Iconic Design United States Air Force Academy Cadet Chapel, Colorado, United States

EDDIE BRADY

Reaching for the sky


Recognised for its brutalist, modernist style of architecture, the United States Air Force Academy Cadet Chapel has a row of 17 spires piercing the sky. Standing at about 150 ft, the entire structure is a frame of 100 tetrahedrons, and the tetrahedrons between the spires are filled with a mosaic of coloured glass that throws in vibrant light during the day. Located in El Paso, just outside of Colorado Springs, the chapel-cum-training centre was designed by Walter Netsch of Skidmore, Owings, & Merrill in 1962. Three distinct worship areas are housed within the chapel’s sharp and precise design – the Protestant chapel is situated on the upper level, the Catholic and Jewish chapels and Buddhist room are beneath it, and at the bottom is a larger room for Islamic services. Known as an icon of religious architecture, the chapel was named a United States National Historic Landmark in 2004. By Tina Thakrar

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Building Conversations Views and insights from architects, interior designers and newsmakers that are shaping the design world

TRENDS Perspective

Interview


Guest Column

My View

In the Spotlight


TRENDS Perspective

The green, the bad and the ugly The simplest answer is most often an obvious one. It is now crucial for us to UHVKXIàHRXUSULRULWLHVDQGSDYHDGHßQLWH path to an eco-friendly lifestyle

SOMAYA & KALAPPA CONSULTANTS X2

By Aziz Amin

‘Human wants are unlimited in nature but the resources to satisfy those wants are scarce’ - Economics 101: an unfortunate acceptance of failure for the entire human race flaunted in academics as part of the curriculum. This statement, though not applicable to all, fairly sums up the human psyche that allows people to accept depletion of resources as an inevitable outcome. This can be prevented. Architects mould lifestyles through design. A stroke of pencil on a piece of paper can change the inhabitant’s habits, health and way of living, for the lifespan of the construction and beyond. It’s almost like rewiring the human brain, a cheat code to alter lives that only architects are allowed to use. This gives them immense power alongside some social responsibility (even more so) to endorse sustainable living. A standalone sustainable piece of design not only helps the environment, but also creates a ripple effect. Once accepted, understood and implemented, the user can accede sustainability as part of their daily lifestyle.

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“As architects, one has to achieve the balance between client requirements and aspirations with technology and good architecture. Today, in the world of business, how well we cope with change will depend entirely on our willingness to change and on the architect’s ability to integrate different kinds of knowledge. The architect has to be extremely knowledgeable and should have the capacity to function as part of an integrated design team and provide imaginative guidance when required.”

— Brinda Somaya, Principal Architect, Somaya & Kalappa Consultants

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Let’s call it ‘green’ Green architecture was practised in the Indian sub-continent way before the term ‘green’ was associated with sustainability. Back then, sustainable living was the only way of life. As we swayed westward, replicating glossy structures, our green ideologies dwarfed against grey skyscrapers that shone bright in the sunlight. A generation and a plethora of shiny buildings later, while playing the ‘let’s ape the West’ game again, we are now trying to implement sustainability in architecture. The term ‘green’, as propagated by United States Green Building Council (USGBC) via Leadership in Energy & Environmental Design (LEED) in America, entered the Indian subcontinent through India Green Building Council (IGBC). The irony? We now aim to achieve the kind of sustainability in design that our forefathers created without breaking into a sweat. Architects today are resorting to such traditional green practices. Brinda Somaya, Principal Architect, Somaya & Kalappa Consultants, says, “Certain common elements characterise all our work as our projects relate directly to their context, use traditional construction materials and methods, and are based on local needs and possibilities. Responding to the local situation also means respecting traditional construction practices because what people have developed for their context over centuries is usually an adequate answer to local requirements. These are the ancient principles of Indian architecture that we apply even today and they couldn’t be more sustainable.”

KARAN GROVER & ASSOCIATES X3, H & R JOHNSON X1, FOOTPRINTS E.A.R.T.H. X2

“When implementing sustainable concepts, I’ve been looking at older buildings and all my concepts are based on interpretations of traditions. For example, with the help of a jaali, hot air passes through small openings, expands and cools down. If the air behind the jaali is cool, the walls cool as well. Similarly, when you have a courtyard, hot air rises and cooler air settles in. Having narrow east and west faces with thicker cavity walls also reduces heat gain. All such concepts are based on climate and an understanding of traditional architecture.” — Karan Grover, Founding Director, Karan Grover & Associates

“If planned well at the time of conception, a combination of measures can go a long way in making a project more sustainable and environment friendly. Besides the use of products like germ-free tiles and sanitaryware, water-saving sanitaryware and faucets, there are several methods and practices that are now being used in projects to make them more sustainable.” — Ketan Trivedi, Sr. General Manager - Marketing, H & R Johnson

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Green vs. dark green The industry is torn between two types of green. One is sleek, uses fancy eco-friendly materials, products and designs, reduces carbon footprint and energy consumption — the type that applies for rating systems like GRIHA, LEED, BEE, and encourages designers and builders to create platinum and gold-rated constructions. The other type is simpler; the one that falls under no rating systems but is closely associated with nature.

“Green is interpreted in numerous shades. On one hand, fully-glazed buildings using photosensitive glass may be rendered as green. On the other, buildings with adequate comfort conditions without the use of air-conditioners would not find favours with the LEED rating system. No doubt that with the current state of affairs, which have rendered the environment a dismal grey, every possible shade of green may be a welcome tone. The range is vast, but we still need to define priorities.”

— Yatin Pandya, Founder, Footprints E.A.R.T.H

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LEED-ing the way? Though rating systems like LEED and GRIHA offer good incentives and recognitions to sustainable development, the systems in themselves may not be 100 per cent comprehensive and applicable in every scenario. Rather, understanding the crux of the system and implementing green policies subjectively may seem ideal.

“We should understand the importance of what the rating system is trying to say without really getting involved in it. Fifty per cent of the rating system is design oriented, so you can conveniently create a green building by understanding its orientation with respect to the sun and by implementing other tweaks. We take a couple of criteria from these ratings; methods that save 50 per cent energy and 70 per cent water, keep them 100 per cent day-lit, etc...and we build around such criteria without having to involve LEED or GRIHA’s point status.” — Karan Grover, Founding Director, Karan Grover & Associates

BIOME ENVIRONMENTAL SOLUTIONS X3, VENKATARAMANAN ASSOCIATES X1

“It is good to have checks and balances in the industry, and with the rating systems, people feel recognised. However, we still have a long way to go to achieve real ecological sensitivity.”

— Chitra Vishwanath, Principal Architect & Managing Director, Biome Environmental Solutions

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Green - the one and only Unfortunately, the current state of affairs makes it evident that our priorities have to be reshuffled. Karan Grover says, “The point is that it is going to have to happen. It is not a question of whether you like it or not. There are eight-hour power cuts in some parts of New Delhi these days. If your building is not green and you have no air-conditioners, you can’t tolerate the heat. You have to think of natural ways to keep the buildings cool, about cross ventilation, proper use of glass, proper insulation and proper ceilings. I believe the government should make it mandatory for all the upcoming constructions to incorporate sustainable architecture.” When it comes to shaping society, architects play a key role in directing users towards more sustainable, organic ways of living. For the users, it is vital to understand the art of humble living because, as Chief Seattle puts it, ‘We have not inherited life from our forefathers but borrowed it from our children.’

“It is best to weave in sustainability at the onset of a project, but as added features in a regular project, sustainable features in terms of intelligent lighting systems, low-VOC paints, rain-water harvesting methods, grey-water treatment through bioswales and other features in landscape design, are relatively simpler to incorporate. In fact, the add-on features in a building may also mean sourcing mechanical equipment that are green-rated by a relevant board like the BEE (Bureau of Energy Efficiency). This way, the operating energy of a building can be brought down.” — Naresh Narsimhan, Architect - Principal, Venkataramanan Associates

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Author, activist, academician, researcher, and architect, Yatin Pandya of Footprints E.A.R.T.H. takes us through six key aspects of green architecture Sitting and location This has severe implications through orientation, exposure and impact of natural forces. In the arid zones of western India, orienting the building with its longer faces to the north-south compared to the east-west can reduce solar radiation and exposure, reducing the energy demands to nearly half. Form and mass This has the potential to confront natural forces as well as to benefit from mutual shading and scaling. As a thumb rule, exposure levels and thereby energy demands can be reduced in a building by upto 10 per cent by optimising volumes of the building in areas such as passages, verandas, toilets, alcoves and so on. Space organisation This governs the extrovertedness or introvertedness, compactness or fragmentation, along with directionality and exposure value of the space. For example, traditional buildings from hot-arid regions have been compact, stacked and attached in their form, and are interspersed with multiple yet small-scale courtyards to reduce heat gain. Contrastingly, bungalows in the hot-humid zones have been extroverted with veranda-like living spaces in the periphery to increase their transparency to breeze.

FOOTPRINTS E.A.R.T.H. X1, RENESA ARCHITECTURE STUDIO X3

Elements of space-making This forms the essential syntax of architecture and thereby its interactivity with external conditions. For example, a pavilion-like structure with prominence of an inclined roof form versus lightness — often, absence of a wall is the result of hot-humid climate. Conversely, predominance of wall and subjugation of roof is the grammar of architecture in a hot-arid climate zone. Material and construction techniques This is vital in setting the chemistry of the building with external elements through its thermal coefficient, material properties and dynamics of physics. If sunburnt clay is taken as a unit of energy, cement is nearly 10 times more energy-intensive, steel 30 times, PVC 120 times and aluminium 160 times. Finishes and surface articulation The skin rendering turns out to be the first aspect of a building to negotiate with environmental conditions. As the first line soldier, it bears most of the brunt of the vagaries of nature. Dark versus white or very light colour rendering with a glossier surface can create a five-degree temperature difference through its highreflection value.

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Rectifying errors Casa Green Lattice is a refurbished residential project by Renesa Architecture Studio, New Delhi, that plays with the volumetric approach of the old dilapidated structure’s façade and blankets a different architectural mass to it. The prime motive of the project was to get fresh air inside due to the current environmental issues prevalent in the Capital. The idea was not to change the structure but to innovate and merge it with a green skin. The old structure with its heavy concrete slabs inhibited natural light, ventilation and circulation within the house. Hence, the architects had to clean up the external mass and heaviness and create a simple, straight, structural skin. The design ideology of dividing the façade into two halves created an interesting permeable layer of green planters leading into the solid massing of the elevation. The planters were arranged alongside balconies running into the railings to not only provide cool fresh air to ventilate the space but also cut down on the solar gains. The draping plants, with their different colours, sizes, and schemes change with the seasons and provide added benefits of summer heat loss and winter heat gain.

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Interview

3UROLßF,WDOLDQGHVLJQHUPatricia Urquiola charts her journey, stressing on the importance of designing to IXOßOOQHHGV By Aziz Amin

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How do you balance your designs while working with competitive brands? My design philosophy is to enter into deep empathy with the company I work with to understand the relations, the users’ needs and to interpret these ideas into form. My signature is to respect each company’s identity and help them evolve.

Credenza Spazio Pontaccio

When did you decide to become a designer? What inspired you? I wanted to become an architect since I was a child. When I was little, I remember my mother had this great interest for the English designer David Hicks. She bought me a modern functionalist dollhouse with a flat roof. Our playroom had an orange carpet, white furniture and brown-and-white wallpaper — it was perfect. My aunt was a painter and she taught me how to paint. So I never had the fear of doing things, of approaching a white canvas, of playing with objects, dismantling and then building something else, something new. I studied architecture in Madrid, which had a very traditional curriculum. I then decided to move to Milan where I discovered product designing, thanks to great masters

like Achille Castiglioni, Marco Zanuso and Tomas Maldonado who were teaching at the University. What gives you more creative satisfaction, designing a space or designing a product? This is subjective project to project. The process is similar but only changes in terms of scale and the professions involved. In the studio, we’re continuously looking to resolve architectural needs with design ideas. Yet, if I have to choose, if I can choose, I would choose designing a product. I think it’s my heritage. I fell in love with design while studying at Politecnico and at that time I understood that it had the same importance as architecture.

Do you follow a specific philosophy when it comes to your designs? The key word for me is ‘consistency’. I think that dexterity in moving in-between important things is essential. Every project is the result of several different journeys. It’s important to build an emphatic team to start walking towards that path. I am attracted to every possible attainment because experimenting also means making mistakes and trying again. Which project of yours gave you the best professional experience? I can’t choose one among my projects as my best experience. They are all my babies and I love them all. I have also been very lucky since I always worked with beautiful companies and people. One of my latest projects, Il Sereno

Is there a common link that runs through all your designs? The work of every creative professional begins with seeking the logic that underlies the project at hand. Rather than having a signature style, I look for ways to connect my projects with emotional memory. I try to create empathy between the brand, its history, the object and its users. This is very important for my work. How was the experience working with Vico Magistretti? It was a great honour working with him. He seemed cold, distant and elegant but he was filled with generosity. Vico Magistretti at work could make you a participant. He taught me to break the schemes and I learnt from him how to work with my staff.

(Above and right) Gender Cassina

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Shimmer Glas Italia

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Gender Cassina | Beam Sofa System Cassina

Hotel at Lake Como is one of those I’m very proud of. I like to call it a hotel of architecture. We imagined every detail, from the architecture to the foulards of the uniforms, from custom-made furniture to the interior design of the hotel’s own Riva boats. It was a complete project. What is your opinion about the state of design education today? The design industry follows the society, which is in the state of constant evolution. We need to offer solutions to new needs. It is a service attitude; you don’t impose, you try to read contemporaneity, interpret it and offer tools. Design education should follow the change.

(Above and right) Urkiola Georg Jensen

Tell us about your current projects. We are currently preparing for the Salone del Mobile fair in Milan and to celebrate the 90th anniversary of Cassina, we are working on a new book on the way of living in the

future. We recently had Konstantin Grcic do another collection for Cassina and worked with Bertjan Pot, who has an interesting sensibility and the kind of narrative I like. We are working with Jaime Hayon amongst others as well. What has been the most exciting aspect of your journey so far? Every approach is part of a personal journey and it’s along this journey that you continuously encounter something new. Every fraction of the present has got something to do with the future. You’ve been named the designer of the year, designer of the decade even! What do these accolades mean to you? It means that I’m doing my job well and that people understand and appreciate my way of working and thinking.

Born in Spain, Patricia Urquiola studied architecture in Madrid before graduating from Milan Politecnico in 1989. Mentored by some of the masters of Italian design such as Achille Castiglioni and Vico Magistretti, Patricia opened her studio in Milan in 2001 where she designs for established Italian and international bands. Apart from numerous international accolades, she has also been awarded the ‘Medalla de Oro al Mérito en las Bellas Artes’ and the ‘Order of Isabella the Catholic’ by King Juan Carlos I of Spain. Her designed pieces are displayed in numerous museums and her Fjord armchair is part of MOMA New York’s permanent collection.

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My View

On: The most satisfactory stage of the designing process

AANUU THAAKUR DYNAMIC DESIGNSS

Conceptualising, visualising and designing a new project around the client’s requirement gives me the most creative satisfaction as the guiding design principles for all projects are unique and require immense creativity. The initial phase is more like a clean canvas to work on with the world at my disposal. Through my creative pursuits, I can visualise options which combine both design and utility, bearing in mind space constraints, latest trends, colour combinations, etc...Design visualising is the most essential and the best human-centric approach to innovation. It is not only unique but bridges the designer’s toolkit to integrate the needs of the client.

DEEPAK MEHTA

DEEPAK MEHTA ARCHITECTS

The freedom of exploration at the conceptual stage satisfies the grey matter to its fullest. Challenges that come with the project and the requirements that must coincide with the same, open doors to the avenues of experimentation. The self-indulgence to raise the bar at every given point motivates me to create design solutions that balance the imagination with clientele satisfaction. Challenges such as site location, project requirements and project feasibility once fulfilled give me a ‘designer’s high’. At the infant stage of any design, the concept sets a foundation to express a realm of ideas. The liberty to create through varied perspectives, undisturbed by allied views, satisfies the exposure that an architect can provide. Concepts mould to become the distinctive feature of a project, reflecting thoughts like a mirror.

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IQBAL CHANEY CHANEY ARCHITECTS

Designing is a never-ending process. It does not end even after a project is handed over to the client. The ideas remain and mutations manifest in other projects. All said and done, the most exhilarating stage is when the project nears completion; to be able to see how the initial ideas stood the test of time during construction, how they weather the changes demanded by the client, the ability of the contractors, the escalations in costs, etc...are all satisfactory despite the travails.

MANISH DIXIT AUM ARCHITECTS

Achieving the design with all the technical aspects covered and built as per specifications gives me immense satisfaction as an architect and a designer. It is seldom feasible to achieve what we imagine to convert to reality, hence when it is accomplished, the joy it gives us has no boundaries. Another aspect of the design stage is to finish the project and get a chance to use it. When we get to use the end product and enjoy our creation, it offers a great sense of fulfillment.

By Aziz Amin

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Guest Column

Architect Khozema Chitalwala shares his views on sustainable hospitality spaces and the future EHQHßWVRIJRLQJJUHHQ

DESIGNERS GROUP X4

Designers Group, founded by Khozema Chitalwala, has over two decades of experience in interior design and architecture, with hospitality being their forte. Their clientele includes the Taj Group of Hotels, ITC Welcome Group, Hyatt Regency, Mahagun Group and many more. Chitalwala believes that rigourous designing is an endless process of collating architecture and interior aesthetics, to leave an indelible mark and inspire living.

“Form follows profit is the aesthetic principle of our times.”— Richard Rogers With the impending urbanisation and growth of technology, land consumption patterns demand for business-oriented centres, profitable entertainment, luxurious shelters, crowded institutions and structures that unfold trade benefits have all increased. This calls for space — space that is built solely for profit or fame and very rarely for human emotions. Significantly less thought is given to addressing human behavioural patterns and functions in a built environment. Unfortunately, architects are taking a sedentary stand as most structures turn out to be mere replicas of one another – both in terms of the exterior and interior. The building type becomes a guideline for the designer to follow stringent rules and draws their attention towards profit margins

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for the owner. The critical design experiment is often missed out or overlooked while the initial concept is restricted by an outlining brief governed by the client’s budget. While some may argue that a balance of both design and business is expected from the architects and designers, the space generally tends to be exploited, as they work in compliance with the purse-strings. Architects the world over are faced with this challenge and a lot of them have successfully managed to attain the right balance. There are enough and more examples of commercially successful aesthetic structures around the world that have become case studies. But this takes a different dimension in the hospitality industry, especially in the Indian context. As a major contribution to our GDP, the growth of tourism has fuelled the service


sector, attracting huge investments, both domestic and foreign. Terms like luxury, grandeur and high-end have attached themselves as proximate cousins when defining a hotel property. The trick is to design an aesthetically satisfying structure not just within the budget but also within the stipulated time. It thus becomes a constant endeavour of the owners, hotel brands and architects to discover advancements in terms of construction technology to achieve the right aesthetic. This, therefore, pushes the hotel industry to perpetually be on the lookout for materials and technologies with the most efficient performances, management and evaluation tools. The green appeal While most hotels are known for promoting themselves as prominent luxury and business venues, ecotels and LEED-certified hotels have adopted environmentally conscious measures to draw attention. Attaining a green reputation, apparently gains preference from a large number of foreign tourists who wish to associate themselves with such hotel brands and contribute to the environment. But the buck does not stop at just creating a green structure and obtaining the aspired tag. It is necessary to adopt and adapt the sustainable mandate right from the concept and initial construction stage, to educating the staff and guests to follow eco-practices. The process thus prompts all the stakeholders in an eco-chain to become socially responsible and environmentally conscious, and establish an effective environment of people are who

conscious of sustainability. The hospitality industry has a notorious reputation of being the highest generator of waste and a heavy consumer of water and energy – this needs to change. All stakeholders have to stringently follow a set of applied methods that promote water and energy conservation, solid waste management, employee environmental education and environmental commitment (the five cornerstones of an ecotel). Here, the architect needs to educate the owner and explain how being sustainable is also being smart; an eco-friendly hotel would not just gain him the certification of being smart, but would also generate long-term returns. The last decade has seen an increase in awareness about taking the green route. Architects have understood and accepted their responsibility towards delivering

sustainable and eco-friendly projects that have a positive impact on the built environment of our country. There has been a marked increase in the number of green projects – a case in point being the Gujarat International Financial TecCity (GIFT city) coming up in Gandhinagar. Promoted as a green project, it aims to embody a lifestyle that balances business alongside an eco-sensitive environment. The clubhouse, which is an embodiment of the ‘Make in India’ initiative, has been constructed using almost all local materials. With solar panels on the terrace, effective air-conditioning units for reduced energy consumption, thermal-control glazing on the façade, rainwater harvesting and a sewage treatment plant, it serves to productively handle eco-design elements that smartly coalesce with the business environment. The clubhouse is projected as a core recreational facility in providing leisurely comfort as well as a classy respite for the big financial institutes planning their offices in GIFT City. The human interface at all stages and spaces in the building is sustainable yet highly experiential. When the space creators (architects) insist on conforming only to what is good not just for the environment but also for the end users, the urbanscape of a nation is bound to become healthier and hence more profitable, both in the perceptible and the experiential. To quote Richard Nuetra, “The architect who really designs for a human being has to know a great deal more than just the Five Canons of Vitruvius.”

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In the Spotlight

Trendsetters talk design & innovation Sona Reddy, Founder, Room Therapy Room Therapy is all about making a big impact with the tiniest details. Instituted by Sona Reddy, Room Therapy focuses on providing a global repertoire of elements that can spruce up any space. The collection includes furniture, decor accessories, wall art, lighting and even garden accessories in its quest to offer complete interior solutions. Based in Hyderabad, the brand strives to give a personal design style to every space, with just the right classic touches.

traffic or commuting. Our population gives us the luxury to design something for everybody. Every design has a target audience of at least five per cent, which is a good number in our country. What inspires your designs? Travel. Every place teaches me something new.

A SHORT CHAT After working in the field of architecture, what made you set up Room Therapy in 2014? I moved to Hyderabad right after working in LA for three years. I was used to a specific style of work and I felt Hyderabad was not ready for it then. Consequently, I decided to take up my retirement plan, which was to open a home decor store. Not only did I set up Room Therapy soon after, but also delved into architecture again.

ROOM THERAPY X6, BARO X7

How would you describe your design style? I am insanely in love with the past. I love everything about it, from the colours to the style. I am a modern design lover who is still hanging on to the past. So, I am a blend of the old and new. What are Indian consumers looking for in home decor? Are they warming up to the idea of purchasing products online? Yes. Everybody loves spending time at home and not having to deal with

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A common element that ties all your products together? Warmth. I don’t like fully-finished, clean products. I don’t think they make a home. Flaws, in wood, mirror or fabric, make them real. What are your personal favourites from your collection? I love our furniture, especially the bone inlay pieces. I also love our mirrors.


Siddharth Sirohi and Srila Chatterjee, Co-founders, Baro Baro is a space for people to discover art within furniture. It started out in 2014 as Highlight Living, a modern design experiment by Siddharth Sirohi and Srila Chatterjee. Now identified as Baro, this Mumbai-based retail brand is a contemporary union of aesthetics, ethics and ergonomics, and of course, form and function. It is known for its sustainable use of reclaimed and old teakwood in handmade furniture, and for its mid-century modern take on design. Traditional manufacturing methods are used to create Baro’s original designs, which are enhanced with natural oils. Baro also stocks one-of-a-kind vintage furniture that is locally and painstakingly restored.

A SHORT CHAT When Baro began in 2014, what was your motivation behind experimenting with furniture? Srila Chatterjee (SC): While working on a film project together, we discovered a common interest and love for art and design. Siddharth had been designing furniture on his own, but not for commercial use. I have been styling interiors for friends for many years now. Conversations about the dearth of accessible, well-designed furniture options led to this experiment. How do you ensure that each product is unique in form, and fulfills its function? Siddharth Sirohi (SS): We first address the function; often in its basic avatar, sometimes completely re-imagined. That, for us, is primary. Form and process then define each other. The process is defined by tenets of sound construction, and form by a light playfulness. All of this rests on a desire for constant improvement and a strong sense of individuality. What you finally see is a unique blend of function and form with integrity of construction, all getting along very happily. When curating products, what is that essential element you look for? SS: To answer this, I would have to accept that there was an essential element. I don’t really think there is

anything essential, apart from the products being honest about what they represent. They are also different from what is available anywhere else. In what way do you incorporate local talent and materials into your designs? SC: Every single thing is local — from the design, to the manufacturing, to the material and fabrics, to the talent of all the team members. Please name some artists/brands that you have associated with, and how this contributes to your overall design ethos. SC: We use a lot of fabrics from Anokhi, Calcutta (re-christened Russell Street), and these distinguish our seating from anything else available. We keep artists that are masters in the folk and traditional world. Pranab Narayan Das, Ramesh Tekam, Sanjay Chitara and Narendra Singh are now introducing their work to an audience wider than before. What sort of events and collaborations can we expect from Baro in the future? SS: We are interested in people and ideas that share a common headspace, and are interested in speaking an original and authentic language of art and design, instead of one that merely follows trends. By Tina Thakrar


Contemporary Homes These modern residences display a seamless connection with the outdoors, with strong interior styles to match


Essential viewing Perched high for views and privacy, this home comprises two pavilions – one a social hub, the other a parental retreat Preceding pages and above This low-slung holiday home designed by architect Regan Johnston sits high up and back on its site, providing privacy from neighbours and extensive views out over the lake and the mountains beyond. The master pavilion sits slightly higher on the site than the living pavilion, and is skewed at an angle to give the main bedroom its own, unique view of the lake.

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Most of us have a dream of where we’d like to retire — by the beach, something more rural, perhaps somewhere overseas. For this expat New Zealand couple living in Sydney, that place was Central Otago. Although retirement was some time off, they were planning ahead when they engaged architect Regan Johnston to design their home on the shores of Lake Wanaka. “Coincidentally, they’d seen a house I’d designed in Trends and wanted something similar,” says Johnston. “They liked the spaces, the feel and materials I’d used and also the

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quality of the home.” Their requirements were simple – create a comfortable home that took full advantage of the elevated lakeside site and could accommodate their family of three adult children at any one time, without having an impact on the parents’ use of the home. “It was a large site, at approximately 3300m2. But because it forms the gateway to a large subdivision, we had to be very mindful of the design, both from the point of view of the other residents, and also the privacy of the owners,”


says Johnston. Setting the house high up at the rear of the section gave his clients the privacy and views they wanted. This also mitigated its effect on the rest of the community. The house comprises a pair of single-storey, conjoined pavilions – one containing the living space and guest rooms, the other the master suite and garaging. “We skewed the rear pavilion to join the front pavilion, creating a triangular courtyard in between, that’s protected from the prevailing

Above Entry to the two-pavilion home is via a glazed lobby space at the point where the pavilions meet. The garaging and master suite are on the left as you enter, with the living spaces and guest accommodation to the right. Left The far end of the living pavilion features a cantilevered box-window. Deep eaves over both pavilions help prevent solar gain during the hot summer months.

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Above The material palette has been kept simple — concrete floors, schist feature walls and American oak-lined ceilings. The three large chimney stacks visually anchor the house. Facing page top During the warmer months, stepping stones over the reflection pond allow guests to access the living and dining area from a veranda running along the front of the home. Facing page below A full-height picture window, with views over a reflection pond to the lake, separates the living spaces from the guest rooms.

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winds that funnel off the lake in the summer months,” says Johnston. Entry to the home is at the point where the two pavilions meet – to the left is the master suite, to the right is the living area and guest accommodation. Turning into the living pavilion, you’re greeted by a full-height picture window, flanked by schist walls, with views over a reflection pond to the lake.“We wanted the clients to feel they were on holiday from the moment they enter the house. The lobby space is very tranquil, what with the

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water and the earthy materials.” The other purpose of the reflection pond is to physically separate the public and private spaces in this part of the home. On one side, a wide gallery leads to three large guest bedrooms, all with lake views, plus a shared bathroom. On the other side, the space opens to a large, light-filled room, with floor-to-ceiling windows on three sides. This contains the living, dining and kitchen areas. The material palette throughout the house has been kept simple, with concrete floors inside


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Top The raked skillion roofs are lined with American white oak boards. Operable clerestory windows at the rear allow for passive ventilation and catch the last of the evening light. Above With glazing on three sides, the generous living space is flooded with light. High-performance glass was specified for maximum insulation. Above right Access from the living area to the courtyard and library is easy, thanks to full-height sliding doors. A roof over a section of the courtyard allows the owners to use the space year round.

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and out, schist feature walls and American white oak-lined ceilings. “This material combination provides a grounded warmth,” says Johnston. One of the architect’s favourite parts of the home is the cosy library nook, created where the two pavilions meet. Apart from forming this niche, splaying the two pavilions also created the protected courtyard. This architectural move also pushed out the master bedroom wing, allowing it to gain its own view over the garden and to the

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lake beyond. “Every room enjoys a view. When you’ve got a large site with a fantastic aspect, it makes sense to maximise the outlooks,” the architect says. “As a result the house is essentially just one room deep all the way through.” Views need windows, and with this home that equates to a lot of glazing. To mitigate solar gain, the architect topped each pavilion with a large skillion roof. The overhangs provide the deep eaves necessary to protect the home from the harsh summer sun, yet admit low winter


light that passively heats the concrete floors. Operable clerestory windows at the rear of the pavilions let in the late afternoon sun and provide passive ventilation. Other environmental touches include a vented roof cavity to avoid condensation build-up, often an issue for homes in cool climes. A high level of insulation and high performance glazing were also specified. Another plus is the home’s thermally separated floor slab with hydronic heating that can be controlled remotely.

Architect and kitchen designer Regan Johnston (formerly of Mason & Wales Architects) Builder Mark Duffy Builders Roofing Eurotray Window/door joinery Vistalite Aluminium Kitchen manufacturer Joinery Specialists Cabinetry MDF, Mirotone finish, by Joinery Specialists Benchtops Corian Taps Paini Cox Oven, hob, refrigerator Fisher & Paykel, from Selectrix, Wanaka Ventilation Schweigen, from Selectrix, Wanaka Lighting ECC Paint Resene Furniture and blinds McKenzie & Willis, Wanaka

Speakers and control systems Selectrix, Wanaka Outdoor furniture McKenzie & Willis, Wanaka Barbecue DCS Grill, from Selectrix, Wanaka Story by John Williams Photography by Jamie Cobel

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Method in chaos A challenging site gives Untitled Design the opportunity to create a purposeful design with contemporary adaptations These pages Designed by Untitled Design, this 50-year-old family residence is a modern mix of bespoke design and family inheritances. The garden area is equal to the residential area, giving the design team a chance to bring in some creative landscaping.

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The Bhaskar residence is a 50-year-old property situated in an exclusive family colony in New Delhi. The three-level home spreads across 5,400 sqft, with an expansive garden almost equal in size. When the house was handed over to Amrita Guha and Joya Nandurdikar of Untitled Design for a complete facelift, the biggest challenge that stood before them was the site itself. The original layout, which had to be preserved, was placed at a 45-degree angle to the rectangular plot, resulting in an asymmetrical form with multiple

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protruding beams and columns. Passed down for generations, the home had to be treated with sensitivity and practicality. “The Bhaskars preferred a hands-on approach to the architecture with a focus on subtlety and sustainability. Their children and grandchildren frequently come to visit, so livability was another important factor, with abundant natural light, Indian materials, a neutral colour palette and inherited artwork. The design makes use of a lot of salvaged materials, but we have made no compromises in design,� claims Guha.


Above The staircase at the entrance has the backdrop of a 3D wall with bell-shaped lights hanging above it.

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Above A thick column measuring 1x2 ft stands in the centre of the living room. Rounded wooden members coat it, and a concrete cantilevered counter is suspended from it. This counter also houses the fireplace. Right The living and dining room has a wide open window that looks out into the garden. Greenery surrounds three of the four sides of the house.

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A walk down the driveway leads to the entry to the house. Right at the entrance, the design team encountered a beam and column sitting at an odd angle. To combat this, they designed a 3D wall with a tilted roof that lets in light at all times of the day. Bell-shaped lights illuminate the staircase, which runs up to the first level and down to the basement. The next challenge awaited them in the living room. A thick column, now clad in solid wood, originally sat right in the middle of the living room. Now, it supports a cantilevered counter

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Above and right The master bedroom has a dented space that serves as the meditation room for the owners. From the outside, this wooden box is coated in concrete to protect it from weather elements. All the bedrooms have windows that have been stretched as far as possible to take in the view of the garden.

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that houses the fireplace, keeping the living and dining room warm. “The open garden view complements this warmth. The house is surrounded by a garden on three sides, and each of the bedrooms looks out into one part of the garden. The windows have been stretched as wide as possible so that the inside and outside almost seem to merge,� explains Nandurdikar. With a garden that’s as large as the house, landscaping became as important as the architecture. To maximise views of the garden,


multiple windows have been punctured in three sides of the house. The front of the house is the most open, drawing in maximum sunlight into the living room and the master bedroom that sits right next to it. Jutting out of the master bedroom is a wooden box fitted within a C-shaped concrete ledge, which serves as a meditation space for the owners. Multiple elements within the rest of the garden add a sense of freshness to the home. A slatted wooden pergola, an L-shaped water body, a 15-ft high concrete wall with a spewing water spout,

colourful koi fish, water plants and a waste water management system form part of the green area. To keep the interior as natural as the exterior, the bedrooms are a beautiful blend of the old and new. Simple veneer paneling has been given a distressed look to suit the overall theme. Bespoke furniture dots almost every corner of the house, which combined with the heirloom pieces of art and decor, makes the home truly exclusive.

Above To keep the theme going, the bedrooms have been kept subtle. The only veneer used in the whole house is the African sucupira, which has been given a distressed look. The veneer ages beautifully with time.

Story by Tina Thakrar Photography by Pranav Purushotham

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Name of the project Bhaskar Residence Location New Delhi Architects/designers Amrita Guha and Joya Nandurdikar Design team Poonam Bishnoi, Mamta Khan Kitchen manufacturer Mai Impex Windows/doors Aluplast/Green Fenestration Furniture Untitled Design Flooring R.K. Marble, Span Furnishing Casa-auram, Atmosphere, Sarita Handa Air conditioning Daikin Wallcoverings Goodrich Paints ICICI DULUX Lighting Osram, Delta Lights Sanitaryware/fittings Roca/MLS Hot water systems D Racold Bathroom flooring R.K Marble Stone Kishangarh Bathroom tiles Palladio Bed linen Seasons/ Sarita Handa

Left The front garden wraps around the living room and the master bedroom. The house can be entered through either the main driveway or through the garden.

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In with the new Bordering on minimalistic, this sea-facing apartment by .GQ'6WXGLR//3IROORZVDQHIÃ&#x;FLHQWGHVLJQSODQSHSSHUHG with a mix of textures and tones

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Blessed with a stunning view of the sea, this residence in South Mumbai is an unexpected confluence of contemporary design elements. The house is spread across 3,500 sqft on a high floor in a residential building. Kiran Kapadia, Shobhan Kothari and Anand Menon of KdnD Studio LLP completely refurbished the house from its old configuration, creating a smart and functional space. “The house, as per the client’s brief, is simple, elegant and contemporary. It draws from New York-style apartments, and suits the

Above left The formal living room forms part of the central nucleus in the AP residence by KdnD Studio LLP. This part of the house leads to the children’s bedroom and the dining area. The two rooms are connected via a powder toilet. The formal living room also has a zone for the piano and a customised chess board. Above The entry corridor has a small welcome area with a dramatic painting as the centrepiece. It carries on into a pinstriped corridor, which camouflages the second door to the kitchen. The corridor culminates in a white brick-like door which opens into the living area. Left The narrow balcony is partially widened to create a luxurious terrace beside the informal lounge.

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Preceding pages Anchoring the informal living area is a Persian blue couch topped with a massive artwork on the wall. Two doors lead to the master bedroom and the guest bedroom respectively. An abundant amount of natural light comes in through the balcony, which looks out onto the sea.

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client’s lifestyle. Although the building is old, we had the freedom to plan the space with an understanding of their aesthetic and functional needs,” states Menon. Originally the house had five bedrooms, but by merging rooms to create luxuriously large spaces, the design team had three bedrooms to work with — the master bedroom combined with a media suite, the children’s room combined with a play area, and the guest bedroom. The very private entry to the home runs along a pinstriped corridor ending in a white

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brick tiled door. The space then magnifies into a living room with a right and left bank. This central nucleus is visually divided into a formal living area with a piano and customised chess table, and an informal lounge with a balcony. It is through this central core that the bedrooms, dining room and kitchen are accessed. Originally, the main balcony was a narrow stretch that wrapped around the children’s room, living area and master bedroom. Since there were no restrictions on the floor configuration, the design team made a dent in the informal


living area, transforming the balcony into a spacious terrace. The guest bedroom has its own individual balcony. “Suited to the brief, a lighter colour palette was chosen for the house. We consciously avoided the warm palette of browns and beiges and opted for a salt-and-pepper scheme of light shades for the non-movable items and dark shades for the furniture and accessories. The client’s own artwork helped carve out most of the spaces, on the basis of which we chose our palette,” reveals Kapadia.

These pages The children’s room has a small bedroom, and a play and study areas. By combining two rooms, the design team got free rein over a 20 ft long wall that is now the central protagonist of the room. A geometric mosaic of colours lines the whole wall, camouflaging the door to the powder room.

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Preceding pages The kitchen and the dining area are interconnected. The kitchen has a second door that leads back to the pinstriped corridor, allowing easy accessibility to the main door. These pages The master bedroom is the simplest of all rooms, with white walls, matching furniture and subtle leatherpaneled wardrobes. It is treated like a master suite, with a walk-in wardrobe, master bathroom and attached media suite.

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The design of the public spaces adheres strongly to the brief. The living room is a modern space without an overbearing use of furniture and accessories, the clean dining room has an entire wall of contemporary art, and the dusty-blue kitchen is a fresh take on western classical designs. However, the bedrooms each have their own individual story, with certain details that anchor them to the rest of the house. The doors in the informal lounge lead to the master and guest bedrooms, and the doors in the formal living

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area lead to the children’s room and dining area. The master bedroom, with its white walls, minimal accessories and statement artwork is a calming, serene space. It connects to the similarly designed media room, which along with the master bathroom and the leather panelled walk-in wardrobe, creates a luxurious master suite. In the guest bedroom, a massive Indian art piece serves as the springboard for the room’s dramatic design. Right across the living area stands the


Architect/designer KdnD Studio LLP Associations COA (Council of Architecture) & IIID (Indian Institute of Interior Designers) Cladding Hitesh Ceramics Window/door Beautex, ABSL Tiling and flooring CMC Wallcoverings Artisan, CMC, Mecasa Paints Mecasa Lighting Floss Furniture Systa Oven Siemens Stove and ventilation Elica Refrigerator Hitachi Sanitaryware and fittings FCML Outdoor furniture Abaca

Above All three bathrooms are as different as the bedrooms. The children’s bathroom reflects the geometric pattern seen in the room, and the master bathroom also reiterates the simplicity of its corresponding bedroom, with white cabinets. The third bathroom is a muted marble creation, with two artworks for adornments.

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children’s room, which is a meld of two rooms. Bridging these two rooms is a 20 ft long wall with a colourful geometric pattern that not only becomes the hero element of the room, but also hides the wardrobes and the door to the powder toilet. To keep the impact of this pattern intact, the other elements like the study area and bunk beds are tinted dull grey. The accessories in the house reflect the client’s lifestyle and character. “For us, accessories are, and always will be, conversation starters. We treat them like a story-

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telling exercise. It also provides an opportunity to completely change the dynamics of the design and create a dual language and tonality,” explains Kothari. Since there is a buffer between the private and public rooms, the design team has experimented with multiple design stories within the same concept. By being sensitive to the functional and programme needs, KdnD has added just the right amount of flavour to the home. Story by Tina Thakrar Photography by Sebastian Zachariah


Know Your Architect: Anand Menon, Kiran Kapadia and Shobhan Kothari; KdnD Studio LLP A joint venture between KAPL and Atelier dnD, KdnD Studio LLP is headed by three founders who believe in doing good quality, boutique work. For its architecture and interior design projects, the firm attempts to decode the most current trends of architecture and juxtapose them with traditional practices to create relevant and functional designs. The award-winning firm challenges the aesthetic, functional and social viability of projects and handles everything from the design concept to its execution. Their projects have been widely published across Indian media.

at the studio is that if the ‘strip-down’ version of design can withhold criticism, then the garnished version will only enhance design. In this context, we are a bit biased towards the minimalistic style. An architecture or design trend you would like to end? Every trend has a shelf life but is also part of the cycle of re-evolution. Time and again, one sees how earlier styles are re-emerging with modern interpretations. If you go back in time, which of your projects would you like to re-create? We wear too many hats as designers in India. Hence designs may get diluted from the drawing board to execution due to various factors. As long as the original storyboard does not alter more than 15 per cent, the process is acceptable. There have been a few projects that failed this benchmark; something that we are more conscious of now as a practice. What according to you is good design? Unlike artists, we do commissioned work. Client satisfaction is at the forefront. However, as a design studio, it’s a must to evolve your ethos from time to time and set new paradigms. The balance of these two results is good design. Which of your projects are you most proud of? Every project is result of an evolution coming out of the design ethos in the studio. As the practice matures, the ethos adapts. However, all our farmhouse/second home projects are test beds for experimentation and have helped in our growth story. Any interior design style that you are partial to? Our general philosophy of design is to steer away from the pretentious. The idea pursued

For you, which is the best city in terms of architecture and why? We love urban architecture and intervention

in London and Singapore. For more boutique homes like farmhouses and bungalows, we like the architecture of Brazil, Mexico and Bali. An iconic architect/designer that inspires you the most and why? Marcio Kogan for his simplistic approach to design, which creates very powerful imagery. A structure that you think challenges the boundaries of architecture and design? The Heydar Aliyer Centre by Zaha Hadid.


Commercial Spaces Each of these workspaces bring functionality to the fore, ensuring that the modern aesthetic is not too far behind


New in the neighbourhood $LUEQEpVQHZ'XEOLQRIÃ&#x;FHREVHUYHVDFROODERUDWLYHDQG ergonomically-sound design offering ample prospects for productive engagement

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Preceding and these pages:Airbnb’s new Dublin office was originally a run-down space, refurbished by the company’s in-house Environments Team in collaboration with heneghan peng architects. The office is anchored by a central staircase that is suitable for individual and group work. Following pages:The staircase connects the first floor to the ground floor, enhancing visual connectivity across levels.

Concepts like ‘neighbourhood’, ‘sense of community’, and most importantly, ‘belong anywhere’ hold priority in Airbnb’s holistic design plan. The company’s offices around the globe reflect opportunities for collaboration and interaction, but simultaneously respect personal space. Airbnb’s newest international office in Hanover Quay in Dublin adheres to this philosophy, concurrently supporting the functions of the preexisting office in the city’s Watermarque Building. Known as The Warehouse, this expansive 43,000 sqft office houses 400 staff members across departments. For the design of both these offices, Airbnb’s in-house Environments Team, led by Aaron Taylor Harvey and Rachael Yu, worked in collaboration with Dublin-based heneghan peng architects.

For the company, the ‘Belong Anywhere’ ethos had to be at the heart of the design. The design team subsequently adhered to a unique neighbourhood concept and implemented corresponding components into the space. Individual workstations were a must, as was one anchoring space for teams to gather and work together. The formerly dilapidated office was refurbished, giving Airbnb the occasion to pre-determine the architectural layout and incorporate distinctive structural elements. This resulted in the company’s first urban campus model, which will now be a predominant feature in all its future offices. “Unplanned encounters that open new avenues of creative exploration are something that only the physical workspace can activate. Our ambition has often been moderated by constraints of an existing

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structure that can’t be altered. It was with this office that we finally had the opportunity to provoke the level of interaction and crosstalk that we’ve always imagined; that we might fully activate the productive social dynamic in this exceptionally energetic employee population,” says Harvey. Another aspect that influenced the design was the feedback of the employees from Airbnb’s Portland office, who counted lack of employee visibility as a management challenge. To combat this, The Warehouse was divided into primary and secondary workspaces. The work configurations between both these types encourage healthy ergonomic movement and increased socialising and engagement. The primary workspaces are a collection of 29 neighbourhoods that house 14 people each. Every neighbourhood includes one large table, personal storage units, a few sit-stands and one lounge spot. All the furniture is custom-built, including the large communal table that replaces individual work desks. The secondary workspaces are the more collective zones of the kitchen, meeting rooms and the Agora. The nucleus of the office, Agora is a dramatic cascading staircase that connects the first floor to the basement, bringing the entire workspace together. Suitable for large conferences, community events and even lounge-style solo working, Agora is large enough to hold all 400 employees. Design influences from Portugal, Greece, Romania, Japan, Sweden, Morocco and France have been encompassed in the interior design of each meeting room, as part of Airbnb’s ongoing global office design strategy. The rooms reflect

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These pages:The office is divided in 29 neighbourhoods, each with individual work desks, as well as a large community table.

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These pages:As part of the Employee Design Experience programme, the meeting rooms are designed with the inputs of the employees, who are responsible for putting the finishing touches on the rooms. The interiors are globally-inspired but locally-rooted.

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the company’s existing listings around the world, and enable employees to re-interpret global as well as local design components into the design. All of this was part of an Employee Design Experience (EDX) programme. “The local Airbnb employees took great pride in adding the final touches to the design of the meeting rooms. Together, we brainstormed ways to truly transport people as they walk through the door. For example, if you’re having a stressful day, walking into Mykonos and sitting under the pergola with bougainvillea hanging around you can really feel like a trip to the island and help settle your mind,” explains Rebecca Ruggles of the

Environments Team. The Warehouse offered the in-house team a rare opportunity to implement their workplace philosophy from scratch. The visual and physical connection across the atrium allows for the right amount of privacy and socialising, so rarely seen in even the most collaborative of offices. With this newest development, Airbnb has not only successfully fostered local relationships, but also ensured that its core philosophy holds true.

Story by Tina Thakrar Photography by Donal Murphy, courtesy Airbnb (www. airbnb.com) and heneghan peng architects

These pages:The office is peppered with private work zones that are reasonably secluded, but also kept open enough to encourage healthy exchange of ideas and foster communication.

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A sculpted box ',*$UFKLWHFWVGHVLJQVD0XPEDLRIßFHEDVHGRQDVWURQJ JHRPHWULFDOGLDJUDPWKDWLQYRNHVàXLGLW\DQGPRYHPHQW

The Karma office in Mumbai follows the concept of ‘a box in a box’. Designed by Advait Potnis and Amit Khanolkar of DIG Architects, this project creates experiences with organisational geometry, plays with unconventional styles, eschews the use of superficial materials and encapsulates a volumetric design that makes optimum use of the available space. With a 13 ft high ceiling, 1,800 sqft area, a horizontally extended plan and ground and mezzanine levels, this space serves as the front office

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for about 30 employees. “The client was shifting from an old space to a new office, and preferred a workspace that would embody its evolving identity and new business models. We wanted to create a unique sense of space through a long design plan. The front enjoys double height, whereas the back end is broken into a ground and mezzanine level. Since the office has a back entrance as well, the employees can directly enter their work areas without having to walk through the more public reception in the front,” explains Potnis.

These pages The spacious reception and waiting area of the Karma office features geometrical details incorporated by DIG Architects. Situated in Mumbai, this office is longitudinally divided into two boxes, with the waiting area forming the outer box.


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Left The waiting room features a glass meeting room in the corner for quick meetings with visitors. For added texture, the white walls have scooped traingles with a corrugated cement sheet as another layer.

The narrow area and lack of natural light were the biggest challenges the design team had to overcome, besides meeting the functional requirements of the company. A fixed number of seats had to be incorporated in the available space, taking into account the existing structural grid with its columns and beams. As with every one of its projects, DIG relied on geometry to combat these limitations. They sculpted the space around an elongated grid that formed the foundation of a layered space with two boxes. The existing walls of the office form the outer box, while a manually created interior shell forms the inner box. The space between the two is the circulation space for visitors to enter and experience just the skin of the box, keeping privacy intact. The outer box is a double-height space housing the reception and waiting area. Here, a glass-walled room sits in one corner, serving as a small meeting area for guests. Outside, two lounge sofas and a floss-lit wall with the company name welcomes visitors. This area leads to the inside box, which has a long corridor with individual rooms on its right. The first stop is at two perpendicular alcoves, both laid in wood panels and fitted with seating furniture and decor accessories. In such a tight space, these niches act as useful utility zones. Further down, the

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Facing page and below Leading from the waiting area, a long corridor connects the ground level. Along this alley is a wooden alcove outside the director’s cabin, which serves as an informal meeting area. A conference room is located opposite a large black and white city map on the wall. Legend 1 Entry lobby 2 reception 3 meeting room 4 waiting lounge 5 lounge area 6 informal lounge 7 director’s cabin 8 conference area

corridor also leads to two conference rooms and two private cabins. “On the ground floor, we have created ceiling pockets in the shape of triangles with artificial light. This compensates for the lack of natural light by giving the illusion of streams of sunlight seeping into the space. The colour scheme is largely white and grey, with wood finishes. The monotony of blank white walls is broken by pockets of grey corrugated cement sheets, which create two different textures on the wall and ceiling. We have also blown up black and white city maps and propped them on the walls as

works of art,” states Khanolkar. A black cantilevered staircase leads from the ground floor to the loft, which is purely a work zone. This balances the private and team working spaces, with the workstations on the mezzanine and the cabins on the base level. As different as each space in the office is, the simplified and contextualised geometry stands as one strong idea that encompasses everything. The structural grid hindered the fluid design, but the design team managed to securely merge function and aesthetic in a strong diagram that connects and affects movements, experiences and actions.

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These pages The private and public rooms like the director’s cabin and conference room are situated on the ground floor, with workstations for the staff on the mezzanine. A cantilevered black staircase with seating underneath climbs to the higher floor.

Location Santacruz, Mumbai Owner Pratik Vaidya Architects Advait Potnis, Amit Khanolkar Interior designer Karina Shetty, Chiraag Punjabi Contractor Lamfa Project Hardware Enox, Hettich, Hafele Electrical Santosh Narkar Paints Rudra Paints Flooring Green Heart Floors, L’decor

Ceiling Hashmat Ali Mansuri Veneers Natwood Lighting Uniser Industries Pvt Ltd Furniture Defurn Toilets Riverwashed Granite, Laminum tile Sanitaryware Duravit, Hindware Story by Tina Thakrar Photography by Sebastian Zachariah

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The face of change Dynamic glass façades and a soaring glass atrium make 2 Graham St. an ideal high-exposure address for media conglomerate NZME

Impacted by the internet and the digital world, media groups today are consolidating and reinventing themselves for a brave New World. Part of this is finding premises that bring divisions together for a focused, integrated news presence. While 2 Graham St wasn’t actually built for principal tenant New Zealand Media and Entertainment (NZME), it did provide the ideal environment in which to merge the newspaper, radio, and digital media business. Designed by JCY Architects, with Jason Gerrand as project director, and MCS as the civil and structural engineer, the development consists of two new six-storey commercial office buildings linked by

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an enclosed glass atrium. There is also a second atrium that floods natural light into the heart of one of the buildings. In addition, there’s a connecting podium and 240 carparks in two levels of basement parking. Besides offering around 2,26,580 sqft of office space, 2 Graham St animates the area at street level with retail along the edge of the longer building B. Further retail is on the side of the podium that steps down to Hardinge Street at the rear of the buildings. The contemporary, mixed-use development boasts large floor plates of upto 33,368 sqft per level and the two buildings’ significant size could have resulted in a monolithic presence.

Above:Fins on the corners of the 2 Graham St buildings bring shade and definition. Giant NZME digital panels animate the two façades. Right:Aluminium panels in different colours and widths are concentrated on the corners of the building to heighten and define its profile. Following pages:The glass atrium at the heart of 2 Graham St allows main tenant NZME to create a dynamic social hub for its staff.


Facing page above:Natural materials are part of the design accent of the base build. The light-bringing atrium in building A is seen here. Facing page below and below:The NZME reception desk — in shiny stainless steel combined with a folded metal lighting element — draws visitors in. The iHeart Lounge directly behind is used for meetings, functions, live performances and socialising. The stripped-out ceiling with exposed services painted white is a play on similar black ceiling treatments on the floors above.

Gerrand says there are many aspects to the complex façade that helped define and yet downplay the presence of the conjoined buildings. “The complex façade treatments balance light and solar control across the faces of the buildings, modulating openness and privacy,” says Gerrand. “The ground floors of both buildings have full height glazing, providing the active edge required for retail. The four levels of façade rising above comprise monolithic glass punctuated by Aluminium Composite Material (ACM) patterning. The density of the arrangement of the panels increases towards the corners of the buildings, crisply defining their edges.” The panels were applied in three thicknesses, three widths and three finishes – silver metallic, pure white and bronze metallic. They replace glass infills and help reduce solar gain to the interior. “Added visual relief is provided at key corners and across the entire northern façade with a series of anodised aluminium vertical fins in colours that echo

the ACM façade pattern. The aluminium fins range from 2-5m in length. These were fixed to the façade by abseilers after the glazing was installed. Inside, the glass atrium with its crisscrossing bridges and stairs, has a sculptural presence of its own. The inset end walls are an artful composition of three tones of tinted glass, hiding the complex structural support skeleton behind the glass. Dynamic as the atrium is, the need for seismic resistance made it more complex behind the scenes. The atrium edge junctions are engineered to move up to 80cm in the event of an earthquake, while glazed roofs over the main and internal atriums have specialist extrusions with enhanced drainage. The buildings’ sustainability features include everything from an efficient building envelope to superior indoor air quality, specification of low-VOC materials, and social aspects of green design, such as bike facilities. These pushed it over the line to be Auckland’s latest 5 Green Star-rated building.

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It was 2 Graham St’s green, modern, open, and interconnected environment that attracted its major tenant, media conglomerate NZME as it set about radically transforming its business. Rather than relocating its three component parts — Herald publisher APN NZ, broadcaster The Radio Network and e-commerce provider GrabOne — into one of its existing Auckland offices, NZME drew a line under the past and drafted plans for this ambitious location a few blocks away, across town. As its new ‘audience-first’ strategy was mapped within the walls of its existing Albert Street and Cook

Street offices, so it physically took shape, space by space, on 2 Graham St. Occupying the ground, first and second floors of both buildings — apart from the active edge retail — NZME utilised the large span office floors to reflect the business’ new dynamism and purpose, according to interior designer Nicki Brady at Telco. “To connect to listeners, several of the company’s radio stations achieve visual prominence at street level on the corners of the building. Their presence is further heightened through public information digital screens mounted on the building’s exterior.”

Below:The office floors occupied by NZME are all open plan, apart from the executives suite and the high-profile, individualistic radio studios. The open workspaces are light-filled with good air quality, making for productive, comfortable work environments.


NZME now has an integrated newsroom on the first floor of building A, incorporating digital, print, radio and video. A newsdesk in the centre is designed for stand-up meetings and conferences. “On the ground floor in building A, a stainless steel reception desk welcomes visitors. Behind this, the iHeart Lounge offers a venue for events that opens to an exterior courtyard over the podium.” While these elements indicate an emphasis on individual parts, the two buildings’ connectivity lent itself to NZME’s more consolidated presence — a creative, innovation hub, agile and fully enabled.

To reflect this, NZME focuses on collaborative workplaces for teams to come together. An important part of this was the utilisation of the light-filled, central atrium. “Occupying space on both sides of the divide, NZME wanted its cafes to be located in this area for an animated, feel-good atmosphere,” says Brady. “In addition, the four cross-bridges are large enough for casual breaks and meetings.” The NZME floors are intentionally open-plan without a single enclosed office, and colourful, conceptual signage features throughout.


Facing page above:NZME’s in-house creative team created the firm’s dynamic interior graphics. At this lift area, the faces have moustaches or other elements that slide over them as the glass doors open. Facing page below:A graphic borrowed from the London tube system denotes the arms of the NZME portfolio. The blue line is for newspapers, orange for magazines, and purple for radio. Right:The graphics are turned up for the company’s cornersited radio stations. Passers-by can look in and feel part of the process of radio.

Developer, construction company and quantity surveyor:Mansons TCLM Building architect:JCY Architects Project team Jason Gerrand, Steve Jensen, Jean-Marc Colomar Civil and structural engineer:MSC Consulting Engineers; Structural: Geoff Chilcott, Quiggy Ho; Civil: Paul Culley Mechanical and electrical engineer, fire consultant:Norman Disney Young Facade design:Wight Aluminium Cladding Glass, ACM façade elements in Silver Metallic, Pure White and Bronze Metallic Glazing system:APL, Wight Aluminium Glass:Metro Performance Glass Roof:Dimond Colorsteel Roofing Base build fit-out construction:Alaska Balustrades and handrails:Designer Stainless Flooring:Atrium floor tiles by SCE Stone and Design; foyer walls and floor tiles by European Ceramics Paints:Wattyl Veneers:Decortech panelling in both atriums Lobby feature walls:Ambitech Lift services:Schindler Lifts NZME interior design:Telco Design — design team: Nicki Brady DINZ, Mark Parris, Kelly Cameron NZME fit-out Focus Partitioning:PSL Partitions, Transpace Operable Walls

Window/door joinery:Pacific Doors, Trans-Space Operable Doors Hardware:Madinoz, Sopers Macindoe Blinds:NZ Window Shades Drapes:Auckland Drape Company, Kvadrat Maharam, Textilia Tiling:Jacobsens Flooring:Toli from EcoFloors, Desso and Tarkett from Jacobsens Wallcoverings:Quicklock from Asona; Big Ideas Ceiling:AAB Panel from Autex; Stratopanel and Triton 50 from Asona Veneers:Laminex Group Paints:Resene Bokara Grey and Black White Lighting:Unison, Artiture, Rexel, Philips, Cult Heating/air conditioning:Daikin Workstations:Aspect Furniture Office chairs:Aspect Okamuru Reception furniture:Matisse, UFL, Simon James, Kada, Douglas and Bec, Staples, Cult Additional furniture:Matisse, UFL, Simon James, Kada, Staples, Cult, Backhouse, Cite, Wilkhahn, Issa, David Shaw, Europlan, IMO, Lundia, Workscape, Zenith, Irvine Fabrics:Kvadrat Maharam, Textilia, James Dunlop, Warwick, Textile Mania, Vivid Kitchen equipment:Scope, Fisher and Paykel, Zenith Story by Charles Moxham Photography by Alex Wallace

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Fresh agenda 5HORFDWLQJWRQHZRIßFHVSURYLGHGWKLVDUFKLWHFWXUDO ßUPZLWKWKHRSSRUWXQLW\WRGHVLJQDZHOFRPLQJ HQYLURQPHQWUHàHFWLQJFRQWHPSRUDU\ZRUNSODFHLGHDOV Choosing a new office environment requires more than physically accommodating everyone. The space also has to capture the essence of the business and its company culture, while facilitating and inspiring the team’s ideal ways of working. An elegantly repurposed warehouse space provides Tanner Kibble Denton Architects (TKD) with open, light-filled interiors that reflect the company’s expertise. TKD’s fit-out sought to present a new image for the established Sydney practice that would embody both the traditions of the company and a new management and ownership structure, says TKD’s

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managing director, Alex Kibble. “The move brought the opportunity to design an aspirational workplace, reflecting the vision of an evolving practice whilst evoking a real sense of belonging for the TKD team,” says Kibble. The former warehouse’s original fully-glazed light well admits a soft natural light to the core of the interior. This, together with the existing full-height windows to the perimeter walls, creates a well-lit space with an open feel – the perfect blank canvas. Practice director Mel Mackenzie says the key challenge was creating an open collaborative studio workplace that worked around the existing core

Below and right For the fit-out of its modern-look offices in an existing Surry Hills warehouse, Tanner Kibble Denton Architects retained the original concrete floor. A waxed black steel wall provides a dramatic feature behind the reception desk. Lower right Glass-fronted meeting rooms are designed to embrace the connecting reception area and lift lobby.


elements, column grids and lift arrival points. “It was vital to incorporate a striking front of house, client reception and versatile meeting areas.” In response, the interior design breaks down the traditional visual and acoustic separation of areas so clients get a sense of the greater working office. The fit-out addressed issues of collaboration and work productivity too. This was approached by consolidating three separate floors from the architects’ previous office environment into one integrated studio on a single large floor.

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Overall, the space includes client meeting rooms, a foyer and reception, breakout spaces, the studio and a large area for team gatherings. The spaces overlap and are adaptable for different uses. “Aesthetically, TKD’s intention was to create a modern environment leveraging the original warehouse fabric of the building,” says Mackenzie. “To achieve this, medium height partition walls were installed rather than running floor to ceiling, allowing the original high ceilings to feature throughout.

These pages Screen walls in the TKD fit-out help retain the spacious feel of the original warehouse environment. Black services and lights contrast the white walls, drawing attention to the height of the spaces.


Left The original high ceilings and perimeter windows of the existing warehouse space played a key aesthetic role in the repurposing of the new offices. Below Colourful seating and existing windows overlooking the tree-lined street give the staff café a light, breezy feel.

“We also retained and polished the existing concrete floors and left the new services exposed, setting some in black perforated metal cable runs. The black services and black light fittings lead the eye upwards in the high-ceilinged rooms, optimising the sense of space, visually.” The fit-out materials were chosen for their

rich look and to complement the existing concrete floors, high ceilings and the white painted walls. “The new studio space has delivered on the central idea of collaboration and team cohesion. Coming together in a special space designed by our own team is a very important milestone in the practice’s transition and growth; it has and will continue to take us forward,” says Kibble.

Architect Tanner Kibble Denton Architects Project architect John Rose Practice director Mel Mackenzie Interior design Emma Wingad Mechanical design Steensen Varming Contractor Calida Projects

Fe 5044 Lighting Inlite, KODA, and Opal Group Loose furniture Living Edge Reception rug Designer Rugs Paint Walls, Dulux Natural White; services, Dulux Black Workspace finishes Main carpet Patcraft carpet tile in Butterfly Effect range by Shaw Contract Joinery finishes Laminex Laminate in Burnished Wood colour with Natural Bronze mirror finish Paint Walls, Dulux Natural White; services, Dulux Black

Front-of-house Wall finishes Milled steel sheets with beeswax finish Flooring Polished concrete Partitions Black powder-coated aluminium Conference room carpet Tretford Broadloom, Burnt Orange Reception joinery finishes Briggs Veneer American Oak, milled steel, Calacatta marble, Pelle Leathers – Contract range in the colour Santa

Story by Charles Moxham Photography by Anthea Williamson

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Properties on the block

TRENDS selects premium properties around the country Piramal Vaikunth Price: ` 90 lakh onwards Developer: Piramal Realty Location: Thane Status of the project: Under construction Area of project: 32 acres Residential type: 2 and 3-BHK apartments Residential area: 515 sqft — 1,278 sqft Lead Design Consultant: HOK Structural and Services Engineers: BuroHappold Associate Design Architects: DSP Design Vertical Transportation: Lerch Bates Construction Management Company: Turner Construction Company Special features: Nature trails, vehicle-free community spaces, cobbled paths and stone walkways, biking lane, 134 species of flora and fauna, retail boulevard, water bodies, meditation garden, multi-purpose badminton and basketball courts, squash court, swimming pools, mini cricket ground, state-of-theart gym, indoor activity room, day care and creche, cafes and restaurants, convenience stores, guest suites and banquet halls.

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5DIĂ HV3DUN

Price: ` 6.9 crore onwards Developer: Raffles Residency Location: Bangalore Status of the project: Nearing completion, handover begins in April 2017 Area of project: 15 acres Residential type: 5-BHK villas Residential area: 6,400 sqft — 8,870 sqft Architects: WOW Architect and Design Master Planner: Karan Grover Interior Designer (Show villa): Naseem Somjee Construction: Enkon Engineering Landscaping: WOW Architect and Design Special features: Only four villas per acre, cantilevered spaces with the villas, mini solar plant and clubhouse.

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Showcase

The latest in decor and kitchen accessories

Champagne-ďŹ nish kitchens by Stosa Cucine Modular kitchen brand Stosa Cucine, in association with Mirius Interni, has launched its latest line of finishes in India. In an effort to revolutionise kitchen design in the country, the Italian company is offering the Aliant kitchen concept, which is designed in an aluminium casing with a champagne finish. This glossy finish is acquired on a frost-polished glass with a petro sheet, and a titano finish across the various internal and external fixtures. The rich concept complements Stosa’s innovative fittings, materials, accessories and appliances. For more information, email info@miriusinterni.com or call +91-9920101200

Trendy seat by Vector Projects The versatile Q-Fold chair by Vector Projects is a great fit in any commercial or residential space. This latest launch is designed by taking into consideration seating postures and to provide support and comfort for long periods of time. It alleviates pressure on the lower back and spine by conforming to the shape of the human body. An amalgamation of ergonomics and aesthetics, the Q-Fold is comfortable and boldly coloured in bright hues. For more information, email v@vectorprojectsindia.com or call +9122-66972893/94

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Decorative walls with Elementto With the launch of Greenery as the Pantone Colour of the Year 2017, Elementto presents a new range of wall coverings in shades of green. Reviving the free-spirited energy and wonders of nature, Elementto offers the goodness of nature in its printed wallpapers with motifs like leaves and bushes. The wallpapers add earthy vibes to both contemporary and traditional homes, and the vibrant green tones inject brightness into dark spaces. Creating a connection with nature, these coverings add a sense of spaciousness to residences. For more information, email info@ elementto.in or call +91-22-49103000

Asian Paints launches Earth Series Treating the exterior of a building as an opportunity for self-expression, Asian Paints has launched an aesthetically appealing set of options for exterior paints. Under the Ultima Wall Art decor range, the Earth Series by Asian Paints is organically aligned to architecture and puts natural elements and designs on the wall of structures. The series is inspired by nature and the life it contains, and focuses on nuances like flowing water, rustling leaves and the abundance of flora and fauna. The series is available across four concepts — Flow, Tree of Life, Prayer for the Earth and Walk in the Woods. For more information, call 1800-209-5678

By Tina Thakrar


Design IQ

Find your way through a labyrinth of architectural clues Crossword – 007 ACROSS 3

An upright support for a superstructure (4)

4

Multi-material 3D printing system designed by MIT (7)

5

Tokyo based architecture firm co-founded by Kazuyo Sejima and Ryue Nishizawa (5)

10 Architecture type pioneered by Revathi Kamath (3) 11 Author of Complexity and Contradiction in Architecture (6,7) 12 India’s oldest Mughal garden (3,4) 15 Richard Meier has designed this city’s Museum of Contemporary Art (9) 17 Leonardo Benevolo who passed away recently drew up this city’s masterplan (5) 19 Steven Christensen Architecture won the AAP award for their design of this thermal bath and hotel in this city in Latvia (7) 21 HKS Architects have been selected to design a new stadium for this baseball team (5,7) 22 Raj Rewal designed this city’s architectural college (6) 23 Architect who designed the Acropolis Museum (7)

1

Roughly cut stone set in place for later carving (4)

2

Ornamentation along the ridge of a roof (8)

3

Firm that designed London’s Olympic stadium (8)

6

Sinan Günay and Nurhayat Oz of Superspace’s entry for the MetsaWood competition consisted of a series wooden housing modules to be appended to an ___ in Istanbul (8)

7

W. G. Sebald novel whose main character is an architectural historian (10)

8

Co-architect and designer of Mumbai’s Taj Mahal Palace Hotel (1,1,5)

9

Stone that was used in Chhatrapati Shivaji Maharaj Vastu Sangrahalaya’s construction (5,6)

13 Queensland’s Art Gallery is an example of this architectural style (9) 14 City that has the most number of skyscrapers above 150m (4,4) 16 Town home to Philip Johnson’s Glass House (3,6) 18 The Gateway of India’s construction took ___ years (6) 20 Building (7)

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Solution

DOWN

Crossword – 007


HOME & DESIGN

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Home & design trends volume 4 issue 9 2017