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Volume 14. Issue 01. January 2020 Rs. 25/-



Cover Story


rchitectural initiative arch out loud has released the winners of its’ HOME Competition 2019, an annual competition where designers are asked “What is the future of HOME?” Proposals from all over the world were submitted to the competition and approached this question from three main perspectives: Innovation, Adaptability, and Pragmaticism. The Home remains the most significant architectural place we experience throughout our lives. Home represents safety, ownership, privacy, and stability. Home is where we can be alone and with people we care about most. Historically, the home has been a place of permanence. Despite how chaotic our lives are, we cherish the consistency of sleeping in the same bed and performing the same daily rituals here. Yet, new trends in digitalization and globalization continue to reshape realms of everyday life and alter our physical environments, including our homes. It is important to examine how we adapt our living spaces to these shifts. The HOME competition invited all designers to explore ideas of domestic architecture for the future. Designers considered the impact of global population shifts, the proximity of major cities to coastlines, new materials and building techniques, as well as the rise of co-housing, tiny homes, smart houses and marketplaces like Airbnb. The HOME Competition creates a platform to speculate the ways new technological, political, environmental and cultural changes can redefine the spaces where we live. The Jury for the 2019 edition comprised of Erin Besler (Besler & Sons, Llc) , Preston Scott Cohen (Preston Scott Cohen Inc.), Peter Cook (Crab Studio), Anne Fougeron (Fougeron Architecture), Elena Manferdini (Atelier Manferdini), James Ramsey (Raad), Nader Tehrani (Nadaaa), Tom Wiscombe (Tome Wiscombe Architecture) And Stefano Boeri (Stefano Boeri Architetti). The overall winner for the competition was the International Ceramics Friendship Park (Participants: Alex Reed & Dutra Brown Location: Los Angeles, USA); This proposal highlighted how the boundary between work and life grows ever thinner and proposes a social

What Is The Future Of The Home? Arch out loud challenged competition entrants to

push the boundaries of adaptability and innovation when considering the future of the “Home”.

The winning proposal showcased a neighbourhood built to house retired potters; complete with a pension tower, Monumental Shard Pile, Tomb Of the Unknown Craftsperson, kiln-heated pool and labyrinth walking path

Facade of the International Ceramics Friendship Park tower is covered in advertisements to generate revenue for the retired craftspeople

housing model based on vocation. The slippage between work and hobby, the professional and the personal is accelerating and International Ceramics Friendship Park speculates on the spatial implications of our longer lifespans where the ‘#hustle’ never stops. Aging millennials will bring ideals of self-realization with them as they grow older and will continue to prioritize experiences over ownership. Hobbies become work, work becomes life, and the urge to professionalize our creative interests allows everyone

to keep ‘living the dream’ into collective retirement. I.C.F.P is a city built to house retired potters; complete with a pension tower, Monumental Shard Pile, Tomb Of the Unknown Craftsperson, kilnheated pool, and labyrinth walking path. In its proposal, organized labour again wields sizable power, this time in proportion to the cultural capital that their craft-work has engendered across media and advertising at large. This post-work craft utopia is funded through the sale of advertisements placed on the facade

of The Potters’ Pension Tower and from royalties generated by leveraging the likeness of those who live and work in International Ceramics Friendship Park. The “Innovation Award” went to Sphere House Tectonics Of Buoyancy (Participant: Jin Young Song); This proposal showcased the core intent of the home as being that to protect people from dynamic forces happening around the social, technical, and environmental challenges. continued on page 2



continued from page 1 Thus, the architecture of home can be defended by the performance and capacity of the protection in response to the corresponding challenges. The project focuses on one of the most emergent threats, climate change: global warming and the rise of sea level. Sphere House is a floating structure with minimized embodied energy, maximizing the use of space by the mechanical rotation and buoyancy on water. Sphere house proposes the simple and efficient floating home in which programs are rotating along with the movement of the residents. The skin of the sphere allows dynamic view control and solar energy harvesting with necessary air intake and exhaust, water purification, and buoyant control. The external buoyant system supports the movement of the sphere with structural stability and connection to other vessels. The “Adaptability Award” to the Rest Of The Land (Ensaterishentohsa Ne Ohontsia) (Participants: Benjamin Mayne & Abraham Francis). This

project reconceptualizes sustainability through the Haudenosaunee seminomadic tradition, envisioning a home designed to be deliberately abandoned and re-consumed by its environment, feeding and recognizing the perpetual cycle of life and death. The structure is both a home and a cultural device, each successive generation passing crucial knowledge to the next through the act of rebuilding. The swaddling star quilt is the only permanent object, a cherished gift to be maintained over innumerable years and sites, linking each generation to those that came before. While the “Pragmatic Award” went to Alpha Boom Co-housing (Participants: Jeff Jordan & Frank Deblasio & Jiuye Yan). The housing proposal aims to accommodate significant shifts in suburban landscapes. First, the shift from traditional “big box” retail to online retail leaves behind large abandoned structures and oversized parking lots. The project proposes a reuse and adaptation of these defunct structures to accommodate the second shift, an aging population. As a large portion of the populace enters their continued on page 4




January 2020

COVER What Is The Future Of STORY The Home? 1 The Paper Cafe 5 Plastic Stone Tiles 6 Johnson-Tiles Launches ‘Smart Tiles’ 8 Design Miami 2019 10 Tiipoi 12 Zaha Hadid’s Stadium In The Pipeline 14 Leading The Way To The U.S.A 15 Bus, Stop And Rest 16 Planter Box House 17 The Endless Stairway 18 ISH 2021 Full Steam Ahead 19 Boulder No Bar 20 LG To Unveil Revolutionary Indoor Gardening Solution 22 Nippon Paint launches Color Vision 2020-21 23 Owner, Publisher & Printer Mr. Anish R. Bajaj for Marvel Infomedia Pvt. Ltd. Printed at Marvel Infomedia Pvt. Ltd., B 62, 1st Floor, Cotton Exchange Building, Cotton Green Road, Cotton Green, Mumbai 400 033. Published at B 62, 1st Floor, Cotton Exchange Building, Cotton Green Road, Mumbai 400 033 Tel (022) 23736133/1, 23743069 Editor Mr. Anish R. Bajaj THE INSIDE TRACK Volume 14. Issue 01. January 2020. English - Monthly. This issue contains 24 pages including both covers. C r e a t i v e D i r e c t o r N a t a l i e Pe d d e r - B a j a j A s s i s t a n t E d i t o r S h w e t a S a l v i . L a y o u t D e s i g n D a r s h a n Pa l a v, Snigdha Hodarkar M a r ke t i n g : Mumbai, Kamini Kamble Mob: 9833301852, B 62, Cotton Exchange Bldg, Cotton Green, Mumbai 400 033 Tel: (022) 23736133/1, 23743069 Email:response@marvelinfomedia. com. REDUCE REUSE RECYCLE Recycling old magazines and newspapers is one of the easiest ways to help the environment. To increase the supply of recoverable wood fibre and to reduce the demand on the world’s landfills, THE INSIDE TRACK urges its readers to actively participate in recycling efforts.

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continued from page 2

Sphere House is a floating structure with minimized embodied energy, maximizing the use of space by the mechanical rotation and buoyancy on water

golden years and balks at the idea of traditional senior living typologies, the aging retail fabric could be appropriated to accommodate seniors who would otherwise have to leave

New Jersey. The hybrid strategy aims to create diverse energy levels and activities throughout the complex in order to benefit both populations. Activities in and around the housing complex

The “Innovation Award” went to Sphere House Tectonics Of Buoyancy

however, the design carves out and pushes through portions of the original building to create a porous series of indoor-outdoor spaces and courtyards. Modest housing units are located on

amenity spaces of the older residents below with the classroom spaces of the young children above, creating truly shared, inter-generational links. The HOME Competition is

The “Adaptability Award” project reconceptualized sustainability through the Haudenosaunee semi-nomadic tradition, envisioning a home designed to be deliberately abandoned and re-consumed by its environment, feeding and recognizing the perpetual cycle of life and death

their communities. The project proposes a hybrid senior housing community (baby boomers) and daycare for young children (generation alpha) in place of an abandoned department store in

could mix the two communities together in both planned and chance encounters. The combined senior housing and daycare community is largely enclosed by the existing structure,

the first level and supplemented with cooperative amenities like a kitchen, lounges and gardens. The second level incorporates the daycare and stretches across the length of the structure. Double height zones merge the

an annual competition and will release its third installment in Spring of 2020. Contact email: web:

The project that won the “Pragmatic Award” proposes a hybrid senior housing community that aims to create diverse energy levels and activities throughout the complex in order to benefit both populations


Spot Light


appier Cafe by JC Architecture in Taipei, Taiwan is a place for change and evolution, where people come to relax and feel comfortable, but are also key attributes to the design of the space. How you may ask? Here, each person sharing the space is able to change and contribute to its creation. Given the lease was granted for only six months, the architects wanted to create something temporary of course, but nonetheless imaginative and playful. Using paper was an ideal way to allow people to express, build, and adjust the environment according to their moods. Paper became a simple and cheap tool to change the ambience of the space, and the idea that each person could seek and adjust their own fine balance and transformation.


The Paper Cafe

Happier Cafe started with a dialogue of what makes one feel happy, whether tangible or a feeling, from small daily pleasures to life’s big achievements.

Large paper rolls strewn through the cafe create a time machine installation

Paper formed walkways, niches, and intimate spaces for coach sessions, gatherings and relaxation

Paper became a simple and cheap tool to change the ambience

Each person was key to the environment

Large paper rolls strewn through the cafe create a time machine installation; forming walkways, niches, and intimate spaces for coach sessions, gatherings and relaxation. The cafe bar is designed as an open counter where customers can hand pick their snacks and prepare their drinks, and are trusted to pay and collect their own change - enabling and sharing the responsibility and maintenance of the space. Just a place to unwind and create a sense of community, this cafe beautifully connects the people and space together. Feel happier already? Contact web:



Co. Profile


nvented just after the turn of the twentieth century, the mass production of the synthetic polymers of plastic is a fairly recent invention. However, its rapid rise as the utopian material in a short span of time is rather overwhelming. Adopted for its convenience and adaptability, plastic emerged as an answer to replace products that relied on animal remains and natural resources, and soon was afflicted by the evils of consumerism and capitalism. Now, when the plastic clogs our landfills and destroys the sea life, we realise humanity’s heavy hand has led to the abundant plastic debris which mostly likely would be the new epoch of our anthropocene. Apart from preventive measures to conserve natural resources, we should learn to address the obvious looming problems caused by human intervention and create an alternative resource bank. In recent times, an argument of whether recycled plastics or bio-plastics would be a better future replacement for plastic has emerged. With the toxicity attached to the use of plastics and the process of continuous recycling diminishing the quality, bioplastics come out as an unchallenged winner. However, the question of how to dispose the existing plastic waste still remains. Statistics state, globally, 14 percent of plastic packaging is recycled and only five percent remain the same quality and the rest is processed to less valuable applications, after which it can not be further recycled. So the need of the hour is for young designers to come up with alternatives

Plastic Stone Tiles

Young designer Enis Akiev from Kazakhstan, develops a technique to create tiles out of discarded plastic packaging. BY SHWETA SALVI

This process provides a vast variety of colour and pattern options with each piece being organically unique

to re-establish the structure of material technology and overall advancement. Kazakhstani designer Enis Akiev has devised a method using discarded plastic packaging to create tiles that mimic the organic process of rock formation. Data on the abundance

Tiles are subjected to conditioned geological weathering with the intent to create interesting colourful and irregular patterns

of plastic waste and its persistence to remain, which finally leads to severe ill-effects, are very alarming. Akiev, a graduate of Köln International School of Design, explains, “Plastic can never be really thrown away and would finally make its way to landfills and

ocean beds.” After oceanographic researchers stumbled upon new rocks on a beach on the Big Island of Hawaii in 2013, which ever since have been dubbed plastiglomerates, Akiev dived into a deeper investigation of the geological process of the formation of this plastic rock. When plastiglomerate - a portmanteau of plastic and conglomerate - undergoes natural weathering influences, plastic waste melds with its surrounding natural materials such as rocks, sand and

Designer Enis Akiev


Plastic Stone Tiles

mineral fragments to form a rock similar to a metamorphic rock. Akiev subjected her tiles to similar conditions with the intent to devise a material that is aesthetically as well as qualitatively valuable. Just like in the organic geological process of rock formation this material when subjected to heat, pressure, and movement developed interesting colourful and irregular patterns, providing an interesting pop of colour and aesthetic to the plastic stone tiles. Part of her inspiration also stemmed from the query of how plastic behaves in nature. Studies suggest, on an average a consumer uses packaged goods for less than 15 minutes before discarding it. To revitalise single-use packaging waste by providing it longevity post disposal, Akiev collects household plastic waste from trash-sorting facilities. The designer then sorts the plastic as per its colour and type. After cleaning, the plastic is melted in an oven to make it pliable, before casting and pressing it in different forms. As


Plastic Stone tiles revitalise single-use packaging waste by providing it purpose and longevity

Designer Enis Akiev has developed a method using discarded plastic packaging to create tiles that mimic the organic process of rock formation

a final step, tiles are cut in standard sizes and finally sanded to provide uniform smoothness. No additional colour or binder is required, Akiev uses the various colour options that are available in plastic packaging, and several unpremeditated patterns are derived from the way the material is layered. This process provides a vast variety of colour and pattern options with each piece being organically unique. Her work does not support the production of plastic nor legitimise it, on the contrary, Akiev says, “I aspire to create a product cycle which without degenerating creates a sustainable manmade material.� Akiev’s efforts to not only view waste as resource but to also focus on the longevity of the product would certainly inspire designers to rethink resource strategies and stimulate an exploration of innovative sustainable materials. Contact email: web:

No additional colour or binder is required in the process



Spot Light


& R Johnson (India), the leading ceramic tiles manufacturer and a division of Prism Johnson Limited, opened its 2nd exclusive Experience Centre in Maharashtra, at Pune. The occasion also marked the launch of the ‘Smart Series’ tiles. Bringing all the products from Johnson under one roof, this Experience Centre boasts of the widest range of tiles for all different spaces, including residential interiors, exteriors, parking areas, commercial spaces and industrial spaces. While good tiles mean beauty and durability, H & R Johnson (India) focus on innovation and customer aspirations has helped it make a range of ‘smart tiles’ which deliver more than what is commonly available and expected. These patented ‘Anti-Microbial’ tiles for walls and flooring are Germ Free tiles and do not allow dangerous bacteria to grow on your floor or wall and at the same time the surfaces remain absolutely safe to human touch. Similarly, to deal with Electrostatic Discharge Hazards, H & R Johnson (India) has launched Anti-Static Tiles. Additionally its range of Endura Coolroof tiles are certified high SRI (Solar Reflective Index) tiles which keep the rooms below the roof much cooler during peak summer climate. The showroom was inaugurated by H & R Johnson’s CEO and ED Mr. Sarat Chandak. Commenting on the occasion, Mr. Sarat Chandak, ED & CEO of H & R Johnson (India) said, “Johnson has long held a strong belief in the philosophy of relentless innovation to pioneer the future of

Axor MyEdition Single lever basin mixer

Johnson Tiles Launches ‘Smart Tiles’

H & R Johnson (India) inaugurated the ‘House of Johnson Experience Centre’ in Pune with 2500 tiling concepts, sanitary ware, bathroom fittings and engineered stones making it one stop shop.

Johnson has four sub-brands i.e. Johnson Tiles, Johnson Porselano, Johnson Marbonite and Johnson Endura that offers end to end tiling solutions for every space and application

the categories we deal in. The new generation Experience Centers will completely elevate the buying and selection process for Lifestyle products being a one-stop-shop for planning & designing residential as well as

commercial spaces.” “The prime objective of this experience center is to guide the consumer in selecting the right product for their home which is challenging as there are hundreds of

similar looking tiles in the market with very little relevant and authentic information. In one of our market studies we found that some customers think we only have very high-end and costly products as compared to other tile brands. A visit to House of Johnson will make them realize that at a small premium, people can get high value product from the most trusted Johnson Brand. We have a complete new and wide range of products at reasonable price,” said H & R Johnson’s Marketing Head Mr. Dinesh Vyas. Having started its journey in England in 1901, brand JohnsonTiles came to India in 1958 and over the last 60 years of making tiles, the brand has become a pioneer of many innovations in the tiling industry. Contact Experience Centre Address: House of Johnson, Sable house, Poona Snuff Factory, Sr. No. 11A, Plot 408/4/5 Satara road, Gultekadi, Pune, Maharashtra. web:

The new showroom was inaugurated by H & R Johnson’s CEO and ED Mr. Sarat Chandak. This experience center does not only present best in class international quality tiles, but also has select, reasonably priced high quality sanitary ware, bath fittings and engineered marble and quartz.





esign Miami has become the place to congregate since it first burst on the scene 15 years ago. This colourful fair erupts each year with amazing pop-ups, innovative installations and collaborations that amalgamate design, luxury, technology and fashion. Here are some highlights of the show! Fendi asked Swiss design studio Kueng Caputo to create 10 design pieces inspired by the iconic Palazzo della Civiltà Italiana in Rome, where the fashion house is located. The collection called Roman Molds, assimilated the Colosseum’s characteristic architecture with archetypal Fendi colours and materials, accompanied by a custom Peekaboo bag by Kueng Caputo, redesigned in canvas with colourful leather features. Order of Importance by Argentinian artist Leandro Erlich consisted of 66 sand-sculptures of cars and trucks coved with sand, parked along Lincoln Road beach. The project was curated by Ximena Caminos and commissioned by the City of Miami Beach. Balenciaga and on-the-rise artist, architect and designer Harry Nuriev created a sofa constructed completely from its disposed clothes. Inspired by comfy, sinkin recliners, the sofa is packed with unusable items of clothing, upholstered in them and sheathed in re-used vinyl - an ode to sustainability. Designer Marc Ange, bestknown for the Instagrammable pink Le Refuge canopy, took over Italian interiors company Visionnaire’s showroom with The Garden of

Design Miami 2019

Every winter, the design and art aficionados throng to South Florida for Design Miami and Art Basel Miami Beach.

Fendi’s Roman Molds

Beauty. The plush display showed Ange’s Il Pavone - a beautiful series of decorative furniture inspired by peacock feathers. Broadening its fine furniture collection, Objets Nomades, Louis Vuitton presented its first American designer Andrew Kudless and his Swell Wave Shelf. Made from oak and leather it was shown alongside

Order of Importance by Argentinian artist Leandro Erlich

other new pieces that debuted at Salone del Mobile earlier this year, as well as some of the past year’s editions by famous designers like Patricia Urquiola, Marcel Wanders and Nendo. New York based designer Harry Allen, the creative mind behind Moss, the groundbreaking Soho design store and Bank in the

Form of a Pig, presented his latest venture, Portrait Vessel, where each sculpture is made from a 3-D scan of a person’s face and neck and is then printed in custom ceramic, 9-carat gold, or platinum-a reference to both classical busts and present day selfies. The installation featured on-site digital scanning and

Balenciaga and and designer Harry Nuriev’s sofa


The Garden of Beauty by Marc Ange

Harry Allen’s Portrait Vessel sculptures

collectors could choose to have their portrait rendered in a vase, coin bank or urn to be delivered in eight to twelve weeks! After introducing its limited edition series with M/M Paris at Salone del Mobile in April, Miu Miu showcased its stools for the first time in the U.S. Made from palm wood and crepe rubber with hand blown Murano glass pegs, the seats were fun yet practical, echoing the fashion brand’s maxim to the tee. The Miami Design District commissioned artist Fernando Laposse as the neighbourhood’s artist. Inspired by sustainability and folk art, he worked with fibre artist Angela Damman and artisans from Sacabah, Yucatán, to create an immersive world that pays homage to local materials found in Mexico, such as the cochineal insect and agave fibers. Contact web:

Louis Vuitton’s Objets Nomades

Miu Miu’s Marbles Stool


Pink Beasts by Fernando Laposse





ather than keeping with design trends, Tiipoi, chooses to highlight existing and often ignored indigenous design concepts and techniques from the Indian subcontinent, which are realised through contemporary expression. Spandana Gopal, Founder and Creative Director of Tiipoi, tells The Inside Track how the studio manages to celebrate the ethos of India without compromising on the ‘Londoness’ of their brand identity.

Tiipoi Tiipoi, a London-based brand with

operational studios in London and Bangalore, crafts products not just with a bid to invoke a sense of nostalgia but to present the unknown and unappreciated designs and materials of India. our Ayasa containers are spun from the excess material left over from spinning our Chakra trivets.

Tell us about the inception and intent behind Tiipoi.

Tiipoi is an interesting name. What’s the inspiration behind the name of the brand?

I started Tiipoi in order to create a new narrative for Indian design in the West. I have lived in London for 15 years now, and I felt the narrative around Indian made objects and craft seemed that it could be validated by only repeating the past and relying on stereotypes of how the world

Oh, yes - it actually comes from the word ‘Tin Pai’ (Teen Pai, or 3 legs in Hindi - a stool essentially standing on 3 legs) like Charpai is 4 legs. Basically I liked the story of a piece of furniture called the ‘teapoy’

Longpi Karibowls

perceived India, rather than how we perceived ourselves. I felt there was more to say, it could be new, and so in a way it’s quite a personal reflection of what I believe to be Indian. Your practice prioritizes minimal wastage. How do you ensure the ideology is duly followed through? Diya

Flyover Vase

Rather than prioritising, it feels

like its part of our design and manufacturing process. I guess hasn’t it always been part of Indian life? Being frugal? Innovating from a lack rather than excess of something? I feel like this can’t really be a selling point for any business, it should be the norm really. So in terms of it being followed through, we don’t really have a check sheet in that regard, but it starts at the design itself, so it’s all inbuilt into the design. For example,

Loha copper bowl with lid

Modern Kantha Blue cushion


(this 3 legged stool) that came to exist as something that was lost (or gained) in translation between two cultures (basically during the Raj in India) Essentially, I am reclaiming the space in a way I feel - but also its making something quite serious (colonial rule) into something quite lighthearted.

India, we are also very proud of our Londonness. I think we are very much engaged with the design community here - we are active here and our friends are here. We have a workshop in India, so it’s not as interactive in that sense - which is a shame as I would love to have more of a community in Bangalore as well. But short answer to the second part of your question - we don’t design for trends, we design based on what problem we have to solve. It’s not so much of a question of lifestyle.

Essentially your studio started with the idea of reviving design concepts from the Indian sub-continent and what they can offer to the global market. Has the ideology evolved since conception, if yes, could you elaborate further? Rather than reviving, I think it was highlighting features of Indian objects and Indian life. I don’t think we are revivalists! Also, the designs are created by our studio - so they are ours - but they pay a kind of homage to the anonymous objects of the Indian household, but also stories of Indian life that are quite particular or nuanced - that we feel are especially Indian. I think its


What factors are taken in account to achieve a successful design crossover?

Water Tank concrete planter

Be true to the brief! Don’t try and impress too many people. Believe in yourself. The more needs you try to satisfy, the less satisfying your design would be. Focus and then make it the best there is. You don’t need to try to be different, if the design is good it will surface. What are the materials you essentially work with? Any plans to explore new materials? We w o r k i n m o s t l y n a t u r a l materials - i.e. which can be returned to the earth with minimal impact. If we use more than one material, it’s because we don’t have an alternative. So, metals like aluminium, stainless, brass and copper, also wood, stone and now clay (ceramics) What role does India’s extensive craft heritage and craftsmanship play in your own signature style? We work with craftspeople and smaller workshops, and also run our own. We want to actually move away from this heritage space because its very problematic if you are making functional design. Also, it’s a label that just gets put on you whether you like it or not. This actually can work against you if your work is not about crafts and heritage. As an industrial design studio, our concern is more towards how as designers can we make crafts relevant again - what is the evolution of craft going to look like? How can we challenge the idea of craft being primitive?

Longpi black pottery bowl kari

only one part of the process though, because the story can not be told without a good, functional design ultimately it’s the design that is our strength, while India is a kind of brief. Also, as much as we are based in Bangalore, we are also based in London which I think I will talk about in your next question! Since your studio operates out of London and Bangalore both, is your design driven by commonalities or the studio customises individually for diverse lifestyles? Yes, we are very much a London studio! Our lead designer is from London - he graduated from Kingston, and I studied here too. I think as much as we are celebrating

What are you currently working on and any plan to expand you’re work portfolio in future?

Nest SamaBird copper Coaster serving Set trays

We are working with ceramics. Our new collection is called ‘Longpi Cookware & Bowls’ Contact web:



Spot Light


n 2016, Zaha Hadid Architects revealed her and Patrik Schumacher deigns for a football stadium to be made entirely out of timber. Now, three years later, the epic project has been given the proverbial thumbs-up, to be constructed in Gloucestershire, England as the heart of an ‘Eco park’ development - a suggested 100 acre sports and green technology business park. Ironically it will be the new home of English football club Forest Green Rovers, besides bringing in new facilities to the local community. The place will also supply room for the continued expansion of energy company Ecotricity, whose founder Dale Vince is also the chairman of Forest Green Rovers. The plans also incorporate the development of a nature reserve and a public transport hub. Using low carbon construction methods and operational processes, ZHA’s design will be the world’s first all wood football stadium - with almost every element made of sustainably sourced timber. She chose laminated timber as a building material, as it is highly durable, safe and recyclable.

Zaha Hadid’s Stadium In The Pipeline

Zaha Hadid Architects’ all-wood stadium gets planning permission in Gloucestershire, England.

ZHA’s design will be the world’s first all wood football stadium

With the team’s community and supporters at its centre, fans will be as close as five meters from the pitch. A continuous spectator bowl will add to the match-day ambience, while the stadium’s design has also taken into consideration the club’s future growth, with the potential for adding 5,000 more seats.

The stadium will be the new home of English football club Forest Green Rovers

As its ‘bon mot’ the building intends to be carbon neutral or even carbon negative, with the equipping of on-site renewable energy generation - validating that sustainable architecture can be dynamic and beautiful. Contact web:

As its ‘bon mot’ the building intends to be carbon neutral or even carbon negative



Spot Light


at on the door step of the n e w l y m a d e - o v e r T WA hotel at JFK airport, is a 1958 Lockheed constellation L-1649A airplane named Connie! Connie has been revamped into its new avatar, a retro-themed cocktail bar. The interior of course keeps most of the plane’s original components

Leading The Way To The U.S.A

The TWA bar welcomes you aboard her newly-renovated retro cabin, where vintageinspired cocktails flow and snacks are served with a smile. The mid section of the plane has been substituted with contemporary suede sofa seats along the windows to carve a bigger passage way for guests to get to the bar. Towards the back of the plane, six passenger seats are styled by Aaron Sciandra, who designed the vintage-inspired setback pockets and seat covers to echo the 1960s vibe. The passenger seats, paired into three rows have been given enough leg room to include a side table for guests to place their drinks on - its first class all the way!

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The mid section of the plane has been substituted with suede sofa seats along the windows

like the window curtains, passenger seats and the cockpit. The plane also pays tribute to Eero Saarinen, the architect behind the TWA terminal, by using his original table designs along with references to his architectural accomplishments. Old-world elements such as

Pronounced as a New York’s landmark in 1994, the TWA terminal typifies the allure of the jet age (I’m sure you’ve watched the movie Catch Me If You Can). With it’s closing down in 2001, the terminal took 18-years to morph into a landmark hotel with 512 guest rooms. The hotel comprises of 50,000 square feet of events space, an infinity pool, the world’s largest gym and a 200 seat restaurant in the lounge section. Contact web:

cocktail swords, mid-century board games and the iconic TWA red carpet allow guests to time travel back to when the TWA terminal opened in 1962. Steered by Stonehill Taylor’s Sara Duffy, the interior design marries a balanced fusion of vintage and modern furnishings.

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The 1958 Lockheed constellation has been revamped into its new avatar, a retro-themed cocktail bar

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Spot Light


t was the start of winter when Studio Mani first saw the village. Although the site had a ramshackled bus stop surrounded by sparse vegetation, it was easy to imagine a beautiful structure in the throes of springtime with the thirty families that made up the village, enjoying the space. After visiting the surroundings, three sceneries emerged, ‘a far away view’ a scenery from the village hall, ‘a nearby view’ a scenery when proceeding towards the plaza and ‘an internal view’ a scenery inside the square. The existing structure was furnished with shoddy benches and tables made from plywood and concrete, in a confined space with not much light. The architects decided that the land itself would rise up and become benches, stages, a bulletin board etc, growing from one body but functioning as a whole. Based on the design concept of rising from the ground, wood and clay bricks became the core materials, while metal was added for the structure. While the entire space was built with bricks, various ways of were applied to keep it from becoming monotonous. The brick carpet of the plaza was continued to the bus stop and visitor centre, creating a ‘singular’ facility. The visitor centre, was planned as an indoor space, housing a gallery for paintings and books for the residents, while the bus stop was planned as an outdoor space. The two are tied by one roof so that they can cover each other’s functions when necessary.

The inside gallery and library

Bus, Stop And Rest

Songjeong Picture book Village is a plaza, a bus stop and a visitor centre all in one, in a tiny town in South Korea.

Studio Mani imagined the structure for all to enjoy

The whole space is ‘emptied’ rather than filled, giving it a stark modern feel. What fills the space is the residents and visitors. This stor y began with the memory of the village elders. Today, it is a hub where every person becomes part of village history through their usage and everyday gratification of the space. Contact web:

The bus stop has been furnished with benches for waiting residents


Spot Light


he house with it’s numerous concrete planter boxes f i l l e d w i t h m o re t h a n 40 types of edible plants, is in stark visual contrast to the other surrounding buildings. The internal and external spaces are imbued with a strong sense of hospitality and the owners’ attitude towards tropical sustainable, community living and farming. Upon entering the gate, one will experience the light and cross ventilation immediately, as the whole ground floor visually reads as one, since there are only glass walls and a window in between the front and the back of the house. Taking inspiration from the vernacular tropical houses found in the region, split bamboo produced by the indigenous people has been used as formwork for the concrete of the planter boxes. While the bamboo texture lends an abstract organic form to the house, it is also a sustainable solution, is low maintenance and ages well through the rain and pollution. The Planter Box House is a ph ys i c a l rep re s e n t a t i o n o f the owners’ lifestyle. It is also a learning curve for the couple, as they constantly have to improvise


Planter Box House Designed by Formzero architects in Kuala Lumpur, Malaysia, for a couple who are passionate about growing their own food, the Planter Box House is garden, farm and home - all rolled into one.

The Planter Box House is in stark visual contrast to the other surrounding buildings

The house is a learning curve for the couple, as they constantly have to improvise the irrigation and planting system depending on the elements

Split bamboo produced by the indigenous people has been used as formwork for the concrete of the planter boxes

the irrigation and planting system depending on the elements. Their custom made irrigation system is interconnected between the planter boxes that store and recycle nutritious resources and rainwater within the soil. It also allows full and precise manipulation of the boxes, from the soil composition to the level of water being supplied.

This project serves as a valuable opportunity and experience not only for the clients to learn about farming in a tropical setting, but also for the surrounding community. The life of the building is expected to be continually improved, as it develops and grows along with the couple. Contact web:



Spot Light


n old steel ring lovingly wraps itself upon a grass hill in Carnisselande, a Rotterdam suburb in the Netherlands. Due to its unique construction, the form of the object is not easy to discern; every angle conjures up a new perspective with which the design is not only a contextual but also a very literal answer to the given frame of reference of the local art plan: an Elastic Perspective. What it really is, is a large circular stairway leading visitors up to a height that permits an unhampered panorama of the horizon and the nearby skyline of Rotterdam. The pathway is a smooth motion, thereby reproducing the idea a heavy infrastructural surrounding of a ring road and tram track. While a tram stop presents the end or the start of a journey, the route of the stairway is endless. Based on the principal of the Möbius strip, the continuous route of the stair is an illusion. (A Möbius strip is a one-sided surface that can be constructed by affixing the ends of a rectangular strip after first having given one of the ends a one-half twist. This space exhibits interesting properties, such as having only one side and remaining in one piece when split down the middle.) “We are intrigued by the Mobius strip, by its characteristic of having only one surface, no top nor bottom. When used as a path, it suggests a

The Endless Stairway

NEXT Architects designed the stair for a local art plan, commissioned by the municipality of Barendrecht.

The continuous route of the stair is an illusion

continuity, but crossing that path is - at least physically - an impossibility. It’s that kind of ambiguity that we recognised in the inhabitants of this suburb: mentally they still feel very much connected to their mother town Rotterdam, but in daily life they

A large circular stairway leadS visitors up to a height that permits an unhampered view

are definitively disconnected. With the Mobius strip stair we offer them a glimpse towards the Rotterdam skyline, but to continue their trip, they have to turn backwards, facing the context of their everyday life, Carnisselande. Rotterdam, by tram

just minutes away, but in perception and experience tucked behind infrastructure and noise barriers; far away, so close,” explains the architectural firm. Contact web:

The design is based on the principal of the Möbius strip




hen one ISH is over, the next ISH begins. The success story of the leading international fair is now due to be continued from 22 to 26 March 2021; and exhibitors can sign up as from today. ‘Water. Energy. Life’ is the DNA of ISH and stands for modern bathroom design, sustainable


ISH 2021 Full Steam Ahead

ISH, the world’s leading trade fair for HVAC + Water is all set to have an expanded showcase of building-services technology to visitors from the world over.

Specialists in the field of bath and sanitation from all over the world will meet up in Frankfurt am Main from 22 to 26 March 2021 (Monday to Friday)

heating and air-conditioning t e c h n o l o g y, c o m b i n e d w i t h intelligent homes. The world’s number 1 rendezvous for the sector covers numerous practical solutions for some of the major issues of our time: achieving climate targets, conservation of resources through the use of renewable energies, ever increasing digitalisation and smart technologies. Specialists in the field from all over the world will meet up in Frankfurt am Main from 22 to 26 March 2021 (Monday to Friday). The registration period for exhibitors has already begun - with attractive early-bird rates and benefits for those registering

before 31 January 2020. Exhibitors this year will be able to enjoy the advantages of a completely new portal, which significantly simplifies the registration process and makes it more efficient. Following the impressive and over whelming success of the restructured ISH Energy section at ISH 2019, it is now the turn of ISH Water – taking account of various building considerations. In specific terms, the changes to ISH for 2021 are as follows: installation engineering and software which used to be located in Hall 5 at ISH 2019 will, from 2021, again exhibit in Halls 6.0 and 6.1. Tools and fastenings will move to Hall 6.2

and the Bathroom Experience will be relocated back to Hall 4.2. The International Sourcing section will move from Hall 1.2 to Hall 1.1. In 2019 around 190,000 visitors from 161 countries made their way to Frankfurt Fair and Exhibition Centre to discover the latest innovations and trends at ISH 2019. For five days, 2,532 exhibitors (868 from Germany, 1,664 from abroad) from 57 countries presented their new products for the first time in Frankfurt am Main. At the same time, a significantly higher level of internationality meant that ISH became even more relevant: 66 percent of exhibitors (2017: 64 percent) and almost 48 percent of

visitors (2017: around 40 percent) came from outside Germany. Messe Frankfurt is the world’s largest trade fair, congress and event organiser with its own exhibition grounds. With more than 2,500 employees at 30 locations, the company generates annual sales of around € 718 million. The wide range of services includes renting exhibition grounds, trade fair construction and marketing, personnel and food ser vices. Headquartered in Frankfurt am Main, the company is owned by the City of Frankfurt (60 percent) and the State of Hesse (40 percent). Contact web:

‘Water. Energy. Life’ is the DNA of ISH and stands for modern bathroom design, sustainable heating and air-conditioning technology, combined with intelligent homes



Spot Light


entaspace is a multidisciplinary team that works on architectural and interior design interventions.

Boulder No Bar

Pentaspace Consultants includes a boulder as part of their design in the ‘Nava Bharat’ office.

The existing boulder was incorporated into the design

The philosophy that guides the practice is based on the notion that ‘architectural synergy is a response to space, nature and light.’ With this in mind, the work they undertake goes from contextual to creative, and authentic to sustainable.

When they first got the project in Hyderabad, the architects were greeted with a gigantic granite boulder that sat bang in the heart of the site. The choice was either to blast the huge rock into smithereens or incorporate it into the

Sleek designs and an abstract form in tandem with one another

interior space. As the boulder takes up a fair portion of the space, the architects came up with a plan to design the office around the it. Beautiful is the juxtaposition of the modern desks and office paraphernalia against

this almost Palaeolithic giant stone. Having a sleek modern design around an abstract granite form lends an element of quiet character to the design. Contact web:

These vitrified tiles hold their colour, making them perfect for areas with heavy footfalls

The granite boulder infused around work-stations of the commercial space

The material color palette used are kept in-sync with the interior of the space



IT Product


his built-in column-style indoor garden uses advanced lighting, temperature and water control to let consumers grow greens year-round inside their kitchens! LG says it will offer convenient all-in-one seed packages and a growth-monitoring app to help users grow nutrient-rich and flavourful greens inside their own homes. Using adaptable modules, the appliance replicates optimal outdoor conditions by precisely matching the temperature inside the insulated cabinet with the time of day. LED lights, forced air circulation and wick-based water management allow seeds to transform quickly into ingredients for delicious recipes and dishes. This advanced gardening system is capable of holding up to 24 all-in-one seed packages, enough for a family of four to enjoy the health benefits and culinary advantages of cooking with home-grown produce. A c o re i n g re d i e n t t o t h i s automated gardening solution is LG’s non-circulating water supply technology, which evenly distributes the exact amount of water that the plant packages require. This important technology prevents algae growth and stops unpleasant odours for a hygienic environment where natural herbs and leafy vegetables can be cultivated. The all-in-one seed packages contain peat moss and fertiliser, making it easy for immediate planting. LG says initial packages will include 20 different varieties

LG To Unveil Revolutionary Indoor Gardening Solution

LG will debut its new appliance at CES 2020, its first campaign into the thriving indoor gardening trend. BY NATALIE PEDDER-BAJAJ

LED lights, forced air circulation, and wick-based water management allow seeds to transform quickly into ingredients for delicious recipes and dishes

A key component of the automated gardening solution is LG’s non-circulating water supply technology, which evenly distributes the exact amount of water that the plant packages require

including romaine and other types of lettuce, arugula, chicory and basil. LG’s first home gardening cultivator will be on display during CES 2020 in January in Las Vegas. CES is the world’s gathering place for all those who thrive on the business of consumer technologies. It has served as the proving ground for innovators and breakthrough technologies for 50 years - the global stage where next-generation innovations are introduced to the marketplace. Owned and produced by the Consumer Technology Association (CTA) ® , it attracts the world’s business leaders and pioneering thinkers. Contact web:


Co. Profile


s i a’s l e a d i n g p a i n t manufacturer, launched Nippon Paint Color Vision 2020 - 21, which is India’s first ever zonal color forecast. Mr. Mahesh S. Anand, President and Mr. Mark Titus, Director Marketing of Nippon Paint (India) Private Limited (Decorative Division) unveiled the Nippon Paint Color Vision book and the website for 2020 - 21. Mr. Mark Titus introduced the attendees to Pico, the world’s first smart paint-matching device. Mr. Mahesh Anand then presented Dr. Kaustav SenGupta with the first Pico device. Inbuilt with microcolor sensors, the device is aimed at helping color novices and experts find the perfect color match. Pico is loaded with all the 2338 forecast colours in the Nippon Paint Color Vision 2020 - 21. Over a year ago, Nippon Paint India (Decorative Division) and renowned color expert Dr. Kaustav SenGupta, ventured on the journey to create the first ever free-to-access zonal and youth color forecast for India. Since then, 114 participants from across India participated in 6 focus group discussions, round tables and color-mapping workshops, which led to the final forecast compilation. The participants included influencers, industry experts, peer leaders, social catalysts and color-thinkers from varied industries (home, fashion, automobile, industrial design, lifestyle products, furniture, media, event planning, hospitality, visual communication, craft and academia). The immersive focus groups were guided with the color-imageemotion association model and


Nippon Paint launches Color Vision 2020-21

The paint major publishes a well-researched and detailed color forecast celebrating the zonal and youth color-tendencies of India.

The panel discussion was led by renowned color expert Dr. Kaustav SenGupta, Associate Professor, NIFT Chennai. Other panellists included playback singer Srinivas, fashion designer Vivek Karunakaran, architect Ponni Oscar, Mr. Alexander Zachariah Founder-Director - Rubecon Communications and Mr. Mahesh S. Anand, President - Nippon Paint (India)

Dr. Kaustav SenGupta’s copyright system of Color-consciousness apart from other tools and systems. Along with Nippon Paint’s core team, all the events were coordinated and curated by Dr. Kaustav SenGupta and his able team of visual analysts & designers from NIFT Chennai. It was a humongous effort to map the key mega mind-sets to develop the first ‘impressions’ for the mega-color direction, while at the same time retaining the essence of India’s pluralistic and culturally vibrant history.

114 Participants from across India participated in 6 focus group discussions, round tables and colormapping workshops, which led to the final forecast compilation for Nippon Paint Color Vision 2020-21

The forecast was further refined and re-aligned to present the first ever zonal color direction for Indian subcontinent, leading to the North and South zone exhibiting 4 themes or color-stories each. The youth section is another interesting section which presents 7 color-stories forecast pertaining to youth. Emphasizing the need for such a zonal and youth specific color forecast in the market, Mr. Mahesh S. Anand, President - Nippon Paint (India) Private Limited (Decorative

Division) said, “Color Vision 202021 is a well-researched and detailed indigenous color forecast which celebrates the zonal and youth color-tendencies of this very nation. Nippon Paint is proud to have spearheaded this novel initiative along with Dr. Kastav Sengupta who have worked relentlessly the past year to develop this forecast. Nippon paint Color Vision forecast website is freeto-access and explorative in nature. It is also well segmented so that the designers, architects, design students and design enthusiasts can refer the stories for their color inspirations and designing.” Speaking about his collaboration with Nippon Paint, Dr. Kaustav SenGupta said, “Colours are omnipresent in our daily lives and a fundamental aspect of human perception. Individual human cognition, experience and behaviour as social swarm influence the color tendency. Nippon Paint Color Vision 2020-21 is the first ever such mega forecast in Indian subcontinent that addresses the zonal mind sets and has been developed using the various copyright protected systems and methods. We sincerely hope that this open-to-access color forecast will be widely used by architects, interior designers, product designers, visual artists and students for their inspiration and reference”. The launch was followed by an engaging panel discussion amongst design experts on the topic ‘Color experience and its importance in various domains of design’. Contact web:



Profile for The Inside  Track

The Inside Track January 2020  

Architectural initiative arch out loud has released the winners of its’ HOME Competition 2019, an annual competition where designers are ask...

The Inside Track January 2020  

Architectural initiative arch out loud has released the winners of its’ HOME Competition 2019, an annual competition where designers are ask...