HomeDesignTrendsVol3No2.pdf

R.N.I. MAHENG/2013/50949

Volume 3 No 2`250

Commercial Design Special

34

Navin Raheja

IntervIews

ContentstHe GALLerY8 DesIGn In COnteXt Products that fit like a glove in contemporary commercial spaces

16 PrevIewSmall Stories: At home in a dolls house takes you on a journey of vintage dollhouses

18 revIewConstructing Worlds, a collection of architectural images from 1930s to the present day

18 DesIGn COnCePtJames Hancock's All the Buildings in Sydney is a book of sketches of the city's buildings

21 PubLIC ArtTransformative art that alters perceptions and neighbourhoods

buILDInG COnversAtIOns 24 IntervIew Rahul Shankhwalker of HBA, shares the secrets of his firms success in India

26 IntervIewNavin and Nayan Raheja of Raheja Developers talk about the Indian real estate industry

28 IntervIewAlan Abraham shares a proposal to revolutionise the citys public spaces

30 MY vIewLeading architects explain the importance of colour in context to architecture

32 Guest COLuMnArchitect Reza Kabul discusses the growing importance of mixed-use developments

POrtfOLIO Kochi-Muziris Biennale 2014 & insights from festival director Bose Krishnamachari 34

ICOnIC DesIGnThis month it's is L' Arc de Triomphe de lEtoile in Paris, France 44

Rahul Shankhwalker Alan Abraham

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A Singaporean residential development by RSP Architects gives a sneak-peek into the future of urban housing (see page 48)

Cover

COMMerCIAL DesIGn 46 PrOJeCt POrtfOLIO Community spirit

A residential development by RSP Architects hints at the future of urban housing 46 Sense of place

Sydney city block redeveloped into a mixed-use development by PTW Architects 54

Miami vice

A beach club by Old Field Knott Architects manages to capture Miami's Caribbean flair 64

72 eDuCAtIOnAL InstItutIOns Not just another brick in the wall

This Kolkata school by Abin Choudhuri catches the eye with its eclectic facade 72

Right on track

The Manukau Institute of Technology campus sits astride a railway line 80 90 OffICes Sculptural forms

The design of this office aligns itself with the reinvigorated approach to business 90

Well connected

P&G's Singapore Innovation Centre prioritises connectivity and transparency 100 Employees firstDSP Design Associates kept employees needs in mind while designing this office 108

116 resIDentIAL DesIGn Back to the landThis home by Vincy Hamp Architects mixes modern influences with traditional design 116

Commanding perspectiveIn spite of being constructed with concrete, this home exudes an ephemeral quality 126

New identityFind out how this Washington home was remodeled to reflect its owners identity 136

Beside the seaFor this bungalow, capturing the spirit of traditional coastal homes was paramount 144

152 PrOPertIes On tHe bLOCk

154 sHOwCAse

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More ideas, information and inspiration at Trendsideas.in

from the editor

[email protected]

Mrig

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This is an edition I look forward to more than the others. Although the magazine covers commercial spaces in every issue throughout the year, they are never like they are in a TRENDS Commercial Design Special.

Inside the pages, you will find institutional spaces, hospitality projects, offices and residential high-rises; they are the best of the new projects from the world

over. Must see is the Mumbai office designed by Planet 3 Studios, striking with its meandering wooden wall, the unconventional Kolkata school by Abin Design Studio, and One Central Park in Sydney by PTW Architects. One Central Park was once a brewery site, and this ambitious project has become a leading example of how to make a success of large-scale mixed-use development projects. Attention towards approaching mixed-use projects is also the point of discussion in Reza Kabuls guest column this month.

In the Building Conversations section, do read the interviews with architect Alan Abraham, developer Navin Raheja, and designer/architect

Rahul Shankhwalkar, where they give valuable insights into the worlds of public design, real estate and hospitality design respectively.

And in Portfolio, we revisit the Kochi Muziris Biennale 2014. It concluded early on in the year and inside is a photo-essay on some of the extraordinary artworks that were created for it. I visited Kochi just when the biennale was ending and met up with its founder Bose Krishnamchari. The first things I had said to him, was how proud I felt when I read The Biennale City written boldly on top of the first archway that was the gateway into Fort Kochi. Happy reading.

Preeti Singh

InsIde the pages you wIll fInd InstItutIonal & hospItalIty

projects, offIces and resIdentIal

hIgh-rIses

Chief Executive Officer Deepak Lamba

Chief Community Officer & Editor Preeti Singh

Assistant Editor Kamna MalikSenior Features Writer Moshita PrajapatiSenior Features Writer Amanda PetersConsulting Writer Dushyant Shekhawat

Senior Art Director Suneela Phatak Assistant Art Editor Navin Mohit Digital Imaging Editor Shailesh Salvi Senior Editorial Coordinator Harshal Wesavkar

Brand Publisher Anupama BhallaBrand Manager Drashti Vora

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home & design

Design in Context

The GalleryLatest products, upcoming exhibitions and must-attend design events

Preview Revieww

Concept Public Art

These products fit like a glove in contemporary, commercial spaces

Design in Context

folly by ron AradFolly effectively and intelligently blurs the lines between sculpture and design. The soft lines and curves create a dynamic orientation that instantly attracts ones attention to the piece. The bench, in rotational-molded polyethylene, is available in rust brown and is suitable for both outdoor and indoor commercial use.

8 more projects at trendsideas.com Home & Design Trends Vol 3 No 2 2015

Husk by Patricia urquiola

Husk is designed around a stiff body with soft cushions that are divided in portions.

Those who look at this must visually perceive a

sense of mental and physical comfort, says the designer,

Patricia Urquiola.

Papilio shell by naoto fukasawa Originating from a shell with a design that enhances comfort, Papilio Shell expresses versatility that makes it a perfect option for office use. It is available in two versions: with a plastic shell in three colours (white, dove gray, black) or padded and upholstered in a wide range of fabrics and leathers.

Oasis by bram boo This extended couch-cum-sofa allows you to sit, lie and work with its integrated table all at the same time. Perfect for a loft, a public space or a hotel lobby, Oasis has also been a recipient of the prestigious Henry van de Velde Design Award.

Aura Chair by Mikko LaakkonenWinner of the Red Dot Design Award 2013, the Aura Chair by Inno is an intelligent and harmonious mix of a sofa and a chair. Aura can be used as a singular chair or can be clubbed together to make large seating groups.

season Chair by Piero Lissoni

Its time to bid goodbye to your boring chair thanks to

the all-new Season Chair by Viccarbe. Deceptively simple and elegant, this upholstered chair consists of two rounded

volumes, a cube and a vertical rectangular slab that

express the act of sitting through a simple almost

sculptural approach.

taivu by Mikko Laakkonen If you are looking for a light and comfortable chair to liven up your lobbies and waiting areas, then the answer is Taivu. This upholstered lounge chair is a comfortable furniture piece seasoned with classic shapes, which is easily tailored to fit different public interiors.

Charlotte by Antonio Citterio This chair is designer

Antonio Citterios tribute to lightness. The shell of the

chair is completely covered, but the aluminum frame

profile is visible on the sides, thus highlighting the line of the seat. The cover is made from raw cut thick leather in six different colours with an

elephant printed surface.

Maui Chair by vico MagistrettiThe Maui Chair was first designed between 1995-96 and marked the era of single mould seats in material

that had no ribbing, tracery, metal supports or reinforcements to support the

back. Kartell gave it new appeal and brought it back in a fabric-

covered version, with and without casters and arms, thus increasing

its rich family of colours and functions, thereby able to satisfy the specific

needs in the commercial sector.

11Home & Design Trends Vol 3 No 2 2015

Adriatic by theodore Alexander Most of the time, it is the simplicity of design that calls for attention. And that is exactly the case with Theodore Alexanders Adriatic Writing Table. Cobalt blue leather is wrapped around the table and rectangular brass bound top accentuates the design. Three lockable frieze drawers with brass escutcheons are designed along the periphery.

eames Desk by Charles & ray eames

Long before modularity and high tech concepts entered the design lexicon, Charles and Ray

Eames used industrial production techniques to extend the boundaries of design and create a modern aesthetic. This desk by Herman Miller

provides ample storage, work and display space.

Low table + Lamp by fien Muller & Hannes van severen Who said office furniture has to be serious and boring? Fien Muller & Hannes Van Severen give a playful twist to regular table and light to create this dual piece of furniture that brings in an element of playfulness with its contemporary design. Visit www.mullervanseveren.be for more information

In-tensive by Jouni LeinoThe modular meeting table In-Tensive

was first designed in 1998 and has been launched again with an all-new

look. The new version is updated with a wooden leg option. The versatile

system offers solutions for every conference need with the capability

of easy cable management and different connections.

more projects at trendsideas.com

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Dv549 Lockers by Antonio Morello Created only on request, the DV549 Lockers is a fresh break from a regular locker design. The new series of storage units

come with hinged doors and locks, to contain documents and personal belongings at work. The doors have special

machinery that allows one to put in and not to take out standard sized documents, even with a locked door.

Installation s by fien Muller & Hannes van severenMerging light, seating and storage in a single piece, Installation S serves as a functional piece, especially for tight commercial spaces. The thin lines in unlacquered steel give it a lighter feel that is balanced with the use of leather and polyethylene.

storage units by Charles & ray eames

The Eames storage units are symbolic of the grace and vision Charles and

Ray Eames used in solving commercial furnishing problems.The wire crosses

support used in the storage units echo other classic Eames designs.

surface by vincent van DuysenThis series of multi-use low tables by Vincent Van Duysen effectively expresses best of his design poetics. The quest for balance is achieved by the use of understated features, small proportions, basic materials and natural hues.

- Compiled by Kamna Malik

Autobahn by Alexander LotersztainAutobahn by Derlot Editions is a modular seating system that is able to adapt to a variety of configurations suitable for commercial work areas and public spaces. Components include a straight bench seat in three lengths, with or without a backrest, and curved modules able to form a 1200mm, 1800mm or 2400mm radius, with the option of an internal or external backrest. A 400mm diameter table for working or relaxing may be affixed to the frame at regular intervals

C-Ply by Drisag The C-Ply is a circular lounge

workspace, specifically designed for work or consultation in open spaces. Designed for Drivk, it comprises of a

wooden frame, which is covered with high-quality foam that comes with a

high acoustic value. The C-Ply consists of several curved elements, which

forms the circular shape and all these elements can be linked in reverse,

creating a 'sling' bench.

13more projects at trendsideas.comHome & Design Trends Vol 3 No 2 2015

Why does Zarir Mullan of SEZA value TRENDS?

In a very short period of time, TRENDS has managed to position itself amongst the leading publications catering to the field of design. The quality of articles and more importantly, the quality of projects featured make it an essential part of ones reading material if one is interested in following innovative projects coming up all over India from a variety of designers. So far it has maintained an impeccably high standard of articles and projects featured. As a resource guide, there seems to be a focus on product design or at times products with a strong design sensibility. I would say the magazine and the projects it features are contemporary and up-to-date with the latest design trends.

Zarir Mullan founded his firm in 1994, and today he and his partner Seema Puri are the principal architects and designers at SEZA. The duo view design as something that blends landscapes, architecture and interior into something that can be interwoven into its existing urban context. Their portfolio includes corporate buildings, residential schemes, private bungalows, showrooms and cafeterias. They have been awarded multiple times for their work, including an award for Excellence in Architecture in the residential category in 2003 from the IIA and an award in 2009 in the Best Merchandise category from the IAD in association with the Council of Architecture.

home & design

R.N.I. MAHENG/2013/50949

Volume 3 No 1`250 A Times of India publicationHOME & DESIGN

awardsArchitecture

Interior Design

Product Design

Visual Design

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Preview London, till September 6, 2015

Showcasing the stories of 12 dolls houses from the past 300

years, the V&A Museum of Childhood in London is hosting a major

exhibition called Small Stories: At home in a dolls house. Visitors

can take on a journey through the history of each home; explore

their everyday lives and changing family relationships. Curated by

Alice Sage, each house tells small stories that are brought to life by

the characters that live or work there. The exhibition encompasses

country mansions, the Georgian town house, suburban villas,

Small Stories: At home in a dolls house exhibition reveals the fascinating stories behind some of UKs best doll houses


Upcoming Events

Sketch to Structure,Pittsburgh, till August 17

An exhibition that focuses on demystifying the process of architectural design

Jasper Morrison: RetrospectiveBelgium, till September 13

A retrospective exhibit that celebrates British industrial designer Jasper Morrisons 35 year long career

Saving Face: 50 Years of New York City LandmarksNew York, till September 13

The city of New Yorks many iconic buildings get an exhibition dedicated just to them

Home Is Bear The Heart Is by Mister PeeblesA Night in the Studio by Ina Hyun K Shin


Dialogues: Photographs of Hlne BinetBerlin. till September 21

By contrasting her architectural photographs against those of landscapes, this exhibition celebrates the talent of Hlne Binet

Material Future: The Architecture of Herzog & de MeuronVancouver, till October 4

An exhibition examining the oeuvre of Prtizker Prize winning firm Herzog & de Meuron over the last 15 years

Snhetta - World ArchitectureCopenhagen, June 19 September 27

This exhibition celebrates the prolific Scandinavian firm Snhetta by highlighting their international projects

newly-built council estates and high-rise

apartments. According to Sage, Dolls

houses can be autobiographical or create

fantastical worlds. These special spaces are

deposits for real memories, fanciful ideas and

often a lifetime of dedication. The experience

of peeking into the tiny rooms and seeing

all the meticulous detail is fascinating for

children and adults, and hopefully everyone

will discover something new. A further 20

dolls houses dating from 1673 to 2014 are

on display within the Museums permanent

galleries. The exhibition will go on tour in the

UK, Europe and the United States.

I Always Dreamed of an Underwater Aquarium Bathroom by Katie Christiason

The Longest Party Table in the World by Paul Priestman PriestmanGoode

Library A Recent Plan by Liberty Art Fabrics Interiors

Offline Hideaway by Dominic Wilcox Wilderness Dreams by Orly Orbach

Llama Dreams by Donna Wilson

Constructing Worlds brings together the works of 18 photographers from the 1930s up to the modern times

Review London, February 20-May 17, 2015


Presented at the Barbican Art Gallery

in London, Constructing Worlds was

an exhibition that featured over 200

architectural and photographic works by

18 photographers from across the world.

Some of the participating photographers

included names like Berenice Abbott,

Walker Evans, Julius Shulman, Hlne

Binet, Hiroshi Sugimoto, Andreas

Gursky, Nadav Kander and Iwan Baan.

The subjects in the photographs include

structures by architects and designers

such as Le Corbusier, Frank Lloyd

Wright, Aldo Rossi, Charles and Ray

Eames and Daniel Liebeskind. From

New York's first skyscrapers, through

the colonial buildings in the Congo to

occupied high-rise towers in Caracas,

this exhibition promised a visual treat.

Constructing Worlds was a journey

through a long history of photography

that traced the development of

architecture around the world. Despite

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Guy Tillim, Grande Hotel, Beira, Mozambique, 2008


Thomas Struth, Clinton Road, London, 1977

the distance in time and space, the

photographers were united

in a common resolve to observe

and record the complex business

environment. The exhibition was

presented in chronological order and

covered a large variety of photographic

techniques and thematic areas. In this

exhibition, photographers challenged

the conventional norms of architectural

photography and reinterpreted an

architect's intentions by showcasing

the lived experience of a space and the

symbolic value that it bought.

Luigi Ghirri, Cemetery of San Cataldo, Modena; the ossuary in winter, 1986

Stephen Shore, Badlands National Monument, South Dakota, July 14, 1973

Simon Norfolk, Former Soviet-era 'Palace of Culture', Kabul, 2001

Author and illustrator James Gulliver Hancock traces his home town with his latest book All the Buildings in Sydney

Concept New York, May 2015

I feel sick when I am not drawing. I panic

that I may not be able to draw everything

in the world at least once, says James

Gulliver Hancock. Released in New York

and expressed through his unique and

charming cityscape handmade drawings,

Hancock's latest book pays a tribute

to the diverse architectural styles of his

hometown, Sydney. Hancocks buildings

are colourful and full of fun and offbeat

details. Though initially they may come

across as gimmicky, in actuality they

brilliantly capture the technical elements

and the essence of the architecture that

makes Sydney such a beautiful city. From

icons such as Utzons Sydney Opera

House to lesser-known gems like Mark

Foys building opposite Hyde Park, All

the Buildings in Sydney represents each

building with utmost care, detail and pre-

cision. The other noteworthy illustrations

include the terrace houses in Paddington,

the bungalows by the beaches and the

incredible sandstone buildings from

Sydneys past. Through these illustrations

Hancock aims to encourage readers to

explore the city with him, to take a step

back from the everyday, pause and take

notice of the little details that get missed

out on in their daily lives.


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All the buildings, Sydney- Kingstreet

21more homes at trendsideas.comHome Trends Vol 3 No 9 2013

Public Art

Transformative art that alters perceptions & neighbourhoods

Untitled by Collettivo FX Palermo, Italy, 2014

The Kinetoscope by Christina Angelina and Ease One Slab City, California, 2015

We wanted to create a game between reality and representation - a mural that is a depiction of a landscape that is true. This is an attempt to show the confusion that exists between reality and the representation of it.

"Kinetoscope features two female faces that partially circle the inner walls. Each individual face embodies a specific emotion tied to a meaningful moment when I trusted my

intuition, an inherent sense often ignored by society.


Countries in the southern part of the planet are draining through a hole. As an act of justice, the northern countries will follow them. I created this in a reflexive time and to represent it on the street helped take away that anger.

Stain by Pejac Santander, Spain, 2011


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Interviews

Building ConversationsViews and insights from architects, interior designers and

newsmakers that are shaping the design world

My View Portfolio

24 more projects at trendsideas.com

Interview

Principal designer and partner of HBA, Rahul Shankhwalker elaborates on how his designs link the past with the future

When and how did you notice the potential for hospitality design in India?Hirsch Bedner Associates (HBA) has been designing fine luxury hotels in India for over 40 years now and has been significantly involved in the development of some of the countrys most iconic hotels. The last couple of decades have seen a substantial evolution of the Indian economy, including the hospitality segment. HBA believes in Indias long-term growth prospects, both economically and creatively. This last decade has also seen a surge of international operators opening up hotels in India, both in the luxury and budget segment. It was only prudent to set base in India to be able to grow HBAs relationships further.

Where does India stand in terms of world architecture? With its incredible cultural wealth, designs and designers from India are at an interesting threshold of global creativity. Very few countries in the world have seen the economic

growth that India has had. This makes the country a unique place to design and develop.

How does the local context influence your approach to a project?Significantly. It is the DNA of our designs. No matter where our projects are, local context forms the base of our designs. For example, we are currently designing a spa for a luxury spa operator in Pune, which draws from and uses Warli art and artists to complete the guest experience.

When designing a hospitality project, how does one maintain that balance between thematic influences and not making the space look gimmicky?I believe that while designs have to draw from the past, they also have to respond to the future, creating a visual identity that bridges the gap between the two. In doing so, I try to understand the spatial and experiential qualities of the local context and interpret this in my own way.

Spa in Pune



Rahul shankhwalker joined HBA as a Design Director in 2007. Prior to this, he gained exten-sive work experience in Australia, singapore and India. Over his 15 years of work experi-ence, shankhwalker has developed a deep and sensitive understanding of Asian design aesthetics and his current portfolio includes luxury and mid scale hotels and resorts, spas, retail, offices, private residences, club houses, restaurants and bar lounges.

When you work with companies like Hyatt, St Regis, Marriot, etc. that have strong design identities, how do you balance it with HBAs design philosophy?I believe the best designs come from the most challenging situations. While most international operators have design identities, they also give immense creative freedom to the designers. Guidelines come from well-researched client feedback and usage and serviceability surveys. As designers, this is invaluable for us in order to create something that is long lasting and which contributes to building brand loyalty.

According to you, why are clients choosing you over Indian firms, especially in the hospitality market?HBA operates in multiple continents but we pride our selves as a Local Global Design Company. In India our staff is incredibly talented. We have designers, both home-grown and foreigntrained. Now, we want to work with local designers who understand the local context and work culture and who drive designs and build amazing properties. In all practicality, we are an Indian firm because we do a considerable amount of creative work out of our Indian offices.

Amongst all the hospitality projects executed by HBA, which one would you term as the best, and why? My favourite is the Four Seasons Resort in Seychelles. The designs are simple yet elegant, and are powerful in a way that a guest who checks in there has no choice but to leave his worries behind him and unwind. This property really does fulfil its function and do what it was meant to do i.e. help its guests relax.

House in Australia

Spa in Pune

Double Tree Hilton, Goa


Interview

Navin Raheja of Raheja Developers talks to Preeti Singh about all matters real estate. Gen next and executive director, Nayan Raheja joins in the conversation

What are your thoughts on the deadlock on the real-estate scene currently?Navin Raheja: It is mindless oversupplying brought into the market by so many inexperienced people with the view to make big money. That has spoiled the entire credibility of the sector along with the confidence of customers. On top of it, the last five years have seen a slowdown in economic growth.

How does one break this real estate deadlock? Navin Raheja: It needs a trigger. Firstly, the government should understand that investment in real estate, in any country and in any economy has always proved to be a turnover for that economy. This sector is supporting more than 250 industries. The leather industry, steel, cement, copper or glass, wood, plastic mills, mechanical, plumbing, almost all these industries are directly affected by the real estate sector. The simple logic is to make people invest in real estate by bringing down the home loan interest rates. When they bring the interest rate down to 6-7% on home loans, the country will start growing in double digits. Secondly, please allow us to work. The government should ease the rules of doing business for us. They come up with something new everyday. One more legislation or one more rule to follow. We are not being given time to work. There are so many compliances to fulfil. Be it venue, electricity, water, environment, other local authorities, fire, labour and all the taxations. And all of these people are not actually supporting us. These problems need to be sorted out. The government can put all these things online. Currently, there is online approval as a single window clearance and we are stuck only with attending to them.

Shouldnt prices then come down considerably? Navin Raheja: Prices have come down already. But now bringing them down further is not possible because they are, I think, at cost or maybe below cost. It will be disaster for anybody selling below this.

Real estate was not your first business venture.Navin Raheja: After passing out from college, I had savings of about Rs 5000 from a scholarship. With that I started my first business of providing accessories for scooters. It was a very innovative idea at the time, nobody was doing it. Then, in 1982, there was Asian Games, so I introduced colour TVs also for the first time in Delhi. I was one of the initial distributors for EC and Uptron tv sets. Because of these opportunities, I made good money and by 83 I made my first investment in real estate. And it doubled in less than three months. That gave me a taste of how to bat faster, you know, a faster run-rate.

You have made a sustained effort to work with international firms. Navin Raheja: The Burj Khalifa in Dubai has been made by Arab builders. So we tried to get in touch with them because they have the competency to create that level of work and those structures. There was a lot of resistance on their part; they were not willing to work with Indians. But ultimately, Nayan, my son, convinced them. Designing alliances are there with the best global companies like Thornton Tomasetti, who are also working on some projects with us. We are bringing in talented companies from all over the world, even to execute our individual modules, after construction. Even our architects are talented international names.

Home & Design Trends Vol 3 No 2 2015


Raheja Developers Limited was established in 1990 by Navin M Raheja. He holds a MBE degree and is a post graduate in Journalism. His company is regarded as one of the big-gest companies in India with executable and sanction projects over 60 million sq ft in hand with projects spanning over 900 acres of land at various stages of deliberations.

Why dont developers work with Indian architects and firms? Navin Raheja: I used to work with Indian architects about 10 years ago. But I always had to go back for frequent changes in the drawings. The quality was not really that good. Then we hired the best of the architects from the School of Planning & Architecture. We have a team of about 30 architects from the best of the institutes. They are good in local master planning and in their knowledge of by-laws. And they collaborate with our international architects too.

Whats next for the company?Nayan Raheja: We are evolving with the times and there will be a dramatic shift in the kind of product mix that we do. Currently, it is probably 80% residential and within that 80% we have probably 50% of the luxury homes for the middle segment homes. I think that will dramatically shift to a 30% luxury and you know like 30% middle and a 40% lower-income group sort of a thing. That is the kind of demand pattern, which exists in the country. Also, we are in the process of creating smart technology for homes in the same way we see apps in our phone. I think the last frontier achieved for smart technology is going to be peoples homes. We are creating a new sort of technology where soon you will see lot of prototypes where you will be able to experience your lifestyle better. Through this technology, if you want to go for a game of tennis and you know that your friend might be available, you can check via this technology to see if a booking is available at the tennis court at 5 pm and ask if your friend is also there. It automatically communicates. It is almost like Artificial Intelligence (AI). The home starts having a personality of its own where you can communicate with it. Apple and Google are working on it as well.


Interview

Architect Alan Abrahams radical proposal, The Bombay Greenway Project, has the potential to transform Mumbais landscape

What is the Bombay Greenway Project?The Bombay Greenway Project is a conceptual design to create a green umbrella over the citys local railway system. If the Greenway Project were to be implemented, 114 km of railway line will serve as 114 km stretch of podium gardens that will be traffic-free and meant for pedestrians only. The sides of the tracks will be barricaded to discourage people from crossing and there will be entry and exit points at every 400 m intervals which would make it easy to access the greenway which serves as a North South connector and dissolves the East West divide. The three prime objectives of the project are to prevent railway crossing deaths, create 1000 acres of open space and to positively influence the lives of the 7.7 million people that use the trains daily. The project aims to improve the basic lifestyle that is less stressful and relatively safe. The Bombay Greenway Project is not about cleaning up or beautifying the streets. It is a simple, new idea. All it proposes is to rethink the use of public spaces that already exist.

How did the idea manifest? This proposal was born out of frustration. We assessed the problems and the potential of the city and instead of complaining, we decided to create a concrete plan and present it. Its easy to transform a project from bad to good through design. It even won the International Urban Planning & Urban Design competition, 2013 at Velo-City, Austria and we hoped that this would

create a fallout effect here. But the sad part is that locally people are not willing to listen.

What feedback have you received from government that can help execute the proposal?We are trying to contact the right people, however, the Government bodies have been unresponsive. The important thing here is to create awareness amongst people.

Is the recognition a challenge?Getting local recognition from the right people is the major challenge. The rest is mainly getting people to accept, study and take this new idea forward in a way that is feasible.

The project requires coordination and involves major policy decisions. Given the general situation when it comes to policy makers, what encouraged you to conceptualise a project of this magnitude? We have proposed the concepts and case studies in individual parts to make it simple. This allows people to understand that it is quite feasible and not too ambitious if you break it into parts. The moment each component connects, it will transform the city. We can think of the designs, but we cannot execute every single one. In this instance, it is beyond our scope. To execute, you need the bureaucrat, the politician and policy makers to come together. These agencies have come together to relook at the development plan. This is an ideal time for discussing and integrating these ideas into the plan.


- In conversation with Amanda Peters

Alan Abraham is the joint principal architect of Abraham John of Abraham John Architects. Founded in 1967, it is a multidisciplinary architecture, interior design, landscaping and urban planning firm in Mumbai. With a spectrum of clients, the firms design approach is to re- connect architecture with nature.


1. Proposed design of the Bombay Greenway Project. This rendering shows the podium garden as they will be constructed above the railway lines as well as the barricades meant to prevent pedesterians from crossing over the tracks. The greenery of the podium gardens will have a positive impact on the surrouding urbanscape.

2. The Bombay Greenway Project future station section (Bandra Station, Western Railways)(i) Ramp access to the Greenway(ii) Skywalk access to the Greenway(iii) Staircase access to and fro from the station(iv) Skylight for the railway station on the Greenway(v) Greenway Ramping up to avoid disruption in cyclists movement(vi) Greenway access to the railway station

3. Walk, cycle and play routes on the Western Line between Khar and Mahim.

4. The proposed underpass for the Juhu Beach Project Plan

Manish DikshitAum Architects, Mumbai

Colour has a very powerful meaning in architecture. Contradictions can be easily found, because it is hard not to be subjective with such a topic. Another problem with making general conclusions is the fact that colours have different meanings in different cultures. For example, in Europe black is for mourning, though in northern parts of Portugal brides wear black gowns on their wedding day. In East Asia white is the colour of mourning and in most of Europe it is the colour of purity. Similarly, in the context of Indian architecture, earthen colours are used to blend with the surrounding macro environment.

Indrajit kembhavikembhavi Architecture foundation, bangalore

Architecture is all about symbolism where infinite forms are created out of infinite spaces, hence I cannot associate this profound realm to a monochrome, but rather I do relate it to a spectrum, which is also defined as a condition, not limited to a set of chromatic values, but one that can vary within a continuum.

Colour is not just an emotion but a part of the character of the structures we design. For example, earthen shades give a homely aesthetic and are used mainly for residential projects,

whereas commercial and corporate projects are done in formal colours like greys, whites, walnut etc. Though most of

our works have a basic tone of grey or light beige to help give a subtle, cool and pleasing look, our main enhancer is always

green adding freshness and life to the projects.

Dexter fernandesuneven, vadodara

My View


On: How a colour palette contributes towards the larger context of architecture

Percy kutar4.4 Design, Mumbai

Associating a single colour with the art of architecture is problematic; its like asking which colour would you associate with the art of painting, or for that matter any art. However, I believe that in architecture, colour is best expressed by an honest expression of its materiality- singular or plural and the way in which light plays with it.

Dikshu kukreja C P kukreja Associates, new Delhi

Melissa smithbanduksmith studio, Ahmedabad

In architecture, the entire colour palette acts a strong tool for any built form to communicate with the world.

Therefore, rather than associating it with a specific colour, I think it is the entire colour palette that one

should draw from in order to suit the specificities and the context of any project so concerned.

More than any particular colour it is the clarity of colour and its meaning for representation that I associate with the

processes of architecture. Colour is powerful when used with restraint. In my first year of school, we were limited to

the use of black and white, plus just one spot colour (either cyan, magenta or yellow, pure ink cartridge colours). What

this taught me was all the things that organisation, scale and proportion can do and how careful use of colour helps

to communicate. Colour restraint for communication is a practice I continue to use even today, both in the drawings

we make, and in the materials we use on our sites.

- Compiled by Dushyant Shekhawat


For centuries human settlements have developed in mixed-use patterns, that blend in a combination of residential, commercial, cultural, institutional and industrial zones. Knight Frank, one of the worlds largest global property consultancies, affirms that given the lack of housing supply and land constraints, mixed-use development is an important and necessary part of the urban renewal and regeneration process.

The term mixed-use, though straightforward, varies in definition from different zones, cities and countries. However, key elements define the present mixed-use approach as a space that amasses different users, designed with a revenue generating approach, with a significant functional and physical integration of spaces and services. While developing mixed-use zones in entirety is often unfeasible, either by a single developer or without municipal support, vertical single unit mixed-use developments have been in play for a while. Early examples of these vertical mixed-use developments are apartment buildings with ground level retail spaces.

Recently, major vertical mixed-use developments have presented themselves as a phenomenon, with the real estate industry investing in opportunities to create vibrant, sustainable and revenue generating spaces. Vertical mixed-use developments hold more potential and have an advantage over the typical single-use structures, thereby making them the next step for sprawling cities.

The design of a vertical mixed-use development must achieve an efficient solution to integrating the spaces while isolating the individual services. They are also required to manage the sensitive spaces such as commercial offices and residences, with regard to potentially disturbing aspects of public spaces such as hospitality and retail outlets. 96 Iconic Tower (Colombo, Sri Lanka), designed as a ball balanced between four bats to commemorate the achievements of the winners of the 1996 Cricket World Cup, is an amalgamation of retail, commercial, residential, institutional, hospitality and public spaces.

The challenge while designing this mixed-use tower was to integrate five different users stacked on top of each other, while providing them individual and independent functioning. The commercial spaces, such as the multi-screen cinema on level four, offices on level five, and the panoramic restaurant on level 94 and 95 have the lift lobby located on the basement level. The public spaces, a 360 observatory on level

Mumbai-based architect Reza Kabul setup his own firm M/s Architect Reza Kabul in 1988. Kabuls vision has lead to successful and path-breaking projects like Radisson Hotel (Mauritius), Arista (Mumbai), Earth Infra (Gurgaon), etc that are centred on his design philosophy of liberating spaces. Some of his well-known clients are Le Meridien, ITC, Ramada and Ajmera Realty.

Guest Column

The design of a vertical mixed-use development must achieve an efficient solution to integrating spaces while isolating individual services, says architect Reza Kabul


92 and the Sri Lankan Cricket Legends Museum on level 93, have ticket counters and lift lobbies located on the south side of the ground level. The retail spaces, spread across the ground level to level three, are interconnected with a series of 18 escalators and six elevators. The north side of the ground level acts as a separate entry for the residential spaces, with six elevators taking them to the residential lobby situated on level six, which houses nine elevators for residents and their guests, and three service elevators, leading to the residential apartments across level 15 to level 90, punctuated by service floors and entertainment decks.

Form and function, the most hackneyed words in architecture, have been major influencers of design the world over. Commercial structures, however, demand the additional integration of performance and management, which helps maintain the revenue generating component. Mixed-use projects offer developers the opportunity to spread risks while generating higher yields. At the same time, complementary tenants attract prospective consumers from a variety of sectors. Raghuleela Mall (Navi Mumbai, India) is a classic example, where the mall is constructed on an IT Park plot, giving the retail sector its prospective consumer. While the 60% of the plot consists of the IT Park, zoning dictated that 40% be used for commercial purposes, and we incorporated a mall, a multi-screen cinema, banquet facilities and swimming pool equipped gymnasium. The location, next to the local railway station, attracts an even larger number of daily commuters passing by. The commercial spaces have been designed to be open and permeable to encourage people to walk through the site, while the central atrium of the mall encloses a public piazza which establishes the social focus. The solution to smooth functioning of the mixed-use development is using the same space in different moods and different attires with different users, and separating the main areas from the service areas.

Mixed-use developments, whether horizontal or vertical, promote smart growth. While creating new urban strategies and synergies in an existing city is challenging, it does lead to efficient land use. Integrating different zones makes them readily accessible in one location, while reducing the dependency on public and transport facilities. We stand at the beginning of a revolutionary era, where the mixed-use developments are substituting the high-street concepts of the mid 20th century.

Iconic Tower

Raghuleela Mall - Central Atrium


Portfolio


In this prelude to the photo-essay on the Kochi Muziris Biennale 2014, its founder, Bose Krishnamachari talks to Preeti Singh about responsibility, opportunity and struggle


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Is it fair to say that the creative community in India, including architects, seems hesitant to acknowledge and take on social responsibility through their work?Its a sad truth but also an indication of the system we have. Many of the artists/architects are not really aware of whats happening in the country. I hardly see people reading newspapers or trying to get news and information about whats happening in the country. I dont see a lot of people interested in politics, daily issues and policy matters, and I think this is a dangerous trend - to be disengaged from our daily reality. I think the Europeans, the Americans and the Australians have realised that their art and work can affect the culture and ethos of their communities. They realise the potential of this soft-power. And sometimes this becomes much more powerful than political diplomats and diplomacy, transcending boundaries and connecting people and nations. Its also one of the reasons why internationally they do more cultural and educational exchange programmes. I think it is high time artists and architects of this country became more socially aware and responsible.

Do you think its also a matter of conversation between the creative community and the political class? Can enough pressure from the art and design community enable the process?I am sure that there are other concerned people in the creative community and some steps had been taken in this regard. Many people have tried it; in 2005, the art community tried to start a biennale in New

Delhi. The initial amount of three crores was not be given by the New Delhi government. They said, Three crores? For art? They should understand that it is public money and benefits the public at large; it brings tourists, national and international visitors and culture grows and proliferates through such kind of policy making.

Culture tourism is good economic sense.Yes, but nationally, we have been a disappointment. Only 0.02% of the GDP is put aside for art. Compared to other public funding and public funded projects, 0.02% is almost nothing, not even an afterthought. I read somewhere that Britain generates 35% of its GDP through cultural tourism. This is huge. That is one of the reasons they are making more museums and protecting their monuments. Take for example, the Tate Modern. When the authorities felt that they could not accommodate five million people in a large 3,75,000 sq ft space, they decided to make another wing for performances, reading, exhibition spaces etc. They are also spending 260 million to create that building. We have to understand the value of investing in art and culture and the long-term benefits of it. India has such a rich heritage and cultural legacy. And it is time that we start telling our own stories rather than depend on someone elses version of it.

How did you come to organise a Biennale?We used to have something called the Triennale in Delhi, in 1968, which was started by Dr Mulk Raj Anand and some artists. It was a part of the nation-building programme at that time. But due to various reasons it


ended in 2005. In 2009, MA Baby, Keralas then education and cultural minister had come to visit my house. He wanted to raise funds for education and culture. I told him it was possible, but it would take time and there will be, almost every week, an invitation to court, strikes, cancellations, many things. Name anything and it will keep on getting worse. Then I called artist Riyas Komu over for dinner and we agreed that the best thing that could be done culturally for Kerala was to have a biennale focusing on art. We decided on the biennale because it would be a recurring event and would create a platform and avenues for direct engagement with the public. It would also, in the course of time, create a vibrant and thriving economy around the Biennale and would benefit the state not just economically but socially and culturally as well. Kerala does have other festivals Trivandrum has a fantastic international film festival, a theatre festival in Thrissur, literature-wise Kerala is well known. But when it comes to visual art, it has always been sidelined and there is no infrastructure that takes care of that. The Biennale would change all that. So that is what we decided upon and presented to MA Baby who agreed.

Other than securing funds, what has been the second greatest challenge with the Kochi Biennale that you had to overcome? It was to create an infrastructure that was worthy of museum quality artwork, because otherwise no artist will send or exhibit their works. I can invite an artist for the Biennale but they wont send their works without any kind of control of the space. Some works

need to have a certain environment. And now, after all the preparations we have done in Kochi, we are confident that the space we have created can host exhibitions of Picasso, Van Gogh or Rembrandt. We are prepared for that kind of space and weather control. In fact, in the first year of the Biennale, we had the first exhibition brought from the Dresden museum; they wanted to know, every day, what the weather was, what the temperature was etc. This went on for 30 days after which they said, OK, well send the work. These are the kind of things we have to manage carefully. We also created additional exhibition spaces out of unused buildings and warehouses. People were excited to not only see international quality art-works but also how artists utilise these old architectural spaces to appropriate their ideas.

This has become an event for posterity. What is your vision for it?Definitely, the Kochi-Muziris Biennale will become the destination for experiencing contemporary art. We would also like to create infrastructure for education and make a museum, not in the sense just a museum that collects paintings but an interactive one. In future I hope that we can start an architecture biennale. We can imagine many things but I want to be able to do them. We can have hundreds of ideas, but we focus on the ones that reflect quality and elevate the space and region to a different level.

How is the work invited for the Biennale?The artists chosen for the Biennale are chosen by its curator, who would have done his research on the region, its history,

politics, culture etc and will decide what one can call a theme. He will then conduct research trips to identify the artists who could take on his themes and best react to the site. We give maximum freedom to the artists, whatever the cost may be. We invite them, but one of the first conditions is that we want every artist to come see the site, because the site is an important space for creating the project. Then the city is very important; it is very important to include its history. During the first biennale 73% of the work was produced on-site and more than 60% during the second edition.

You mentioned earlier, the environment in which the works are housed is essential. In that, I must say they are absolutely respectful. The sites and the works are so entrenched together.As the biennale director, I have something to do with that. When it comes to the design of a project like this, everything is decided through me. We can look at inviting any artist in the world, but if we cannot afford it, then I say no.

You said somewhere that the challenges you faced organising the Biennale have added a unique flavor to it.Yes, you should have a challenging space otherwise there is no interest in creating something. Conflict is important. Conflict puts you in a certain kind of space and pushes you to innovate and create your way out, to survive. You need to understand conflict; you need to understand extremity. If you understand extremities, you can definitely create better. Conflict is very important. I enjoy it; I have no complaints. We did it against all odds.

three decimal points/ Of a minute/ Of a second/ Of a degree by bharti kherThis installation is artist Bharti Khers fascination with and research into several concepts; the Penrose triangle, medieval astronomical charts by the Arab scholar Al-Biruni and one of colonial Indias greatest undertakings, the Triangulation Survey of India. Through this piece, Kher seeks to undervalue that, which is not abstruse. The installation is composed of suspended triangles, each containing a swinging pendulum, creating an aura of instability but never actually collapsing.



the Power of ten by Charles and ray eamesThe Power of Ten is a 1977 art film made by the designer duo Charles and Ray Eames. This piece of conceptual cinema offers a perspective

of the universe from multiple scales, from the most expansive to the minutest. Beginning with an overhead shot of a couple in a park,

the film zooms out by the power of ten every 10 seconds, gradually transporting the viewer to the outer reaches of space. At the point where human knowledge of the universe ends, the camera begins to zoom back in, at the power of minus 10, culminating in visuals

of protons at a sub-atomic level, offering a reminder of the infinite worlds with which we share our universe.


Mary wants to read a book by navjot AltafBoth a celebration of the state of Keralas literacy movement and

an alarm call for the state of climate degradation, the Mary Wants to Read a Book installation by Navjot Altaf underlines the need for development that is not harmful for the ecology. The installation is

an immersive, built-up space comprising over 2000 books made from recycled paper. The form of the installation is also a three

dimensional recreation of a scientific chart documenting 2000 years of climatic change. By offsetting Keralas praiseworthy literacy rate

and library culture with global environmental degradation, Altafs work is suggestive of alternative modes of development.


untitled by unnikrishnan CThis free-standing wall composed of more than 300 bricks is the work of Unnikrishnan C, one of the youngest artists that

exhibited at this years Kochi-Muziris Biennale. Each brick serves as a miniature canvas for Unnikrishnan and he has covered them in paintings that recall his childhood in rural

Kerala. The subjects of his paintings are often relics of a bygone era, including imagery reminiscent of professions and

lifestyles falling by the wayside in modern times.

the fires of faith by benitha PerciyalIt is believed that St Thomas bought the Christian faith to Indian shores when he landed in Kerala in 52 BC. Benitha Perciyals installation delves into this history, examining the culture of religious imagery that flourished in India with the proliferation of Christianity. These sculptures are crafted from incense made from natural materials like aromatic herbs and spices and are intended to devolve to reflect the passage of time; cracks will appear and the fragrance will fade, turning these sculptures into a testament to impermanence.


Matter by ns HarshaNS Harsha is a painter, sculptor and artist who likes to offer

what he calls birds eye views of life. In Matter, he creates a bronze sculpture of a lone monkey grasping a spherical

whilst pointing upwards at the sky. The imagery of the solitary primate silently gesturing at the heavens leaves the interpretation up to the viewer. It is a work formed from the

depths of speechlessness, says Harsha.


the Arrival of vasco da Gama (after an 1898 painting by Jose veloso salgado) by Pushpamala n

Pushpamala N is an artistic performer whose pursuits include a series of masquerades where she subverts iconic images by staging recreations, which she inhabits herself. In this image, a recreation of Jose Veloso Salgados painting Vasco da Gama perante o Samorim de Calecute, Pushpamala essays the role of the eponymous navigator. This reconstructed photograph uses the element of theatricality to offer a critique on how this historic event grew into the status of myth over the passage of years.


sun shadow by Pors & raoSun Shadow is the creation of Bangalore-based

artistic duo, Aparna Rao and Sren Pors. This illusory installation at first appears to be discarded material,

the kind of unclaimed debris one might find at a large exhibition. But this sun, crafted from plastic,

metal and rubber, hides hidden electromagnetic components that make it come alive. Intermittently,

this melting outline of the sun moves upwards, attempting to rise before collapsing back down into its original state as if exhausted by the effort. The artists

sense of playfulness and dark humour infects this piece, much like their other installations.


- Compiled by Dushyant Shekhawat

Iconic Design Arc de Triomphe de lEtoile, Paris

arched respect

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- Written by Moshita Prajapati

It is 1806 and Napolean I, triumphant from his

victories in Europe, commissions French architect

Jean Chalgrin to design a monument that would

be a fitting tribute to the French Army. Chalgrins

design is that of an arch, inspired by the arches that

successful Roman generals and their armies would

later on march under to celebrate their victories

during the Antiquity period.

Named the Arc de Triomphe de lEtoile (The Arc

of Triumph) it is located on the Place Charles de

Gaulle, Paris. It took two years just to lay down the

foundations for the arch. And it took almost 30 years

to complete it. The monument stands 50 m (164 ft)

in height, 45 m (148 ft) wide and 22 m (72 ft) deep.

Jean Galgrin passed away during its construction

and the project was then completed under the

supervision of Jean-Nicolas Huyot. The triumphal

arch is adorned with many reliefs, most of them

commemorating the emperors battles. At the top

of the arch are 30 shields, each of them bearing

the name of one of Napoleons successful battles.

Below the arch is the Grave of the Unknown

Soldiers, honoring the many who died during the

First World War. It would be the biggest, widest and

tallest triumphant arch in the world; (in 1919 Charles

Godfrey successfully flew his biplane under the arch

to showcase its width), till the Arch of Triumph in

Pyongyang was completed in 1982, but The Arc of

Triumph still remains the most iconic in the world.


Commercial Design A residential redevelopment complex, a mixed-use structure and a beach club - the projects in this section showcase how commercial design is getting redefined throughout the world

Project Portfolio

Community spiritWith its hexagonal matrix of interlocking building blocks, this residential development weaves a new sense of collective engagement


Distinguished architectural firms are most often commissioned to design prestigious projects for the high end of the market. But the experience and skills they can bring to a more populist market niche can have far greater ramifications.

This Singapore project proves that innovative architecture is not the sole prerogative of an elite few. Rather, it can be accessible to a much wider market in this case more than 1000 households.

The Interlace, developed by CapitaLand Singapore, was designed by architect Ole Scheeren working for OMA. The design brief was straightf orward the development needed to create an iconic urban habitat of the future, says Wong Heang Fine, chief executive officer of CapitaLand

Preceding pages:With its 31 stacked blocks arranged in a hexagonal pattern, The Interlace creates a new form of vertical village. The buildings enclose large courtyards that provide a wealth of recreational facilities.

Below:Each block is six storeys high, but at no point does the development exceed the stipulated 24 storeys. The openings between the buildings create physical and visual permeability, providing cross ventilation and maximising views.

Singapore (Residential).This was always going to be an exemplary

development that would promote a sustainable, highly accessible and eco-friendly living environ-ment, with a strong sense of community, he says. We set out to create an outstanding design for a development that is not only within reach of those who aspire to own a private residential unit, but also those who aspire to a unique lifestyle.

The design was driven by many factors, including the shape of the 8ha site, which completes a 9km green belt. It was also determined by the need to maximise opportunities for social interaction.

In Singapore, the standard typology for residential developments is a cluster of isolated,


Below:The hexagonal form can be seen from above, in both the plan and finished development.

Right:Because the buildings are stacked on a 120 angle, views and privacy are maximised. The hexagon motif can be seen on the underside of the concrete slabs.

towers, which do little to enhance a sense of community, the architect says. This design, in contrast, explores a dramatically different approach to tropical living, providing an expansive and inter-connected network of communal spaces within a natural environment.

Thirty-one apartment blocks, each six storeys high, are stacked in a hexagonal arrangement to create eight large-scale courtyards. The interlocking blocks resemble a vertical village, complete with cascading sky gardens and both public and private roof terraces. Extensive residential amenities and facilities are interwoven with the landscape, amid lush vegetation, providing opportunities for social interaction, leisure and recreation.

The architecture is more about the spaces between the buildings than the built-up areas themselves, says Scheeren. While the buildings provide the residences, they are more importantly a tool to generate the open spaces.

The architect says the company experimented with many different configurations to maximise the design of the courtyards and natural light.

In the end, it was the hexagon that won out over a square or rectangular form. The angles at which the buildings meet are 120, not 90. This means the buildings are slightly turned away from each other, which helps to open up the views and pro-vides more privacy. It also creates well-articulated outdoor areas.

Scheeren says the stacking principle ensured there would always be openings in the blocks.

There are no sealed envelopes the buildings are completely permeable, he says. This allows the light, wind and cooling breezes to penetrate. It also creates visual openings, so residents dont feel

cut off from the wider landscape. The development has a very different feel to a tower block it is all about lightness, openness and transparency.

The architect says the exterior of the building is layered to create a stratification of outdoor living areas. These range from highly communal sky gardens to slightly more private terraces and very private spaces. All apartments have balconies, and many have protruding terraces that can become an extension of the living room.

It looks deceptively simple, but there is a richness and complexity to the architecture that helps to generate a sense of excitement and freedom, says Scheeren. The development never feels crowded.

The accommodation itself is also varied within each block. While the overall building form is highly dynamic, each individual block is an entirely prag-matic rectangle that allows a very efficient layout. Spaces are also generously sized and light filled, and the quality of the fit-out is high.

As with all OMA buildings, sustainable design determined every aspect of the architecture.

We incorporated passive design strategies throughout the project, says the architect. Daylight is optimised, and there is shading in the courtyards. Apartments are positioned to minimise solar gain, while taking advantage of the breezes permeating through the building. The apartments also benefit from evaporative cooling over the various bodies of water, which remove humidity.

Communal facilities include an environmental deck, which is integrated into the green belt. This incorporates the eight themed courtyards created by the built forms, which in turn are linked by a 4m-wide jogging track. One of the courtyards is


Project:The Interlace, SingaporeDevelopers:CapitaLand Singapore; Hotel Properties LtdDesign architect:OMA designer and partner-in-charge Ole Scheeren (now at Buro Ole Scheeren) Architect of record:RSP Architects Planners & EngineersMain contractor:Woh Hup (Private) LimitedCivil and structural engineering consultant: TY Lin International Mechanical and electrical engineering consultant:Squire Mech Landscape architect:ICN Design InternationalQuantity surveyor:Langdon & Seah Singapore

Awards:Urban Habitat Award 2014; CNBC Asia Pacific Property Award 2010 Best Architecture (Multiple Units) Singapore; BCA Universal Design Mark Platinum Award; BCA Green Mark GoldPLUS Award

Story by Colleen HawkesPhotography courtesy of CapitaLand Singapore and Woh Hup (Private) Limited

Above:Each of the eight large courtyards is themed and lushly landscaped. In time there will be cascading sky gardens as well.

designated as a community garden for use by resi-dents. Art works, including sculptures by renowned artists, have been integrated into the landscape.

Multi-generational interaction is encouraged, with childrens playgrounds as well as exercising equipment for adults and the elderly. Approximately 130 apartments are designed with ageing-in-place provisions, such as step-free bathrooms. There are also 16 dual-key units, which provide separate but adjoining apartments that will serve the needs of multi-generational families.

Wong Heang Fine says that at the end of May 860 units out of 1040 had been sold.

The feedback from residents confirms The Interlace is like a self-sufficient community within a well-established development, with all the facilities they need available on site.

Wong says the development has already received several notable awards and has cemented its position as a new Singapore landmark.


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Its rare to acquire an entire city block for redevelopment, but when it does happen theres an unparalleled opportunity for developers and architects to make a significant contribution to the fabric of a city.

The former Chippendale United Brewery site on the western fringe of the Sydney CBD has been transformed by a masterplanned joint venture between Frasers Property Australia and Sekisui House Australia.

But it wasnt simply a case of throwing out the old for the new. While the developers of the 5.8 ha site were looking to raise the benchmark for innova-tion and sustainability, they were also wanting to preserve key heritage elements and give something back to the city.

One Central Park, designed by Ateliers Jean Nouvel, France and collaborating architectural firm PTW Architects, consequently reflects an holistic

approach to urban design, says PTW architect Mark Giles.

This was an opportunity to reinvigorate an entire precinct in what is essentially a city of small villages. Connectivity was crucial for so many years the old brewery site had been closed off to the public. We needed to open up the entire space, hence the idea of a park-like development that would provide through links along key axes. The site is close to Central Railway Station and two universities, so pedestrian traffic is high.

In designing the tall east tower, we took into account the height of the existing UTS building on the other side of road, where Broadway becomes Parramatta Road, a key arterial route. We chose to match this height so the two towers together create a gateway to the city from the west. There is also a strong urban edge to the development on this side.

In contrast, the residential nature of the

Sense of placeDefined by its green walls and cantilevered heliostat reflectors, this large-scale mixed-use development creates a new gateway to the Sydney CBD

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Preceding pages:A cantilevered Sky Garden and giant reflector frame are key features of the new One Central Park development in Sydney, designed by Ateliers Jean Nouvel and PTW Architects. Vertical gardens are already transforming the exterior.

Below:Central Park, in the lower centre of this aerial image, occupies an entire city block. The precinct is on the CBD fringe, close to Central Railway Station and two universities.

Right:Chippendale Green is an open public space within the precinct, with pathways aligned with key through routes. Public artworks include Halo, a wind-powered 13 m-tall kinetic sculpture by Jennifer Turpin and Michaelie Crawford.

Chippendale area to the south is reflected in an undulating facade treatment to the south of the two towers. There is also a liveliness to this elevation, with the balconies stepping in and out this creates a softer facade.

One Central Park East tower, at 33 storeys, provides 383 apartments, while the 16-storey One Central Park West tower accommodates 240 apartments. Sky at Central Park, the precincts premium penthouse and sub-penthouse collection, comprises 38 residences in the top five levels of East tower.

The development also boasts a five-level 16,000m2 shopping centre beneath a landscaped podium, a Sky Garden at Level 29, a 6400 m2 land-scaped public park at ground level Chippendale Green plus new public pocket parks. Thirty-three heritage elements have been retained and are being restored for adaptive re-use. These include a prominent tiled archway at Carlton Street, terraces and warehouses, three pubs, the Brewery Yard buildings and brick stack, and the original brewery

administration building.However, it is the East towers striking form, with

its cantilevered platforms, that has transformed the skyline. The platforms have a highly functional role in terms of bringing natural light down into the park, and the retail centre below.

The smaller west tower has 40 6.2 m2 heliostat panels on top, which track the sun during the day, says Giles. Sunlight falling onto these reflector panels is bounced back up to 320 0.8m2 fixed reflector panels cantilevered off the taller east tower. These panels reflect the light back down, with 40% of the light falling onto a large skylight over the retail centre.

This skylight has a shallow pool of water over it, so the light shimmers down into the atrium, giving it an ephemeral look. Plants in the atrium thrive on that reflected light. The remaining 60% of the light from the reflector frame is directed down into the southern plaza.

The heliostat is believed to be the first of its kind to be used in a residential context in Australia, and


Below:The Best Tall Building in the World, as voted by the Council on Tall Buildings and Urban Habitat (CTBUH), One Central Park features walkways on the retail podium. These are illuminated by reflected natural light from the heliostats.

Right:The reflector frame is positioned to catch sunlight reflected up from heliostats on the roof of the lower building. The height of the east tower matches the 1960s UTS building on the other side of the road.

the largest of its type in the world used in an urban environment. By night, the reflector frame becomes a giant LED-illuminated multicoloured artwork, titled Sea Mirror, by artist Yann Kersal.

The monumental form of the tower is further enhanced by the green walls that feature through-out One Central Park. Designed by French botanist Patrick Blanc, the vertical gardens cover more than 1200 m2, across 23 panels.

Every side of the building has a different microclimate that needed to be taken into account with the plant selection, says Giles. Plants were also chosen to flower at different times of the year, which is why there are 383 species, both

indigenous and imported. These all help to create a discernible tiering of green, like a ribbon that winds up the building. The plants are watered by a gravity-feed system that pumps recycled water up to the top of the building, where it is enriched with nutrients, then drip-fed back down the facade.

The greening of the building continues on the top of the podium, which is a recreational area for residents. This features landscaped gardens, a long swimming pool and a number of Jacuzzis.

The Level 29 Sky Garden on the cantilevered deck is another amenity for residents of the Sky penthouses and sub-penthouses. The garden is accessed through a darkened passage that opens


Left:The reflector frame shines light down into the retail atrium.

Right:An orange-red glass box forms a transition zone that leads to the cantilevered Sky Garden.


into an area washed with bright orange-red glass. This is a transition zone that heightens the

sense of anticipation, says Giles. The natural daylight is a burst of colour at the end of the walk-way, where you emerge to find yourself out on the cantilevered platform at the top of the building. This area is also beautifully landscaped, with gardens and a Jacuzzi.

A similar attention to detail can be seen on the interiors. Giles says every apartment, from the smallest studio to the penthouses, has a similar design approach and material palette.

The design needed to be of a signature quality that is consistent right through the building. Smart, articulate design has always been a priority for the joint venture developers, and this is a key part of the One Central Park experience.

Sustainable initiatives were another key driver of the design. One Central Park, Central retail and Park Lane have all achieved 5 Star Green Star rat-ings from the Green Building Council of Australia. While the vertical gardens are one of the most vis-ible expressions of the commitment to sustainable urban living, other eco-friendly features are much in evidence. One Central Park houses its own central thermal plant and tri-generation power station, using low-emission gas to produce electricity and thermal power for heating and cooling. Rainwater is harvested, and grey water and black water retained for re-use in laundries, toilets and gardens.

Other initiatives include a 44-vehicle GoGet car share service, and 94% recycling or re-use of mate-rials removed from the site during demolition.

Giles says the developers commitment to the community is already paying off, in terms of enlivening the precinct. The retail centre, hospitality venues and Chippendale Green are in constant use.

And the apartments themselves have been highly sought after since day one.

The variety of units on sale ensured there was something for everyone, to the extent that Frasers was selling one apartment every minute during the launch, says Giles.

Central Park development director Mick Caddey says the completion of One Central Park is a signifi-cant milestone for the joint venture partners.

This is an outstanding achievement with the visually striking design representing the core values of Central Park in delivering an innovative, environmentally sensitive and sustainable design of high standard.

Left:Sub-penthouses in Sky at Central Park at the top of the east tower incorporate balconies that can be closed in if required. As with every apartment in the precinct, the interior features high-quality natural materials.

Below:Gardens right outside the apartments enhance the views. The gardens are watered and fed automatically by a gravity-feed system.

Below right:Tiled bathrooms, mirrored walls and contemporary sanitaryware feature in the sub-penthouses.

Project:One Central Park, SydneyDeveloper:Frasers Property Australia; Sekisui House AustraliaArchitect:Ateliers Jean Nouvel, France; PTW Architects, Sydneyinterior design:East Tower by Koichi Takada Architects; West Tower by Smart Design StudioStructural engineer:Robert Bird GroupBuilding services engineer:Arupinfrastructure services engineer:WSP Groupfacade engineer:Surface Design Consulting GroupGeotechnical engineer:JK GeotechnicsCivil engineer (roads):Mott MacDonaldConstruction company:Watpac ConstructionHeliostat installation:KennovationsLiving wall maintenance:JunglefyArtist, botanist:Patrick BlancLighting artist:Yann Kersal

Story by Colleen HawkesPhotography by Murray fredericks; aerial image by John Gollings


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Hospitality can be a fickle business, with the success of a venue riding solely on the impressions its most avid promoters or detractors the guests. One way to ensure a broad, ongoing appeal for a project is to draw on popular cultural themes and at the same time create an individual sense of place.

For the Matisse Beach Club in Western Australia, the owners brief to architect Frank Iemma and inte-rior designer Jenlin Chia of Oldfield Knott Architects was very much along these lines. Sean Reid wanted to evoke the lively, vibrant feeling of a Miami beach poolside club but with a local touch. The idea was to create a unique entertainment experience for guests, not simply a bright decor, says Iemma.

Built on a long, narrow strip across the road from the beach, the site of a famous old band hall, The Lookout, the 2000 m2 venue has two environments. There is an indoor bar, dining and party space, complete with a meeting room; together with an outdoor party arena centred on a pool with a covered space at one end. This indoor-outdoor area overlooks the pool and is backed by a row of tinted operable glazing looking the other way, out to the street and the beach beyond. The windows are angled to mitigate onshore winds, and the space evokes the prow of an ocean liner. As well as roomy bench seating, this sheltered area includes a day bed that doubles as a DJ platform when night

falls and the clubs main rival the beach itself is in darkness.

Along with the blue pool and mature palms brought in from the United States, the most eye-catching feature is the row of six colourful poolside cabanas or seating booths. These are an abstracted, playful version of the historic Australian beach huts on Victorias Brighton Beach.

A dramatic use of colour and light is central to the Matisse Beach Club experience. Not only are the six huts decorated with LED strip lighting, there are also matching bands of colour running down from each cabana across the wood deck and on into the pool. In addition, colour-changing lights glow through the laser-cut, aluminium-panel street facade and adorn the coffered ceilings indoors.

The cabana theme is continued indoors, with six similar booths in bright colours, and two bench-size versions for larger groups. The angular lines of the huts are picked up in the geometric furniture, and in the white sculpted heads that double as tables in the bar area and poolside. Adding to the lively aes-thetic, a zigzag carpet pattern and a ceramic tile, in a complementary herringbone layout, cover most of the floor. The tile has the casual look of weathered timbers, appropriate to the seaside location.

Sculptural ceiling treatments contribute to the playful, beachy vibe too, their fluid lines calling to

Left, lower right and following pages :The outdoor area of the Matisse Beach Club in Perth, by Oldfield Knott Architects, comprises a central pool area and an adjacent covered outdoor space where a curved day bed doubles as a DJ stage at night.

Right:The row of jaunty cabanas is set higher than the pool, to allow for an underground garage.

Miami viceBold, bright and a fun place to be, this beachside club combines the look of colourful Brighton beach huts with the razzmatazz of a South Florida resort


Below:Indoor bathing these beach hut-style dining booths echo the six cabanas outside.


Left:An internal bar area can be walled off with bifolding doors to double as a quiet meeting room. Patterned vinyl wallpaper adds to the vibe and is

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