home design trends vol 3 no 3

homes

brands changing

indian

A Times of India publicationVolume 3 No 3`250

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Christophe Pillet

IntervIews

ContentstHe GALLerY8 DesIGn In COnteXt TRENDS presents a selection of products that blur the lines between art and functionality

14 PrevIewPrize for Illustration 2015: London Places and Spaces depicts London through illustrations

16 revIewLe Corbusier: Panorama of a Lifetime’s Work displays the architect’s most creative artwork

18 DesIGn COnCePtDaniel Libeskind’s Vanke China Pavilion pays tribute to ancient Chinese culture

20 PubLIC ArtPresenting street art that transforms perceptions and neighbourhoods

buILDInG COnversAtIOns 24 IntervIew Architect Raja Aederi talks about the current state of architecture in India

26 IntervIewDesigner Christophe Pillet discusses how to be creative without overdesigning

28 MY vIewLeading architects discuss projects that became milestones in their respective careers

30 Guest COLuMnDikshu Kukreja of C P Kukreja Associates examines the intricacies of retail design

POrtfOLIO TRENDS showcases a few of the best designed retail stores from across the globe 32

ICOnIC DesIGnThis month’s pick is Anish Kapoor’s The Dirty Corner in Paris 40

brAnDs CHAnGInG InDIAn HOMes Our selection of 30 retail brands that are influencing the Indian interiors milieu 42

Raja Aedri

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indian homes

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Cover photo courtesy: No-Mad Photography by: Tania Panova Styling by: Valerie Barkowksi

COMMerCIAL DesIGn 60 retAIL sPACes Fresh brewLandini Associates transform a traditional tea house into a modern space 60 In good tasteThis store by Khosla Associates embraces minimalism through its organic design 70

For the beautiful youThe playfulness of a cafe merged with a feel of a library define this store by Nendo 78

Evolution of a landmark

This heritage store’s expansive spaces comes to the fore in DCA Architects’ design 84

90 In fOCus Vivacious and vibrant

Design Office gives this office a dynamic appeal with open spaces and bold colours 90

resIDentIAL DesIGn 98 sPrAwLInG HOMesTied togetherDADA & Partners adoritly connect the two wings of this farmhouse to its locale 98

Traditional popShabnam Gupta effectively merges traditional and modern elements in this residence 108

118 COnneCtIOn wItH nAtureAmong the treesRolling Stone Landscapes intersperses trees and a rock shelf in this landscape design 118

Close to natureNatural materials and textures hold their own in architect Puran Kumar’s home 124

134 MAster suItesOnly young onceRoyston Wilson designs a colourful bathroom that evokes memories of childhood 134

Quiet and calmLeonie von Strumer’s award-winning master suite exudes a feel of a Japanese garden 142

Out of a fairy taleNotting Hill Interiors design four bedrooms that echo the inhabitants’ personalities 148

154 PrOPertIes On tHe bLOCk

157 sHOwCAse

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More ideas, information and inspiration at Trendsideas.in

from the editor

[email protected]

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This month’s issue focuses on the retail milieu in India. However, we wanted to do something different. In addition to presenting features that showcase extraordinary new retail spaces being designed in the country and abroad, we wanted to explore who it is, that is adding oomph to the design and retail environment of the country – and specifically how it has affected our homes.

There has been such an explosion in this segment, especially in the past decade. Products, accessories, brands, designers and styles – it’s like one day we discovered the world is our oyster, and we set about choosing what we wanted for our spaces. Along with international brands that promised luxury came in local home-brewed talents that now match the best in the world, offering choices galore. We want a modern contemporary international home, but we also want a good dash of the India that we so love. Brands over time realised our very specific tastes and adapted and evolved.

In this issue, we present 30 brands that did just that and are now effectively changing how and what we buy. These are influencers – they have experimented, are succeeding and are boldly changing our homes. Hope you enjoy the feature.

In other pages, the offerings are rich and plenty too. Our portfolio section showcases some of the best-designed retail stores from across the world. Architect Dikshu Kukreja writes a column on how a retail space is not just about the shopping experience. We also have fantastic residential projects. Shabnam Gupta transforms a three-storey house into an exotic abode with her signature style, and architect Puran Kumar designs his own home (called The Mango House) in Alibaug that seems like the most natural and honest extension of the beautiful surroundings it sits in. Interestingly, this project is a finalist entry - the only one from India in the House category - for Inside Awards at WAF ’15.

Enjoy the read. Cheers.

Preeti Singh

These brands are influencers; They

have experimenTed, are succeeding and

are boldly changing our homes.

Chief Executive Officer Deepak Lamba

Chief Community Officer & Editor Preeti Singh

Assistant Editor Kamna MalikFeatures Editor Tina ThakrarSenior Features Writer Moshita PrajapatiConsulting Writer Dushyant Shekhawat

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home & design

Design in Context

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

Preview Revieww

Concept Public Art

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

Design in Context

for the book lover in youOn a visit to a gallery in Rome, Rick and Esther Vintage of NLXL came across the works of Ekaterina Panikanova. Struck by the power of her artwork, they invited her to collaborate with them on a wallpaper collection. The Biblioteca Wallpaper collection comprises of old books on which large paintings have been painted, ultimately resulting in seven designs. Panikanova says, “I like working on old books: I like the way they wear and tear. It enables me to perceive the personalities of the people who have read them. Each book has a history; it is the story of its reader.”

8 more projects at trendsideas.com home & design Trends vol 3 no 3 2015

the Japanese touchKoi is one of the recurring symbols in Japanese culture and is appreciated for its decorative purposes. Its natural colour

mutations reveal their capacity to adapt, just like the Koi bathtub. Designed by Maison Valentina, the base has been designed

using aged brushed brass while the tub is in aged brushed iron. For more, visit www.maisonvalentina.net

On a grand scaleThe Belle de Nuit Multicolour

Chandelier by Lladro is a unique series of hanging, wall, standing and tabletop

lamps in different sizes and colours. When you turn them on, the light shines

through the translucent lampshades and brings out the patterns etched on

the surface, thus creating a dramatic ambience. The most spectacular

model of all is the hanging lamp, an updated version of classic chandeliers in multicoloured

handmade porcelain. For more, visit www.lladro.com

A recycled glowThe Skatelamp is a table lamp made from the industrial waste of skateboard manufacturing. A collaborative project by Paul Sykes of Sykes Wood Fenders and Lindsay Jo Holmes of MapleXO, the Skatelamp has a cord running through a hidden channel inside the wood. A frosted glass shade hangs around the light bulb to diffuse the light and soften the overall appearance of the lamp.

9more projects at trendsideas.comhome & design Trends vol 3 no 3 2015

folly by ron Arad

A hanging lineMikado is the latest series of pendant lamps designed by Filippo Mambretti for Italian lighting brand Morosini. A mixture of lines and planes, Mikado produces a fluctuating movement in space, which creates both simple and complex geometric figures. The various linear or circular pendant versions allow different degrees of customisation and the LED sources are enclosed inside of conical metallic elements, which are also available with satin blown glass diffuser.

Put up your feet and relaxThe Lun-koon Daybed by Warisan creates a niche space for the ones

who like it private. Ideal for outdoors, it invites guests to rest a spell, creating a

private sense of place while still enjoying the view and the elements of nature.

Lun-Koon takes inspiration from early modern furniture designs that used metal tubular binding as its main material. The

single continuous frame with its rounded silhouette on the corners lends it a very

welcoming appearance.

Larger than lifeJUJU, launched by

Canadian light design and manufacturer VISO Inc, is

one their largest lighting fixtures till date. Its large

and sensuous high-gloss finished body measures

nearly six feet. With a shade, she stands almost eight feet.

Designer Filipe Lisboa, also the CEO of VISO, calls it a “statement-making” piece.


Coffee conversationsAn overlap of shapes along with a skillful

combination of luxury materials characterises Benson, a table designed by Rodolfo

Dordoni. The coffee table measures 120 cm x 95 cm and is composed of an elliptical base

and a raised circular top that can turn 360 degrees. The side table is 46 cm in diameter

and 38 cm high and has been designed to complement a sofa or armchair.

Light up your roomThe Knitted Lamp by Meike Harde mimics the

design body of a stereotypical lamp. And that is where the comparison ends. Created by stretching

the material on an acrylic fame, the tension created gives the light its delicate appearance.

For a strong outline, the mesh is fixed underneath the lampshade and pedestal. The stretchable

material keeps its homogeneous surface all the time. Compared to common textiles it does not

provoke any wrinkles. Instead the knitted structure becomes more light or close-meshed by changing

the diameter.

Hello outdoorsLooking to brighten up your outdoor spaces? Italian brand Paola Lenti’s Bistro and Clique could be the answer to that. Bistrò is a parasol made of fabric available in a flat or dome-shaped sunshade that is designed to be used together and also to allow for creation of large sheltered areas. The Clique side tables and seating are accessories, which complete and personalise Bistrò, therby creating little reserved convivial areas for resting, eating, reading or talking. For more, visit www.paolalenti.it

Angled to perfectionDesigned by LampsLite, U32-1

introduces an all-new line of lights. Constructed entirely from metal, it explores the concept of modern lighting, taking heavily

from contemporary trends, particularly the tension and

structure of the modern city. Composed from two icosahedric geometries,

it presents a distinct angular dialogue, between surface

and frame.

Polished curvesManufactured by Cassina and

designed by Jean Marie Massaud, the Aspen sofa effectively redefines

curves with its design. Available in widths of 180 cm and 260 cm, a

horizontal twist at the backrest allows one to move the sofa left or right. Upholstery can be customised in

removable fabric or leather.


Colour me brightThe Helio pendant originates from Niche’s

taller and more slender Pharos pendant light series. Available in fresh poppy

colours the Helio pendant is designed for versatility. The Baby Plumen 001 (shown

here) is a beautifully designed energy efficient lamp that is compatible with both

120v and 240v electrical settings and ready for use with an array of different

lamp options including incandescent, LED and compact fluorescent.

Lunar landing Notturno a New York sofa aims to unite evocative and emotional force with precise structural functionality. Conceived and designed by Gaetano Pesce, it comprises of skyscraper elements that act as seats and armrests, assembled together using joints. The backrest represents a full moon, the part not facing the Earth, thus revealing an unexpected and mysterious vision of the dark side of the moon. The upholstery is in a tapestry-like fabric, replete with the smallest of details.

structured sleep Volare by Poltranu Frau is a four-poster bed, designed by Roberto Lazzeroni. Lazzeroni with this new design redefines a light and airy vision of the classic four-poster bed. His design is for a large structured bed, which is luxurious in terms of its workmanship and materials, yet at the same time subtle. The triangular profile of the solid ash wood four-poster structure gradually thins and lightens at it tapers towards the top while the horizontal and vertical crossbars are connected by T-joints, highlighting its construction and make it even more modern.

straight linedFriends is a series of modular sofa that promises to offer unlimited opportunities to change shape and function. Designed by Alexander Lervik for Johanson Design, it is built and designed using varied seating modules. Whether a circular, a square or an L-shaped orientation, Friends can be customised in every way. For more, visit www.johansondesign.se

trunk callGame Trunk, which is created by Bertoni 1949 and Hangar Design Group, comes across as a chest of wonders. Inside, in a casket made of anthracite oak, there is space for a precious domino, a set of chess, an exotic mahjong and an elegant bouquet of poker cards. Covered in leather parchment with black alligator spiked details, the container stands through folding legs like an accordion.

A colourful explosionManufactured in wood and covered with colourfully

lacquered finish high gloss, the Portobello cabinet has been designed in a way to reveal the purity of the Kensington and

Chelsea Royal neighbourhood. Manufactured by Bateye, a Portugal-based furniture brand, the cabinet has lacquered

finish crisscross lines on the surface that give it a sharp appearance. For more, visit www.bateye.com

It’s time to be happy!Designed by Roger Persson for Swedese, Happy is a swivel

chair that promises utmost comfort. Persson says, “My aim was to create a new classic armchair, an armchair that feels just as

right today as in 20 years´ time.” Available in an easy option too, Happy allows one unlimited options in customisation and comes

with a high or low back, and with or without a footstool.

revealing itselfRiveli Shelving by Mark Kinsley is an innovative system that functions as an artwork as well as a shelving system. Each plate, when opened transforms itself a shelf platform that allows one to showcase objects. The Art Series combines individual pivoting aluminum shelves with magnetic artwork to create a modular, wall-mounted, easy-to-install system. Configurations and display artwork can change in an instant to display what you want, and wherever you want it.

- Compiled by Kamna Malik

Preview london, till september 6, 2015

prize for illustration 2015: london places and spaces exhibition highlights london’s distinct personality with artworks of diverse spaces


Upcoming Events

raviliouslondon, till august 31

Works by british artist eric ravilious, who was assigned to the royal navy as a war artist to record times of war

Telling Timelausanne, till september 27

an exhibition of watch and clock design that charts the evolution from analogue to digital

Joseph cornell: Wanderlustlondon, till september 27

This exhibition marks artist Joseph cornell escapades in the city of new york

Held on a global scale, Prize for Illustration is an

annual contest organised by London Transport

Museum in partnership with the Association

of Illustrators (AOI). Under the theme ‘London

Places and Spaces’, the 2015 edition of the

competition provides visitors with a colourful

insight into the characteristics of the city.

Over a thousand entries were received from

illustrators and students of illustration, who

focused on imaginary and real, and past and

Underground Fashion by Zara Picken

Trafalgar Square by Ciaran Murphy


ladybird by designlondon, till september 27

This exhibition features 120 full-colour illustrations of prominent images and photographs from the ladybird series

radically modern: planning and construction in 1960s berlinberlin, till october 26

This exhibition focuses on urban design in 1960s' Berlin, and its influence on the city’s current architectural work

The Bridges of Graffitivenice, till november 22

This exhibition brings together 10 graffiti artists to highlight the influence of spray painted works across cultures

present spaces that give London its unique

personality. From the entries received,

100 were shortlisted by a panel of art and

design experts. These selected works

are on display at the London Transport

Museum in Covent Garden, where the top

three entries have also been showcased.

Each of the pieces on display is

accompanied by a short description that

explains the inspiration behind its creation.

The winning entry of the Royal Observatory

in Greenwich, submitted by Brighton based

illustrator Eleanor Taylor, will be put up on

a London Transport Museum poster on the

London Underground. Gold Prize: The Royal Observatory, Greenwich by Eleanor Taylor

Silver Prize: Compound City by Carly Allen-Fletcher

Bronze Prize: Parkour at the South Bank by Eliza SouthwoodPiccadilly Shines for You by David Cutts

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le corbusier: panorama of a lifetime’s Work marked the 50th anniversary of le corbusier’s death with parallel exhibitions featuring the architect’s artwork

Review paris, april 23 – July 25, 2015


From 1917 to 1965, Le Corbusier produced most of

his creative artwork in the form of paintings, drawings,

engravings, sculptures, collages and tapestry cartoons.

To mark his 50th death anniversary, Galerie Eric

Mouchet and Galerie Zlotowski joined hands to host

parallel exhibitions at their respective venues in Paris,

where Le Corbusier’s original works of art were put on

display. Both exhibitions began on April 23; Galerie Eric

Mouchet ran it until June 13 whereas Galerie Zlotowski

ran it until July 25.

Nature morte à la lune reflétée, 1929 Woman reading, 1936


Over a 45 year period, the architect and urban planner

put together his ‘Atelier de la recherche patiente’ (the

workshop of patient research), which underscored the

issues and themes that mattered to him. Le Corbusier

produced his artwork before, during and after the

Second World War, working across a plethora of

techniques including enameling and lithographs. Most

of his pre-war work was for his own personal research,

but eventually it led to the promotion of the Modulor, a

‘harmonious’ scale of proportions he devised in 1946.

While Galerie Zlotowski implemented a theme that

focused on collages, Galerie Eric Mouchet covered his

drawings, sculptures, paintings and tapestry cartoons.Deux femmes nues à la plage, 1938

Taureau (Bull), 1956

Rope and Glasses, 1954

daniel libeskind’s vanke china pavilion at the milan expo 2015 incorporates varied aspects of chinese culture in its architecture

Concept milan, may 2015

Strategically constructed at the edge of Lake

Arena, Vanke China’s serpentine pavilion at the

Milan Expo 2015 is an 8600 sq ft structure that

houses an exhibition centre, a grand staircase,

a VIP lounge and a rooftop observation deck.

Centred on the expo’s theme ‘Feeding the Planet,

Energy for Life’, this steel pavilion has been

designed by Studio Libeskind for Vanke China.

The pavilion is created on the basis of three ele-

ments of Chinese culture: food, landscape and

the dragon. The design represents Vanke China’s

global goal of overcoming the challenges posed

by growing population by engaging communities

in a healthy, sustainable environment.


Vanke China Pavilion by Daniel Libeskind

Red metal porcelain tiles form the façade of

the structure, with contrasting walls of natural

bamboo. The dragon-like skin on the outside

has self-purification properties, besides a

metallic colour tinge that makes the tiles look

crimson, gold and white from different angles.

Within the double-height exhibition hall, about

200 screens have been mounted on bamboo

scaffolding, with a reflecting pool along the

visitors’ pathway. A winding vertical stair-

case leads visitors to the roof terrace, which

provides views of surrounding pavilions. The

geometric pattern and the durability of materi-

als used both inside and outside the structure

have been chosen to serve as a reminder of

the strength of the Chinese community.


A sketch of the pavilion's interior

The exhibition hall

Public Art

Transformative art that alters perceptions & neighbourhoods


“The idea was to show how nature is against overbuilding. It's part of an underground revolution of street art to stimulate the minds of the people and make the world a better place.”

“I was inspired by everything I grew up with in Hawai'i. The ocean, surfing, and art have been my main influencers and it seemed almost instinctual to combine them to create these murals. I chose spots that were ‘off the grid’ and harder to access. I loved the abandoned feel of the structures and locations, that really balanced out the paintings.”

Concrete vs Concrete by Eron Riccione, Italy, 2015

Wall Portraits by Hula USA, 2015

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Le Périphérique by 1010 13th arrondissement, Paris, 2015

Habitat by Millo Turin, Italy, 2014

“The place on the Parisian ring road is a real symbol: surrounding Paris and used by thousands of vehicles every day. As a reference, the realised work represents a huge crater that prefigures the future of this portion of the ring road, which is to be destroyed in the next months.”

“The artwork implies that sometimes you feel small in this world, but your shoulders are stronger than you

could even imagine. I draw big anonymous cities with their buildings, streets and bridges, where my giants live.

Always out of scale, these characters look a bit clumsy while playing in this chaotic world.”

- Compiled by Tina Thakrar


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Interviews

Building ConversationsViews and insights from architects, interior designers and

newsmakers that are shaping the design world

My View Guest Column

Interview

“architecture as a profession deals with both art and science – the science of building a structure and the art of creating aesthetics,” says architect raja aederi

When did you know you wanted to be an architect? I knew I wanted to travel abroad. And why do people usually travel? To see buildings. Who visualises those buildings? Architects. It was that simple a choice to make. Also, I was born in Hospet, Karnataka and was influenced by the famous Vijayanagara Empire

What does architecture mean to you? Take the word itself; architect is the only word or profession that is used to describe a great leader of a nation. One doesn’t say Mahatma Gandhi is the lawyer or doctor of the nation, even though he was a lawyer. He was called the Architect of the Nation so was Kemal Ataturk Of Turkey. The word architect has such a profound connotation. Architecture as a profession deals with both art and science – the science of building a structure and the art of creating aesthetics appeal. It is not a very disciplined course, so there is ample

time to have other interests that feed into your work and influence it for the better and understanding of human needs.

How do you perceive India in terms of architecture and design? Where does it stand on the world architecture stage?We have the ability to imagine, like the architects of advanced countries. As far as ‘machine made’ is concerned, we are far behind. If you look at site work, then the quality of work is not equivalent to what is available abroad.

How does the local context influence a project you visualise? For the Le Meridian, New Delhi there was no local context. In those days it was designed to be a five-star hotel in the true sense of the word. It was the first hotel that had air-conditioning for everyone including the staff and public areas. We didn’t use local stone to fit the environment. The local context, which is the environment, didn’t feature in that sense.

What do you think about the current environmental architectural practices in India? Do you think it is waiting for resurgence or is it a lost cause? The green building movement in India has been started by architects to get more work. Take the fact that the electricity consumed per person in India is equivalent to what an American uses his electric toothbrush. What I mean is there are villages where there is no electricity. So why are we focusing on green building when we can’t provide a basic necessity to a major part of the country. The greatest environmental disaster is poverty. It is poverty that leads to degradation, not the cutting of a trees or LEED certificates on pretext of saving the environment by



- In conversation with Amanda Peters

A fellow of The Frank Lloyd Wright Foundation, architect raja Aederi has worked extensively in UsA and Britain on prominent buildings for Warner Brothers and the Hilton chain of hotels. in 1972, on his return to india he set up his architectural practice in Mumbai. His commercial work includes the Le Meridian new Delhi, The Leela Beach goa, Vigyan Bhavan new Delhi, Jawahar Bhavan Mumbai and the Mahindra Towers Mumbai.

curtailing use of electricity to get gold or platinum certificate is a joke. The answer for us is to build more to create employment and reduce poverty. I believe the only way we can bring about change is if we replicate fusion like on the Sun. This is the only way pollution will be cut down substantially and electricity will be abundant. This would be a sustainable move, not by gold certificates.

In your consideration, who has done good commercial work in the country? Architects who have been lucky enough to have the backing of intelligent and generous patrons.

What kind of architects does India need? Wright said that to be an idealist, you need to marry a rich woman and build the building you want. And then build another and another, and so forth. Basically you need a patron who likes you. I believe it is tough to be the

idea that it holds liquid.’ The fourth was an the architectural one, which was to take care of terminals, that is, the ends of the building, such as the roof, the silhouette. The middle will take care of itself.

With a more than 40-year practice, you mentioned that you have many firsts to your credit in India. Can you recount your most memorable ones?I was the first one to introduce skirting, structural glazing, atriums, etc in the country. Although it was new here, the clients I designed for have travelled the world and these weren’t new for them as it was for those here.

idealist architect given the current situation. Thus, it makes it hard to say if India can have what it needs.

What was your experience working with Frank Lloyd Wright?My most fond memories were of Sundays, when we would put on our tuxedos and have caviar and blinis. Mr Wright would talk about his philosophy of architecture was compatible with the following. One was that the Kingdom of God is within you. Second, democracy is the highest form of aristocracy. Third was, ‘what is the reality of a glass? It is not the shape nor the material, it is the idea. The reality is the

Sunshine Tower, MumbaiIFCI Tower, New Delhi

Interview

Your style has been defined as that of efficiency and service, the ability to crystallise in the project, the excitement of the proposition. Could you elaborate on this?Today, most of the time, we buy a product not because we need it, but because we want and desire it. This leads to the idea of an affective relation with the product. And this seduction, whatever the function, should be the most substantial value of a product.

What led to the shift from music to design? There is no direct connection between leaving music and starting to design objects. Even today, for me, music remains a major element for conceptual reference.

Lucidity of expression and search for simplicity are your two main design principles. Why? How do you weave in these principles with your products? The best definition for creation is someone telling something to someone else. In that sense, I feel the necessity to be clear and simple in my expression, to be sure that I am understood by as many people as possible.This is not always easy, but this complexity is what makes designing and exciting. Finding how to be original without being weird, finding how to be normal without being boring, trying to be creative without overdesigning. It’s all about the art of balancing.

You have worked with some of the best brands like Lacoste, Renault, Vitra, Lancel, Cappellini, etc. How easy or difficult is it to balance so many brands and how does your process change with each?Each company has its own philosophy, its own vision. You have to fit it, to serve it,

like an actor serving different scenarios for different movies, like being true to oneself but never the same.

Your spectrum of work ranges from interior design to architecture and products along with art and fashion. How do you approach each of these? My process in design doesn’t change according to the context. I am not “playing” an architect when doing a project. I try to express a project with honesty, for the right reasons, and this is what makes a product appealing and functional.

According to you, which country is making path breaking innovations in design and why?I don’t believe in any one country being supposedly more advanced than others in design. People are so mixed up now. I believe more in communities of ideas, connecting people from everywhere. Like a social network. People sharing and developing common ideas without being physically in the same place.

What are your views on the current design scenario?Like in the car industry or music industry, we have a handful of renowned companies that are able to innovate anymore while fighting for their marketing domination and, on the other hand, a lot of micro companies spreading the seeds of future. It’s all about inventing new design: the way we should think, the way we should behave, the way we should share.

VitrA is a global brand working with international designers like Christophe Pillet.

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multifaceted designer christophe pillet talks of the fine balance he tries to bring about in his designs, about how to be creative without overdesigning

Harrods, London

Jean Claude Jitrois store, Hong Kong

Fluid lines and minimal style with the absence of excess, are the basis for Christophe Pillet designs. Born in 1959, Pillet graduated from nice’s Arts Décoratifs College in 1985 and became Master of Domus Academy in 1986. in 1993, he started to develop his activity independently and currently his work is spread across product and furniture design, interior decoration, archi-tecture, scenography and artistic direction. some of his clients include brands like Cappellini, Daum, JC Decaux, Driade, L’Oréal, Lacoste, Moroso, renault, serralunga, shiseido, etc.

Cannape Lema


Why do Madhav Raman & Vaibhav Dimri of Anagram Architects value TRENDS?

TRENDS magazine provides an insight into a wide array of products, designs and works by different professionals. It offers a peek into the rarely seen sketches and works by world-renowned architects and the current ‘trends’ of the built environment. TRENDS effectively serves as a good resource for young professionals to get acquainted with different products and designs and get inspired. The content is a rich and descriptive collection of architectural projects from all around the world.

Founded in 2001 by Vaibhav Dimri and Madhav Raman, Anagram Architects is a New-Delhi based design firm whose work has received acclaim for its innovative and bold practice. Anagram Architects have won various international and Indian awards, including the World Emerging Architecture Award (UK), Cityscape Design Awards (UAE) and an Indian Institute of Interior Designers (IIID) Award in India. The firm’s skill at fusing modern elements with traditional practices conveys a fresh, dynamic approach.

Madhav Raman Vaibhav Dimri

My View

on: a milestone project that marked a turning point in your career

ramesh edwankerreD Architects, Pune

A landmark project in my career has definitely been a colonial style villa that we completed some years ago. My projects have always been known for a certain kind of interiors. However, this house gave me a chance to breakaway from my usual classical design. The result is a perfect blend of colonial and contemporary styles. It was a real challenge to balance the two, especially since the materials used, colour schemes, proportions and layouts for each were so specific and rigid.

Meghna shettysM studio, Mumbai

My landmark project would be the Surat-based residential project. It came

to us when we were going full swing, doing numerous interior projects of

varying scale, yet we were filled with passion, energy and the thirst to do

more as architects. It gave us, as a firm, the first real opportunity to truly explore

and challenge the limits of creativity in design and style. As a result, we caught

the attention of a number of domestic clients and were being referred to as

the preferred firm for innovative design and professional execution. Till date, we

have been fortunate enough to be able to carry the same passion and energy

coupled with diverse experience in all of the projects that we’re doing today.


sanjay Patilenviron Planners, nashik

Mumbai Educational Trust (MET) in Bhujbal Knowledge City is the milestone project that marked the turning point in my career. Situated on a 33 acre site, it covers a built-up area of 46,000 sq m. The design approach to this project evolved from the parameters of the project, the most challenging being time. However, this did not alter the fundamental philosophy, which involves profuse use of nature, sustainable design and user comfort. The overall impact of the campus is one that is stimulating and inspiring to the young minds that it caters to.

ram MohanMohan Consultants, Hyderabad

Aparna Sarovar Club house in Hyderabad would be the turning point for me. With an

area of 35,000 sq ft, it is a gated community of 1140 apartments. The design challenge

was to create a well-crafted ambience for the clubhouse that would define the aesthetics of M/s Aparna Constructions & Estates who are also the builders and promoters for this. The

project allowed us to experiment with designs and gave us the opportunity to play around

with a varied material pallete. Today, Aparna Sarovar is a referral project for all other gated

community clubhouses in the city.


Henri fanthomeHenri Fanthome Office for

Architecture (HfOA), new Delhi

In all my years at architecture school, and during the practice as well, I had never

imagined I would design the interiors of a beauty salon. So just saying, “Yes,” and

opening up to the possibility of doing one was a milestone in my career. It was a

test, both of my own prejudices as well as my ability to design. Also this project made me realise that there is space for

sustainable thinking, and that clients, when informed, will actually prefer using

recycled materials both for aesthetic and environmental reasons as well as for

economical ones.


As cities have grown with trade, the types of urban spaces in them have diversified. Trade and commerce have been central to the development of any civilisation, which is reflected through the growth of retail spaces like markets, bazaars and souks. Retail spaces not only define the economic backbone of a city, but also contribute to the design of a major genre of the urban experience: trade and commerce, characterised by diverse activities like window-shopping, buyer-seller interactions, bargaining, leisure, entertainment, public meetings and addresses or simply wandering as a flâneur through its streets, plazas and squares.

As the French sociologist Henri Lefebvre says, “Every social expression in an urbanscape is translated into a physical expression through architectural design.” A city’s retail spaces are where society’s economic expressions and attitudes present themselves in various physical forms. From large district commercial centres to small neighbourhood level markets or shopping outlets, retail space design is found in a city in different hierarchies with respect to location, scale of importance and

Dikshu Kukreja is an architect and urban designer who is

also a principal partner at C P Kukreja Associates, New Delhi.

After receiving a bachelors of architecture from the School

of Planning and Architecture in New Delhi, Kukreja completed

his Masters in architecture from Harvard University, USA. He has worked on various international

projects with firms in the USA and France prior to working with

his father, C. P. Kukreja at his eponymous firm.

Guest Column

“a city’s retail spaces are where society’s economic expressions and attitudes present themselves in various physical forms,” says architect and urban designer dikshu Kukreja


development. Today, retail design in a city has grown a chain of further typologies owing to rising demands, economic pressures as well as society’s newly emerging needs. Some older design typologies have transformed into new avatars that are found today. The squares and plazas of old have become grand atrias while the bazaar streets have morphed into fancy retail corridors; markets have emerged as malls, while humble shop fronts have transformed into modern shopping arcades. Amidst all the changes what has remained immortal is the shopping experience, which has transformed with advancement in design and engineering technology, thereby infusing more life and colour into it.

Retail design today is a specialised field of study under architectural design that combines several areas of expertise like interior design, graphic design, ergonomics and advertising to enhance the experience of buying, selling and socialising in a retail space as well as maximising the space’s attraction value; drawing in a large number of customers and enticing them to try and buy goods. All these have brought a new wave into the design of


retail spaces called visual branding. This is not necessarily similar to branding of products or properties, but is essentially an experience associated with a space that leaves an impact on an observer, prompting them to return regularly.

The art of creating a memorable enclosure and form is the difference between an ordinary public space and a well-designed urban space. This very design ethos is harnessed by retail architecture, providing an opportunity to define some of urban landscape’s most memorable spaces, etched as comforting, enjoyable and enchanting images in the minds of many who experienced them. These images are created by conscious design of architectural forms, spatial attributes and life contained in these spaces, which become an integral part of the urban image.

An experience is created either by a static visual frame bold enough to impart a lasting impact, or through a chain of images created by a holistic architecture where one space transcends into another, generating serial visions as the observer’s gaze flows from one image to another. The latter method of design focuses on the spatial organisation in architecture, like the way one space continues and seamlessly flows into the other, creating a specific trail that holds an observer’s attention.

The experience through this trail can be further punctuated through interesting pauses, joints, rhyme and rhythm, materiality, colour, graphics and signage, which all blend into a single composition, creating a concrete ambience. Depending on the space and the mood that it is meant to create, the ambience can be made

robust or subtle, vibrant or sober, warm or cool; which is essentially done by adjusting the design variables in the architecture defining the space.

Just as technological innovations have kept society moving, they have also taken retail design to the next level. The retail design of tomorrow beckons smart, digitally interactive schemes that are aimed to make the shopping experience smoother, hassle-free and universally accessible. Due to cybernetic engineering improvisations, the experiences in retail spaces are gradually becoming an amalgamation of physical and virtual activities. Smart technology is gradually making retail environments user-friendly, regardless of age, language or gender. Digital technology has revolutionized the spatial expressions of retail architecture, now characterised by

moving graphics and automated systems that spontaneously interact with observers through signs and sounds, responding to their immediate needs and queries.

With innovations spurring design development to more finesse with every passing day, every architect and designer wonders what may be the one element that is everlasting in any design. It is the experiential value of a space. Experiences cherished by every generation of users are preserved as a city’s intangible wealth. Old or new, retail spaces in their ever-changing avatars are museums of innumerable such experiences which not only define culture of places at different times, but are memories that tell the stories of millions of lives who have dwelled in these spaces at some time or the other.


Portfolio

Trends selects a few of the world’s best designed stores

beverwijk bazaar is one of the biggest indoor markets in europe when it comes to the buying and selling of gold. The gold souk, which houses 29 jewellery stores, is located on the goudstraat

(goldstreet) in the bazaar. This striking building is designed by rotterdam-based liong lie architects in collaboration with leaders against routine to resemble a treasure cave. covering this is a 35-meter long facade with an applique of golden triangular-shaped relief panels in various orientations. multiple lights

are inlayed between these panels to shine on the structure and show it as a shimmering beacon of its product.

completed in 2014

Gold souk, beverwijk bazaar, the netherlands Designed by: Liong Lie Architects

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When he was commissioned to design Louis Vuitton’s flagship store in Ginza, Tokyo-based designer, Jun Aoki found inspiration staring right at him. The facade of the store references the city’s association with the art deco movement and vuitton’s classic damier pattern. The elevated pattern is impressed on sheets of aluminium coated with pearlised fluropolymer paint, which gives it a glossy effect and also references the Vuitton’s quilted pattern.

completed in 2013

Louis vuitton Matsuya Ginza store, Japan Designed by: Jun Aoki & Associates

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in ancient china, a sutra depository was a private place where articles pertaining to knowledge, such as books, letters, sutras, etc were stored. The architectural firm Chu Chih-Kang, inspired by this, created the

fanguso bookstore, which is located underground in the commercial street surrounding an ancient chinese Temple. an escalator descends into the bookstore that has sections such as Temple – where the books are

displayed and nesting, an informal café. nine meters high concrete columns with large cutting surfaces, bookcases in the loft, the bridge and catwalk across the bookcases are all architecturally embolden from

the sutra depository to create an atmosphere that is welcoming and serene.

completed in 2015

fanguso bookstore, ChinaDesigned by: Chu Chih-kang

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The need of a fashion store is to display its clothes. Architectural firm 3GATTI decided to revamp this need by using the simple and appealing idea of having the clothes hang from the ceiling, leaving the floor obstruction-free for the customer to peruse the display. machine cut strips of different shapes were used to create an elastic ceiling and the clothes were strung up. The translucent fiberglass strips reflect the lights used in the stores creating a bright environment in the space and further emphasising the beauty of the clothes.

completed in 2014

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Architectural firm Herzog & de Meuron wanted to create a structure that would pay a tribute to the landscape of the rhine region where the vitra campus is located, and would also stand out from the

other buildings in the vicinty. The result is this show house, which looks out in all directions. inspired by the mechanical procedures used in industrial production – stacking, extruding and pressing, has

given this building complex configurations in space, merging the outside with the inside.

completed in 2011

vitraHaus, Germany Designed by: Herzog & de Meuron

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like a puzzle piece box, the niel barret shop in shop designed by Zaha hadid in seoul has pieces, which are missing. one installation was created and then ‘broken’ into 16 pieces, which were then scattered across the four niel barret shop in shop stores in seoul. These puzzle pieces ‘link’ the stores together; in connection to the Niel Barret flagship store in Tokyo. Apart from serving their puzzle piece purpose, the installations also serve as display units for the stores products.

completed in 2013

niel barret shop in shop Designed by: Zaha Hadid Architects

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The outwardly appearance of Paul Smith’s flagship store has got nothing to do with avant garde design. Nope. in fact, the wobbly outward design is a result of zonal regulation laws that dictated the height and width of the structure in south Korea’s trendiest district gangnam. The store is designed like a concrete shell with a maximised floor area ratio within the legal regulations by rounding, cutting or connecting of all the edges. curved styrofoam blocks using an nv cutter as concrete moulds were used; a cheaper alternative than plywood. This gave the store a more free and pleasant vibe, echoing the brand’s ethos.

completed in 2012

Paul smith store, south koreaDesigned by: tHe_sYsteM LAb

- Compiled by Moshita Prajapati

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- LouiS KahN, american architect (1902-1971)

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WE UNDERSTAND SPACES BETTER

MAxIMISE WHAT NATURE HAS TO OFFER

WITH OUR PATH BREAKING GREEN HOMES

A Worldwide Media Publication • www.trendsideas.in

• To subscribe, SMS TRNDSUB to 58888 or visit mags.timesgroup.com/home-trends.html

homes

brands changing

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INDIA CIRCUSINTERNATIONAL FURNITURE BRANDS

IGRUP + RITZKLOVE

KOHLERMIELENITCO

NO-MADPEPPERFRY

RED BLUE & YELLOWSAHIL SARTHAK DESIGN CO

SIEMENSSLEEK KITCHENS

THE CHARCOAL PROJECTTHE GREAT EASTERN HOME

THE PURE CONCEPTURBAN LADDERVENETA CUCINE

VISIONNAIREWRAP

R.N.I. MAHENG/2013/50949

Trends-v3i3.indb 1 24/07/15 4:36 PM

ALL

Iconic Design The dirty corner, paris

open to interpretation

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- Written by Moshita Prajapati

What do you see? An oversized trumpet

made of rusted steel surrounded by rock

pieces, some of which are red in colour? Or

do you see what Anish Kapoor, the Turner

prize winning artist and the creator of the

Dirty Corner described it as in one French

publication - ‘the vagina of the queen taking

power’? A scandalous description given that

it is on display in the gardens of Louis XIV’s

Versailles Palace in Paris, home of France’s

most infamous queen, Marie Antoinette.

While his description has certainly gotten

the sculpture a second wave of attention,

albeit a notorious one, it was initially created

for the fabbrica del vapore 2011 exhibition

in Milan. Spectators were encouraged to

walk the length of funnel (60 m) in near to

complete darkness, utilising their senses to

reach the exit door, created at the end of the

structure. Over the course of the exhibition, it

was progressively covered with red soil with a

mechanical device, eventually forming a small

mountain out of which the structure emerges.

In its avatar at Versailles, the structure lies

in its entirety; facing the royal chateau, open

to receiving the many curious and disbelief

expressions of the five million visitors that

visit the palace grounds daily.

41more projects at trendsideas.com

brands changing

indian homes

Retail Special

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the Pure ConCePturBAn LADDervenetA CuCine

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[ Ayush Kasliwal Furniture Design (AKFD) ]Since its inception in 1997, Ayush Kasliwal Furniture Design (AKFD) has gained prominence in India for its use of local materials and engagement of artisans. Along with his wife Geetanjali Kasliwal, Ayush’s distinctive style has left a mark across through installations, exhibitions and interior projects, perhaps the most visible one being at New Delhi’s IGI Airport called the Nine Mudras. Kasliwal is a recipient of many awards and has also showcased at international forums like Maison et Objet in Paris. Explaining his design process, Kasliwal says, “The idea itself may come from any inspiration. The important thing is that there be honesty and integrity in the product.”

[ Casa Paradox ]

44 more projects at trendsideas.com

Casa Paradox by Raseel Gujral and Navin Ansal is known for blending indigenous traditions with global

influences, creating a unique style that is novel, yet comfortingly familiar. The brand’s aesthetic is driven by

Gujral’s creativity, drawing on her two decades of experience in designing homes and spaces for some of the country’s most

prominent design connoisseurs. “I’ve always believed that you have to observe everything around you, whether it is interiors, architecture, film, art, fashion or

natural environment and then to forget it all and to come up with your version of reality,” says Gujral, explaining signature Casa Paradox’s signature style.

[ D’ Decor ]From its export oriented approach

to its recent focus on the Indian market, D’Decor has come a long way

since its inception in 1999. Currently offering upholstery, furnishing fabrics,

wallpapers, rugs and bedding, the brand has scaled up not only its

products, but has fashioned access into numerous Indian homes,

resulting in a revenue growth of over $200 million since its inception. Ajay

Arora, managing director of D’Decor, says, “It has been the constant

endeavour of the brand to evolve with the consumer demands and provide not only new designs and products, but also specially designed services to the new-age, house proud, urban

Indian homemaker.”

[ FCML ]Founded in 2002, FCML’s philosophy of ‘lifestyle with panache’ is spelled out through its wide range of bathroom

and kitchen designs, recycled tiles, wood floors, home decor items and even hotel supplies. Known for its sprawling showrooms in New Delhi, Bangalore, Chennai and Mumbai, FCML focuses on European design styles.

Its experiential showrooms put spatial design at the forefront by showcasing all of its luxury interior items under one roof. “Our focus was to always look beyond competition to the more fundamental question of sustainability

in a continuously changing environment, and accordingly offer the latest in design trends and technology,” states Abhinav Khandelwal, managing director of FCML, highlighting the intent of the company.

[ Furniturewalla ]

Set up in 1999, Furniturewalla was one of the earliest specialty furniture stores to import prod-ucts from foreign shores. Since then, the brand has been closely associated with contemporary

luxury, and has 14 showrooms across the country, including in New Delhi, Mumbai and Bangalore. Coming from a family that was involved in furniture retail for generations, the brand’s founder, Farhan

Furniturewalla, formalised the family business to create the Furniturewalla brand. Speaking on his brand’s success, Farhan says, “Our range is handpicked personally from around the world, and we are constantly refreshing and updating our collections to ensure customer loyalty and satisfaction.”

[ Godrej interio ]A part of Godrej Group,

one of the country’s largest consumer

goods conglomerates, Godrej Interio has been

a prominent player in the furniture segment for the better part of the last century. Its success lies

in the fact that it retained its position despite competition from

newer entrants in the market. By keeping pace with changing design trends,

the brand has constantly reinvented itself and updated and diversified its

collection to become market leaders. Today, Godrej Interio’s appeal is reaching

beyond a traditional Indian household, enticing younger, urban householders.

“Consumers do not wish to be tied down to a particular look and decor for long. They want something that’s versatile,”

says Anil Mathur, COO of Godrej Interio.

[ Grohe ]The bathroom wasn’t always the place for gadgets but when GROHE came to India in 2006, it’s technologi-cally enhanced sanitary fittings redefined private spaces in homes. A well-established global brand, GROHE

in India relies on over 1000 stores to strengthen its product reach. The German brand designs a diverse range of bathroom, kitchen and spa fixtures that cater to the needs of all segments and match multiple price points. Prompted by its bullish growth and established presence in the country, the brand has been amongst the first

few to invest in the education and training of personnel by setting up skill academies.

[ häfele ]In 2003, Häfele introduced India to premium kitchen and furniture fittings, architectural and technical hardware, as well as electronic locking systems. Since then, the brand has been expanding its reach across India through its extensive dealer network, franchise partners and multiple access points. Currently, Häfele is the go-to brand for fittings and hardware, fast becoming one that holds the Indian household together. The brand has also ventured into the built-in appliances market, further cementing its presence in the Indian market. “Kitchen fittings is our core competency and almost 50% of our business comes from this field. Since we are already an established brand in this market, customers kept increasingly asking us to extend our range to built-in appliances,” says Jürgen Wolf, managing director of Häfele India.


[ house of raro ]Two enterprising sisters with a passion for French Art Deco are the driv-

ing force behind House of Raro. Interior designers Rajeeta Gupta and Rolly Gupta set up the company in 1997 and have been delivering luxury furni-ture and holistic interior design solutions to discerning clients around the

globe. The handcrafted furniture is designed using rich materials like ebony, crocodile and stingray skins, lapis lazuli, sterling silver, antique brass, bronze,

gold leaf, semi precious stones, leather and silk chenille. Besides furnishing solutions, the duo also experiment with opulent home accessories, table-

ware, antique lights and uniquely commissioned interior design projects. The company follows the philosophy of taking classic Art Deco pieces and giving

them an embellished appearance, which has given birth to their rare style.

more projects at trendsideas.com home & design Trends vol 3 no 3 201548

[ indi store ]Helmed by Alex Davis, one of India’s first home grown, interna-

tionally acclaimed product designers, the Indi Store is a multifaceted design studio based in New Delhi. Headed by Alex and Sangeeta Sen, the brand

executes interiors projects and manufactures furniture and decor accessories. Its products are crystallisations of ‘India Modern’, the aesthetic that has defined Davis’s work since he set a benchmark for Indian designers in the early 90s. As the brand grew in prominence, Indi Store also received accolades from the world over. “Design for me is the means of articulating an intangible quality or an idea into any form of comprehensible medium, be it product, interior or graphic design,” Davis says.

[ india Circus ]Krsna Mehta first entered the world of

design through Zeba, his family store. This was followed by work stints with several Indian lifestyle brands, but the lack of an accessible marketplace for contemporary

Indian products pushed Mehta to venture out on his own. “I didn’t want to own five separate

shops and struggle to sell my creations. I wanted my products to be easily accessible and it was

with this thought that I started India Circus,” says Mehta. At a time when most of the design industry

operated through on-ground stores, Mehta took the e-commerce route with India Circus, which retails a

wide array of quirky home decor items that represent a sense of ‘Indian-ness’ in their design. Staying true

to its name, the brand is a blend of contemporary ideas, Indian aesthetics, eclectic prints and stark

colours. With eye-catching products like wall art, cushion covers, key holders, doormats, clocks,

wallpapers and tableware for sale, India Circus is inspired by the royalty of the Mughal

period, simplicity of roadside chai and everything in between.

[ international Furniture Brands ]“International Furniture Brands presents high-end style for connoisseurs who have a passion for the finer things in life,” says Aruna Tara, director of the company. International Furniture Brands was established in 2000, to provide Indian consumers an avenue of access to the highest level of international luxury. Its first showroom offered access to world’s top lifestyle brands like Versace, Fendi and Armani, under a single roof. It also represents other leading global luxury brands, such as Theodore Alexander, Baccarat and Althorp.

[ iqrup + ritz ]Run by the mother-daughter duo of Iqrup and Ritika Dhamija, Iqrup + Ritz is an online furniture and decor brand that launched in 2014. In a short span, it has carved a niche for itself with its signature designs, arrived at by amalgamating the best international classical influences and then adapting them for modern, Indian homes. The brand’s design sensibilities lend themselves to distinctly unique prod-ucts that have made a strong mark on the end-consumer. Iqrup + Ritz emphasise on having their products handcrafted and work with an in-house design team as well as some of the world’s best designers. “We love to combine pieces from different eras, geographies and differ-ent textures to create unique spaces,” says Iqrup Dhamija.

[ klove ]klove offers bespoke designs of its chandeliers, lamps, pendant lights, wall concepts, outdoor lighting solutions and screens. Set up in 2005, when international players dominated the lighting industry, with its bold pieces and holistic solutions, klove matched global design aesthetics and quality, albeit with a local touch. “klove gives us the freedom to express the confidence, power and attitude of today’s design world. Every installation that we create has a story to tell and is inspired by anything that catches our eye,” says Gautam Seth, who has co-founded the studio with Prateek Jain. Inspired by Indian jewellery, temples and festivals,the duo mainly use blown glass to create statement pieces that do more than just light up a room.

[ Kohler ]Kohler has had a storied history as a leader in the bathroom segment since it was founded in 1873. The company entered the market with a cast iron bathtub in 1883, and since then has been at the forefront of design inno-vation. Kohler is present in over 48 countries worldwide, and its ground-breaking products like the automatic toilet and the showerhead speaker underscore its pioneering legacy. The brand entered India with this legacy in May 2006 with a vision to elevate the bathroom experience of the Indian consumers. Speaking on the company’s designs on the Indian market, the managing director for Kohler’s operations in South Asia and Sub-Saharan Africa, Salil Sadanand says, “The lifestyle of Indian consum-ers is changing and they are now spending much more time in their bathrooms vis-à-vis 10 years ago.”

[ Miele ]With a product portfolio that includes everything from washing machines to

coffee makers, Miele brought its German craftmanship to India in 2009. With a

108-year-old legacy, Miele stands tall in the domestic appliance industry the world over

for its experience and skill. The brand’s reach into kitchens around the world has enabled it to swiftly establish its coveted position in

the Indian market and become one of the first choices for discerning customers looking for

premium kitchen solutions. “Miele’s prime endeavour is to bring forth the extraordinary

to its customers; leaving them awestruck every single time,” says Rana Pratap Singh,

managing director of Miele India.

[ nitCo ]One of the very well-established brands in the flooring segment, NITCO has been providing customers with designer tiles since 1953. The brand’s procliv-ity for promptly adopting the latest advances in manufac-turing technology has helped it remain competitive in the 60-years since their founding. Ashok Goyal, NITCO’s managing director, says, “Our high-tech NITCO plant has enabled us to become India’s first tile company to offer international standards in the manufacturing of tiles. We have an eye for beauty and are on a continu-ous quest to deliver perfection.” NITCO’s dealership network spans the length and breadth of the country. The company’s franchise business model also enables it to connect with a wide base of consumers, through its company owned showrooms, Le Studio, and the franchisee owned showrooms, Le Studio Express.

[ no-Mad ]No-Mad is a breath of fresh air. Its

signature style is bold designs conveyed through an out-of-the-box approach. It is

a brand that focuses on Indian roots but builds on that aesthetic in an unexpected way. Explaining this further, the company’s founder Anuj

Kothari says, “Every aspect of the brand, be it the product, design, packaging or even the marketing, is very detailed and has a story with India always being the starting point of inspiration.” No-Mad is a result

of Kothari’s collaboration with Belgian designer Valerie Barkowski, who roots her designs in Indian traditions, but continually assimilates newer influences from across the globe. This crossing of cultures boldly mani-

fests itself in No-Mad’s visual identity.

52 more projects at trendsideas.com

[ Pepperfry ]One of the first in India to ven-

ture into e-commerce for furniture, Pepperfry was set up by Ashish Shah and Ambareesh Murthy in

2012. The model allows small and medium merchants to gain access to a virtual marketplace

of over 1.7 million users. Today, the company offers over 80,000 products across furniture, home

decor, furnishing, kitchen, lighting and home appliances, and boasts

of selling a product every 20 minutes. Successfully battling the

traditional retail cycle of on-ground to online retail, Pepperfry is among

the first to compliment its virtual space with experience zones in

Mumbai and Bangalore. “Pepperfry is committed to providing best in-class shopping experiences to its

customers. Our studio serves as a design inspiration and provide fur-

niture related services to discerning shoppers,” states Ashish.

[ red Blue & yellow ]Red Blue & Yellow was launched in 2000 in Mumbai as a response to the furniture industry being increasingly dominated by reproductions of colonial and ethnic furniture. The brand aesthetic sought to inspire change by introducing modern and contemporary styles to consumers’ sensibilities. All of the brand’s furniture pieces are crafted in-house, based on designs created by Karishma Bajaj, Paul Rodrigues and Asim Merchant. Describing their creative process, the designers say, “Design to us is about exploring unchartered territories. It’s about pushing the envelope and doing things in a way they haven’t been done before.” The award-winning brand launches a new collection annually.

[ sahil sarthak Design Co ]

Sahil Sarthak Design Co is a creative collaboration between Sahil

Bagga and Sarthak Sengupta. The studio was founded in 2009 and since then

they have expressed their vision through a contemporary design language. This style manifests itself across a diverse

spectrum, which includes furniture and accessories designs, installations art,

interior spaces and exhibitions. By interweaving local traditions and

craftsmanship with contemporary designs, Sahil Sarthak’s body of

work has also earned them a nomi-nation for the British Council’s Young Creative Entrepreneur

Award. Describing their creative process, the designers say,

“Our effort is to design and fabri-cate products and interior spaces that celebrate

craftsmanship, enhanced by technology. We believe in making designs that are meaningful

and sustainable, that narrates the human story that goes behind making such products.”

[ siemens ]Considered one of the oldest inter-national companies to set up shop in India, Siemens is known for its cooking appliances, dishwashers, washing machines and refrigera-tors. The company first came to India in 1922 and is backed by a 160-year-old heritage. Siemens had already established its posi-tion when modular kitchens began gaining popularity, thus becom-ing one of the biggest and most favoured appliance manufacturers in the country, “Siemens is focused on catering to the global tastes of well-travelled Indian consumers, who seek international standards of technologically superior prod-ucts and aesthetically appealing design concepts,” explains Bhavya Shah, head of brand marketing, Bosch and Siemens Hausgeraete GmbH Household Appliances Manufacturing Pvt. Ltd.

home & design Trends vol 3 no 3 2015

[ sleek Kitchens ]When on the subject of Indian companies that have carved out a niche in the field of interiors, any discussion on the kitchen segment would be incomplete without mentioning Sleek Kitchens. The largest modular kitchen brand in India had humble beginnings, entering the market with steel wire kitchen baskets in 1993. By 2004, the brand had made inroads into popular home stores around the country. Sleek’s growth has propelled it to enter the international market as well, with showrooms in Dubai, Tanzania and Sri Lanka. Its success can be attributed to the brand’s expansive distribution network that enabled a wide base of consumers to access their products.

[ the Charcoal Project ]

Launched in 2011, Sussanne Khan’s The Charcoal Project fast became the talk of the town. It offered premium curated furniture and home accessories from around the world. From the get go, the brand

has been surrounded by an air of exclusivity, which it has retained even today. Special product lines and ranges from designers like Abu Jani-

Sandeep Khosla and Andrew Martin add to the brand’s allure. The store houses a rich collection of luxury antique furniture, accessories, installations,

and accent pieces. Khan explains, “I believe in keeping it innovative and simple. A space should be design centric and timeless.”

[ the Pure Concept ]Since its inception in 2012, The Pure Concept has carved a space for itself with its furnishing and upholstery fabrics that have redefined the design aesthetics in this segment. The brand has already launched three collections of furnishing fabrics, each with its own mix of multi-use mate-rial, such as sheers, linens, velvets, prints and embroideries. “Our aim is to make people’s lives more beautiful with high-quality fabrics which are a delight to the eye and wonderful to touch. Our collections are a result of detailed and constant investigation, development and design, which allows us to become a reference for consum-ers across the globe,” declares Chanya Kaur, who co-founded with her husband, Dalbir Singh. With this objective, The Pure Concept has been designing its fabrics to incorporate global styles for contemporary Indian households.

[ the Great eastern home ]“Design is a process that integrates exclusivity with supreme craftsmanship, that spells

grandeur and exudes a sense of grace and style,” says Ayush Kanoria, director and chief designer of The Great Eastern Home. These qualities can be found in spades in the brand’s two sprawling Mumbai showrooms. Founded 15 years ago, The Great Eastern Home has remained true to its commitment to deliver the most luxurious and opulent

lifestyle accessories to customers. In order to ensure exclusivity to patrons, the brand has also diversified its services to include design consultancy and furniture customisation.

The Great Eastern Home introduced a traditional typology to contemporary designs, and brought the emphasis back on luxury.


[ urban Ladder ]

[ veneta Cucine ]This Italian brand came to India in 1995 in partner-ship with CC India, bringing with it the concept of modular kitchens in ergonomic styles. The Indian market is one of the brand’s most succesful. At a time when the concept of modular kitchens was relatively unknown here, Veneta Cucine began to establish a vast customer base in large metropolises as well as smaller towns and cities. Besides design-ing kitchens that worked in traditional households, the brand continued to customise and offer contem-porary designs as the needs of Indian kitchen users changed. “Internationally, there are many changing trends - some that last while most are fleeting. We don’t change the product to adapt to these trends specifically, but we change it more to adapt to the current environment,” says Ravi Karumbiah, managing director of CC India.

When it came to furniture retail, the

e-commerce sector was uncharted ter-

ritory until brands like Urban Ladder broke new

ground. Founded in 2012, it was one of the first

retailers to offer furnish-ing solutions for the entire

home on an online platform, pushing Indian consumers

to change purchasing habits. “We have created a great online product, with a focus on design and quality,”

says Ashish Goel, CEO and co-founder of Urban Ladder. The brand’s success

has attracted the backing of top tier venture capitalists, including Ratan

Tata, Emeritus chairman of Tata Sons.

[ wrap]Wrap, the New Delhi-based design studio garnered widespread acclaim in 2007 after the British Council awarded the Young Creative Entrepreneur Award to its co-founder and creative director Gunjan Gupta. Since then, the brand’s distinctive ‘Made in India’ approach has grown in popularity, picking up several other accolades along the way. “Wrap was founded to explore the potential of luxury handicrafts. We seek to reinvigorate traditional crafts and decorative arts by placing them at the heart of a contemporary lifestyle,” says Gupta. By adapting and blending artisanal craftsmanship with international production standards, Wrap has established a strong presence in the Indian interiors segment.


- Compiled by Tina Thakrar & Dushyant Shekhawat

[ visionnaire]Visionnaire was unveiled as a division of IPE

Cavalli in 2005 and since then the Italian brand has grown in prominence over the last decade for its luxurious designs. The key to the brand’s success has been its approach;

Visionnaire offeres customised interior solutions, tailor-made from its collection of 3000 products. The brand works on diverse projects, including residences,

businesses and yachts. “Our Made-in-Italy brand has grown beyond furnishings to provide bespoke furnishing solutions for consumer projects,” says Eleonore Cavalli, Visionnaire’s creative director. “Luxury, style

and quality are the brand’s core values,” she adds. In 2010, Visionnaire entered India with a view to offer

its bespoke, made-to-measure luxury furniture and accessories to the country’s growing market

for luxury goods.

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Commercial DesignModern retail design reinforces branding with innovative interiors that emphasise key points of difference

Retail spaces

Baristas move over – tea has become the hip

drink of the western world. And one store can take

a lot of the credit for renewed interest in a drink that

can trace its roots right back to the Tang dynasty in

China in 206 BC.

The T2 brand, launched nearly 20 years ago, has

recently undergone a major overhaul by Sydney-

based Landini Associates. Designer Mark Landini

says the first project to be completed was the new

T2 headquarters in a former industrial warehouse in

Collingwood, Melbourne.

“The aim was to respect and celebrate the

original building, while providing a dramatic state-

ment that would represent T2’s company ethos,”

he says. “This ethos is the antithesis of what you

would expect – in other words the polar opposite

of a traditional tea house. It’s all about making tea

cool and hip, and attracting a whole new audience.”

Landini says perceived constraints, including a

street frontage that was lower than the main entry,

were turned into an advantage.

“The public is ushered into the space through

an oversized steel-framed pivot door in a double-

height space. Instead of a conventional reception

area, there is a Tea Bar, which is an informal place

to stop and sample tea.

“The Tea Bar personifies the T2 identity, and also

acts as a trial concept for T2’s latest tea retailing

concept, T2B. The dark shelving and raw materials,

including the large concrete bar, are similar to those

used in the T2B project.”

In contrast to the public entry, the staff entry

is from the upper level car park at the rear, with a

wide catwalk leading into the centre of the office.

The catwalk and a sleek black steel panel alongside

form the visual spine of the building, dividing the

office in two. The warehouse origins are recalled

in the warm, raw industrial interior of this space,

which features exposed steel brick walls and timber

rafters, and a mesh frame balustrade.”

A similar look continues on the upper level,

where there is a tea-making and tasting

Preceding pages:The theatre of tea making – the new Shoreditch T2 store in London, designed by Landini Associates, epitomises the new-look stores that are challenging the traditional concept of a tea house.

Above:A former industrial warehouse in Melbourne is home to the new T2 headquarters.

Right:In place of a traditional reception area, the headquarters features a Tea Bar (top), where visitors can stop and sample teas. The office also has a tasting workshop (centre). Exposed services retain a sense of the building’s industrial origins.

fresh brewdark interiors, raw materials and colourful packaging define T2 stores worldwide, challenging any preconceived notions of a traditional tea house


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Facing page left T2B is another new concept – a store that sells brewed tea to take away or drink on the premises. The black oxidised steel railing, which echoes the shelving, creates a dry bar where people can stand to chat and drink.

Facing page below and this page A large angled mirror reflects the counter and the tea-making process. Customers are invited to blend and sample their own brews.

workshop, and the CEO’s office. Here, however,

a lighter colour palette was introduced to create a

white, clean space that is flooded with natural light.

Landini describes the change to the T2 stores as

more of an evolution than a revolution.

“The look has evolved with each store,” the

designer says. “The original DNA – the dark

interiors and Chinese wallpaper – was already

in place in the 20 existing stores. But we have

expanded on this base, limiting the use of bright

colour to the packaging rather than the decor.

“The T2 HQ trialled the tea-making service

offered in the second project – the first T2B store

in Sydney. This in turn was followed by the first

Shoreditch T2 store in London, which introduced

the new trading format. And this was not just about

the design but also about location. Shoreditch was

a somewhat unexpected choice, which was deliber-

ate. Once T2 established its credentials in this

cutting-edge location, we felt we could then

go mainstream.”

The T2B store, shown on these pages, is

primarily in the business of selling brewed tea to

take away or be consumed on the premises.

Landini consequently exemplified the team’s

expertise and love of tea by introducing a sense

of theatre. A large cast-concrete bar showcases

the art of making tea, and the store encourages

customers to experiment in designing and blending

their own brews.

“We added further drama with an angled ceiling

mirror installed over the bar,” the designer says.

“Other features include the Tea Library at the rear

of the store, made from black oxidised steel shelv-

home & design Trends vol 3 no 3 2015 65more projects at trendsideas.com

Below and lower right The new T2 store in Shoreditch London highlights the bold, graphic displays.

Right Although the ceiling in the store is just 2.7m high, a large mirror above the main counter creates an illusion of height, and provides sparkling reflections.

ing and canisters. This dark palette allows T2’s

trademark orange packaging to stand out under the

intense lighting.”

A narrow steel ledge provides a dry bar – a place

to stop, drink and chat. It also serves as a safety

rail, protecting customers from a dramatic change

in the floor level.

Two back-of-house areas are hidden behind a

vertical bank of screens that display film of rushing

seas and swaying forests. There is also a massive

pivoting door concealed behind the tea packaging.

Landini says in all the stores, the little cube

boxes with four tea packets in each are a strong

graphic component and part of the interior design.

“They celebrate the ordinary,” he says. “In all

the locations we have tried to introduce a neutral

personality with the decor. It is important that the

store does not dominate the product, which is the


T2’s presence in the United States is also

creating a stir. Landini says Americans may love

their coffee, but there’s a quiet, lightly caffeinated

trend brewing.

“The global rivalry of bean versus leaf has finally

reached its boiling point, with the opening of T2

in Soho, New York. The store demonstrates that

tea is a vastly richer, broader, more colourful drink

than coffee ever can be. The sheer visual contrast

of the industrial metal interior with the brightly

coloured cubic boxes that cascade from ceiling

to floor grabs the attention of passers-by on the

busy street. As customers enter, they are met

with myriad aromas and tastes, as diverse as the

population base.”

Landini says the New York store features the

largest T2 tea library to date. The double-height

oxidised steel shelving houses a similar variety of

teas to the Shoreditch store, gathered from around

the globe.

Not surprisingly, the T2 store concept will be

expanded gradually to other cities, further

extending the global reach of the brand.

These pages Hip to be cool – the new T2 store in Soho, New York is repositioning tea as the more interesting, colourful alterative to coffee. The store includes a double-height tea library, with upper shelving reached by a ladder.

most important element.”

The Shoreditch store, shown on these pages,

incorporates promotional graffiti signwriting that

reinforces the new hip image of tea. The black

oxidised metal of the shelving reappears on the

exterior, where it envelopes the front of the store.

“As with all the new stores, Shoreditch has

a raw, stripped-back interior that serves as an

antidote to the polished slickness of traditional

British tea houses,” says Landini.

“A 30m-long tea library, housing more than

250 different varieties of tea, immerses custom-

ers in a knowledge bank of blends from around

the globe. At the heart of the store tea-tasting

stations and aroma tables invite customers to

stimulate their senses of taste, touch, smell and

compare the

different ingredients and fragrances.”

Transparent display counters made from layers

of interwoven welded steel expose the inner

workings of the drawers – from pulls to brass

pipes, fittings and sinks. In addition, the store

showcases teaware from around the world.


Story by Colleen HawkesPhotography by Trevor Mein (T2HQ), Sharrin Rees (T2B), Andrew Meredith (T2 Shoreditch) and Paul Barbera (T2 Soho New York)

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What was once an old bungalow is now the flagship store of the popular retail brand Good Earth in Bangalore.

Spread over approximately 8000 sq ft, the store consist of two floors - with the ground floor focusing on home textiles, home decor, crockery and cutlery, bed linen, and the children’s section and the first floor showcases Good Earth’s apparel line and a spa.

Designed by Sandeep Khosla and Amaresh Anand of Khosla Associates, the project was completed in four months. The team carried out minimal structural changes to facilitate the correct spatial flow for the store.

The site features an open courtyard at its entrance. A covered pavilion and a verandah was created at its two ends where the former accommodates an organic juice and a salad bar/cafe while the latter acts as the entry to the store and a connector between its two levels.

The entry to the store is marked by a white and grey chevron pattern on the flooring. Between the verandah and the pavilion is a pebbled court, designed as an outdoor seating area replete with a water feature.

When it came to the internal space of the structure, the team faced a challenge of not having a free-flowing space.

in good tasteserene and welcoming, this retail store in bangalore makes the most of its surrounding areas

These pages Renovated from an existing old bungalow, this structure now acts to space Good Earth’s flagship store in Bangalore. Designed by Sandeep Khosla and Amaresh Anand of Khosla Associates, this approx. 8000 sq ft property stays true to Good Earth’s philosophy of organic and sustainable luxury. The grey and white chevron pattern on the floor leads to the entrance to the store.


Facing page Giving the store a muted colour palette was a decision taken by the architects to showcase the colourful and decorative range of products on the shelves. Exposed brick walls, painted white to accent the space and a cement finished vinyl floor.

Below The first level consists of two spilt-levels, where Sustain, an apparel line of the brand is displayed.

“The space earlier had these disconnected small rooms, storerooms and compartments. So we knocked down those walls to create a kind of vista – a visually free space for a more meaningful retail experience,” says Khosla.

The entire ground floor area is spread across 3112.16 sq ft. The layout of the ground floor now boasts of three successive airy bays running on a linear north-south axis, which are effortlessly connected to each other to enable a seamless spatial flow.

The first bay with its expanse of glass, features visual merchandise as well as home décor and barware. This bay overlooks the courtyard.

The second bay, which is the central voluminous area, contains home decor and dining and tableware products. The third bay at the rear of the store focuses on home textiles and consists of a children’s and a gifting section.

“We also created short passageways between these three bays so the customer can freely move from one bay to another, which was not the case

earlier. So all these structural changes ensure that the customer movement is very smooth from the west to the east as well,” he says.

While the Good Earth stores in Mumbai and New Delhi follow the colour palette of greens and reds, the Bangalore store is surprisingly neutral in its appearance.

“This is something I bought up during the design discussion. As designers we looked at their products very carefully, and we noted that they are very colourful and decorative. And so we proposed that the colour palette should be monochromatic.” he explains.

It forms the perfect subtle backdrop to showcase the products on display.The first level spread across 2544.66 sq ft is an airy space on two spilt-levels focusing on apparel and accessories. At the far end is the display of spa products set against a white brick wall and lit up in natural light coming in through in the skylight.

Keeping in tune with Good Earth’s ethic of natural, organic and sustainable products, Khosla


Facing page The first bay in the store, which overlooks the verandah where an outdoor café is located. Tracklights hang from the rafters balancing natural light with focussed lighting.

Right Located in the landing of the third airy bay, this bed display is one of the grand pieces of the home textile section.

Below A lowered ceiling height and a darkened space define the third bay. Seen at the end is Gumdrops – the children section, bamboo hanger and home textiles products.


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Facing page The courtyard comprises of a water body and an outdoor cafe and a few shops. Seen here is the seating of the outdoor café.

Legend to plans 1 Entry, 2 cash counter, 3 display counters, 4 tea story, 5 bed display, 6 toilet, 7 flower shop, 8 store one, 9 outdoor seating, 10 cafeteria, 11 DG room, 12 spa area, 13 changing room, 14 store room, 15 server room, 16 electrical room

Location Bangaloreowners Good Earth India Pvt. Ltd.architects & interior designers Sandeep Khosla, Amaresh Anand; Khosla AssociatesContractor JJ Constructions Pvt. Ltd.fixtures and fittings SFA works, Roco, GodrejTiling Existing Terrazzo, Bharat Tiles, Nitco, ArmstronPlumbing J R ConsultancyElectrical Services Design ConsultantsToilet fixtures Kohler Landscape Transasia Intl.

Story by Moshita PrajapatiPhotography by Shamanth Patil J

has consciously used natural and recycled materials throughout the store.

The underside cladding of the pavilion and verandah roofs as well as the entire upper level is made using recycled cratewood and given a distressed bleached finish. The walls and ceilings of the internal space are rendered in polished cement.

Certain highlight walls are punctuated in brick and painted in white while the display fixtures are crafter in exposed steel and recycled timber. The flooring is an intentional patchwork of the existing terrazzo resorted with areas of exposed cement.

Ground floor

first floor

for the beautiful youOki Sato of Nendo infuses an ethereal quality to this Tokyo beauty store that is part café and part like a library


These pages:The Beauty Library store in Tokyo is spread over 1500 sq ft and is situated near Aoyama Street, one of the famous shopping areas in the city. Designed by Oki Sato of Nendo, the store has been created as a library to showcase organic beauty products.

While designing a store, the prime objective of any architect or designer is to engage a con-sumer with its design while displaying the products in the most attractive manner. Conceived for Nature’s Way, a Tokyo-based organic cosmetics company, this store-cum-café has been designed by Oki Sato of Nendo. The store, a fusion of a cosmetics shop and a café, is both eco-friendly and organic-driven in its approach.

Called the Beauty Library, the store is approxi-mately spead over 1500 sq ft and is located near Aoyama Street, which is considered to be Tokyo’s premier shopping destination. The interactive layout of this store is what makes shopping easier and pleasant for a consumer.

The shop playfully reflects its namesake, with library-like shelving units that house a multitude of a selection of organic beauty products. Colourfully packaged products are arranged on floor-to-ceiling wooden shelving units, which are positioned in a line down the middle of the space – like book stacks in a library. There are in all six shelves each 2900 meters high.

To further elevate the consumer experience, Sato has designed a café within the store, where food and drinks are prepared behind a long service counter that runs down one side of the shop.

“For a woman to enhance her beauty, a close linkage between inner and outer body care is required. We therefore designed a space based on



Below:The store comprises of six units with shelves in all, each 2900 m high. Colour-coded products create a vibrant appeal.

Below and facing page right:The store also has an in-house cafe that provides a variety of organic food and drinks. The white painted brick walls subtly define the area.

Facing page below:The store has an annex area as well that is used as a multipurpose area for workshops and get togethers.


this concept that perfectly brings together organic cosmetics, food and drink,” says Sato.

The cafe’s service bar is clad with white tiles and topped with a wood surface. Ingredients are presented within a glass case in the centre, while wall-mounted shelves that match the counter are used for storing condiments, utensils and vessels.

Easy use of technology is one of the other fea-tures that make Beauty Library worth a visit. Guests can use the in-store tablet devices to quickly and autonomously access additional information on the products. QR codes are placed alongside each product, which further enables customers to take home the information about that product on their

mobile device and purchase them online later. In addition, a hidden annex has also been

designed across the courtyard. This space can function as a party room or as an area to hold small events and workshops.

The store effectively exhibits Nendo’s minimal-istic philosophy that is accentuated by its organic ideology. Natural light, airy spaces, easy organisa-tion and clean symmetry summarise the design of Beauty Library.

Story by Kamna MalikPhotography by Takumi ota


Considered to be India’s first department store,

Akbarallys opened in 1897 in Mumbai. Since then,

the landmark store has been constantly adapting

to reflect the changing milieu of the city. This

has been one of the reasons to re-interpret the

store now as a men’s fashion destination, spread

across 11,000 sq ft.

Amit Aurora, one of the principals at DCA

Architects, relays the concept of the design,

saying, “With the store constantly evolving, there

has never been a fixed legacy in terms of look or

business format. The legacy of the store lies in

creating a unique experience for the customer.

Now the focus is on men’s fashion, and we

decided to open up the volume of the space and

give it an industrial aesthetic, which makes it look

very contemporary and modern.”

The freshly modified interiors are housed in

an old building, which has undergone a series of

architectural and design changes over a six-

month period.

The structure occupies 17 ft of the double-

height space, which is divided into a ground floor

and a mezzanine. The entry door opens up into

an atrium, which is furnished with a stationed

motorcycle and naked light bulbs hanging from

the ceiling.

The industrialised look is dictated by the ceiling

- in the double-height spaces, the air-conditioning

ducts run exposed.

“The mezzanine had been created through

and through, which made the space extremely

low in height. This had to be altered by creating

partitions and circulations to open up the volume

evolution of a landmarkThis iconic department store in mumbai adopts a fresh look, with design-oriented changes that highlight its spaciousness

Below and facing page:The entrance to the Akbarallys store in Mumbai leads to a well-lit atrium that provides a full view of the double-height space. Amit Aurora of DCA Architects has modified the 11,000 sq ft space into a two-storey structure with quirky accessories and exposed ceiling utilities.

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and make it a comfortable space. The layout and

section placements were also done in a way to

complement what we were doing,” describes

Aurora, highlighting the structural changes.

As one ventures deeper into the store, a second

atrium has been created on a slightly raised floor

level. This area leads to two grand staircases; one

of these leads to the mezzanine, whereas the other

leads to a sub-floor level.

Originally, certain sections of the mezzanine

floor were laid in wood, which was then recycled

in the form of wooden planks and used as part of

the flooring in premium sections where fabrics and

wedding outfits are on display. Indian Patent Stone

(IPS), checkered plate and reclaimed wood have

been used for the flooring throughout the store.

A luxury addition to Akbarallys is the salon area,

which includes a barbershop and a shoeshine


station. To differentiate the salon service from the

retail one, the flooring in the former comprises

black and white terrazzo, whereas the ceiling has

been given a rough cement texture.

To uphold the store’s heritage, Aurora and

his team put together an interesting mix of

design elements which have been displayed

around the store to lend to the visual aesthetics.

The proprietor’s family heirlooms like furniture,

chandeliers and rugs were re-used, while the

design team also went around Mumbai to source

materials and accessories.

“We went to ship yards and picked up old

materials that we have used to customise and build

furniture, racks and shelves. Drawing inspiration

from the city, we developed the shelving system

like a nut and bolt system. The cabinets for the

traditional wear section and the mirrors for the

Facing page left The vertical space in the store has been divided into a ground floor and a mezzanine. One of the two grand staircases leads to a sub-floor level, which has been created to effectively monetise on the height.

Facing page below:A second atrium with naked light bulbs has been created inside the store, with a slightly raised floor level. Both levels display men’s fashion and accessories, while the mezzanine also has the salon.

Legend to plans:1 Double-height space 2 display areas 3 trial rooms 4 barber shop.


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These pages:The salon area adds to the customer experience, both in terms of design and service. Black and white terrazzo on the floor, a roughly textured cement ceiling and locally sourced mirrors form part of this section.

Location Mumbaiowners Aiman Khorakiwala, Akbarallys Storeinterior designer Amit Aurora, DCA ArchitectsContractor Impex EngineersElectrical Reliance Electricalsflooring Impex Engineers, Bharat Tilesfurniture Impex Engineers

Story by Tina ThakrarPhotography by Kunal Bhatia

barber section were also picked up from within the

city,” adds Aurora

DCA Architects’ design philosophy comes

across in the design of this store. “Our designs

respond to the needs of a project and that is also

reflected in the materials we use. We don’t use faux

elements and don’t limit ourselves to a particular

style. With this project, we’ve largely used pure

materials like wood, metal, canvas and leather

which brings in a sense of simplicity in an otherwise

busy space,” concludes Aurora.



vivacious and vibrant A bold colour palette and an open floor plan make this Mumbai office an engaging work space

In focus


When designing the office for a Mumbai-basedcreative marketing firm, designers Rushda Hakim and Rishita Das of Design Office decided to turn the 3000 sq ft space into a cornucopia of different textures and colours, creating a vivid interior design typology in the process.

Das says, “The client required us to accommo-date a conference room, a studio, a meeting room, cubicles for the managers, cabins for the directors and a dedicated server room. Keeping the firm’s youthful nature in mind, the space also had to be fun and promote employee interaction.”

Armed with this directive, Hakim and Das

envisioned an office with an open central work zone an unconventional blend of textures and a bold colour palette. When they began work on the project, the designers received the office as a bare shell, allowing them to create the floor plan to their satisfaction.

Visitors to the office arrive at a reception awash with natural textures, including a wooden floor and ceiling. The reception leads to the work zone and is flanked on the right by the bold yellow conference room and a brightly coloured studio on the left.

The studio is the signature space of the entire project, with multihued bands of colour running

Left and below right This marketing firm’s office in Mumbai, designed by Rushda Hakim and Rishita Das is a vibrant, colourful 3000 sq ft space.

Extreme below The neutral colour palette of the central work zone is enlivened by the addition of artificial trees, which bring in colour and echo the design theme of the reception.

across the floor, walls and ceilings through its entire length. “We wanted to use bright, bold col-ours to infuse a youthful element, so we decided to opt for primary colours,” says Hakim. This red, blue, yellow and green colour palette also reflects in the studio’s furnishing, like the soft board fab-rics of each table.

Across the reception lobby from the studio is the conference room, with a yellow floor and walls. The coloured floors for the studio and the conference room were achieved using epoxy flooring. Additionally, the studio and conference room are visually connected by floor-to-ceiling glass windows that flank the reception lobby.

The reception lobby leads to the central work zone, which is where the directors’ cabins, managers’ cubicles, meeting room and staff area is situated. This work zone has an open plan that


includes all these elements into a single, con-nected space. The most eye-catching feature of the work zone was the custom-made, white, cen-tral table. The irregular form of the table lends it an amoeboid shape, with the workstations tucked into the table’s multiple nooks.

Explaining the inspiration behind the design, Das says, “The idea was to keep it fun, open and striking. This acts as the design focus in the centre of the office. It was designed as a block with bites eaten off for each employee resulting in the amoeboid form.” The table was fabricated in parts before being assembled at the office.

The wooden flooring used in this area also continues the theme from the reception. “We decided to introduce greenery into the reception and work zone because it’s always great to have a bit of the outdoors, indoors. Besides, it was also

Facing page The large white table is shared by the office staff and was custom-made in a way that every person gets a private working area.

Below left Tucked against a wall, the managers’ cubicles remain unobtrusive and does not disrupt the open plan concept of the work zone.

Below right The directors’ cabins receive ample natural light as they are situated next to the glass façade of the building.


Facing page As seen in these images, the central work zone has been kept deliberately open to facilitate greater employee interaction. Visual connectivity between the workstations, cubicles and cabins strengthen the cohesiveness of the design.

Below: The studio area of the office is in a bold red, yellow, green and blue colour palette. This choice of primary colours is also reflected in soft furnishings of the studio. Epoxy flooring was used to achieve the richly coloured floors, also adding an unconventional texture to the surface. Location Mumbai

owner Gautam KumarBuilder Lotus Buildersinterior designers Rishita Das, Rushda Hakim; Design OfficeContractor Dilp VishwakarmWorkstations Buroys

Story by Dushyant ShekhawatPhotography by Kunal Bhatia

a way for us to infuse colour into these spaces,” says Hakim.

Elaborating on how the open plan for the work zone was decided, Das says, “We were blessed with an entire wall of the glass facade of the building. We gave that privilege to the directors by creating their cabins along that line.”

The central work zone utilises the building’s glass facade to flood the director’s cabins with natural light. The rest of the office depends on artificial light. The managers’ cubicles are to the left of the work zone. The meeting room, shaped like a glass cube, sits opposite the cubicles on the right hand side.

“We don’t believe in partitions,” says Hakim, explaining why the various areas in the office are differentiated through textures and colours, rather than walls and screens. “We wanted the office to have its share of fun and whimsy but still look like a consolidated space.”

This aversion to compartmentalisation is evident

in the layout of the office, as the work zone was designed as one continuous space, and the studio, conference room and reception are also visually connected. The spatial placement of the reception lobby as a hub between the three main sections of the office also gives rise to an efficient floor plan, as visitors need not traverse the length of the office to arrive at their destination.

Summarising their approach to this project, Das says, “Our design philosophy is to keep it simple, and satisfy our client.”


luxury in detailIn the heart of the city, Sofitel Mumbai BKC offers a

hospitable combination of french design and indian tradition


Above Extravagantly designed by the Miaja Design Group, Sofitel Mumbai BKC houses exclusive chandeliers that exemplify the stones and shapes used in the hotel design

With its lavish design and jewelled

opulence, Sofitel Mumbai BKC offers an elite

experience to its guests. The first venture of

Sofitel Luxury Hotels in India, Sofitel Mumbai

BKC has been designed by the head of Miaja

Design Group, Isabelle Miaja. The daughter

of a Parisian jewellery designer, Miaja drew

inspiration for the hotel design from jewellery

and gemstones. These influences are reflected

in the tilted glass work in the lobby, the rooms,

the asymmetrical pillars and the intricate

artwork throughout the structure.

At the heart of the hotel is a unique set of

chandeliers. The crystal chandeliers in the

lobby are inspired by beaded dresses, a

popular fashion trend in 1920s Paris, whereas

the Grand Salon’s light fixtures derive their

form from wind chimes and crepe paper.

The ornate lighting extends to the 24-hour

spa as well, which boasts of six treatment

rooms, an exclusive couple’s spa and a

private Jacuzzi. The So SPA also houses

the ‘Golden Drops of Luxury’; an installation

that resembles golden droplets of rain that

are floating above the water fountain and the

far wall. Literally raining luxury on the 6000 sq

ft spa, these droplets typify Indian glamour

with warm colours, native designs, diamonds

and gold.

Dining at Sofitel Mumbai BKC is an

exclusive experience, with Pondichéry Café,

Le Bar Diamantaire, Jyran - Tandoor & Dining

lounge, Tuskers and the Private Dining Room,

all replete with uncut diamonds on pillars,

embedded crystals in sofas, rich carpets and

plush wood. At Jyran, a structured bridge

offers the view of a two tonne elephant

sculpture made entirely of scrap metal.

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Commercial Design Special

Residential DesignThe residences on these pages are defined by designs that effectively reflect the personalities of the owners

Sprawling homes

Spread over 2.5 acres with a 17,000 sq ft area, the Three Trees farmhouse in New Delhi is designed with an intention to forge a connection with its natu-ral surroundings. For architect Mukul Arora of DADA & Partners, the expansive lawns and trees on the site served as the focal points.

Elaborating on the brief received from the client Bharat Sawhney, who was also the developer and builder, Arora says, “It was his vision to create a house centred on the existing landscape and also preserve all the existing trees. He wanted to enjoy the natural settings in close proximity of the house.”

Tied togetherThis new delhi farmhouse by dada & partners shares an intimate relationship with its site



Preceding pages The approach to the Three Trees farmhouse on the outskirts of New Delhi is through a sprawling front lawn. Architect Mukul Arora of DADA & Partners achieved a careful balance between hardscaping and landscaping in this project.

These pages This family living room has a view of the pool and the central courtyard, with its flowering tree and reflective pool. Furniture for the house was sourced from IDUS Furniture Store, and deliberately kept minimal.

The farmhouse comprises two main blocks; an east facing front one and a west facing rear one, connected by a transparent staircase block. This creates the framework for a central courtyard, where an existing flowering tree set beside a reflective pool becomes the visual centrepiece for the entire house. Various rooms of the house face this courtyard. “In this project, the desire was to frame the existing natural elements, which is what generated the spatial layout,” says Arora.

Visitors to the house enter through the eastern front block, which houses the entry lobby and other

public areas like the bar, living room and kitchen. With glass windows on three sides, the formal living room is the first manifestation of the visual connec-tivity that runs throughout the house.

To the east, it fronts onto the expansive front lawn, while to the west it opens out onto the intimate central courtyard. It is this ephemeral quality of transparency and a seamless transition between the built and the open environments that echoes through the design of this project.

Serving as a bridge between the two main blocks of the house is the staircase block. Offering pano-

These pages The quiet restraint shown in the interiors is evident in the formal living room, situated in the east block. Accessories from enliven the space and the colour palette has been kept neutral.

ramic views of the gardens to one side and the central courtyard to the other, the block contains the sculptural staircase that rises upwards from a gravel bed.

The private spaces of the house are situated in the rear western block. The master bedroom, family lounge and prayer room are all located here. Once again, the central courtyard is visually connected to most rooms, thereby becoming the focal point. The double-height family living room in this block was created as an informal entertainment area and visu-ally frames the pool deck and the central courtyard.

“The layout of the house was conceived as a narrative of unfolding spaces and views; both inside and outside,” said Arora. “The desire to connect the tree and court to the rest of the house resulted in a highly transparent threshold.”

Tying together the seemingly scattered elements of the house is the landscape design and material palette. The landscaping associates for this project, Chhitiz Gupta from Design Process, adopted a hard, monolithic aesthetic for the outdoor areas to create a deliberate counterpoint to the lush greenery of the lawns.

The steel grey granite paving, gravel court and wooden pool decks serve as unifying elements along with the predominantly white stucco facade. The central courtyard, with its varied elements, engages with the house’s transparent threshold.

Adding splashes of warm colour to the exterior areas is a selection of furniture that was sourced from IDUS Furniture Store, Delhi. The brand also provided all the interior furniture and accent lighting as well. The overarching theme for the furniture is minimalist and contemporary. The interiors were kept restrained and neutral deliberately. “We kept the interiors minimal with the hope that the users will bring some personal expression to it,” adds Arora.


Right Running along the central courtyard is the staircase block, which connects the public and private blocks of the house. This block, with its monolithic staircase, was designed to be transparent and amorphous, allowing views of the courtyard from the gardens and vice versa.


While framing this design around the central courtyard, Arora faced certain difficulties in achieving the visual connectivity the client desired.

For instance, finding a viable design solution for the 24 ft tall, corner-free glass glazing for the pool facing living room was difficult in the face of archaic construction methodologies and prohibitive costs. Only after creating some on-site mock ups using a hybrid of concealed steel and wood framing was Arora able to convince the client and contractors about the feasibility of the design intent. “What was important was our relationship with Bharat, who was


ready and willing experiment with new design ideas.Another concern was the heat gain from large

amounts of glass glazing used in the project. “The design of a house is never a single stroke; the sun, wind and rains are always influencing this process,” says Arora.

However, the large roof overhangs and the pres-ence of mature trees shelter the house from the worst of the sun’s glare. Additionally, the house predominantly opens out towards the north, which allows for the least heat gain.

In order to balance the natural light and artificial

Top The formal living room is a long, continuous space that is open on three sides. The eastern and southern sides face the lawns, while the western side overlooks the central courtyard.

Above A planted light court becomes the backdrop for the master bathroom, allowing plenty of natural light to permeate.

Facing page above The farmhouse is designed to have the formal and public areas for entertaining guests in the eastern block, while the more intimate spaces are situated in the western block flanking the pool.

design for the Three Trees house revolves.By creating an unbroken visual thread through the

entire project, the architect also achieved continuity between the interiors and the landscapes, inviting residents to explore the entire site.


light in the house, Arora created internal light courts and skylights that channel sunlight inside while cut-ting heat gain. The apertures create an interesting interplay between light and shadow with the house.

Starting from the simple directive to preserve the existing natural features of the site, Arora’s final design comprises of fluid boundaries, large green spaces and an intimate connection to the site.

The separate blocks help to foster a closer rela-tionship between the indoors and outdoors, while the central courtyard and double height living room and drawing room serve as the hubs on which the entire

owners Bharat Sawhneyarchitect & interior designer Mukul Arora; DADA & PartnersDesign team Sanjeev Dasgupta, Ankita ChachraBuilder Bharat SawhneyLandscape Design ProcessStructural consultants P.Arora & AssociatesMEP consultant DADA & Partners

hVaC consultants Aditya AirconKitchen manufacturer NewAge KitchensCladding Epe WoodJoinery Type Sharma CarpentersWindows/doors Sharma Carpentersfurniture IDUS flooring Amit MarblesCarpets Hands CarpetsLighting IDUS home accessories FCMLoutdoor furniture IDUS

Story by Dushyant ShekhawatPhotography by ranjan Sharma


These pages The main entrance to this apartment sets the precedent for the interiors with its beautifully contrasting traditional and pop elements. Designed by Shabnam Gupta of The Orange Lane, the house is a reflection of the owner’s personal aesthetic.To avoid giving the house a very traditional feel, Gupta infused pop elements using coloured sofas and different textile patterns.

Traditional popWith its mix of bright colours and a juxtaposition of modern and traditional elements, the interior of this renovated house is as bespoke as they come

Originally a bungalow, the 30-year-old structure had outgrown the needs and function of the three families that lived there. Not wanting to relocate, the bungalow was stripped down to its bare structure and three separate levels were created to house each family. With a built up area of 18,000 sq ft, the home is located in Juhu, Mumbai.

Shabnam Gupta, principal designer of The Orange Lane, was asked to design the first floor. The space is spread over 3523 sq ft and is an apartment for two people, and consists of a master

bedroom, a guest bedroom, two bathrooms, kitchen, living and dining area along with a den and entertainment area.

“I know the owner so we were involved in the design of her house right from the construction phase,” says Gupta. “She was very clear in wanting a blend of indoor and outdoor spaces in her houses. So part of my design brief to the team was to wrap our exterior design idea to that”.

Gupta worked on the architectural requirements of her design with an architect who was hired for the project. Following the brief and on the owner’s

111more projects at trendsideas.com 111more projects at trendsideas.comhome & design Trends vol 3 no 3 2015

113trendsideas.com 113more projects at trendsideas.comhome & design Trends vol 3 no 3 2015

insistence, during the bungalow’s renovation phase, she had the architect create balcony areas along with verandahs all around the house. This was a challenge given that the original structure was 30-year-old.

“We re-structured and re-strengthened the specific areas to make cantilevered balconies,” explains Gupta. “ We also walled up the southwest areas of the house, which were open to protect the space from the rain during the monsoon of Mumbai,” she adds.

Another part of the brief was to design

the interior of the house with traditional Indian artefacts. “The client loves Indian artefacts and already had an extensive collection,” says Gupta. But, just because a space demands traditional elements doesn’t necessarily mean it has to look like a traditional space. Gupta was clear on that, which explains the inclusion of traditional and modern elements, bright pop colours, different textures and patterns in both materials and accessories that are placed through the house.

This is evident right from the indoor lobby entrance of the house. A hammered down sea-

Preceding pages The bar is accessed via the dining space. The door with the horse painted hides the bar inside. A pool table is placed oppsite the space.Facing page The furniture and accessories in the apartment, which is a mix of old and new, are either from the personal collection of the owner or outsourced. The steps seen in the dining space lead towards the den. This page The outdoor seating area, the den with an adjacent balcony blend the outdoors with the indoors.

green coloured limestone leads to the turquoise coloured door of the house. A seating area is designed against the wall, which has a tree wall sculpture set within a stone curve and traditional brass lanterns hang from the ceiling completing the space. Gupta utilised the natural curved contour of the ceiling to add dimension and drama to the space. In the ceiling, raindrop-shaped holes have been made, which have handcrafted traditional brass diyas placed in them.

In the original structure, the now first floor of the bungalow used to be the mezzanine floor.

Gupta opened up the ceiling during the renovation process, which allowed her to give the ceilings in their space their own distinct identity while still blending into the space as a whole. Of all the ceilings in the house, the one in the living room is the most dramatic in its appearance.

“We found this 80-year-old false ceiling when the owner and I were scouting for artefacts for the house. We had it restored and fitted in the space. It was such a strong design element that I had to re-design my design plans for the living room,” says Gupta.

Facing page above The master bedroom is a warm area that reflects a unqiue colour scheme of olive green and beige. A bookshelf within the wall has been created to make additional storage space. Facing below The seating room in the master bedroom is designed as cosy space with family photos hung on the wall. A mismatched sofa set with artefacts placed in the balcony complete the room. Above The master bathroom is lively in its ambience thanks to the inclusion of the colour patterned cabinets doors.


Above The three defined and separate levels of the bungalow can be seen here. The ground floor is designed as a recreational space for the family. The owner who is botanist, is also a landscape artist and designed the outdoor recreational area, which includes a pool and a garden.

Location Mumbaiowners Mr and Mrs Sagarinterior designer Shabnam Gupta; Orange Lanehardware Hafele, EnoxTiling Solid ConceptsPlumbing Sai SanitationElectrical Warren ElectricalsPaints Asian Paintsflooring Solid ConceptsCeiling O.P DecoratorsLighting Hybec & PhillipsToilets Kohler, Duravit

The living room and the dining spaces are expansive areas. Low steps from the dining lead into the den, which can be closed off from the dining space by sliding doors. The sliding doors made of rescued jaali doors, with their white and blue contrast colours are juxtaposed brilliantly against the bright orange coloured screen door with a horse painted on it. Behind this space is the built-in bar area.

“The key here is to actually create spaces that can be used as a distinct units by themselves but can also be combined with other spaces to

create new areas and niches,” she points. The master bedroom also follows a similar

design pattern; it shares space with the master seating area. Not wanting to put a permanent physical barrier, Gupta placed a sliding shutter doors that can be opened or closed, depending on the privacy needs of the occupants. The master bathroom has a lively juxtaposition of bright colour cabinets against a grey flooring.

Story by Moshita PrajapatiPhotography by indrajit Sathe


Know Your Architect: shabnam gupta

Mumbai-based interior designer, Shabnam

Gupta of The Orange Lane believes that

change is the only constant in life. Her works

make a distinctive statement that emerges

from her knack to visualise and experiment.

Gupta’s ability to transform the mundane

is fast becoming her signature style and is

leading to spaces or objects that breakaway

from the conventional. In 2013, Gupta has also

felicitated under Architects and Interiors India’s

iGen – India’s Top 50 Interior Designers. She

has also been a recipient of multiple awards

both international and Indian, such as the Asia

Pacific Property Award 2014 for Hospitality

and Residential projects.

Why did you become an interior designer?I never planned to come into the design field. I just knew I liked surrounding myself in beautiful spaces and had a distinct taste

for it. I guess it was a natural choice.Which works of yours are you most proud of?In a way you love most of your works. However, I think I’m quite close to the design of both Big Nasty and Jimmy Ju, which are both bars.

If gone back in time, what work of yours would you like to re-create?There is so much chemistry in creating spaces. It’s to do with your mind set, comfort level with the client, budgets etc. I don’t know how if I’d like to change the past because that’s what lead me to the present. Interior design style that you are partial to?I was partial to a lot of textures and colours at one point. Now it’s whites and pastels... It keeps changing. One keeps evolving. According to you, which is the best city in terms of architecture and why?It would be Venice and Paris for me because of their heritage and its preservation. An architectural or design trend, which you would like to end?Minimalism. One iconic architect designer that inspire you the most and why?Geoffrey Bawa. I love his designs, how fearless he is and how he infuses his design with nature. What according to you is good design?It is one that is detailed.


Connection with natureThe projects on these pages integrate themselves with their surroundings and create spaces that are celebratory of natural elements


among the trees nestled amongst a canopy of trees and suspended several metres over a large rock shelf and natural stream, this landscape is reminiscent of a tree house

Preceding pages Designed by Dean Herald of Rolling Stone Landscapes, this swimming pool is suspended several metres over a natural rock escarpment. A canopy of bangalow palms and a large jacaranda tree provide a dramatic backdrop.

Above A mirror attached to the bluestone-clad blade wall reflects the jacaranda tree so it is visible from the kitchen inside the home. Below the mirror are three custom-made stainless steel water spouts.

Every project has its own challenges – the key to a successful design is finding solutions that will allow you to use them to your advantage.

Although the topographical conditions of this site initially seemed restrictive, the nature of the land-scape forced the design team to explore solutions that pushed the boundaries, and so eventually turned out to be an asset.

With a natural stream passing near the entrance of the house and a large rock shelf weaving its way through the property, access was a challenge, says landscape designer Dean Herald, director of Rolling

Stone Landscapes. “In light of the position of the creek and rock

causeway, access to the property was limited and our design team was called in to develop concepts with the architect. A garage was attached to the front of the site but getting from there to the front door of the house was an issue,” says Herald.

“Fortunately we were able to come up with an interesting solution and turn what had been initially quite a problem into a great feature.”

This feature is a hardwood boardwalk, sus-pended up to 5m above the stream and undulating


Above Suspended several metres above rock and a natural stream, the timber boardwalk zigzags its way from a garage at the front of the property to the front door. As the surrounding trees and plants mature, they will embrace the boardwalk creating a tree-top walk experience.

rock shelves. Moving in a zigzag pattern from the garage to

the front door, the boardwalk creates a tree-top walk experience and provides views of the bush on approach to the house.

The swimming pool, which sits on the other side of the dividing blade wall at the entrance, was yet another challenge.

“Because of the nature of the landscape, a number of environmental regulations were in place, which again limited the options available to us,” says Herald. In order to keep within the guidelines,

the pool was elevated and suspended over the rock so the natural landscape remains undisturbed.

The pool area, built in conjunction with the house, blends seamlessly with the architecture.

“Within such a limited space, the pool and archi-tecture really had to work together. The water laps against the side of the house and because both were built and designed at the same time, it looks as if the house is sitting directly on top of it.”

The 9m x 3.5m pool includes a built-in spa that is raised slightly above water level, creating an illusion of space. This is enhanced by an infinity edge over


the rock shelf. “One of the most dramatic features of the pool is

the infinity edge, which opens the area out towards the bushland and foliage in the distance,”says Herald.

A mirror is attached to the pool side of the divid-ing blade wall – at first glance this appears to be a portal into another garden. The mirror reflects a large jacaranda tree back to a sightline inside the house.

“We wanted to create a visual connection between the house and the landscape so the owners could enjoy the views and also reinforce that feeling of being in the treetops.”

Above A slumped glass water feature on the bluestone-clad dividing wall makes a statement at the front entrance.

Left Initial plans show the unique challenges faced by the design team of both the house and landscape. The narrow block of land had a large rock shelf and a natural stream that intersects the property near the front entrance.

architect: Paul Meyer DesignLandscape designer: Dean Herald, Rolling Stone LandscapesPool and spa designer: Dean HeraldPaving: Himalayan sandstoneDecking: Northern Boxoutdoor furniture: Jan Juc bench from Eco OutdoorCladding: Bluestone-clad blade wall by Eco Outdoor

Story by Ellen DorsetPhotography by Danny Kildare


For any architect, the best reflection of his style and sensi-bilities is his own home because it allows for complete freedom to experiment without constraints of any kind. Architect Puran Kumar of Mumbai-based Puran Kumar Architects got this opportunity when he started designing his 5000 sq ft home in Alibaug.

“The residence is called The Mango House and has been

close to naturearchitect puran Kumar’s alibaug home forges a strong connection with the

environment by preserving the natural textures of the materials used

These pages Spread over 5000 sq ft, architect Puran Kumar’s home highlights the extensive use of traditional building materials like red brick, wood and concrete. Called The Mango House, the residence derives it name from the multiple mango trees that occupy the plot.


designed as a dialogue between the interiors and the exteriors. The house gets it name because of the multiple mango trees on the plot. We haven’t removed a single tree and all the areas in the house have been planned around these trees,” says Kumar.

Simplicity of design and the extensive use of natural materials are two things that instantly strike you when you

Facing page The architect wanted to conciously connect the indoors with the outdoors hence multiple doors, openings and windows have been designed. This not only brings in ample of natural light but also visually connects all the areas of the house.

This page The dining is a voluminous space that is further accentuated by the double-height. A large window visually connects it to the kitchen. To differentiate the kitchen from the rest of the areas, Kumar has painted the brick walls white.


look at The Mango House. The structure is designed using red bricks that also set the tone for the interiors. The terracotta slop-ing roofs and wooden columns further define the exteriors.

Kumar says, “I did not want to create anything flamboyant because that is really not my style. I like spaces to reflect per-sonalities while bridging the gap with nature. This house, which is

meant for unwinding and relax-ing is a home away from home and thus I consciously designed it with elements that would be in sync with its surroundings. Also, for the interiors I have used minimal furniture and have deliberately kept away from the usual clutter that comes in form of unnecessary lighting, furniture and accessories.”

Apart from the extensive use of

These pages The first floor landing is a large space. However, keeping up with the minimal theme of the house, Kumar has used very selective furniture and accessories. This area also gives a view of the dining and other seating corners.


red brick, the interiors also stand out for their exposed ceilings and stone flooring. The entrance lobby has an intimate seating area that leads to the central space, which further takes one to the other seating areas, dining and the kitchen. The ground floor also has the son’s bedroom.

“Varied seating options have been designed in the central area and this is because we

wanted to enjoy the gardens and natural light from diverse points,” says Kumar.

The swimming pool can be accessed from the large doors on one side of the central space. The recatangular-shaped pool has been stretched on one side. This was done to create a pool view that is evident from the dining and the kitchen areas.

Kumar adds, “When we were

digging up to create the swim-ming pool, we realised that the roots of one of the tree’s were wide spread and this could pose a problem in the future. Thus, we moved the pool a bit to accom-modate for the growth of the mango tree.”

The dining is a double-height space, which is visually con-nected to the kitchen through large windows and shutters.

The kitchen is minimal and also has a storeroom tucked in the corner. The red brick walls here have been painted white to bring in a contrast. The central space also has the sculptural staircase that gives this house a larger-than-life look. Though it is not embellished, the steel and wooden staircase is definitely the talking point of the area. A skylight above flushes the space

Above and facing page above The master bedroom on the first floor has an adjecent study area. To break the monotony of the stone flooring, wooden flooring has been used for the study. While the walls have been painted white for the bedroom, the study reflects the red bricks in their original form.


with light at all times. Another distinctive feature of

The Mango House is its use of windows all around. Large win-dows have been created to allow natural light into the residence and each window gives a unique view of the outdoors. Additionally, doors and shutters have also been put in strategic places to allow for ventilation.

The first floor has a large lobby

area and Kumar used minimal embellishments in this space, thereby keeping with the theme of the house, The master bedroom and the daughter’s bedroom are also on this floor.

The master bedroom is a spa-cious area with an adjoining study on one side and a large balcony on the other. The red brick walls again become white here and a four-poster bed completes the

room. To further differentiate the study from the bedroom, the flooring has been changed to wooden. The second bedroom is voluminous, due to the accent of the sloping roof. An intimate attic has also been created here.

Whether it is maximising the outdoor views or the use of materials, The Mango House effectively redefines the concept of home away from home.

Above The daughter’s bedroom gets a lot of volume due to the accent of the sloping roof. The architect had extra space above the bathroom and in order to utilise it, he created an attic that can be accessed by a ladder.


133trendsideas.comhome & design Trends vol 3 no 3 2015

Left The swimming pool has been designed at the back end of the house. As the architect wanted to have a pool view from the dining area, an additional stretch was also created to accomodate for that view.

owner Puran Kumararchitect Puran Kumar; Puran Kumar Architectsroof Vishal Wood WorksWindows Mehta Associates, Galeecha Indiaflooring Mehta AssociatesPaints Asian PaintsLighting Vora Electric Service Pvt Ltd. heating Toshiba, Advent Engineersfurniture Good Earth, FabIndia, ABACA, CamelotBenchtops Mehta Associates Stove Kaffrefrigerator SamsungBedroom suite Camelot, FabIndiaBed linen Yamini FabricsLandscaping JKD HortitechCourtyard Mehta Associatesoutdoor lighting Vora Electric Service Pvt. Ltd.

Story by Kamna MalikPhotography by Sebastian Zachariah, Sameer Chawda

Master suitesThe imagination runs wild in these projects, where innovation is the order of the day

Just as a homeowner has a say in the design of their house, so children enjoy having an input into the design of their bedroom suite.

This suite belongs to a child who came up with the idea of a rainbow theme. This was the brief given to designer Royston Wilson, who was responsible for the inte-rior design of the whole house, which has a French Chateau style.

“The rainbow created the

only young oncebright, cheerful and highly original – there’s no excuse for children not to spend time in these fantasy bathrooms


Preceding pages and facing page Colourful Bisazza mosiac tiles create a brilliant rainbow in this child’s bathroom, designed by Royston Wilson. To make space for the bathtub – a late addition – the room was pushed out towards the balcony and a new exterior wall built.

Above The cantilevered vanity has a Mountain Bluebird Staron top that complements the blue in the tiles and the dark blue ceiling that resembles the sky above.

focal point, from which every-thing else in the bathroom could radiate out from,” says Wilson. “We thought, how wonderful it would be for a child to lie in bed and catch a glimpse through the doorway of the sun peeping out from behind the rainbow.”

Wilson says the space was not without its challenges, how-ever. During construction, the ceiling height had to be

lowered 300mm, so the rainbow needed to move down the wall, which impacted on the mirror and lighting.

“The mirror was redesigned as a collection of circles that rep-resent bubbles, which could be positioned so they don’t conflict with the rainbow. The planned bubble light fixture was changed to a shorter crystal style with LED downlights, so it still looks like

floating bubbles.”To make room for a bathtub

that was a late request, the team took some space from the adjoining balcony, rebuilding the exterior wall.

“The specially ordered Bisazza tiles were reconfigured to fit the changed space, and the ceiling painted blue. The final result is a bathroom that appeals to the child in us all.”


Facing page Everything in this girl’s bathroom is either pink or white. The distinctive vanity features a white quartz top and pink heart-embossed drawer fronts with diamante handles. Fuchsia pink metallic paint was used on the ceiling. The D-shaped bath is semi freestanding, with one side fixed to the wall for ease of cleaning.

Above Pink also features in the collar around the handbasin, the toilet seat, tap and shower mixer.

Another bathroom in the house is fit for a princess. Wilson says the only instruction from the daughter of the house using this suite was to use the colour pink.

“We researched plumbing products and found a fuchsia pink mixer and tap. We also dis-covered the new Laufen Mimo collection, offering a handbasin collar and toilet seat in a bub-

blegum pink shade.”The designer then created

a dramatic pink-fronted vanity cabinet, which is cantilevered from the wall.

“We positioned the vanity opposite the door so this would provide the most visual impact – it is the first thing you see when you enter,” he says.

The vanity features pink, heart-embossed drawer fronts in

a new Laminex product – 3D Forms & Illusions in the colour Lovely.

“We introduced an unusual glossy white tile to the vanity wall for added pizzazz,” says Wilson. “The tile has a textural wave pattern that is highlighted by LED lighting around the vanity mirror.

The designer says the pink elements can be changed out easily if required in the future.


Designer Royston Wilson, Royston Wilson Design (Melbourne)

Blue bathroomVanity top Staron in Mountain BluebirdVanity cabinetry Abet Laminati in Kaleidos CrystalCabinet handles Kethy from Finer Bathrooms Basin Parisi Dial 60Basin mixer Newform Round FormaBathtub Kaldewei Studio RightBath mixer Newform FormaToilet ParisiWall tiles Bisazza

award HIA Bathroom Design of the Year, Victoria

Pink bathroomVanity top Quantum Quartz in Arctic WhiteVanity drawers Laminex 3D Forms & Illusions in LovelyVanity handles Kethy Clear Basin Laufen Mimo in White and PinkBasin mixer Vola in PinkBathtub Kaldewei Centrol Duo 2Shower and tub mixer Vola in PinkShower rail set Hansgrohe RainbowToilet Laufen Mimo in seat in Pink

Story by Colleen hawkesPhotography by andrew ashton

Left Graphic pop art, decorative pelmets and a plush, soft pink sectional sofa are key features of the bedroom. Here, the colour pink has been kept a little more muted, with colours brought in through accessories, such as cushions, lamps and picture frames.

141trendsideas.com

Quiet and calm The bathroom is often the only place in a homewhere peace and privacy are a given. Many suites are created to enhance this sense of escape and respite – and none more so than this restful Japanese-influenced design.

Here, the owners bought the adjoining apartment and combined the two to create this luxury master suite. The brief to Leonie von Sturmer was to include a bedroom, ensuite bathroom, and office, along with a meditation room with a tea center and lounge area.

“The couple wanted the suite to have a serene mood and follow the seven aesthetic principles used

This master suite with a meditation room won the nKba new Zealand Trends innovative bathroom award – the design is by leonie von sturmer


These and following pages Italian porcelain tiles resembling wood planks contribute to a natural aesthetic in this master bathroom by Leonie von Sturmer. At the request of the owners, the space adheres to traditional Japanese principles of good design. The soaking tub is set within a raised plinth to accommodate its depth. White Corian vanity tops with natural stone basins add a touch of luxury.

in traditional Japanese garden design,” says von Sturmer. “These include simplicity, asymmetry and understated beauty; together with a sense of nature, tranquility and freedom from habit. The spirit of these principles is carried through all spaces in this expansive, spa-like master suite.”

In keeping with a resort-style sensibility, the bathroom includes a Japanese soaking tub and a luxurious steam shower. Von Sturmer set the tub in a raised plinth to accommodate the depth required. The plinth was necessary because the apartment tower is built entirely of concrete, which meant there

was no space available under the floor to utilise.The plinth, steps and shower cubicle are all

in porcelain tile with a wood-inspired pattern, combining a natural aesthetic with a practical water-resistant surface. And while the bathroom follows age-old design concepts, it also achieves a modern air, evoked in its clean lines, off-center marble basins, sculptural tapware and curved stair handrail. The bathroom walls are finished in a hand-applied, textured plaster which has been highly polished. This creates a damp-resistant, almost luminous surface.


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Facing page A black lacquer tea cabinet features a mosaic splashback depicting cranes in flight. The dark cabinetry plays off the black marble prayer table in the meditation area.

Above: With no sub-space available in the apartment, the designer had to build up the floor in order to be able to inset the tatami mats.

The bathroom is on one side of the suite, connecting through to the master bedroom with the meditation room, office and sitting room beyond. Sliding shoji screens were integral to the design, partitioning the areas to avoid a direct sightline from the bedroom to the office or meditation room.

“The black-lacquered tea area, at one end of the meditation room, has a Bisazza mosaic splashback depicting cranes in flight before the rising sun,” says von Sturmer. “The Northern Star is set to the north within the tile square, which is inlaid in the pale wood floor.”

Genuine tatami mats were imported for the med-itation and tea room, and have been laid in a pattern said to bring good fortune. To enhance contempla-tion, a poem has been etched into the plaster wall above the black lacquer and marble prayer table.

Story by Charles MoxhamPhotography by Jamie Cobel


out of a fairy tale The personality of each child shines through in the colourful customised bedrooms in this remodeled home

home & design Trends vol 3 no 3 2015148 more projects at trendsideas.com

Children love to have their own space, and it’s all the more special if they get to have a say in how it looks.

That’s precisely the way it worked for the family living in this extensively remodeled home – each of the four children had their own appointment with interior designer Kimberly Grigg of Knot-ting Hill Interiors.

“Each child was able to tell

me their likes and dislikes and favorite colours, and discuss what was important to them,” the designer says. “The only overriding theme requested by the owners, was that we choose the sustainable option wherever possible.”

The soft lavender and green bedroom on the previous pages belongs to the eldest daughter, who loves horse riding and is an

These pages and following pages The children’s bedroom on the preceding pages provides plenty of places to curl up with a good book.

avid reader.“This daughter had stayed at

the Michelangelo Hotel in New York and also loved the idea of vintage furnishings with an edge,” says Grigg. “We provided her with lots of places to curl up with a book – on the chaise, the window seats or on the bed, which has two swing-arm lamps. There are also lots of bookshelves and two


Story by Colleen HawkesPhotography by Knotting Hill Interiors/Matt Silk

recycled nightstands that we painted green.”

The designer introduced chocolate brown as an accent, and added a Greek key pattern to keep it a little edgy.

Another daughter, whose favourite colour is red, wanted bunk beds and a “fort” for her bedroom. Grigg created a canopy above the top bunk to provide a sense of enclosure,

and softened the red accents with pale aqua blue. A ceiling rose was hand-painted with flowers that mimic the fabric in the drapes.

For the two younger girls, who share a Jack and Jill bathroom, fresh pink, lemon and green tones were specified.

“We attic shopped for these rooms,” says Grigg. “The tulle for the canopy in the green room


These pages Two princess bedrooms (left and above) are linked by a bathroom featuring a mural painted by Cathy Collins. The other fort-style bedroom (top) has a canopy over bunk beds and a hide-and-seek window seat.

was found in a backroom in our shop, and an old shelf became the crown. Existing furniture in the lemon room was repainted in a bubblegum pink. These bedrooms are also linked by the subtle striped painted walls – one vertical and one horizontal. While the ceilings in the other rooms are coloured, these bedrooms have off-white ceilings to counter the busier pattern on the walls.”


Trends selects premium properties making the rounds today

Developer: ABIL, Clover Builders and Clover Realty

Location: Pune

Status of the project: Under construction

Area of project: 5 acres (approx)

Residential type: 3 and 4 BHK apartments

Residential area: 3005 - 4800 sq ft

Architect: B + H Architects, Singapore

Construction: SJ Contracts Pvt. Ltd., Pune

Landscaping: Vikas & Nilima Bhosekar, Pune

Special features: The complex has a dedicated concierge desk, swimming pool with an infinity edge and Jacuzzi, separate kid’s pool, squash court, jogging track, gymnasium, spa, outdoor fitness centre, along with many other amenities

Properties on the block


verde residences

Price: `5.25 crore onwards


prive

Developer: Tata Housing

Location: Lonavala

Status of the project: Completed

Area of project: Over 20 acres

Residential type: Villas

Residential area: 8800 - 10000 sq ft

Architect: SCDA, Singapore

Special features: Clubhouse overlooking the valley, library, squash court, indoor games area, digital golf and premium gymnasium

Price: `8.5 crore

Showcase

The latest in decor and kitchen accessories

Hettich’s latest drawer systems

Organising your drawers just got easier. AvanTech and InnoTech Atira are the two latest drawer systems introduced by Hettich.

While both drawer systems make no compromise when it comes to design, they have their individual appeal. Aluminium-

based AvanTech boasts precision edge, a clean side profile, quiet running and accurate alignment, while the InnoTech Atira

combines sharp contours and colour options with side elements and interior organisation. With these cost effective products,

Hettich presents cutting edge technology in organisation systems. For more information, call +91-011-48894000/+91-11-

48894005 or email [email protected]

New age refrigerator from Haier

In keeping with its mission to add premium style to kitchen aesthetics, Haier has launched the Side-by-Side refrigerator that can not only

keep your food fresh but also add in a dash of luxury in your kitchen. Its 90-degree contoured door feature, recess handles and sleek

design adds to its visual appeal, whereas 360 degree air flow, smart digital control, power saving and LED lights make it a smart and convenient home solution. The refrigerator, which has a storage

capacity of 565 litres, is priced at `65,000. For more information, call 1800-102-9999/1800-200-9999

Italian sofas by Grandeur

Grandeur, the Italian furniture brand, recently unveiled its new Pianca//divani sofa collection in India. The elegant sofa

compositions can be customised as per individual design sensibilities and can be paired with side tables, coffee tables

and armchairs. Apart from double seater, three seater and L- or U-shaped sofas, Grandeur has also introduced accompanying

armchairs and poufs to complement seating across different living spaces. Varied leather and fabric choices offer multiple

options to consumers looking to make a stylish addition to their homes. For more information, call +91-22-67476746/8182 or

email [email protected]


A taste of England with Safomasi

Homeware and lifestyle brand Safomasi brings the town of Salcombe in England

alive through its new collection comprising of quilts, cushion covers, napkins, placemats,

table runners and tea towels. Playful prints, soft textures, and edgy design

details represent the coastal town and its numerous attractions like rockpooling, sunbathing, yacht racing and coastal walks. Hand

printed cotton linen has been used to create these handcrafted products, which are categorised as rock pool, estuary walk and regatta. For more

information, call +91-9650869053 or email [email protected]


CPK Awards further ecological architecture

The 2015 edition of the CP Kukreja Awards for Design Excellence is inviting entries for smart and ecological architectural solutions for more sustainable and liveable urban environments. This event encourages the role of the youth in fighting urban challenges like pollution, lack of civic awareness, depleting natural resources and waste generation. Entries are open to students across South Asia and can be submitted in the form of ideas, concepts or design models which focus on public art, interior design, urban design, civil engineering, architecture, conservation and public health engineering. Registrations can be sent to [email protected] on or before August 17, 2015.

Simpolo Ceramics newest range

Simpolo Ceramics is one of the established ceramics brands that is considered as a trusted provider for

double loading tiles, full body glazed vitrified tiles, roofing tiles, wall tiles, marble, granite and wood. Simpolo

manufactures both decorative and practical products, which can suit the changing needs of the modern user.

The tiles are manufactured using nano technology, which makes them skid and stain resistant. Besides tiles, the

company is also engaged in sanitaryware like water closets, basins and cisterns. For more information, call

+91-22-40167132 or email [email protected]

- Compiled by Tina Thakrar


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