September-October 2011

A presentation

PEOPLE • L I FESTYLE • DES IGN • INTER IORS

September - October 2011

VOL. 1 • ISSUE 6 • `80

M A T R I X

Dean

Reboni

DÊcruz

Saha

„At Design Valley, we aim to create an alliance of creative minds for functional solutions‰

„Sometimes a casual discussion could lead to brilliant designs‰

DESIG

N M

ATR

IX • SEP

TEMB

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tation

Design Matrix_Sept-Oct11.indb 1Design Matrix_Sept-Oct11.indb 1 8/26/2011 5:07:48 PM8/26/2011 5:07:48 PM

2 DESIGN MATRIX • JULY-AUGUST 2011

FICJalaram


2 DESIGN MATRIX • JULY-AUGUST 2011

Publisher : Karan Jhunjhunwala

Managing Director : Manohar Jhunjhunwala

Editor-In-Chief : Babita Krishnan

[email protected]

EDITORIAL

Content Editor : Savitha Hira

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Asst. Editor CP : Priyanka Mathur

Writers : Varun Godinho

Trainee Writer : Sheena D’Lima

Brand & Strategy Manager : Riddhi Walia

Finance Controller : Manjari Ved

Head-Administration : Maria Fernandes

BUSINESS ENQUIRY

WEST : Sameer Adhikari

[email protected]

EAST : Vishal Shroff

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NORTH : Ashok Bajaj

[email protected]

SOUTH : Abhishek P. Agrawal

[email protected]

Nallari Rupana Reddy

[email protected]

Sheetal Jain

[email protected]

T. Jayakrishnan

[email protected]

OVERSEAS ENQUIRY

UAE : Prem Mishra

[email protected]

USA : Kishore Dadlaney

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UK : Jayendra Ved

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Subscription : Shalini Sawant

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ART

Art Director : Rahul Das

Designing : Devang H Makwana, Brijesh Gajjar,

Chittaranjan Modhave

Digital Imaging : Devang H Makwana

Production : Harish Suvarna, Mangesh Salvi,

Sandeep Borkar

PROJECT MANAGEMENT TEAM

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Mumbai 400 057, India. Editor: Babita Krishnan

A & venture

DESIGNM A T R I X


JULY-AUGUST 2011 • DESIGN MATRIX 5

N O T EEDITOR’SI had been following Dean D’Cruz’s work for some time before I met and was totally

charmed by him some years ago. During one of our meetings, he had expressed

in passing, the desire to be able to connect with diff erent design professionals.

Later, I got an email from him informing me about his partnering with Reboni Saha,

a product designer, for a new venture – mozaic design combine. Architect – product

designer, an interesting partnership, I had thought then. Still, I didn’t realize how

exciting the possibility really was, until I visited Goa a few months ago for a holiday

and met with Reboni. The soft-spoken designer I had interacted with over the phone

turned out to pack quite a punch! To say that I had an enriching interaction is an

understatement. The need to understand how their synergies work together and

share all of that and more with all of you led to the Cover Story. The bonus was the

information about Design Valley, their dream, of alliances across design streams.

Alliances mean opening yourself to newer perspectives and ideas. It is, in my

opinion, a sure way of enriching knowledge and erasing blind spots. Design also

needs to be socially and environmentally relevant and things/events (both positive

and negative) happening in the world around you tend to spark creativity. It was

this discovery that conceived the idea of Design Matrix and in the past one year,

we have shared the experience with you through all our issues. As we prepare

for our anniversary, it’s your encouragement that keeps us going. Do keep those

communication portals open…

Babita Krishnan

Partners: Location: Le Sutra; Jewellery: Anmol Jewellers; Make-up & Hair: Rudra Spa

Now follow us on www.facebook.com/DesignMatrixMagazine


CONTENTS


SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 9

60

14

COVER STORYReboni Saha & Dean D’Cruz hope to create

an alliance of like-minded design profes-

sionals at the mozaic Design Valley – for

functional solutions Pg 14

AR. AAMCHERA Sirsi farmer prototypes an economic so-

lution to back-breaking paddy transplanta-

tion Pg 27

MARINE DESIGNsolus4 Architecture, Maine, addresses a tsu-

nami research centre with a new typology

for stationary in-water based marine proj-

ects Pg 28

HOSPITALITY DESIGNThe new Deli at the Taj, Kochi, employs a

blend of rustic local fl avours as its key de-

sign element Pg 32

DESIGN ASPECTWe map Eyewear trends and take a look at

where they are going Pg 36

• Cover featuring: Reboni Saha & Dean D’Cruz • Photograph by: Tushar Rao • Location: mozaic Design Valley, Goa

60 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011 SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 61

GREEN DESIGNThe concrete industry ventures into green

technology and refl ects the simplicity of its

application via the iCrete corporate offi ce

Pg 40

CREATIVE IDEASThe Tree House Resort underlines the fact

that creativity is unbounded, with nature as

the unstinting partner; trendy trimmings,

unique themes and the ultimate fi nish char-

acterize the design of wedding invitations

Pg 50

MY SPACEGerman designer Nils Ferber talks about de-

sign as a tool to debate, and chisel a mean-

ingful future Pg 60

LANDSCAPE DESIGN Indoor landscaping can begin small via a

salad garden in the confi nes of your home

Pg 64

ARTY-TECHTURE Designing sound speakers is an art that

blends lifestyle with functionality Pg 66

27

76105

CONVERSATIONSAnju Kumar from Delhi talks about her infl u-

ences and inspirations as a prolifi c sculptor

Pg 72

PHOTO-FEATURE9th century sculptures of the Solanki period

refl ect current fashionist fundas –swinging

from the heavily adorned to the unfussy to

the sacrosanct bare look.. Pg 76

RETAIL DESIGNRupal Bhat creates a studio feel for the

sprawling Durian showroom – a contem-

porary backdrop to showcase the furniture

Pg 82

YOUTH FORUM Erik de Laurens of the Royal College of Arts,

London, endeavours to create new materi-

als from everyday objects. Pg 90

MUSINGSWe look at the art of Art Curation Pg 94

PRODUCT LAUNCHAll the news from the market Pg 105

ETCETERAHappenings; art conservation; book & prod-

uct review; and events Pg 113

76 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011



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Please email to: [email protected] or write to Design Matrix, MRJ Creations Pvt. Ltd., C-201 Shyam Kamal

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I saw your the latest Design Matrix, and was

speechless. Kamal and Arjun are freinds, but

reading about them was an expereince. I think

its the fi rst time, you made architects look like

people! Wonderful presentation, where we

get to read more about desingers’ views and

opinions. Most design magazines focus on

projects and there is an element of mystery,

when one would like to know more about the

person behind the projects or objects. Con-

gratulations, on your new role and hope you

succeed in this new avatar.

Ramprasad Akkisetti

Managing Director,

Christopher Charles Benninger

Architects Private Limited, Pune

Congratulations for a very graphic and strong

cover (and cover story). It is a true example of

a wonderful collaborative eff ort. We expect

nothing less from the team. Keep it up.

Ninad Tipnis,

JTPCL Designs, Mumbai

Congratulations for another outstanding pub-

lication. Its truly amazing. Since Design Matrix is

very popular among students and young pro-

fessionals who worship the fi eld of work space

interiors, would like to suggest something.

Eager to see some exceptional work space

designs which inspire them.

Deepang Nandu,

Ex- Student,

(Rachana Sansad- School of Interior Design)

Being a student of architecture, I have done

a case study on Kachchi Kothi, the residence

of Revathi Kamath. Seeing it on the cover and

learning in her own words about her passion

and commitment to the Earth and its resourc-

es was a diff erent experience altogether.

Thank you for sharing that part of her with us

because as students, there were many things

that we could not muster up courage to ask

her.

Jyoti Singh,

Jamia Milia Islamia, New Delhi

The cover story made for a really nice read.

After working with her, I can honestly say that

she is a person with great ethics and very fi ne

architectural works. I am her all-time admirer!

Great work Design Matrix, congratulations!

Abhs Jain,

New Delhi

I have been creating “weird stuff ”, as my mom

calls it, for the past two years for my friends as

notebooks, bags, etc. as gifts. Reading about

Kirtana Krishnan in your last issue gave me the

courage to try my hand at marketing some of

it. Though I have started small, I already have

a few people who have places orders for my

handmade gifts. Thanks for the inspiration

and encouragement

Natasha Mehta,

Surat

I loved the cover of the last issue. From what-

ever little I know of Revathi’s work and pas-

sion, that image brings forth all that and more.

I was very proud that my photographs were a

part of the issue as photo feature. As a photog-

rapher, I really love your presentations where

images are an equally important part of the

content. Way to go Team Design Matrix!

Cleo,

Bangalore INB

OX

WINNER


Coverstory



TWOTO

TANGO

Words: Babita Krishnan; Images: Tushar Rao & (projects)

courtesy mozaic design combine

Their professional ideologies fit

together perfectly like the pieces of a

jigsaw. Dean D’Cruz and Reboni Saha of mozaic design

combine reveal to Babita Krishnan, their dreams of

creating a Design Valley in Goa – an

alliance of creative minds from varied

fields to give functional solutions.


Babita Krishnan: How did you gravitate towards your chosen

professions?

Reboni Saha: I was fascinated with machines and aero model-

ing and greatly infl uenced by my travelling. Also, I have a thing for

3D; so the closest I could get to converting my dreams to reality

without becoming an engineer, was product design.

Dean D’Cruz: The intention was to do engineering since my

dad was an engineer. I applied for IIT but couldn’t get in. So sought

out whatever had free forms available (laughs), and as I was always

good at drawing, sailed through the entrance exam. I dabbled at all

sorts of subjects – from science to commerce and hoped to join my

dad’s shipping business. Architecture being very unconventional as

a course of study, was an eye opener for me.

BK: Both of you have done your professional courses at land-

mark institutes. How was the experience?

RS: NID was one of the only two design institutes in India till the

90s. Its focus was on real-life experiences and the most prized take

away was the design process – a method of creative discipline and

problem solving.

DDC: JJ was great with its beautiful campus right in the

middle of the city. I remember my dad coming to college one day

after about a year. I was with friends in the canteen and someone

recognized the car and told me. So I bumped into him in front

of the Principal’s offi ce as he went in for a meeting that lasted

precisely ten minutes. He was informed that his son will be in the

canteen and probably learning more there than he would in the

class. He couldn’t believe it! We were very chilled out towards aca-

demics but there was an eagerness to learn, which sadly seems to

be missing now.

BK: Dean had his roots in Goa, but Reboni, what prompted you

to move here?

RS: I generally don’t like to follow the crowd. So after NID

when everyone started moving to bigger cities, I zeroed in on Goa

because I could set my own pace and agenda here. People were

not demanding. Though I could have moved abroad given my

background and training at Bosch-Seimens Hausgerate, Germany, I

decided to stay back as it was the fantastic possibility to bring some

conclusions to the chaos that is India that attracted me. Satisfaction

comes from making a change and I knew, I could do that.

BK: So are the perceptions about product design changing?

RS: Yes, they slowly are. Product design is like an orphaned

baby. While other design faculties have the support of the industry,

media, public, etc. – be it fashion, IT, interior design, nobody quite

knows where to fi t product design, even though it has the most

advanced curricula of teaching.

BK: It must have been really diffi cult initially.

RS: Yes, simply because it was the bastion of engineers and

there was a general feeling that we were trying to venture into their

territory. We would face hostility and disinterest in anything new. In



fact, initially I had to overstep my boundaries. Unlike abroad, where

you just design and then pass the baton onto the engineer, here I

had to do the detailing and the engineer’s job as well, just to prove

that it can be done. You need a bit of pigheadedness and that got

me through (smiles), though many times the products morphed

into something I hardly recognized. But the work I’m doing now

is more socially relevant and closer to my heart – gives me satis-

faction as a designer. Though they might not be beautiful in the

printing sense (laughs).

BK: Dean you have become synonymous with the beautiful

Goan architecture and its conservation. How is it diff erent from Por-

tuguese Architecture?

DDC: Goan Architecture has been around from before the Por-

tuguese came. It has developed climatically like Kerala Architecture

– small dark spaces, closer to the land, very agrarian in its approach;

Portuguese Architecture, on the other hand is more lively, showy,

with high plinths, etc. But due to the local craftsmen working for

the Portuguese, what came out was a very beautiful combination.

For example, the cherubs have very Indian faces; in my own house,

the columns have cobras, which is very Indian. It is more like a Goan

interpretation/adaptation of the Portuguese idea.

BK: Is Goa also facing the loss of heritage buildings to builders

due to commercial/economic pressures like Bangalore?

DDC: In towns, yes; but not so much in villages. Goa has already

lost its cultural identity owing to apathy of the authorities and

people, and what we have today is just marketing gimmicks. That

whole lifestyle is now lost. There are a few groups working towards

maintaining what is left, I’m also part of them. We are trying to do

our bit towards getting landmark judgments against mining, intro-

ducing composting, taking care of the environment, etc. I’m now

working with the government on town planning and it is another

learning experience because it is very diffi cult to predict how future

development will take place. You just put in those checks that allow

discerning future development and hope for the best. (Laughs)

BK: This being your adopted home, are you also part of this

movement?

DDC: Oh, she is the face of the Goa bachao andolan…

RS: I actually got dragged into it by just looking at the tip of

the iceberg. We were able to pinpoint what was going wrong but

realized that people across the country did not comprehend the

magnitude of the problem – Goa was just a tiny spot on the map!

So in desperation, I thought let us hit where people will understand

it most – we took images of places that were close to everyone’s

hearts; what tourists knew, and work on them. For example, Baga

Hill across Panjim, where one is used to seeing the green spread; we

took it away and photo-shopped it with buildings. The impact was

tremendous and I couldn’t believe that something done in such a

hurry could work that well. It galvanized this whole movement. I

came to know a lot of interesting people who cared and had con-

nections and as a spin-off , each one has gone back to their own

area of expertise to contribute. They are looking at garbage, women

issues; somebody has a foot in the Govt.; so that helps in getting

sanctions when required.

BK: So what drives you?

RS: As product designers, we need to look into the minute

details as well. We can’t just design and leave it to a fabricator, we

need to look for material that is functional and looks good so that

people like using it as well. It is not a fashion statement. Like this

composting machine that we have developed as an experimental

project, is shaped like a mushroom. I saw the way people treat gar-

bage. That is a huge problem not only for the authorities who are

not interested, but also for people because otherwise how do you



encourage them to separate garbage? I realized that people feel

a little eeked-out with this whole business of separating wet and

dry garbage and the fact that it starts to smell after a while. Being a

product designer, I decided to make something that was not eekey

and a fun element; so we made it like a mushroom where the top

lid can be spun to air the garbage and this takes care of the smell. All

you do is spin it every now and then. At the end of the day, you just

open a little thing underneath and scoop it out. It is at the testing

stage right now.

Another area that interests me is the idea of compost toilets.

Based on the premise that we are using water to clean something

that we consider dirty and the same water is then purifi ed as drink-

ing water, is precious. The initial concept and mechanism is ready

and I’m going to install it in my new house for testing so that it

is accepted by the middle class without being patronizing, rather

adopting it as way of life. If I can slip it through the mind block of

people towards something new, then I have won as a product

designer. I don’t believe in creating something touristy but more

relevant to the environment around me. I put design in two boxes

now – design as an end in itself, and design as a means to an end.

DDC: Right now there is this green agenda that we are working

towards and I feel it is something that needs to come from within.

All these ratings etc. are all still very new – every building should be

green. One might think it is a new concept, but traditional Indian

architecture was always green. I wish there was a process where

architects went through something like priesthood so that they

don’t get into the business mode. If your daily needs are taken care

of, you can concentrate on creating what you really believe in. It

should become a vocation like Gaudi or in the times of kings, who

were patrons. Most of us are so caught up in other mundane issues

that there is little time for creativity. And that is where collaborations

come in. Any project is never the work or vision of any one person.

Not that the clients don’t have a vision; but they have a very narrow

spectrum, so we are trying to create a setting where everyone is

able to collaborate at what we call the Design Valley, because archi-

tecture is no longer intuitive.

BK: How do the synergies work when both of you work

together?

DDC: There was this project that we did for The Taj where we

developed the brief together with the client, who was very demand-

ing but educated about where each aspect of design came from.

We all got together, discussed and realized that the end result was

much better, much more polished and refi ned. Design is not one

dimensional; there are so many aspects and it is better to involve

everyone to ensure a richer product. Having a team like this ensures

that I will not miss out on anything because of my own blindness.

RS: The ideal situation would be to get a client who under-

stands the importance of both, otherwise one tends to get over-

shadowed. We have to take cues about what needs to go where

in a building; that needs research, which is part of my training and

thought process. That is my value addition to a project. Then of

course comes detailing – the spaces and the kind of feel we want to



Exchanging ideas could lead to innovative product designs like this switch board.


The top lid can be spun to air the garbage and this takes care of the smell.



give, textures, etc. So giving shape to these requirements is where

the architect plays a role. Also in interiors, there are many require-

ments where practical solutions are needed from a product design

perspective. Dean can probably make a sketch of what he needs

but the actual feasibility is what I have to design.

On the other hand, there is a great synergy in terms of ideation.

Dean is really great at concepts and ideas; so whenever I get stuck,

I call him in and he just throws the problem open. Similarly, I can

give a product thrust to his buildings. Many times architects get

so involved in the materials and other practical stuff that smaller

details get lost. So I just step in, give a whacky perspective and that

adds to the overall eff ect. Sometimes ideas just crop up out of ordi-

nary chats. A few months back over lunch, Dean mentioned how

disappointed he was with the designs of switches in the market –

the same old square or rectangular box, and that got me thinking

that we should try and design a switch box that becomes a part of

the aesthetics. We have just fi nished prototyping this new design

and it is very exciting. The most important thing is communication.

BK: Is that how the idea of mozaic came about?

RS: Mosaic is a design that is created by the coming together of

diff erent tiles – each independently beautiful but part of the whole

pattern. Some years back, Dean had to shift out of his offi ce and

we saw a couple of soul-less places. So we decided to start from

scratch – land was cheap enough, and we just bought into it. Also,

as designers grow older you realize that richness of ideas comes

from interaction, and sharing administration is an added bonus

(laughs). So there is architecture, interior design, product design and



‘‘We decided to make a design

centre; other like-minded people bought into the idea and it just

started rolling on its own. We all have a common value

system, a common sense of where

design should be.’’


now with the mozaic Design Valley, we aim to bring diff erent design

genres under one roof to give complete solutions.

DDC: In fact, by understanding the client and his requirements,

we aim to give him the brief as well, rather than it being the other

way around. The aim is to involve all aspects/parties concerned, right

from day one, so that there is minimum confrontation at various

stages of the project and the delivery time is reduced.

BK: Design Valley sounds a very exciting concept. Do share more

with us.

RS: We don’t even know when it happened. There was this blank

space where we decided to make a design centre; other like-minded

people bought into the idea and it just started rolling on its own.

There is no concrete plan but somewhere down the line we all have

a common value system, a common sense of where design should

be and the fact that we can pool our resources, draw from our expe-

riences, and can hence, off er a much superior service.

DDC: Architects are actually just assemblers of material manu-

facturers, so we need someone to look at the fi ner details. It is always

better when people from diff erent design fi elds collaborate: like

products, planning, graphics, a business point of view, etc., create

informal environment for people to come together and work. We

are building a design centre that will hold workshops, training pro-

grammes, etc. and document each event there. We’ve been collabo-

rating with universities abroad for exchange programmes. It is also

like a retirement plan (laughs), something to do in old age. But on a

serious note, all this comes from having worked for so long and real-

izing the ego has been beaten down and the service aspect needs

to come to the fore.

BK: Is design also being looked at as a commodity at Design Val-

ley?

DDC: Yes, why not. We have a concept that is viable and func-

tional; that can be sold to the industry. For example, we are working

on this idea of pre-fabricated homes, which will give you tremendous

economic and ecological benefi ts. The drivers of this project will be

the people from design fi elds, and others like fi nance, etc. will be the

support group. There is a need to reconnect art with the industry.

You see it happening abroad, it’s high time it happened here as well.

BK: Looking back, what would you rate as one of your most

cherished projects.

DDC: Each one has been a learning in itself. Sometimes there

were lovely projects, but lousy clients or lovely clients who lacked

vision, at others everything just fell into place. It has been more

about relationships than anything else. I’m still servicing clients and

projects 25 years later – maintenance issues, little touches here and

there. It is wonderful.

RS: Every project that moves you out of your comfort circle is a

challenge. But the greatest high was when I saw a train streak past

me in Punjab with a ‘mozaic’ designed front end ICF DOOR



“We all have a common value system, a common sense of where design should be and the fact that we can pool our resources, draw from our experiences, and can hence, offer a much superior service.”

“Architects are actually just assemblers of material manufacturers, so we need someone to look at the ner details. It is always better when people from

different design elds collaborate”



Ar. Aamcher

HOME-GROWN

INGENUITYSirsi farmer and mechanical engineer, Raghavendra Hegde

is the new hero in the small farmers’ circles. 12 months of

labouring over revamping the mechanically operated paddy

transplanter into a manually driven, low-cost mechanism has borne

fruit, and he is now ready with the working prototype of a simple

(in construction and operation) transplanting mechanism, which he

calls ‘Surya Sarala Naati Yantra’.

The paddy transplanter is a well-known farming tool that facili-

tates the labour-intensive task of paddy farming. Generally available

in sizes that cater to transplanting 4, 6 and 8 rows, the mechanism is

often diesel-driven and comes at a whopping cost of `1.5 to 2 lakhs.

While the transplanter benefi ts the farmer with its adjustable bill

spacing (planting distance) and reducing water consumption up to

20%, also increasing yield by about 10% due to even planting den-

sity and reduction in uprooting of seedlings, it can only be aff orded

by those with sprawling estates.

Besides, it is impractical to transport it to remote areas.

Designed and developed in the interest of small and marginal

farmers (those with half to two and a half acres of cultivable land),

Hedge has worked on the same invention and improvised it with

certain modifi cations that make it conducive to manual opera-

tion. Hedge’s version of the transplanter weighs a mere 28 kg for

the larger (six row) and 20 kg for the smaller (4 row) operator. This

makes for convenient handling by male and female members alike.

It drastically reduces the farmer’s dependency on employing day

labour; and thus cuts costs.

Estimated cost: `15, 000 and `10, 000 respectively

Estimated launch of transplanter: Late 2011

To share more such designs or experiences, positive or

negative, contact Ar. Aamcher at [email protected]

Ar. Aamcher gives a big ‘thumbs up’ to the new

manually-operated paddy transplanter developed by

Raghavendra Hegde…



Words: Savitha Hira; Images: courtesy solus4 Architecture

Natural habitat informs the design of a new research vessel with under and over the surface facilities representing a new typology for stationary in-water based marine projects.

Marinedesign



MORPHING CATACLYSM



A recent international design compe-

tition for a marine research centre

in Bali, Indonesia, gave architec-

tural fi rm solus4 an opportunity to study

and architecturally interpret the structure of

tsunami waves. The competition, co-spon-

sored by Arquitectum and Universitas Pelita

Harapan in Indonesia, sought to address the

need for tsunami research and preparation,

in response to the devastation caused by the

2004 Indian Ocean earthquake and tsunami.

Three major events are generally known

to generate tsunamis: meteors, landslides,

and large earthquakes. Underwater earth-

quakes — the most common type in Indo-

nesia — with epicentres close to coast lines,

form the conceptual basis of the architectur-

al proposal. The solus4 design team sought

to understand wave dynamics and the

resulting wave force patterns that are gener-

ated as tsunami waves are created and radi-

ate out from an epicentre. The wave forces,

when translated into linear patterns, inform

the shapes that are integrated into the build-

ing form and result in patterns that seem

to be born of the sea. The concept, thus,

uses the initial elliptical pattern and cross-

sectional diagram of the tsunami wave, one

of the main focuses of the centre’s research

and prevention eff orts, as the morphology

generator and guide of programmatic orga-

nization for both, on-board scientists and

the interested visitor.

The design is both aesthetically impos-

ing and seamlessly integrated into its natu-

ral aquatic environment. It is an imposing

fl uid structure with an immediate and direct

visual connect to the exterior. Located just

100 meters away, parallel to the shore of

Kuta Beach, Bali, the 2,500 sq. m. marine

research centre programme is composed of

three main components: public, semi-public

and private. The spaces vary from research

labs, scientist bedrooms, library and aquatic

garden to sea-water pool, swimming pool,

terrace, bar and an auditorium. The spaces

are distributed above and under water and

allow the visitors and scientists alike to take

full advantage of the amazing landscape

that surrounds the project.

In keeping with the nature of the uni-

versal ocean, the project is intended to be

wholly energy effi cient. Photo-voltaic cells

embedded in large glass-based panels –

both transparent and opaque – constitute

the skin of the vessel. The close in-to-shore

location allows for tidal/current generators

to serve power requirements, while rain-

water collection and seawater conversion

systems take care of the domestic water

requirements. Deeper source seawater is

circulated through the skin for radiant cool-

ing and temperature control of the overall

anthropomorphic shape. Incidentally, the

unique shape and programmatic require-

ments are proposed to serve as an icon for

scientifi c study and tourism in this location.

The centre will serve not only as an

architectural icon for Bali, but also as an

international model for modern sustainable

design with its use of on-site renewable

energy resources through its integration of

such technologies as tidal wave energy gen-

eration, natural ventilation, rainwater collec-

tion, passive solar energy, low E glass, and

high refl ectance fi bre glass materials.

This project represents a new typol-

ogy for stationary in-water based projects

reached by boat, which in the past have

been mostly relegated as merely work,

non-destination platforms, both fl oating

and rigid, which do not take into account

the design possibilities presented by in-

water sites

ABOUT THE FIRM:

solus4 is an architectural studio specializing in architecture, planning and interior

design, headquartered in Kittery, Maine. The fi rm, while newly formed, has an extensive

background in commercial, residential, institutional and hospitality design and planning

through the experience of its partners. solus4 operates as a collaborative on a global

platform, adding intensively focused experience to each commission through key team

members who specialize in sustainability strategies, macro planning, community building,

project logistics and team management.

The design is both aesthetically imposing and seamlessly integrated into its natural aquatic environment. In keeping with the nature of the universal ocean, the project is intended to be wholly energy ef cient.



Its existence is probably as old as the his-

tory of the recognized hospitality indus-

try in India; yet the Taj Group of Hotels is

known to reinvent itself and remain in sync

with the trends and moods of the day. So

when The Gateway Taj, Kochi, wanted a cof-

fee shop that refl ects “today” and appeal

to the trendy young crowd, Fahed Majeed

of the Cochin-based 10X10 Design Consul-

tants knew just where to begin from.

With a casual seating and giving a

lounge feel to the 800 sq. ft. space, Fahed

managed to create a lively yet relaxing area

evoking the fl avours of Kochi that would

appeal not just to the hotel guests but the

local populace as well.

“The idea of a café being primarily a

transit space was the basic premise around

which the design evolved,” Fahed explains

the design that refl ects local references in

a site that is located opposite the Kochi

port. Though the primary colour scheme

has been restricted to shades of brown,

red being the corporate colour, was incor-

porated in the primary board and furniture.

“The broad range of materials put to use in

the design have been specifi cally chosen

for their evocative qualities. The key design

elements holding the space together are

the metropolis installation, saucer lights,

the rusty wall, incandescent lighting and

the Kochi-New York installation,” he reveals.

Why New York? You ask; “It is the estab-

lished melting pot of the world!” he quips,

“The Queen of the Arabian Sea, Kochi,

is well on its way to becoming a mega

city. The two cities are represented in the

abstract.” The Deli at Gateway sign, on a red

background stands out of the map of Kochi,

showing the harbour and main roads. The

area around the Gateway hotel has been

mapped and extruded as metal compo-

nents of varying heights to compose the

name of the café. Similarly, New York has

been mapped and extruded to morph

into a bread stand. New York has a grid

iron layout, which results in a more orderly

arrangement of buildings; approximately

5,000 MS chrome-plated components have

been used to achieve this.

One fi nds many such subtle touches

that go beyond the brief and refl ect the

sensitivity of the designer towards the

many things usually considered mundane.

For example, the light installation that

refl ects nostalgia: “Today CFL and LED lights

are phasing out the yellow bulb that all of

us grew up with. The humble incandescent

light brings memories of home and ways

of living that are being outmoded. This

installation adds a touch of nostalgia, while

acknowledging the changing preferences,”

Fahed smiles. Keeping energy costs in mind,

361 lights glow with a bare minimum inten-

sity so that only the fi lament glows. Then

you have the “saucer light” – the mundane,

utilitarian vat used to mix cement and

aggregates at construction sites usually

With a casual seating and giving a lounge feel to the 800 sq. ft. space, Fahed managed to create a lively yet relaxing area evoking the avours of Kochi that would appeal not just to the hotel guests but the local populace as well.


BILLET-DOUXFROM KOCHIBabita Krishnan; Images: courtesy 10X10 Design Consultants

Hospitality becomes an experience of local flavours at the Deli at Gateway in Kochi, under the creative flare of Ar. Fahed Majeed.


departs with the workers. “As a tribute to

all those who labour to build the edifi ces

of our cities, they were given a permanent

place and put to innovative use here,” says

the designer. A coat of the same paint as

the walls and viola! The ordinary little ves-

sel is turned into a chic light fi xture. While

it serves as mood lighting, it also dresses

up the otherwise unexciting ceiling.

An outdoor sitting area of about 200

sq. ft. in front of the café is ensconced in a

glass wall that equips the passersby with

an easy view of the café. It is also a good

way to enjoy the famous Kerala monsoon.

The seating is casual and very fl exible with

bean bags and movable swivel chairs that

can be rearranged according to prefer-

ence. The eye-catching red bar stools are

provided for those waiting for their take-

away orders.

There is nothing more satisfying than

the appreciation of guests and we sign

off with this interesting comment on the

Metropolis wall by Meghan Young, a Deli

customer: When I look upon the Deli at Gate-

way glowing wall, I can’t help but imagine

that there is a society of fairies living behind

it, lending a magical glow not only to their

happy home, but also to Gateway visitors. Of

course, that is not the case, but it still puts a

smile on my face

One nds many such subtle touches that go beyond the brief and re ect the sensitivity of the designer towards the many things usually considered mundane.


EYE TO EYE Words: Sheena D’Lima

We map Eyewear trends and take a look at where they are going.


DesignaspectIn the March of 2011, Tokyo city buzzed with tangible excitement as gaggles of giggly

twenty-somethings made a bee-line for Japan’s biggest Fashion event of the year – The

Tokyo Girls Collection Spring/Summer 2011. Fashion photographers weaving through

crowds of the pretty young things noticed that a particular trend was abound – lens-less

glasses. The world watched in amusement as Fashion bloggers termed this new statement

“a cross between Hipster Woody Allen and kindergarten play props.”

While it may be a bit of a stretch to compare the edgy, eye-popping fashion traditions

of Japan’s Harajuku girls to the rest of the world’s trends, one cannot deny that the humble

pair of spectacles has travelled a long way. From being the (forced) staple style statement

of the book worm, it has come to stand as an expression of your personality. Your eyewear,

apart from making you see better (but myopia is hardly a prerequisite anymore), will instant-

ly complete your look – whether its hipster, fl ower child, vintage, retro, diva or ubër-modern.

New trends in eyewear are a fashion phenomenon that has hung upon certain icons in

popular culture sporting a look that promptly took off as a worldwide fad. We take a look at

some of eyewear’s biggest trends.



The late fi fties were marked by a kind of understated elegance. This was the era of pearls,

low heels and elbow length gloves on one hand and debut of the bikini on the other. “Cat

Eyes”— the famously tip-tilted glasses that imitate a feline-eye shape and used tortoiseshell

frames – were fi rst worn famously by singer Buddy Holly. However, the real game changer

came in 1961 when Audrey Hepburn wore her Cat Eye shades in the fi lm Breakfast at Tiff anys.

After that, Cat Eyes went down in fashion history with icons like Marilyn Monroe and Grace

Kelly sporting pairs. This era also saw the rise in the famous “Ray ban wayfarers” style in

eyewear worn often by US Senator Robert Kennedy.

CAT EYES

Beatle John Lennon’s’ tea-shade glasses – round and wire-framed with tinted lenses –

took off as part of a 1960s counterculture in certain states of America as well as sections

of Europe, and still have their own little throne on retail shelves today. On the other hand,

Jackie O’s made famous by fi rst lady Jackie Onassis Kennedy’s oversized frames that went

down past her cheekbones began to sell themselves silly, and remain a celebrity favoured

choice even today.

LENNON AND JACKIE OÊS

Two words – Bug Eyes. These were a style

of spectacle frames that made an appear-

ance after the Cat Eyes fad but really picked

up after the 60s were over and done with.

These glasses, with almost opaque lenses

were large and tended to protrude slightly

away from the face when worn. The choice

of frame started out as tortoiseshell but

soon plastic and other materials began to

be used. Celebrities who wore this style

and came to stand as its ambassadors were

Nicole Richie in the nineties, Cheryl Tweedy

and the Olsen twins.

BUG EYES

1970’S- 60’S

1950’S

1990’S- 80’S



Indians and glasses are about as much of a happy couple as India and say numbers, or India and Bollywood. In the 90s, the Western

world especially Hollywood and British Television comedy jumped onto the stereotype of the bespectacled, earnest Indian, always in the

background and interested only in academics. We too rested easy with the stereotype. Glasses were for the nerds and that was that. Now

however, you don’t have to be a expert to fi gure out that this mindset is fast disappearing. Even if you don’t know your brands too well, a

quick stroll down any city’s fl ea markets will show you spectacle frames in rainbow hues, iunconventional shapes and with detailing and

design that would make our conservative ancestors of the erudite Gandhi glasses turn in their graves.

“While initially, utility defi ned most of the mass market choices, nowadays Indians are more exposed to luxury brands and global

styles and are a little more experimental,” says Ronak Sheth, Director of Eternity Lifestyles, who has been in the eyewear industry for fi fteen

years. Bollywood has had a huge impact on the eyewear fashion in India. Everyone still remembers the Preity Zinta frames fad (thick black

rectangular frames), named after the glasses that the actor wore in the 2003 fi lm Kal Ho Na Ho. Slightly before that, the blue-tinted glasses

that Bobby Deol wore in Barsaat (1995) sparked a nationwide trend. “But its not just Bollywood, really,” confi rms Sheth, “Rajiv Gandhi became

known for wearing his high-end Cartier Glasses and will always remain associated with the brand.”

As far as future trends go, Indians stand in a gray area. They’re experimental and edgy but aren’t really ready to go the double-take way.

“It takes two or three years for a trend to catch on and while Retro styles like a Clark Kent (the glasses Christopher Reeves playing Clark Kent

wore in Superman in 1978) can make a comeback, Vintage styles still don’t hold too much appeal,” says Sheth.

Still, the writer of this piece can only look at a pair of Fushia and black striped frames displayed at a fl ea market in downtown Mumbai,

and wonder whether the day when Indians wear lens-less glasses is just around the corner!

INDIA AND EYE



Greendesign



Words: Babita Krishnan; Images: courtesy FKA

Felderman Keatinge + Associates give iCrete’s LA office a space that reflects its

corporate philosophy.

IDEASCONCRETE



T he concrete industry is one of the

most important in the world as

this material can be made relatively

inexpensively from local materials and just-

in-time, making it probably the most popu-

lar building material. Founded by industry

professionals and experienced entrepre-

neurs, iCrete’s mission is to help bring con-

crete production into the 21st century

by helping producers turn their data into

actionable information.

The company understands that the

industry has historically had diffi culties in

introducing new technology and therefore

been unable to achieve many potential

gains in productivity, quality, performance

and sustainability. In many industries,

companies have taken advantage of data-

driven decision making and integration

software to great eff ect and iCrete believes

that the concrete industry needs and will

have these solutions too and is working in

partnership with producers to accomplish

these objectives.

When launching innovative and green

technology, iCrete wanted its new corpo-

rate offi ce in Los Angeles designed to refl ect

its strong work philosophy. Desiring an

open and minimalist space, they wanted an

environment that would foster innovative

thinking and encourage interaction among

employees. To this purpose, the LA-based

Felderman Keatinge + Associates have

created a non-traditional space that both

expresses the raw and sustainable nature of

iCrete’s new product, as well as the innova-

tive nature of their own approach.

Celebrated for looking to the future for

design inspiration, FKA was challenged to

combine showroom space with a working

offi ce. Designed not only to promote inter-

action amongst employees, the space also

invites the visitor into the heart, or “hub”,

of the open-space. In place of a reception

desk and waiting area, a long work surface

provides layout space for the company’s

products, while also doubling up as a con-

ference table. “Our focus is on creating

inspiring spaces that authenticate who our

clients are. We co-create the environment

together,” says Nancy Keatinge.

Particularly for this project, the mini-

malist workstations were created to seem-

ingly fl oat just above the gray carpet.

“There’s a sense of movement, a rhythm,”

Stanley Felderman explains, “That’s almost

musical.” By juxtaposing the sculptural

white gypsum and refi ned architectural

elements with exposed industrial and

mechanical systems, Felderman Keatinge

cleverly succeeds in creating a careful bal-

ance of yin and yang.

Desiring an open and minimalist space, they wanted an environment that would foster innovative thinking and encourage interaction among employees.



ABOUT THE FIRM:

Felderman Keatinge + Associates (FKA)

have always been future-forward: con-

stantly in search of fresh perspectives and

new frontiers, each new project stands as

further proof of its commitment to one-

of-a-kind solutions tailored to each and

every client. Designing everything from

architecture to furniture, FKA’s focus is to

create a sense of community, and consis-

tency and equality of design throughout

a space. FKA takes a humanistic approach

and views architecture as a living organism,

which is an extension of people – eff ecting

how they live and work. The fi rm’s goal is

to elevate the quality of one’s experience

of the built environment. FKA has designed

for manufacturers like Herman Miller,

Global, Hon, and Haworth.


Le decor



Creativeideas

MAGICGREEN

Words: Natasha Bohra; Images: courtesy Tree House Resort

The Tree House Resort is a fitting narrative to help convert a barren land into an ecologically balanced haven, where

dwellings grow on trees, quite literally!



L ittle that any modern hotel provides

can match up to the experience

of waking up in a bedroom that

literally falls in nature’s lap, or in this case,

her bosom. With a petite number of about

22 rooms resting on real trees, in the

outskirts of Jaipur, is the Tree House Resort.

Indeed, one can feel the magic of nature at

every sight.

Inspired by the famous hunter turned

conservationist Jim Corbett, who built the

Aberdere National Park in Kenya, Sunil Meh-

ta visualized this resort, after his fi rst tree

house was built at his own farm house. A

keen nature lover, Mehta managed to bring

together this unique concept despite no

formal learning in the fi eld of architecture

or engineering. His simple knowledge of

the forest and the skills of locals led to the

creation of this rustic resort.

The Tree House Resort is a replica of the

tropical rain forests – lush vegetation, brave

creepers and beautiful trees surround the

entire site. “It may be hard to believe but

the fact is that there were absolutely no

designs or engineering drawings involved

in building this resort,” narrates the proud

owner. What the entire workforce now calls

‘The Magic Wand’ is nothing but an iron

rod that Mehta carried to draw designs and

pathways on the soft soil of Mother Earth.

Every little design from the structure to

the landscaping, was either drawn on the

ground in the form of a map or was a verbal

explanation based on common sense and

an acute vision. What started off as a brown

and shrubby landscape in the land of desert

sands has today turned into a green forest.

The consistency in plantations, water har-

vesting and rural employment has made

the Tree House Resort much more than a

hospitality project; it is an experience.

To comprehend any vision, the pre-

requisite is an involvement of resources,

planning and management. However, it

defi nitely is easier said than done. The chal-

lenges faced in building a project of this size

and nature, were multifarious and unique

pertaining to the area in conversation. The

fi rst and biggest challenge was to create a

fertile stretch out of a barren infertile land.



Devoid of standard brick and concrete walls, it instils a feeling of being in the midst of nature whilst continuing to enjoy the comfort of luxury.



It was through the basic understanding of

the landscape and soil that planned experi-

ments were possible with a variety of plant

species. Constant manure provisions and

rainwater harvesting helped enrich the

soil and replenish the underground water

table. What started off as 95% mortality rate

amongst plants has now fallen down to ‘nil’!

Next on the list was educating neigh-

bouring villagers on the importance of

aff orestation and the benefi ts of rural

employment and increased skill sets. “We

adopted the school in the village and also

held a number of training camps. The same

villagers who had once got used to seeing

one or no crop during the monsoon fl ood-

ing were now growing multiple crops due

to the water harvesting and dam construc-

tion,” Mehta explains.

Encapsulated with wood and bamboo,

rooms at the Tree House Resort provide

unimpeded spectacular views of the for-

est. Devoid of standard brick and concrete

walls, it instils a feeling of being in the midst

of nature whilst continuing to enjoy the

comfort of luxury. Sometimes a branch or

may be a tree trunk or the tree itself, accen-

tuates the modern interiors.

Spanning across 40,000 square yards,

the maintenance of a project such as this

involves periodic gardening and a consis-

tent scrutiny of the tree houses. Restored

and standing tall is the 400-year old Pea-

cock car that surely cannot be missed.

Another attraction of the resort is the fact

that it is on the World Birding Map owing

to more than 50 species of birds that can be

spotted here.

The Tree House Resort is an exquisite

experience of nature infused with the spoils

of luxury for those who want to experience

the magic that is nature


58 DESIGN MATRIX • SEPTEMBER-OCTOBER 201185858585858588858888558585888858885885855855555858858588885858555888588858555558885855558585855858855555858558588858555555558855555555888885558555855555555555555555585555555858855555558855558555558555885558555555888555555588885555555888855555555588888558555588888855555555558888855555555555888555558888855555555888888855558888 DDDEDESDESDESDDEDEDDDEDEDDDEDESDDESESSSSD SSSSSSSSDDDESSSSSDESSSD SSSD SSSSSSSD SSSSDDD SSSSSDD SSSSDDED SSSSSDDD SSSSIGNIGNIGNIIGNIGGNIGNIGNGNNNNNNNNNNNNNNGNNNGNNGNIGGNIGGGGIGGGGGGGIGGGGGGG MA MAMA MAMAMA MA MAAMAAMAAMAMAMAMAAMAAM MAAAAAAAAAMAAAAAAAAAAAAAAAAAAAAMAAAAAAAAAMMMMMMAAAAAAAAAAMMMAAAAAAAATRITRITTRITRTRTRTRTTTTRITRTRTRTRTRTRIIIITRRTRTRTRTRTRTRIIIIRRRTRRTRRIIRIITRTRTRTRTRIRRRRTRTRTRRRRIIRIITRITRITTRTRRRRTRTRRRRRRIIIITTRRRRRTRTRRTRRRRRIIITRRRRRRTRTRRRRITRRRRRRTRRRRRRTTTTRRRRRRRTTTTTTRRRRRRRRRRTRTTTTTTTTRRRRRRRRRTRTTTTTTTTRRRRRRRRTTTTRRRRTTTTTRRTTTTRTRTTTTTTTTTTTTTTTTTTTTTTT •XXX •X •X •XXXXXXXXXXXXXXX •X •XXXXXXXX •X •X •X ••X • SE SESSSEEPTEPTETEPTEPTTETTEMBEMBEMBEMBEMBEMBEMBEMBEBBBEBBEEMBMBEBBMBEMBEMBMBMBEMBEMBEMBEMBMBEMBMBEMBEMBEBBEMBEBEBEMMMBEEM EEEEEEEEEEEEEEEEEEEEEBEEEEEEEEEEEEEEEEEEEEEEEEEEEER-OR-OR-OR-OR-OR-OR-OR-OR-OR-ORR-O-OR-OOOOR OR-OR-OOR-OR-OR-OR-OR-OR-OR-OR-OR-ORR-OR-OR-ORR-OR-ORRR-ORRRRR-ORRR-OR-RRR-OR-ORR-OR--OOOOR-ORR-OR-OR-OR-ORR-O-OOR-ORRRRRRR ORRRRRRR ORRRR ORRRRRRRRRRRRRRR OORRRRRRRRRR OOOORRRRRR OOOOOOORRRRRR OOOOORRRRR CTCTOCTOCTCTOCTOCCTCTOCTOCTOCTOCTOCTOCTOCTOTOTCTOCTOCTTOOCTOCTOCTOTCTOCTOCTOCTOTOTCTOCTOCTOCTOCCTCTOTTCTOOOTOCTOCTOCTOCCCTOCTOTCTOTOOOOCTOCTOCTOCTTTTOOCCCTCCCCTOCTOTOCTOCTOCTOCTOCCTOCTOCTOCTOCTOCCTCTTTCTOCCTTCTCCCTCTOCCTCCCTOCCTOCCCCCCTOTTOCCCCCCTTOCTOTOOCCC OCTOCTOOCTOCCCCC OOCCCTTOCC BERBERBERBERBERBERBERBERBERBERBERBEBERBERBERBEBEBERERRBERBERBBBEERBERBERRBERBEBERERRBERRBERBERBEREERERERBEERBERBEREREEBEEEREEEEEBERBEREEEEEREEEEREBEREEEEEEREEEBERRRBEREEEEERBEBEEERRRRBERRRRRBERBEREEBEEEERRRRRBEEERERRRRRRERRBBERRRRRRRB RRRBBBB RBBB RRRERRBERRE 22 202220 22 2222222020202020002000000222222222 2 220200200020000000022222222202020000000200022222020000000020002222202000002020020002002 22222020000000022222020200000222200000022222000200222200000000002222200000002222000000000022222000000000002222202200000000000222220000000000 22222200000000022222200000000002222220000000000002220000000222220002222200000000111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111

Creativeideas

Words: Savitha Hira; Images: courtesy the designers

Elegance, style and exquisiteness mark the design of a wedding card,

and the market and trends veer towards the unexplored

and avant-garde …

HAPPY WEDDING!

How does it feel to receive a

wedding invitation that opens

out to reveal a box with seven

katoris containing mishri, iliachi, kesar,

etc., and each of the saat vachans printed

under each katori? A delicate drawer slips

open under this paraphernalia and gives

you the requisite information on the

wedding and its associated celebrations.

Another beautiful design spells out a

customized box with four different kinds

of flavoured honey complemented by

honey spoons and accompanied with

a silver-leafed invitation. Well, you

tend to store them away for

keepsakes as they are too

‘wow’ to be discarded!


SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 59SESESEPSEPSEPSEPSSEPSEPSSEPEPSEPEPSEPSEEPEPEPEPPSESESEPPPEPEPEPEPSEPSEPSEEPEPEPEPEPSEPPSSEPSEEPPPEPPPPESEPEPSEEPPPSEPPPPPEPPPPPSS PPSSS PPSEPPTTTTTEMTTEMTEMTEMTEMTETEMEMEMEMEMEMEMEMTEMTEMEMEEMTEMEMEMEMEMTEMEMEMMMTEMTTTETTTTEMTTEMTEMTEMTTTTTEMEMEMTEMTEMEMEMEMTEMEMEMMTEMMMMTEMMEMEMMTEMEMMTTEMTEMTTTEMTTTEMTEMEMEMEMEEMMTEMMMMEMMTEMMTEMMMTEMTTTTTEMTEMTTTEMEMEMMTEMMMMMTEMMTEMTTTTTEMEMEMEMEEMEMMMMTEMMTTEMTTEMTTEEEMEMTEMMEMTEMMMMMMTEMTTTTTTTEMEMEEEMEMMMMMMMMMMMMMTTTTTTTTEMEEMMMMMMMMTEMMMMTTTTTTTTEMEMMTEMMTEMMMMMMTTTTTTTEMEMMMMMMTEMTTTTTEMEMEEEMMMMMMMMMTTTTTT MMTEMMMMEMTTTEMMMMMMTTTTEMTTTTEMMMMMMMTTTTTEMMMMMTTTTT MMMTTT MMMMMMMMMTTEEMMMTTTTT MMMMMMMTTTT MMMMMMTTTT MMMTTTT MMMBERBERBERBBERBERBERBEREEBERBERBERBERERBERERERBERERERERBERBERBERBERBERBBBERBERBERBERBEBERBBEEEERBERERBERERBERBERBERBERBERBERBBBBERBBEEBEREBEREERBERRBERBERBBBEBERBERBERBEBEBERRRBBBEBBEBEEEEBERBERERBERBBBBBEEERERRBBERBBBEEEBERBBBBBBEEBERRBBBERBBERBBBEEEERBBBEREERRRBBEEEERERRBBBBEBEEBERRBBBEBBEEEERRBBBEERBBBBEBERBBEEREEERRBBBBEEEEEEERRBEERERR-O-O-O--O-O-O-OOOOOOOOCOCOOCOOOCOCOOCCOCOCCCCOCCCOCOCCOCCCOC-O--O-O-OOOOOOOOOOOOCOOCOCCOCOCCCCOCCCOCOCOCOCCC-O-O-OOOOOOOOOOCOOCOCOCOOCOCOCCCOCCOCC--OOOOOOOOCOOOCOCCOCOCOCOCCCCCCC-OO-OOOOCOOOOOCOCOCCCCCOCCC--O-OOOOOOOCOOOCOCCOCOCCOCCCC-O-OOOOOOOOOOCOCOCOCOCCCCCCCCC-O-OOOOOOOOOCOCOCOOCCCCOCCCCCCC-O-OOOOCOCOCCCCOCCCCCOOOOOOCOOCOCCOCOCC--OOOOOOCOOOOOCCOCCCCCC--OOOOOOOCOCCCCCCOCOCCC--OOOOOOOCCCCCCCCOOOOOOOOCCOCCCCC-OOOOOOOOCCCCCCCCCOOOOOOOOOOOCCCCCCCCCOOOOOOCOCOOCCCCCCCCCCCCOOOOOOOCCCCCCCCCCCOOOOOCOOOOOCCOCCOCCOCCCOOOOOCCCCCCCCOOOOOOOOCCCCCCCCOOOOOCCCCCCCCCCTTOBTOTOTOBTOTOBTOBTOBTOBTOBTOBTOBTOBOOOOBTOBTOBOBOTOTOBTOBOOOBOBTOBTOBTOBTOBTOBTOBTOBTOBTOBTOBTOTTTTTTOBTOBTTTOBTOBTOBOOTOOOBOTOBOTOBTOBTOOTOBTOOBBTOBTOBBBBBTOTTTOBTOBTOTOBTOBOTOBTOOTOBTOTOBOOOBTOBTOBTOBBBOBBBTOBTOBTTOTOTOBOOOTOOOBBTOBOBOBBBBBTOBTTOBTOTTTOTOBOBTOTOBOTOOOOTOTOTOOBBBBBBTOBTTOBTTOBTTOTTOBTOOTOOOOTOOOOTOBBBBBBBBBOBOBTOBTTTTOBTTOBTOBTOOBTOOOOOOBOOOOTOBBTOBBBBBBBBTTTOBOOOOOOOOTOOOOBBBBBBBTTTTOTTTTTTTOOTOOOOOOOOOOTOBBTOBBBBBBTOBTOBTTTTOBOBOOOOOOBOOBBTOBBBBBBTTOTOTTTOBOOOBOOOBBBBTOBTTTTOOTOOOOOTOBBBBBBBTTTTOOBOOOOOBBBBBOBOBTTTTTTOOOTOTOBBBTTTTTOBOOTOOOOBBBBBBBBOBTTTOBOOOOOOBBOBBBOBTTTOOOOOOBBBBTTTTTTTOOOOOOOBBTTTTTTOOBBTTOOOOBBBBBTOOBBOBBBOOOOOOBBER EEERERERRERERERREEEEEEREEEEERERRRRERERERERERREEEEEEEEEERRRERRRRERRRREREEEEEEEEEEERRERRERRRRRRRREEEEEEEEEERRRRRRRERRRREEEEEEEEEEERERRRERRRRRRREEEEEEEEEERRRRERRREEEEEEERRRRREEEEEEEEERRRRRRREEEERRRRREREEEEEEERERRREEEEEEERERER EEER RRRRR EEEEERRRRREEEEEEEEER R EEEEEEEEEREEEEEEEEEEEEEEEEEEREEEEEEEEEER 2012202012201220120122012012000020202010020020100111201111201201220122201202012220122001201201012000001200201201111112012220120202201222220120120101002010020111120122012012022220200002012010011112222222012201020100201020201202012011110122222222010012011120222222010001112201220122202220201010222222001220200201222012201220120020120101222222200001012200000020220201220122000122200122001111111 •11 • •1111 •111111111111 •11111 •111111111111111111111111111111111111111111111111111 11111 DESDESDESDESDESDESDESDEDESDESDEDDEDEDESEDEESDESSDESSDESSSSDESDESDESDESDESDESDESDDESDESDDDESDESDDESESDEEEDEEEEESSSDESSDESDESDESDESDDDDDESDESDESDEDEEESEEEDEDESSDESDESDDESDESDESDDESEEEEEEEESSSDESSDESSSDESDESDESDEDEESSSESDESDDESDESEESSDESDESDESDESDDESSSDESDESDESSD SDESDDESDESSDDD SDDD SDESDESESSSDESSSD SSSSDDDESSSIGIGIGIGNIGNGNGIGNGNGIGNGNIGNGNGNIGIGGNGNIGNNGNIGNNIGGNGNIGIGGNGIGIGNNNNNNNNNGNGNNGNGNGNGGNNNNNNNNNNNNNIGGIGGNIGNNNNNNNNNNNGNGGIGGNNNNNNNNNNNGGGGIGNNNNNNNNGNNGGGGGGNIGNNGNNNNNNIGNGNGNGNNIGNGNGNIGNIGGNNNNNGNNGNNNIGNIGGGIGNNGNNGGNNGNGNNNGNNGNGGNNGNGNIGNIGGNNNGIGGGNGNNNNNIGNNNNGGGGIGNNNNNNIGGGGNNNNNGGGIGNNNNNNIIGGGGNNNNNIGNGGGGNIGGGGGGGGGGGGG MAM MA MA MA MA MAMMAMAMAMA MAMAMMMAMAMAMAMAMAMMMMAMAMAMAMMMAAMMAMMAAMAMMAMAM TRITRITRITRITRITRTRITRTRITRTRITRITRITRTRTRITRITRITRTRRTRIIRITRITRITRIITT IRIIITRRRRRIIRIRIRRIRIIRRRRRRRIRRIRRRRRIIIIXX XX XXXX XX XXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXX XXXXXXXXX XXXXXXXXXXXXXXXXXXX XXXXX 5555555559595959595959995995999595599595999999555555999999595959959555599995995959959595959555555995959959959595959595995959595959955555555595959595955555599955555595955595959555555955955955995955555959559599999999999959595999599995959959999955999999995555955995999559599999555999555559999

“A wedding card re ects the status of the parties concerned and is indicative of the kind of wedding you are being

invited to – extravagant, rich, simple...”

The wedding invite is no longer the

demure calligraphic artistry that once was,

but mastery of integrated solutions that

spell chic and are symbolic of social stature

and progressive outlook. “A wedding card

refl ects the status of the parties concerned

and is indicative of the kind of wedding

you are being invited to – extravagant, rich,

simple, you name it,” informs Nilesh Parekh,

Partner, Parekh Cards, leading manufactur-

ers of Indian wedding invitations based in

Mumbai. “This important element, which

once formed only a miniscule part of the

entire grand brigade, is today an iterant

indication of one’s social status and spend-

ing prowess,” he continues, “And the bud-

gets are no mean feat either.”

The entire concept of the wedding

invite has seen a sea change over the last

decade. Certain western motifs and use

of more refi ned materials have silently

entered the wedding card market as a

‘fusion’ of ideas and mindsets, where tradi-

tional ways have mingled, and co-exist with

open-minded perspectives. Calligraphic

art, which was once the ultimate diktat of

a wedding card design has made way for

more elaborate printing techniques, and

paper is not the only substrate in use. Acryl-

ic, cardboard, glossy foil, satin-brocade fi n-

ishes, etc. are some among a host of base-

material options. The overall look and feel

is one that demands exclusivity and there

is nothing to delimit the creativity quotient.

Where the quality of paper and print-

ing is an absolutely ‘no-compromise’ issue,

and aesthetics are high in avatars that spell

chic and sophistication, religious crypto-

grams and designs have made way for

neutral thematics, welcoming fresh colour

palettes and trimmings. Of course, this does

not negate the conventional set-ups. Those

are still very much a ritual, but are open to

being fi ne-tuned with innovative elements.

Innovation is where the name Ravish

Kapoor makes a grand entry. In the fi eld of

‘innovative invitations’ for almost a decade,

the brand brings you customized solutions

and is best approached at least two months

before the grand day. “It takes a few meet-

ings to understand client requirements

and to ideate and seek his approval. Then

comes the productionization part,” says

Surbhi, designer at the Ravish Kapoor studio

of Innovative Invitations in Mumbai. Each

request is handled exclusively and each

invitation designed to perfection, integrat-

ing the mandatory ‘gift’ with the invitation

card. Themes are developed and discussed;

colours and material are personalized to the

needs and wants of the client and voilà, a

new tailor-made concept in sync with the

client’s sensibilities is readied for posterity.

Gone are also the days when nothing

less than a kilo of mithai or a box of rich dry-

fruit spelt the social stratum. “Nowadays,

people understand that the gift with the

wedding card is a solemn shagun; the quan-

tity no longer matters, the quality of the

gift does. With mithai, dry-fruit and home-

made chocolates passé, gifting options are

taking on novel dimensions – fl avoured

honey, khajoor, home-grown fragrances, sil-

ver leafed and gold plated murtis, silver bars,

not to mention a ground-breaking initiative

that marked a hi-profi le wedding with a

pre-programmed cell phone as the beauti-

fully packaged wedding card cum gift!

“It is a convenience that we off er when

we integrate the whole package,” elabo-

rates Surbhi. “Often, people want more

than a single type of wedding gift, to be

given at diff erent occasions to diff erent

sets of people. Here, we create coordinat-

ed settings according to tastes and sensi-

bilities. The wedding cards and gifts can

also be personalized with the names of the

individual guests. “These are little things

that inadvertently underline the emotions

attached to the occasion and the people

involved; it is a method of reaching

out to near and dear ones in a

way that says ‘I’m glad you

are there for me’. It com-

bines umpteen senti-

ments that get min-

gled in an all-inclusive

package of gratitude

for favours granted,

presents received, sup-

port systems ensured,

and the like.

And it is this emotional response that

makes today’s weddings a grandiose aff air.

Budgets are often not a constraint as people

are willing to traverse the extra mile for the

extra edge. They demand exclusivity and

style. While there are the unique personal-

ized and custom options as Ravish Kapoor

studio, there are also the Parekh Cards kind

of retailers who are absolutely in sync with

market trends and tend to introduce close

to a hundred new designs every year to

reach out to a wider spectrum of society,

who want inimitability within the reach of

their pockets.

So, whether it is a card made of silver

tissue-fi nish paper, or a stunning rich colour

shimmer-fi nish card with kundans and gold

laser-cut patterns, out-of-the-box invita-

tions have given the wedding card, and

thus the couple, a special place, etched in

memory for posterity



Words & Images: Nils Ferber

Nils Ferber enunciates his belief in design as a medium of communication, to initiate discussion and provoke new thought.

IS THE KEYRELEVANCE



Myspace



Sometimes I wish I could still believe

in the idea that the designer‘s role

is to provide material wealth to the

masses. Finding ways to produce appeal-

ing and aff ordable products in high quan-

tities in order to make them available to

everyone, actually sounds like a respect-

able task; the only drawback is that accom-

plishing this is not easy.

In our industrialized society, the con-

sumption of products has exceeded our

actual needs by far; and has become a

serious problem for the earth‘s ecosystems

and an equitable distribution of available

resources. We are currently living at the

expense of the third world and are taking

a huge loan from our future generations.

Therefore, it is an enormous but inevitable

challenge to transform our squandering

lifestyle into a society that is based on

renewable resources and ecological limits.

Being aware of these problems and

feeling the urgent need to rethink our

lifestyle also makes me furious to see how

design is often used to sell the same need-

less stuff again and again.

Nonetheless, I love working as a

designer. And that is not because I want to

fuel the thriftless consumption even more;

but because I believe in design‘s potential

to alter reality. When I am working on proj-

ects, I don‘t think about having them mass

produced later. I don‘t see my objects as

prototypes for the industry. I rather con-

sider my works as tools to initiate discus-

sions and provoke new thoughts. In this

way design can act as a communication

medium to visualize abstract thoughts

and ideas to make them understandable.

By presenting a design concept to

someone, one always shows how things

could be. That also implies to question

why things are just as they are. Even when

a new design concept is not realized and

has no direct eff ects, it still opens up room

for discussions and thoughts that stretch

from status quo to the concept’s fi ction.

Therefore, I understand design as a tool

to debate and create our future instead of

just letting it happen.

To give you an example of what I am

talking about: The project “EX” is a three-

wheeled, screwdriver-powered vehicle

that can accelerate its driver up to 30 km/

hr. If you look at the vehicle from an indus-

trial or commercial perspective, it prob-

ably appears to you as completely point-

less. It is too slow to compete with real

motor vehicles; the batteries won‘t last

long and there is pretty much no place

where you could drive it. But as you can

imagine, that‘s not really the point here.

Instead of designing the next sports car

TwOne glowing ring tells you that there is slightly increased radiation coming from yourWhen there is no increased radiation measureable all OLED rings remain off.



with a huge but heavy engine, we wanted

to use a very limited power source and

create a vehicle that still looks dynamic,

aggressive and spectacular while provid-

ing a lot of driving fun. Everyone knows

how little torque you gain from screw-

drivers and therefore there is the direct

association of the amount of power one

can deal with. But despite the screwdriver

engines, it is surprisingly exciting to drive

the “EX” and with one‘s head close to the

ground, it defi nitely feels fast enough. So

the “EX” proves that using smaller engines

is not necessarily a loss of driving fun but

can open up room for completely new

transportation concepts. You begin by

questioning cars as luxurious and exces-

sive status symbols.

Another project of mine is the “Fuku-

shima Plate” that I conceptualized shortly

after the nuclear catastrophe in Japan. It

is an ordinary kitchen plate with built-in

radioactive metre and LED rings to visu-

alize food’s level of contamination. What

seems like a real product on fi rst sight is

actually my ironic comment on how I

expect our technology-religious society

to fi ght the risks of nuclear power. I was

almost waiting for a product like this after

the Fukushima accident. Not because it

would solve anything, but simply because

people would buy it. So it didn‘t really sur-

prise me that there were a lot of people

asking me where to buy the plate but no

one wondered how it worked or whether

it could protect you from nuclear radiation

reliably. And if that doesn‘t make you think,

here are some other questions I wanted to

raise with the “Fukushima Plate”: What will

happen to those who cannot aff ord their

own plate? Will superfi cial innovations

like this aff ect our estimation of nuclear

power‘s risks? Are we willing to accept an

increasing number of electronic aids to

make our polluted environment inhabit-

able again?

There are plenty such questions in all

fi elds of societal and technological devel-

opments and I think designers should

imply such questions in their work. The

future will somehow happen anyway. But

by asking questions and proposing ideas

today, we can moderate and negotiate the

process of future becoming reality. We can

choose from a broad variety of possible

futures and decide which way we want

to go. Showing some of the possibilities

and encouraging people to actively shape

their future is what really drives me as a

designer. And I know that there are scores

of like-minded creatives out there some-

where, who share the belief that relevance

is the key to good design

Two glowing rings mean there is significantly inreased radiation and your dish is notour The red ring tells you that the measured dose of radiation is beyond the limiting valu



While urbanization has been a

boon to mankind on the one

hand, our clock-patterned

city life has been greatly compromised by

space and greenery. A kitchen and dining

room combined; treadmill in the corner of

the living room for a gym; and the washing

machine in the bedroom, are only but a few

instances of cramped spaces. A green corner

then, apart from of a little bamboo plant on

the desk and a money plant on the kitchen

sill is almost non-existent.

But nature is a natural healer and people

turn to gardening as therapy, as a hobby, to

eat organically or to enjoy the simple joys in

life. An edible garden within your own home

is a healthy trend that seems to be catch-

ing on; and lack of space is not a deterrent

here. “You can grow methi (fenugreek) or

coriander in an old carton of yoghurt,” says

Vaibhav Dugar. Dugar is the co-founder of

an organization called Ek Titli that conducts

workshops on organic gardening. Started

10 months ago in Pune, mostly because

he was tired of eating vegetables sprinkled

with pesticides, Dugar helps you grow your

own vegetables and teaches you everything

there is to learn about seeding, taking care of

the soil, watering, harvesting and more.

If you are imagining hours spent toiling

over manure, seeding and harvesting, let

me assure you, it’s a lot easier and the joy

of a bountiful garden is worth its value in

gold. “You need to spend just about 10-15

minutes a day watering your plants,” says

Dugar; and involving all members of the

family in the upkeep of the garden is gener-

ally a good idea, he advises.

The fi rst step towards creating your

own garden is planning. Restricted space

means you can’t grow every plant you

wish to. Start slow. Pick something simple;

make sure you pick a location that receives

adequate sunlight and shade and set a

time specifi cally to water them. Every once

in a while, trim the dried leaves. If you plan

to grow fl owers, consider colours that will

complement the colour palette of your

room, ushering in joy and vibrancy.

Once the plants are growing success-

fully, you can beautify decorate them in

any way you like. “An advantage of living

in a city like Bengaluru is that I have space

to create a green patch right behind my

house. I buy plain earthen pots and paint

them myself and I have three stone animals

around my cacti collection; a turtle and

two frogs. They just add a little fun ele-

ment,” says Jaya V, a housewife who started

her own garden over ten years ago. “I only

decided to grow edible plants recently. I

started with basil, mint and lemons. Now

I also have tomatoes, chillies; and I’ve just

planted pumpkin seeds and hopefully, I’ll

have beautiful vine growing soon.”

For those who do not enjoy the luxury

We discover that squeezing a little garden in a cramped space isn’t as hard as you think – just stick your green thumb out.

Words: Sharanya S; Images: Mohnish Dabhoya

HOMETHE

TURF

Landscapedesign



Coriander Use a container of any size and make a hole at the bottom. Fill it with a layer of

gravel and then put soil on top. Crush a few coriander seeds and add them to

the container with a small layer of sand over it. A bunch of coriander leaves will

be fl ourishing in less than a month.

Chillies Slit a few chillies and spread the seeds in a pot. They will start sprouting in a

week or so.

Mint Mint grows just like coriander does and needs a small container. Make sure you

cut the dead leaves or it will continue to sap all the nutrients.

Beans Beans grow in a vine so you can twist them around a grill of your window or a

pole.

Tomatoes Tomatoes need more space and a small pot won’t do. Cut a small tomato

into pieces and plant them in soil. Use a big, deep pot and make sure there is

enough space for the plant as it grows. They take almost a month or more to

start sprouting. You can even try and plant cherry tomatoes.

of a backyard, there are many space-saving

techniques that can be employed. The

simplest being, pots that hang from roofs

of balconies, or off balcony railings. A verti-

cal rack that lets you set a number of pots

anywhere close to a light source is an eff ec-

tive way to bring in some green into the

room. Decorated pots also lend a touch of

colour to the garden. Those lucky to have a

terrace or a verandah can place stone fi gu-

rines, cob stones, mini-fountains or even

a bright colourful bench to complement

their plants If you’re a DIY kind of person,

you can recycle old chipped mugs, buckets

or teapots and grow plants in them. You

can even grow an assortment of herbs in a

large wok or deep dish.

While the benefi ts of plants in the house

are several, a little patch inside your house,

born out of your eff orts can provide you with

a peaceful haven of clean, pure air and, to say

the least, the thriving beauty is a jackpot

SALAD BARGet down and dirty, here’s how:


Artytechture

The fascinating creativity that goes into chiselling speakers is nothing

short of a work of art.

A-BOXYJACKETS

Words: Varun Godinho, Images: courtesy Bang & Olufsen



I f you’ve looked at a speaker and thought

that it was part art and part science, then

you’re probably looking at the latest range of

speakers to come out of the factories (some call

them design studios and sound laboratories) of

few of the world’s leading speaker manufacturers.

These magnifi cent pieces aren’t physics

experiments hijacked by product designers with

absolute disregard for convention. They are the

outcome of designers who have spent decades,

not thinking ‘out-of-the-box’, but rather ‘outside-

the-cabinet’. “There was really quite a tradition

about how speakers looked for a long time;

and they came from the way you could make

them and had to go on making them— and

they were boxes,” said Kenneth Grange, the

former chief designer at Bowers & Wilkins in an

interview with the B&W Society of Sound. “The

box was the dominating form. The cabinet, as I

call it, is a natural piece of furniture [of the living

room]. And I think, it poses the fi rst big question

whether hi-fi is a piece of equipment or a piece

of furniture. And I think that’s the designer’s

dilemma,” he had continued.

Such designer’s dilemmas are often resolved

by unconventional methods. David Lewis, chief

designer at Bang & Olufsen since the ’60s, has

apparently worked in a silo, barring a minimum lev-

el of interaction with his team members. He report-

edly visits the offi ce every other week for just a day

and uses the intervening days to mull over brilliant

concepts, which he then focuses into execution on

that single day. He also claims that the designers at

Bang & Olufsen do not associate with each other.

This unusual method of heightening the creative

instinct of designers has worked for them.

At work, Lewis uses cardboard when design-

ing his speakers and not paper and pencil. Mal-

leable and tangible, it serves him an added

advantage when designing his product. Grange

was an industrial designer credited with working

on designs ranging from Kodak cameras to Ken-

wood food mixers. Lewis worked on designs for

refrigerators with Vestfrost. What their power to

think laterally gave him, apart from the ability to

work as comfortably with optical lenses and cool-

ing compressors as with acoustics, was an under-

standing of design as a means of communication.

The speaker designs by both Lewis and Grange

took on forms that ranged from hexagonal and

round to oblong and irregular.

But at what point does “bold and diff erent”,

become an esoteric practice, where the design

isn’t universally appealing and is more likely to be

the self-indulgent pursuit of a designer? “There’s

an element of selfi shness in this,” says Grange. “I

think every designer should want to own and live

with what he or she designs. Therefore, I wanted

to live with my designs and therefore, I could

begin to see them in my home, which is a mix-

ture of old and new, and furniture and function,”

said Grange. For some pieces, like the Fergusson

Hill FH001 horn speaker, the design has just shat-

tered every notion of what a living-room speaker

must resemble. The nearly 1.65m tall horn made

of perfectly see-through acrylic is said to deliver

sound that is as good as it looks. At approximately

Rs. 9 lakh, they don’t come cheap.

Another stunning speaker is the Nautilius

that was the product of fi ve years of research led

by Lewis. These are pieces beautiful enough to

be lifted from your living-room and curated in

a museum. And some of them are. The Nautilus

and B&W Signature Diamond speakers by Grange

are part of the collection housed at the Design

Museum, London. Several Bang & Olufsen pieces

by Lewis, including the svelte BeoLab6000, are

part of the permanent collection at the Museum

of Modern Art, New York.

The pursuit by designers for a median that

blends lifestyle with functionality, led to creations

like the beautiful BeoLab 4000 speaker. This

speaker is as tall as a book and narrow as a tome,

designed by Bang & Olufsen’s Lewis, specifi cally

to stand inconspicuously in a bookshelf. Another

example is JBL’s Control Now two-way satellite

quarter-round-shaped speakers, two of which can

be attached to form a semi-circle that can then be

mounted on a wall or even on the edge of a wall. At

approximately Rs 20,000 a pair, this is where design

runs parallel to aff ordability. Although Bose’s col-

lection includes speakers with sharp edges and

unimaginative designs at large, the quality of their

sound especially that from the 5.1 Channel Home

Theatre Speakers and even their Bose Wave music

system packs a punch several times its size. So here

appearance takes a backseat.

The larger picture, however avers to the evolv-

ing design of speakers from top notch brands. The

proverbial household ‘sound-boxes’ aren’t merely

objects placed in a living room they stand as dis-

tinct objects within a space

They are the outcome of

designers who have spent

decades, not thinking ‘out-

of-the-box’, but rather ‘outside-

the-cabinet’.


These magnificent pieces aren’t physics experiments hijacked by product designers

with absolute disregard for convention.



Conversations



Words: Priyanka Mathur; Images: courtesy Anju Kumar

When it comes to sculptures, Anju Kumar has become a name to reckon with. Her latest Ganesha collection is just a glimpse of what is in store for art-lovers.

MOULDED TO

PERFECTION



T he art of sculpting is an age-old one;

this is an expression that continues

to fl ourish with its evergreen three-

dimensional appeal for the simplicity with

which it can be understood.. There was a

time when sculpting was a means of liveli-

hood in ancient civilizations. Over a period

of time, this art form managed to wind its

way into the inner circles of urban contem-

porary society, moving from the realm of

traditional expression to one of ubër-chic.

How a work of art is created from

a lump of clay is something that would

intrigue any art-lover, and Anju Kumar is

no diff erent. This Delhi-based artist fi rst

dabbed her hands in mud about 20 years

ago. She says, “It is said that creativity

knows no bounds. This holds very true for

me. Sculptures, paintings, pottery…all are

creative works that are close to my heart.

My school encouraged creativity in all

forms. However, the seed of my passion for

pottery was sown only in grades 11 and 12.

I owe my strong foundations to my won-

derful school and dedicated teachers.”

What started off merely as a hobby

soon grew into a full-fl edged profession.

With more than 80 solo exhibitions under

her belt, Anju has defi nitely arrived.

Shut away in her basement studio,

this self-taught artist spends long hours

experimenting with mediums and design.

Putting her creativity to good use, she has

been able to come up with fascinating and

unique shapes in diff erent mediums, such

as wood, matte, leather and metal. She has

created a range of earthen vases in gold

and copper hues, exquisitely carved vases

in metallic tones with embossed fl oral pat-

terns, and the like.



Apart from making pottery, Anju cre-

ates garden sculptures, vases, urlis, garden

furniture, and murals in diff erent materi-

als. She has also decorated homes for the

who’s who of Delhi, worked for the Jaypee

Chain of Hotels, The Radisson Hotel, The

Oberoi Group of Hotels, Hotel Ibis, The

Fortune Group of Hotels, OVL, Petronet,

ONGC, The Jindal University, The Saagar

School, to name a few.

Recently, Anju unveiled her Ganesha

collection, called the “5 Looks of Ganesha”.

Like most artists, she explains her fascina-

tion with Ganesha, “Sculptures, in par-

ticular Ganeshas, are something I love to

create as I am spiritually attached to Him.

His blessings give me happiness and pros-

perity. I have been creating Ganeshas in

diff erent moods and forms from the time

I held my fi rst show in 1990 and though I

also love to do Buddhas in abstract forms, I

do enjoy making Ganpatis the most.”

About her recent collection, she says,

“The handcrafted vases and sculptures

that I have created are a part of the Neo-

Paleo collection. Also, apart from giving off

a positive Zen-like aura, they add elegance

and beauty to any corner. Earthen vases

are eco-friendly, add warmth and bring

an outdoor feel in the interiors. They also

make ideal gift items.”

With a new design studio in Gur-

gaon, Anju continues to exercise her

individuality as a studio potter revising

traditional shapes, sizes, and designs into

modern day design ethos while retain-

ing traditional ways of manufacture. The

self-taught potter infuses vibrancy in her

works through a host of textural tech-

niques and colours


A Ph. D. student of Sculpture Art in the monuments of Gujarat,

Dharti Patel traces the male and female costumes, hair-dos and

head-dresses of Gujarat’s Solanki dynasty – a period recognized

for traditional art by harmonious reconciling of the classicist style

of emphasizing garments of the late 9th century. She chronicles

hairstyles like Alakchura, Ghammil, Kuntal; costumes like Sari,

Dhoti, Uttariya, Duppatta; also ornaments like the Katimekhla and

Katiband that were used as costumes.

SCULPTURESDRESSING THE

Photofeature



Retaildesign



SPACED OUTWord: Varun Godinho; Images: Prashant Bhat, courtesy the designer

Rupal Bhat and her team of interior designers just completed a back-to-the-basics exercise of renovating

the Durian showroom in Mumbai.



Durian’s showroom in downtown

Mumbai, has been around for

12 years. You’d be forgiven if you

didn’t know it existed, especially since it

is tucked away in a non-descript lane off

Dr. E Moses Road in Worli. Shilpi Dokania,

director at Durian Furniture, enlisted the

services of Rupal Bhat and her design team

at AR Intertect to make it distinctive from

the clutter of furniture showrooms that

dot the surrounding area. Given the 6,000

square feet showroom, spread across two

levels, in a part of the city where every

square inch of retail and residential space is

worth its weight in gold, it made sense to

re-do the look of the retail space to make

every inch count.

“We wanted to re-launch the show-

room. The shell had to be retained while

undertaking the project. We could not shut

the store, which is why we had to com-

plete the work phased out in sections,”

Shilpi explains. Working with a well-known

national brand that off ers a collection of

neo-classic, art deco, and modern furni-

ture, Rupal decided to meet these designs

mid-way – by placing them in a contempo-

rary ambiance as far as the interior design

scheme was concerned. Her team began

by opening the space that formerly seemed

cluttered. They opened the false ceiling,

plugged the leakages, re-laid the carpeting

on the top fl oor, installed an LCD display-

ing the catalogue of the store’s collection,

and made all necessary surface alterations

in keeping with the new look. The railing

on the top fl oor of the atria, POP walls and

IPS stone fl ooring on the ground fl oor, were

left as they were. The project was complet-

ed within a record time of six weeks. “Each

of our 50 stores across the country sport a

look that is city-specifi c. So, while in Delhi

we would require opulence with marble to

impart a rich look; in Mumbai there is no

need to be showy. Here, you are catering to

the well-travelled and affl uent sections of

society,” says Shilpi.

A furniture store commands a dynamic

layout with its ever-changing range on dis-

play. Durian isn’t an exception. The inven-

tory keeps changing to refl ect changing



The renovated showroom isn’t an opulent masterpiece, but a persistent back-to-the-basics exercise. The project was completed within a record time of six weeks.

“We wanted to re-launch the showroom. The shell had to be retained while undertaking the project. We could

not shut the store, which is why we had to complete the work phased out in sections,”



trends and this would include an entire

range of furniture completely diff erent in

its shape and size than its predecessor.

Rupal has met this challenge by compart-

mentalizing the store into two distinctive

sections: the ground fl oor – a fi xed sec-

tion – is made available for home furniture;

while the upper level is for offi ce furniture.

But the arrangement of furniture within

each section is fl exible. The furniture dis-

play can be easily played with. Strategically

positioned track lights serve two purposes

A furniture store commands a

dynamic layout with its ever-

changing range on display.

– become navigational pathways for cus-

tomers; and being adjustable, they eff ec-

tively light up the constantly-changing

range on display.

The renovated showroom isn’t an opu-

lent masterpiece, but a persistent back-

to-the-basics exercise. The aim of giving

customers a simple, yet classy habitat that

doesn’t overpower the furniture it houses,

is one of the most distinctive features of this

store that is defi nitely turning more heads

than it did before



Youthforum

Words: Savitha Hira; Illustrations: ©Ola Mirecka, courtesy Erik de Laurens

SOLUTIONSFANCY



Exploring the realm of materials by challenging what they are and asking what they could be, product designer

Erik de Laurens endeavours to create new materials from everyday objects.



My work challenges assump-

tions that one can have on the

definition of industry in order

to propose alternatives,” says product

designer Erik de Laurens, who just gradu-

ated from the Royal College of Arts, Lon-

don and exhibited his innovative ideas at

the institutions’ annual show in the last

week of June 2011.

Constantly striving to seek design alter-

natives that could have implications in the

social and economical realm, the young

man has a host of innovative products to

his credit. While the material is as unusual as

the application is common, it goes to show

what the calibrated mind can accomplish

when it ticks in the ‘now’ and ‘beyond’.

Erik’s fi rst product that stands out for its

sustainable design is what he calls “The Fish

Feast”. A water dispenser made with fi sh

leather; tumblers realized with fi sh scales

and a table cloth patterned to explain how

to build your own boat. In his words, “The

fi sh feast started when I was asked to design

objects for the canteen of a primary school

of Macassar, a township of Cape Town.

When I was a kid, the sea was for me a very

important source of joy and daydream,

which surely led me to design. I decided to

create a monthly event in which the pupils

of one class would be brought for a ‘fi sh-

ing day’ to a nearby beach. They would

then go back to school with the fi sh they

have caught, and prepare the traditional

cape kedgeree. To accompany this feast, I

designed a range of objects related to fi sh.”

In continuation of ‘the fi sh feast’, Erik

created a surprising material made of

100% fi sh scales (no added compound).

He explains, “The fi shing industry gener-

ates several circumstances where many

tons of fi sh scales are leftover. Using this

waste as resources for the production of

fi sh-scale-plastic, I tried to highlight the

potentiality of these industrial fl aws.” In

order to test the material, he has designed

three pairs of goggles and glasses inspired

by swimming goggles and a table with

a fi sh inlay. Further, he has extended

the range of colours in the previously

designed fi sh-scale tumblers.

His other project called “The Milk Proj-

ect” questions the production of plastics

and works on the revival of casein plastic

as a regional product produced by dairy

farms. “These materials are so present in

our lives that they have become indispens-

able. But they are meant to get even more

expensive over the next few years due to

the rarefaction of resources. Therefore it is

legitimate to try to fi nd other ways of pro-

ducing them,” says Erik.

Based on the theory of reviving the use

of casein (milk) plastic to produce various

objects, the young man evaluates the cost

ratio of oil-based plastics to the milk plastic

and fi nds that oil is worth three times the

price of milk; hence it is only logical to try to

revive the milk plastic material. He has it all

worked out: Today dairy farms are the keep-

ers of their region’s identity; anything they

produce, whether it is milk, cheese, butter,

cream or yoghurt, is evidence that things

can remain simple, honest and authentic.

This huge cultural content is a force that

other plastics cannot compete with.

“Further,” says Erik, “The process of

making this plastic is somewhat similar to

the process of cheese making and could

easily be produced by a dairy. Moreover, it

would require no further equipment.”

Erik has recently exhibited a selection

of his research and latest work during the

graduation show 2011 at the Royal College

of Art. His work has been shortlisted for the

‘Sustain RCA Award 2011’. He will show his

work in the Sustain exhibition, which will

take place during the London design week

in September 2011.

Raring to go, the young lad is presently

looking to push both these developments.

We wish him all the best

“The shing industry generates several

circumstances where many tons of sh scales are leftover. Using this waste as resources for the production of sh-scale-plastic, I tried to

highlight the potentiality of these industrial aws.”



Musings



Words: Priyanka Mathur; images: courtesy Time Out, Mumbai.

What is it like to be surrounded by brilliant pieces of art? What helps you decide which

is worth showcasing? What does being a curator mean?

THE

ARTOF THE MATTER



For many, art is chiefl y about aesthet-

ics. What looks beautiful is what

counts. However, to a trained eye, art

is not just about aesthetics. It is about the

story it narrates; the era it represents; even

the making of potential artistic infl uences.

Masterpieces like Leonardo Da Vinci’s The

Last Supper and The Mona Lisa, Botticelli’s

The Birth of Venus, Michaelangelo’s David

and The Pieta and Pablo Picasso’s Les Dem-

oiselles d’Avignon are some great works of

art that, apart from detailed artistry, repre-

sent thought processes of the times they

were created in – perhaps that is why these

paintings, withstanding the tests of time,

are considered as masterpieces.

Museums around the world house sev-

eral works of art, most of which date back

hundreds of years. Galleries are rampant

and form a fundamental institutional link

between the art lover and the artist. This

brings us to some key questions: Who cares

for these works of art? How are these works

valued? How are they selected for exhibi-

tions? This is where the curator steps in.

Susan Hapgood, director, Mumbai

Art Room and Senior Advisor, Indepen-

dent Curators International (ICI), New York,

enlightens. “An art curator is a person who

cares for works of art, manages an art col-

lection, organizes art exhibitions, or any

combination of these functions, as his /her

primary responsibilities,” she says. “The job

has been compared to being a producer or

a conductor or a deejay, and these are all

apt references as well.”

Well-known curator Girish Shahane

puts it simply, “A curator is a person who

looks after a museum’s collection and orga-

nizes its display. In recent years, the term has

come to be used for persons who concep-

tualize temporary art exhibitions.”

Since art is subjective as a theme, the

approach given to a particular work of art

varies from curator to curator. It is up to

him/her to decide what kinds of works

should be put on display. However, in order

to be able to distinguish one work of art as

‘more deserving’ than the other, diff erent

kinds of expertise are integral to being a

curator of visual art.

Susan says, “What is of utmost impor-

tance is visual sensitivity and breadth of visu-

al experience. Other key expertise needed is

knowledge of the kind of art one is working

with, study of art history, awareness of cura-

torial methodologies, and writing skills.”



Artist and curator, Bose Krishnamachari

concurs, “A curator should be equipped

with awareness about all contemporary art-

related practices that include architecture,

fashion, photography, design, new media,

video and cinema, etc.” He feels that the-

ory and practice should go hand-in-hand.

Where am I curating? Who is the audience?

How is the space? Such issues need to be

addressed. “I would closely look at the nit-

ty-gritty – invitation design, typography,

catalogues, interviews, etc., in addition to

making sure that everything is art-sensitive

in the space,” he concludes.

A curator also needs to have a good

understanding of another aspect: commer-

cial viability. Art and commerce are linked

together. As Girish explains, ‘‘The process of

curation, apart from other factors, depends

on whether it is a commercial or non-com-

mercial venture. The process begins with a

concept and selecting works of art or com-

missioning pieces that fi t the concept.’’

This process leads to another curatorial

aspect: how to decide the value of an art

work. Just as any other trade functions, the

art ‘trade’ functions based on market condi-

tions – i.e. by demand and supply, and what

people are willing to pay for it. Apart from

this, there are other practical, logistical,

conceptual, fi nancial, and political consid-

erations that need to be deliberated upon.

In recent times, Indian art is marching

ahead on the international radar. Susan

points out, “Unfortunately though, the fl ow

is rather one-dimensional, because not so

many foreign works fi nd their way into Indi-

an galleries, museums, auction houses, and

private collections. If there was more per-

meability to the incoming and outgoing,

the art scene in India would be nurtured in

a more global way.” Indian artists, Bose and

Riyas Komu have made a commendable

stride in this direction by introducing India

to the global Biennale scenario. The Bien-

nale will be the fi rst international art festi-

val in India and will take place in Kochi and

Muziris in 2012. Partnering with the Muziris

Heritage Foundation, it will celebrate India’s

rich cultural and social heritage, showcas-

ing some of the world’s most engaging art-

ists, both established and emerging, from

India and abroad.

Equipped with profi ciency in the fi eld

and a keen eye, the role of a curator, is thus

becoming more well-defi ned and it is he/

she who plays a key role in the art world

‘‘Awareness about all contemporary art-related practices that could include architecture, fashion, photography, design, new media, video and cinema, etc. and a receptive and open mind towards the past/present art and cultural history is a must for a curator. Added to this, is his belief in himself and in his artists.’’



This latest addition to the party scene in the Capital will pull at your dance-strings putting you among the A-listers…

ELITESERENADING THE

Designpromo



As the days move towards the week-

end, the mind starts planning for

it and a night out with friends is

a given. Now we give you an option that

is not just the latest to the party scene in

the Capital, but also has the potential to

become your most favoured – the night

club at The Lalit. This 10,000 sq. ft. multi-

level, state-of-the-art, shrine of aesthetic

innovation, opulence and music that was

Dr. Jyotsna Suri and her son Keshav’s vision

of indulgence, has been conceptualized by

Ar. Bobby Mukherjee and executed by The

Lalit project team. Calling it a shrine is only

apt, as exquisitely carved totem poles stand

on either side of the gold-gilded entrance,

clearly protecting its inner sanctum.

On stepping inside, one comprehends

the fusion brought alive in the form of

its decor – an artistic exploration of past

and present that is beautifully translated

into not just the ambiance but also in the

music that ranges from electro to pop,

from house to disco. The seating, lighting,

sound system, technology, all spell class,

while earthy shades, dark wood fl oors,

evocative sculptures sourced from Khaju-

raho depicting scenes from the Kama

Sutra, make one travel back in time, and

want to celebrate sexuality.

Adjacent to the main dance fl oor is the

The Salon – a mini nightclub within the

nightclub that comes equipped with its

own DJ console. Infl uences of India’s rich

cultural heritage can be felt within every

detail here. Luxurious tapestry in skilled

patchwork and intricately carved wooden

jaalis cover the walls, while bright fl uores-

cent LEDs add to the mood and give it a

contemporary essence.

A restricted and exclusive area aptly

named The List tells its own story. One of

the rooms depicts the power of energy

through a chandelier installation that is

the brain-child of Dr. Jyotsna and Keshav.

Another chamber in this area celebrates

fashionable India complete with a mini-

ramp that is the symbol of glamour. What’s



more, the privacy of the A-listers visiting

this area is also assured. Especially made

electronic key cards have been presented

to extremely select guests to enable them

free access to and from this area.

The nightclub also boasts of a Cham-

pagne Lounge – The Dressing Room –

that only serves the choicest of delectable

champagnes, sparkling wines and cocktails

made from the bubbly.

Also on off er at the club are its inimita-

ble range of branded merchandise – unique

and imaginatively designed products that

are fashionable but don’t lose out on that

essential fun factor! Starting with T-shirts

and fl ip-fl ops, plans are already underway

One of the rooms depicts the power of energy through a chandelier installation that is the

brain-child of Dr. Jyotsna Suri and her son Keshav, the Executive Director of the group. It shows a chandelier falling on

glass; breaks the glass but manages to stay intact.

to extend the line to include shoes, bags

and perfumes, among other chic items.

This newbie is also setting some

never-heard-before benchmarks. To dis-

courage drinking and driving, exclusive

pick and drop services are offered to

the guests. Apart from this, a variety of

special packages give enjoyment and

relaxation an all-new definition! A certain

sense of dignified and subtle aesthetic

has become inseparable from its identity.

The Lalit not only maintains its commit-

ment to being modern in its thought, yet,

not disconnected from its Indian roots,

but this addition to its family, takes it a

notch above the rest!


L


MAY-JUNE 2011 • DESIGN MATRIX 105

PRODUCT

Who said nothing good ever came out of a night of heavy drinking? Drinking mavens Chandni Shahani & Imran Rizvi, decided to sober up and design a range of bar accessories that were in line with their personalities. Wasted Fish the name of their venture is unique, quirky and cheered on by every drinker. Their products range from shot glasses, upscale wine glasses, decanters to ashtrays and even matchboxes. This range is individualistic, and unlike anything ones seen before.

www.wastedfi sh.com

Bar accessoriesfrom Wasted Fish

LAUNCH


Dior

AquavivaAGBath Accessories from

Luxury of the fi nest kind will make its way into your bathroom with this set of gold bath accessories studded with Swarovski Crystals. The collection consists of a gel dispenser, brush holder, Q-Tip jar and a jar for cotton balls. Unabashedly high-end but with a touch of class, gleaming with the utmost perfection, this bathroom collection is bound to grab eyeballs. The AcquavivaAG collection is made with the latest techniques in metallurgy, resulting in products of the highest quality. These crystal encrusted accessories will complement dark tile, stone and wood bathrooms and add glamour to your space.

The new Dior VIII 33mm Quartz

from the House of Dior is chic,

refi ned and classic couture. The

watch is feminine and elegant

with a black high-tech ceramic

and stainless steel case. It has a

turning Bezel set with black ceramic

pyramids. The crown is set with a

black ceramic insert screwed with a

steel case-back. The dial has black

lacquer hand applied diamond

shaped indices.

www.dior.com

Watch from House of

Exclusively available at Bathline Sensations, A-232, Okhla Phase-1, New Delhi.



Firefl y brings a range of lighting accessories that will instantly transform either your interiors or an outdoor space. Whether its illuminated plant pots up the garden path leading to your front door or a lampshade with an illuminated champagne bucket on a side table in the living room, Firefl y helps you ensure that your home and garden get a touch of class, elegance and luxury. Some of the products are custom made and can be brought out on special occasions. www.illuminatedpots.in

The Rosenthal studio-line collection presents a designed dining concept of porcelain,

glass, cutlery and accessories of excellent form and crafted by Precillia Urquiola.

The transparency, a major feature of high quality porcelain products, is particularly

evident in Urquiola’s design and refl ects Rosenthal’s many years of competence and

experience. The fi ne relief structure emphasises the shimmering eff ect of the wafer-

thin porcelain.

www.rosenthal.de

Illuminated Pots from

Firefly

Dining accessories by

rosenthal


108 DESIGN MATRIX • MAY-JUNE 2011

Bedspreads from NAS Home This new line of bed linen from Nas Home has everything you need to bring a beautiful look to

your bedroom right from elegant and trendy designs, stunning shades to sturdy and comfy fabrics. This range of bedspreads includes comfortable cotton and trendy polyester, fl oral bedspread collections

and stylish bed covers made from specially hand picked natural fabrics. The shades used for this season are bright and bold shades adding elegance and style to your bedroom. This collection is also a merger of attractive prints, vibrant themes and ethnic motifs.

www.nashome.net

Elegant and spacious, wardrobes are an impor-tant part of the household and the new range of wardrobes from Kiwa. An IKian venture, will not only refl ect the elegance of your home but ignite a spark of fl amboyance and sophistication to the drawing room and bedroom. Kiwa’s latest innovation is the Falcon range of wardrobes with a matt fi nish on contemporary classic swing door compositions. The modern wardrobe from Kiwa is an amalgamation of attractive designs and functional traits and is designed to organize and distribute space.

www.forzza.in

Wardrobes from

Kiwa


If you want to transform your conventional bathroom into a private spa, Al-lure Brilliant has the perfect fi ttings for you. A consistent design philosophy guarantees harmony throughout the product line and elongated cubes with chamfered edges rise from every faceted surface to meet at precisely defi ned intersections. The faucets’ most extraordinary feature is the spout and cut-out square “Aqua Window” that provides for a unique view of the water fl ow – a perfect marriage of function and design, allowing fl owing water to become an integral element of the product.

www.grohe.com

Horizons new range of LED lights (a massive 60 watt Luxo Brite EV07) guarantees you the

satisfaction of doing your bit to save the environment by saving no less than 700 per cent

more energy than your average traditional lighting. Besides this, the clean white light emitted

lasts almost double the time of other lights and is, in the long run, a design wonder and

excellent investment.

www.hle.co.in

Allure Brilliant Faucets from

Grohe

LED lighting from

Horizon

18_Product Launch.indd 10918_Product Launch.indd 109 8/26/2011 6:35:59 PM8/26/2011 6:35:59 PM

110 DESIGN MATRIX • MAY-JUNE 2011

Living in Style brings you accessories that will brighten your home instantly. Where else will you get a smug white china cat to sit majestically on your mantelpiece or a magnifi cent black horse rearing its proud head, mane a fl utter? Imported from Italy, each accessory takes on its own indi-vidual character through meticulous hand work and attention to detail. These ceramic animal-shaped accessories will spruce-up your ambiance with their beauty and add a touch of the exotic to your home décor.

For more details contact 2877 3448

Animal shaped accessories from

Living in Style

Ganesha Idol from Episode Episode, the renowned silver brand in India, unveiled a large pure silver Ganesha close to the oc-

casion of Ganesh Chaturthi. This magnifi cent piece, the fi rst of the limited edition series, has been in the making for over a year by master craftsmen and Episode’s talented designers. The deity has been placed on a base made in onyx and dressed with exquisite hand-crafted jewellery.

www.episode.com



Renaisaance Homez is a one-stop shop for elegant luxury furniture from leading brands of America and Europe. Rich fabrics, fabulous lighting and scores of unique accessories from renowned manufacturers are available to instantly transform your interiors. Every item is a fi ne harmony of distinct design and essential quality. Look out for the fabrics from Beacon Hill and Robert Allen that off er quality and durability in every inch.

www.rennaissancehomez.com

This colourful delightful set of bowls from Casa Bugatti are frivolous fun and a visual

delight. We fell for the bright eye-popping colours like fl ame orange, deep purple, electric

blue and moody grey. The cheese grated bowls come with spoons and have a SAN base.

They have a pure white lid and a polished, altogether delightful fi nish and are available at

the Home Collective store in Mumbai.

www.casabugatti.it

RennaissanceHomez

Casa BugattiGrated Cheese Bowl from


JULY-AUGUST 2011 • DESIGN MATRIX 113

etc.Design Matrix_Sept-Oct11.indb 113Design Matrix_Sept-Oct11.indb 113 8/26/2011 5:47:57 PM8/26/2011 5:47:57 PM


DESIGN SHOW

GLOBAL OPEN

July saw Planet One infrastructure

inviting ace architect and well-

known sculptor Arzan Khambatta

along with internationally-renowned

architect, writer and Professor Will Alsop,

to unveil the logo of GODS – Global Open

Design Show – a platform where creative

minds from diverse design fi elds will meet

and exchange ideas. Alsop regards as

his architectural heroes Le Corbusier, Sir

John Soane, Mies van der Rohe and John

Vanbrugh. His avant-garde, modernist

buildings are usually distinguished by

their vibrant use of bright colour and

unusual forms.

The evening saw a congregation of

architects, designers and students of

design at Le Sutra Gallery eagerly awaiting

the interactive session with Professor

Alsop for what was a unique painting

session with young volunteers on a 8 ft.

x 6 ft. canvas in just over an hour, with

him giving a presentation on his design

process simultaneously. Everyone present

got a lesson in having fun while at work.

Global Open Design Show is

conceptualized as a one-of-its-kind show

that would bring together creative people

to interact with each other and enjoy

the experience. Designed like none else,

this show will be curated and presented

in an environment that suits the creative

mind – that of being free-spirited. The

guests will participate in presentations,

workshops, exhibitions, debates, quizzes

and a lot of other exciting activities.

The added attraction will be the locale

that will set the mood right from the

moment everyone receives the invite – it

is destination Goa!

Happenings



COLLECTIVEA store with home accessories that can rival collections from homes across the globe.

Home Collective is a home accessories store that caters to bar accessories like

coaster sets, gardening utilities like bright jackets for your brown pots, and kitchen

essentials like storage boxes among other items from 27 brands. The inauguration

was a star-studded event. The chief guests– Ira and Lilette Dubey – were hobnobbing

with celebrities including Divya Palat, Suchitra Pillai and Nisha Jamvwal. The co-owners of

the store – Pooja Kejriwal and Anay Choksey – had a task at hand while playing host at

the event. Choksey, who is also known to be an excellent cook, personally welcomed the

addition of Rashmi Uday Singh to the guest list.

Choksey is a 26-year-old techie with a degree in economics. No doubt then that

the products in the store, whether a wall-mounted wine rack or a wall clock made with

silverware, are not only aesthetic and ergonomic but also economical. Most of the products

in the store are priced from `250-50,000. “We have tried to put together an assortment of

products that make your house a better and more organized place, with the vision to make

your lifestyle better,” said Kejriwal.

Although we were tempted to walk away with the `37,000 Vitalis 24-piece cutlery set, it

was the magnetic key rack priced at `4,439 that caught our attention the most. We’re sure it

would catch yours too when you visit the store

HOME



Happenings



INDIA INTERNATIONAL FURNITURE FAIR

L ike so many things in life, the value of good-quality

furniture can often be underrated. It should essentially be

a prerequisite for a fi ne and comfortable life, and keeping in

tune with this, the MP International Pte. Ltd. (MPI) is collaborating

with the International Furniture Fair Singapore (IFFS) Pte. Ltd. to

organize the inaugural India International Furniture Fair, which

descends upon these shores from November 16th to 18th, at the

Bombay Convention and Exhibition Centre.

The exhibition will feature around 80 participating brands

and companies from the world over, all household names in the

furniture industry globally, with several countries being dedicated

special country pavilion spaces. A majority of the exhibitors at the

fair are expected to be international names. The concept for this

novel showcase has been derived from the Singapore International

Furniture Show, which originated three decades ago, and is a

fl ourishing platform for furniture showcase and purchase today.

The primary function of the forthcoming exhibition is to provide

the industry with an insight into global industry and design trends

as well as provide a respectable buyer-seller market and bring to

the fore, a space for idea exchange and interaction. It serves to fi ll

the void and hopefully provide leading furniture brands a chance to

enter the Indian market with high-quality products.

The furniture industry in India has immense potential for growth,

which is what the festival aims at capitalizing, with several eminent

European and Asian companies set to venture into the markets.

One of the chief reasons for this potential is the development of

the country’s economy, with the furniture market in India currently

worth $8 billion, and growing at a compound annual rate of 30 per

cent, according to a report compiled by KPMG.

Exhibitors from Singapore are expected to dominate the

fair, and the country’s pavilion will stretch over a space of 500

square metres, and will be fronted by Singapore Mozaic, a group

comprising of major furniture brands from the company, and led

by the Singapore Furniture Industries Council (SFIC), thus further

consolidating the fresh and exciting initiative undertaken for

the exhibition.

One striking and especially noteworthy aspect of the

fair is the emphasis on the environment, and the organizers

have stressed the need for the industry to think ‘green’ and

ensure minimal consumption of scarce resources, imploring

them to consider factors such as sustainability, protection

and preservation of the environment. With this in mind, the

organizers have encouraged the companies displaying their

products to focus on eco-friendly materials as well, and these

‘green’ products will be tagged with special labels, thus allowing

visitors at the fair to spot these particular exhibits with ease since

they will be tagged with distinctive green ribbons.

The show will, if all goes to plan, witness over 3,000 trade

visitors from India and other parts of South Asia, while attempts

are being made to ensure the recruitment of 150 key buyers from

metros and major cities across the country. The show is expected

to follow a decentralized and evenly spread out format, targeting

furniture importers, retailers and distributors, as well as architects,

interior designers, residential and commercial property owners,

among several other segments.

It will also host seminars on business sustainability and best

practices, industry challenges, and design trends, aside from various

workshops and presentations focusing on relevant aspects of the

industry, thus providing comprehensive insight into the intricate

functions of the booming furniture industry in the country.

Happenings

22_Happenings_Furniture Fair.indd 11822_Happenings_Furniture Fair.indd 118 8/26/2011 6:37:43 PM8/26/2011 6:37:43 PM


IIID COPPER AWARD 2011

T he Institute of Indian Interior Designers (IIID) joined hands

with the International Copper Promotion Council (India)

[ICPCI], to organize the inaugural at the IIID Copper Award

in Mumbai recently, celebrating the contribution of architects and

designers from across the country for their remarkable endeavours

at integrating copper as an intrinsic element in their works.

A distinguished jury comprising eminent names such as

architect and sculptor Arzan Khambatta, industrial designer and

Director at the National Institute of Design, Pradyumna Vyas,

Rachna Sansad, among others, reviewed 30 shortlisted entries,

to fi nally award the prestigious prize to Saloni Shah from Surat,

for excellence and best design executed in copper and its alloys

(brass/bronze) in Architecture, Interior Design, Product Design

and Industrial Design, for 2010-11.

The event, an annual feature this year onwards, aims at

recognizing excellence in interior design and providing a platform

to showcase trends in design and incorporate these elements

into everyday use. The organizers received entries from all over

India, which were fi nally shortlisted to 30 entries, which the judges

evaluated. Shah’s prize winning entry was based around the theme

of the ‘Tree of Life’, assimilating symbols of prosperity and happiness.

She displayed a 12 feet wide by 31 feet long installation extending

from the wall and stretching across the ceiling in the coff ee and

tea lounge at a hotel in Surat. Elements of the work that stand out

include the fact that the installation is an instantly-alluring piece,

visible in all its resplendence from the entrance to the property,

as well as from the lobby, reception, and other parts of the hotel.

An artistic image of a tree adopting a curvilinear geometry stands

out as an especially soothing aesthetic visual, with an enormous

trunk providing the strapping foundation for the tree, while the

branches interact with each other to form a sense of incredible

depth. Other notable contestants included Samira Rathod from

Mumbai for her work titled ‘Table – Shipwreck’, and Walter D’Souza

from Ahmedabad for ‘Sculpture – Ribbon’.

The award night also featured a glorious photo exhibition

displaying copper works of illustrious architects and designers

from across the world, including names like F Javier Bernalte

and Jose Luis Leon. These images captured interiors and iconic

landmarks, providing a peek into the tremendous use of copper,

for both its artistic merits and functionality. The exhibition

comprised of over 60 images, and also included a few entries from

the IIID Copper Award 2011.

A live fashion show, on the theme ‘Copperlicious’, organized

by the Rachana Sansad School of Fashion and Textile Design,

added a lighter twinge and some zest to the proceedings of

the evening, as models walked the ramp in eclectic outfi ts

predominant in copper and decked with copper jewellery for this

splendid celebration of copper

Happenings



Conservation

The art of conservation can be learned at:

• Camboville College of Arts, London

• Delhi Institute of Heritage Research and Management

• The Vishwabharati Institute, Kolkata

• Anupam Sah’s workshops and courses on conservation, Mumbai



Intervention that is ‘as little as possible’ and ‘as much as is necessary’ is the mantra of an informed conservation.

In 2006 Richard Speare, the European art consultant at Chhatrapati

Shivaji Maharaj Vastu Sanghralay (CSMVS ) Museum in Mumbai,

was sifting through the collection at the museum. Attempting

to clear the mounds of artefacts and paintings that lay in a corner,

that weren’t on display and whose origins hadn’t been conclusively

determined, he came across a Sword of Damocles painting.

This painting, it turned out, was the work of Antoine Dubost,

commissioned by Sir Ratan Tata in 1922. For years this painting had

been gathering dust, and steadily degrading. It was at this time that

Anupam Sah and his team intervened.

Sah, the head of art conservation, research and training at

CSMVS Art Conservation Centre, is known to pull back paintings,

manuscripts and artefacts from the brink of ruin.

Sah insists that there is a “design of degradation” that

conservators must understand before they undertake their work.

Unless a conservator can understand and deduce the mechanism

of degradation, he cannot reverse it. Restoration, he explains, is the

intervention on the image of the object to convey its message. The

maxim that Sah and his team follow is intervention that is “as little as

is possible and as much as is necessary.”

Omkar Kadu, a 33-year-old conservation assistant at CSMVS

further interprets, “While undertaking conservation, we need to also

keep a close eye on aesthetics.” It is that care of aesthetics that has

permitted him to work on a 1962 VS Gaitonde painting that belongs

to the NCPA and a circa 1965 MF Husain miniature painting that

belongs to a private collector, among other projects.

Detailing indicative signs of degradation that private collectors

should watch out for and immediate remedial steps before they

deliver a painting/manuscript to a professional conservator, Kadu

succinctly lists the following:

• Physical factors that can cause damage include improper

mounting and weakening adhesive. Typically this would result in a

condition known as cockling that would manifest itself by way of

a wavy surface area on the manuscript/painting.

• Biological damages could occur due to attack by termites and

other insects. Keep a close eye on any traces of fungal growth

on the work.

• Chemical damages could occur due to acidity or reactivity of

substances in close proximity to the work of art. These damages

may not be easily discernible to an untrained eye, but will show up

in the lab under raking light.

• If you do spot damage to the manuscript/painting due to physical,

chemical or biological reasons, carefully dismount the manuscript.

• Place in an air-conditioned room with the temperature regulated

from 18-25 degrees Celsius.

• Wrap the work in a non-acidic archival tissue paper, which is

commonly available in stores where hand-made paper is available.

Do not place in a polythene bag as this can have an adverse

chemical reaction on the work.

• Hand over immediately to a work conservationist for further

assistance.

Paridhi Sharma, paper conservator at the centre, outlines the

steps that are undertaken for the conservation of documents.

“First we complete a condition-report that outlines the work

required and the estimated budget for the manuscript. Following

that we propose a treatment and discuss it with the team

before we begin to implement it.” But before that can begin,

Sah insists on a dry-run through the entire process to ensure

minute variables like where in the laboratory the piece will be

restored, ability of the conservationist to move freely around the

table and an assurance that the movement of chemicals near the

manuscript aren’t left to chance

PAST PERFECT

Words: Varun Godinho



T he fundamental principle of shiny, glossy paper is, or should be: the bigger, the

better. And White Flag, the publishers of Corporate Offi ces in India, follow this

unwritten tenet to the hilt, pulling no punches in presenting an ambitious coff ee-

table book in all its splendour, documenting the most visually attractive corporate offi ces

in the country in a format that can only be termed as generous. Tastefully captured images

of imposing offi ce structures peek out gracefully from within the giant-sized pages, as one

gets a true sense of the architectural marvel and vision that would have gone into the

creation of these representations of ambition and design talent residing in the country and

beyond, as well as of a fl ourishing economy.

The book, with a foreword by well-known architect C N Raghavendran, highlights the

structural elements of 20 of the fi nest corporate offi ces in the country, depicting fi nely

detailed prints of the facades, interiors and wide shots of the buildings, placing emphasis

on the stylistic fundamentals incorporated in their creation, as well as drawing attention

to the work of the architects involved. Short captions complementing the photos reveal

the nuances of architecture on display, and speak largely about the aesthetic design

elements – be it minimalistic styling or imaginative restructuring of existing structures; also

various other factors such as cost effi ciency, economy of resources, lighting, comfort, and

environmental aspects, etc.

Commencing with a long shot of the iconic Indian Oil building in Delhi, designed by

J Subramaniam and Abhin and Vasudha Alimchandani, it includes comprehensive details

of the architectural fi rms and teams involved, and brief histories of the company and the

building itself, aside from the much-vaunted photographs that showcase the quality on

display. With more than 200 pages of quality content, Corporate Offi ces in India pays ample

attention to each building featured. (One fi nds spaces designed by Christopher Benninger,

Hafeez Contractor, Mihir Thaker, etc.)

The book also focuses extensively on the interiors – the 8 hours of the day, the 6 days

of the week, the 12 months of the year, the spaces where a greater part of one’s productive

adult life is spent, as the introductory passage states – and deconstructs the seemingly-

intangible aspects that make functioning in the corporate world comfortable and calm.

In fact, the book points out notable quirks and enlightening chunks of information about

each of the 20 buildings it features.

While a simple and not-especially impressive cover and minor editing and spelling

errors do serve to hinder the entire experience of traversing through the book, these remain

minor grievances. All in all, Corporate Offi ces in India largely justifi es its hefty price tag for

connoisseurs, making for pleasant yet intellectually stimulating coff ee table conversation,

giving life and emotional malleability to these concrete and brick constructs, which would

precisely be the point behind its inception. The one real obstacle though, might be the task

of actually managing to fi t the entire book on a coff ee table!

Bookreview

CORPORATE OFFICES IN INDIAPublisher: White Flag, `2995

Reviewed by Akhil Sood



Design and luxury engage in a relationship that culminates into a new feather for the Porsche Design World Collection.

Purist is a style of art that was developed in France in the early 20th century –

characterized by the use of simple geometric forms and images evocative of

objects produced by machine. Purist design combined with high-end materials

has been the iconic style-credo of the Porsche Design luxury brand ever since its

inception in 1972. With contemporaries like S T Dupont, Montblanc, Gucci, and Prada,

this luxury brand is particularly focussed on technically inspired products that are

functional and timeless.

The latest to hit the market in the Porsche Design World Collection is the hookah

christened Shisha. Combining products from diverse cultural backdrops, the World

Collection has a product portfolio that includes exclusively designed chopsticks, a tea

and soup set, as well as a few fashion items that include a silk scarf (India). Shisha is

meant to cater to the Middle East for its fi rst Porsche Design store which is in Dubai.

Made in Austria, the Porsche Design Shisha combines high-quality materials such

as aluminium, stainless steel and glass and stands at a height of 55 centimetres. It only

shows a discreet branding on the aluminium top of the Shisha and comes with a long

fl exible tube made out of TecFlex material, which is also used for the classic Porsche

Design TecFlex writing tools.

Public Relations Offi ce, Porsche Design Group, Christian Weiss quotes Founder F

A Porsche: “If you analyze the function of an object, its form often becomes obvious.”

Weiss explains that the luxury brand has remained true to this idea. “Moreover,” he says,

“A truly good product has to fulfi l both aspects in order to be a long term success.”

The “engineered luxury” and expertise of Porsche Design has won the company

more than 130 national and international awards. As Weiss elaborates, “The functional,

enduring and purist demand of the brand is combined in a way that not only captivates

with its classic design, but also with the innovative combination of materials.”

With a customer base that swears by the Porsche design signature, irrespective of

their ownership of other celebrated Porsche products (specifi cally the Porsche sports

car), Shisha was launched in mid-July 2011 at Harrods and is available in worldwide

Porsche Design Stores.

In India it is available at the Porsche Design Store at New Delhi. The extravagant

indulgence is priced at Rs. 94,700 (US$ 1,960)

Words: Savitha Hira; Images: courtesy Porsche Design Group

LUXE-WRAP

Productreview



Japan Jewellery FairJapan, in particular, Tokyo city is known for

its edgy fashion sense as well as its keen

business and technological know-how.

This premier jewellery event in the heart

of the city will be attended by jewellery

wholesalers, agents, duty free retailers,

jewellery manufacturers, jewellery design-

ers, watch and time piece retailers as well

as student designers. The exhibitor’s pro-

fi le includes experts from the fi elds of

antique jewellery, pearls, rubies, sapphires,

emeralds, crystal and jewellery and acces-

sory design equipment.

Date: Sept 1st- 3rd

Venue: Tokyo, Japan

The Stitch and Creative Crafts ShowThe Stitch and Creative Crafts Show 2011 is

a premier event for the stitching, craft and

knitting industry in the United Kingdom.

The show will provide a matchless oppor-

tunity to craft enthusiasts to network and

get inspiration from the most creative

artists and learn about various skills of

knitting, stitching and paper craft from

the experts. Hundreds of exhibitors from

across the world will be participating in

this show in order to showcase their latest

products/services. Moreover, the fair will

also include an educational programme

and workshops, off ering an insight into the

current trends in the stitch and craft mar-

ket. The Stitch and Creative Crafts Show

2011 will be a one stop shop for sourcing

latest designs and supplies.

Date: Sept 1st- 3rd

Venue: Manchester, U.K

Madrid International Fash-ion FairThe Madrid International Fashion Fair, to be

held this year at the Feria de Madrid, will

bring quality and variety to the runway and

guarantees fashion investors and enthusi-

asts an event where business can be mixed

with pleasure. Among the visitors you will

fi nd manufacturers, exporters, boutique

owners, traders and wholesalers. Experts

in the fi elds of fashion industry, mass retail,

exclusive designer’s collections, and brand

name merchandise as well as representa-

tives from major fashion institutes. Fashion

publications and young designers will also

be in attendance.

Date: Sept 1st- 3rd

Venue: Madrid, Spain

Home Design and Remod-elling Show, USAThe Home Design and Remodelling Show

is a fi ve-day event featuring new home

designs, and ways to remodel and reno-

vate old ones. The spirit of the show is that

there is no other place like one’s own home.

Architects and interior designers have an

immense opportunity to promote their

expertise in the business for the benefi t of

millions of home owners under one roof.

The Home Design and Remodelling Show

will witness record sales of home products,

design and equipment.

Date: Sept 2nd- 6th

Venue: Miami, U.S.A

Tableware ShowThe Tableware and Giftware Show gives its

participants the great possibility to dem-

onstrate their novel, fashion and modern

tableware, décor elements both for cater-

ing enterprises as well as for domestic use.

The Tableware Trade Show is the exhibition

of new market opportunities, latest devel-

opment tendencies of the tableware indus-

try, analysis and development perspec-

tives. Dealers and distributors, re-exporters,

wholesalers, interior professionals, major

corporate businesses related to the table-

ware and home textile industries are the

target visitors.

Date: Sept 7th- 10th

Venue: Kiev, Ukraine

Home and Garden, SalemThis Home & Garden Fair is an international

mega event inviting people from all over

the world. The show will provide an oppor-

tunity to all its visitors to see top-of-the-line

quality of both, design, and technology in

furniture and other household products.

The event will be hosted by companies who

deal with household products and garden-



ing products from all over the world and will

draw experts from relevant industries. The

exhibitors will be related to china and glass

industry, innovative kitchen accessories, gar-

den and terrace fl oral accessories and also

landscaping for the theme gardens.

Date: Sept 8th- 11th

Venue: Salem, Germany

LuxeHome Open HouseThe LuxeHome Open House off ers material

for building and re modelling your home.

Visitors can expect the widest selection of

products to fi t all lifestyles, from modern

European to classic American to traditional

English. In addition to the extensive line up

of world renowned manufacturers, each

boutique off ers the advice and insight of

knowledgeable designers who are available

to assist with every phase of an ideal design

project. The profi le for exhibit includes out-

door furniture, hearth products, tabletop/

decorative accessories, garden accessories,

statuary and cast metal furniture.

Date: Oct 1st

Venue: Chicago, U.S.A

Northeast Bead Extrava-ganza, NewarkThe Northeast Bead Extravaganza, Newark

stands alone as one of the largest shows

related to the Gemstone industry. Many

exhibitors are participating from across

the world to showcase the latest brands

in product line like silver fi ndings, burma

jade, crystals, be-venetian, swarovski, pearls,

lamp work, silver, seed beads, vintage glass,

jewellery and much more. This year, the

Northeast Bead Extravaganza will be focus-

ing on the machines and equipment used

for stone mining. Stone processing will

also be on display for visitors coming from

all over the world. The main focus of the

event will be on the buyers and importers

of products and service-related people.

Date: Oct 1st- 2nd

Venue: Newark, U.S.A

Times GlitterTimes Glitter is a grand exhibition for fash-

ion, jewellery and lifestyle sector in India.

The event will showcase elegant jewellery,

fashion couture and trousseau products,

which will create wonders for visitors. This

three day show is being organized by Asian

Business Exhibitions and Conferences Ltd.

Manufactures from trousseau, menswear,

lifestyle, accessories and cosmetics will be

participating. The event, which will be held

at the J.W Marriot will be attended by lead-

ers in fashion, celebrities and other envoys

from the fashion industry.

Date: Oct 6th- 8th

Venue: Mumbai, India

Northern Colorado Home and Decorating ShowThis event has been taken over by Great

Western Productions and is a fabulous

home and decorating show featuring ven-

dors with everything for improving the

home. Paintings and wall hangings, fur-

niture, tips on how to be energy effi cient,

fl ooring, windows and docking. If you off er

a service in the home improvement area,

this is your show. Trade visitors will include

designers and re-modelers, interior design-

ers, luxury home builders, architects, pro-

fessionals involved in home re-modelling.

The general public are the target visitors.

Date: Oct 8th- 9th

Venue: Fort Collins, USA

India Carpet Expo-VaranasiThe India Carpet Expo Varanasi will be held for

four days at Varanasi, India. It is organised by

the Carpet Export Promotion Council under

the aegis of Ministry of Commerce, Govern-

ment of India to exhibit a range of hand-knot-

ted carpets and various types of fl oor cover-

ings. Traditional rural inspired motifs and

fi ne fabrics will be focussed upon. The fair

provides an opportunity for dealing directly

with buyers and taking them to manufactur-

ing units, godowns and warehouses. Visitors

will include professionals from the specialty

carpet stores, buyers and sellers, suppliers,

carpet manufacturers, carpet importers and

exporters, handloom houses, designers,

emporiums and the general public.

Date: Oct 15th- 18th

Venue: Varanasi, India



I F C: Jalaram

Agar Bazar S. K. Bole Road, Dadar (W),

Mumbai 400028. Tel: (022) 24318444/555

9/b, k, Laxmi Ind. Estate, New Link Road,

Versova, Andheri (W), Mumbai – 400053.

Tel : (022) 26327733 / 34

Pg. 1: Ebco

402-3, Hyde Park, Saki Vihar Road,

Mumbai 400072

Tel: (022) 67837777 Fax: (022) 66920700

Email: [email protected]

www.ebco.in

Pg. 3: Durian Home Furniture401, The Chambers, Western Express Highway,

Vile Parle (E) Mumbai 400057

Tel : (022) 26269000


www.durian.in

Pg. 4: Design Matrix Ultratech Excellence AwardsEmail: [email protected]

Pg. 6: The Art LoungeHodiwala Bhatehena & Co

3, J. Tata Road, HP Petrol Pump,

Near Ritz Hotel,

Churchgate, Mumbai 400020

Tel: 22878787


Pg. 7: VITA Vitrified Tiles383 – A, Vasu Smiriti,

Flat No.4, 1st Floor,

13th Road, Khar(W), Mumbai : 400 052.

Tel : 022- 42367900/909

Email:[email protected]

Pg. 10 & 11 : Le Cdeor8/H, Laxmi Ind. Estate, New Link Road,

Versova, Andheri (W), Mumbai – 400053.

Tel : (022) 26327733 / 34


Pg. 12: Heritage Decorative LaminatessDeco Mica Pvt. Ltd.

306, 3rd Floor, Iscon Mall, Star Bazaar Bldg.,

Jodhpur Cross Road, Ahmedabad - 380 015

Pg. 13: Loom Crafts

HO & Manufacturing Unit: A-7/98 & 99,

South side G.T.Road Indl. Area,

Ghaziabad - 201009. U.P (India)

Tel.: +91 9871122239 / 9810031705

Email : [email protected]

Website: www.loomcrafts.com

Pg. 19: Durian Office Furniture

401, The Chambers,

Western Express Highway,

Vile Parle (E) Mumbai 400057

Tel : (022) 26269000


www.durian.in

Pg. 46: MRJ Flooring Corporate Ad

MRJ Marketing Pvt. Ltd.

201, Shyam Kamal ‘C’ Bldg., Agarwal Market,

Vile Parle (E), Mumbai – 400057.

Tel : (022) 26187132 / 26131442

Email: fl [email protected]

Pg. 47: Uniply ATS

Uniply Industrirs Ltd,

#52, Harleys Road, Kilpauk,

Chennai-6000010.

Tel : 044-26605995

Pg. 48: MRJ Le Cdeor MRJ Trading Pvt. Ltd.

201, Shyam Kamal ‘C’ Bldg., Agarwal Market,

Vile Parle (E), Mumbai – 400057.

Tel : (022) 26187132 / 26131442


Pg. 49: Delta

Olympic Laminates Pvt Ltd

6, Patel Avenue, 1st Floor, Near Gurudwara,

GLOSSARY S.G.Highway, Ahmedabad – 380059.

Tel: + 91 – 79 - 40017979

Pg. 89: Uniply Elementz

Uniply Industrirs Ltd,

#52, Harleys Road,

Kilpauk,

Chennai-6000010.

Tel : 044-26605995

Pg. 102 & 103: Bright Outdoor Media Pvt. Ltd.8th fl oor, Crescent Tower,

Near Maurya House,

New Link Road, Andheri (W),

Mumbai 400053

Tel: (022) 67140000


www.brightoutdoor.com

Pg. 112: Surface Décor (India) Pvt. Ltd.Abdul Satar Lakdawala Compound,

W. E. Highway,

Besides TATA Motors,

Jog-Vikroli Link Road,

Jogeshwari (E), Mumbai 400060

Tel: 28362424 / 28242424

I B C: Durian Corporate Ad401, The Chambers,

Western Express Highway,

Vile Parle (E), Mumbai 400057

Tel : (022) 26269000


www.durian.in

B C: Ultratech Paints & TexturesF 213A/1, Lado Sarai,

Old M. B. Road,

New Delhi – 110030

Tel: (011) 46061549/50


www.ultratechpaints.com


September-October 2011

Documents

Transcript of September-October 2011