HomeDesignTrendsVol3No2 PDF

Volume 3 No 2
` 250
Commercial
Design Special
R.N.I. MAHENG/2013/50949
Contents
tHe GALLerY
8 DesIGn In COnteXt
Products that fit like a glove in contemporary commercial spaces
16 PrevIew
Small Stories: At home in a dolls house takes you on a journey of vintage dollhouses
18 revIew
Constructing Worlds, a collection of architectural images from 1930s to the present day
16
18 DesIGn COnCePt
James Hancock's All the Buildings in Sydney is a book of sketches of the city's buildings
21 PubLIC Art
Transformative art that alters perceptions and neighbourhoods
buILDInG COnversAtIOns
24 IntervIew
Rahul Shankhwalker of HBA, shares the secrets of his firms success in India
26 IntervIew
Navin and Nayan Raheja of Raheja Developers talk about the Indian real estate industry
34
Cover
28 IntervIew
A Singaporean residential development by
RSP Architects gives a sneak-peek into the future of
urban housing (see page 48)
Alan Abraham shares a proposal to revolutionise the citys public spaces
30 MY vIew
Leading architects explain the importance of colour in context to architecture
32 Guest COLuMn
Architect Reza Kabul discusses the growing importance of mixed-use developments
POrtfOLIO
Kochi-Muziris Biennale 2014 & insights from festival director Bose Krishnamachari
34
ICOnIC DesIGn
44
This month it's is L' Arc de Triomphe de lEtoile in Paris, France
IntervIews
Rahul Shankhwalker
Navin Raheja
Alan Abraham
74
COMMerCIAL DesIGn
46 PrOJeCt POrtfOLIO
Community spirit
A residential development by RSP Architects hints at the future of urban housing
46
Sense of place
Sydney city block redeveloped into a mixed-use development by PTW Architects
54
Miami vice
A beach club by Old Field Knott Architects manages to capture Miami's Caribbean flair 64
72
72 eDuCAtIOnAL InstItutIOns
Not just another brick in the wall
This Kolkata school by Abin Choudhuri catches the eye with its eclectic facade
72
Right on track
The Manukau Institute of Technology campus sits astride a railway line
80
90 OffICes
Sculptural forms
The design of this office aligns itself with the reinvigorated approach to business
90
Well connected
P&G's Singapore Innovation Centre prioritises connectivity and transparency
100
Employees first
DSP Design Associates kept employees needs in mind while designing this office
108
116 resIDentIAL
DesIGn
Back to the land

This home by Vincy Hamp Architects mixes modern influences with traditional design 116
Commanding perspective
In spite of being constructed with concrete, this home exudes an ephemeral quality
126
New identity
Find out how this Washington home was remodeled to reflect its owners identity
136
Beside the sea

For this bungalow, capturing the spirit of traditional coastal homes was paramount
144
152 PrOPertIes On tHe bLOCk

154 sHOwCAse
116
Mrigank Sharma (India Sutra)
from the editor

This is an edition I look forward to more than the others. Although the magazine
covers commercial spaces in every issue throughout the year, they are never
like they are in a TRENDS Commercial Design Special.
Inside the pages, you will find institutional spaces, hospitality projects, offices
and residential high-rises; they are the best of the new projects from the world
over. Must see is the Mumbai office designed by
Planet 3 Studios, striking with its meandering wooden
wall, the unconventional Kolkata school by Abin
Design Studio, and One Central Park in Sydney by
PTW Architects. One Central Park was once a brewery
site, and this ambitious project has become a leading
example of how to make a success of large-scale
mixed-use development projects. Attention towards
approaching mixed-use projects is also the point of
discussion in Reza Kabuls guest column this month.
InsIde the pages

you wIll fInd
InstItutIonal
& hospItalIty
projects, offIces
and resIdentIal
hIgh-rIses
In the Building Conversations section, do read

the interviews with architect Alan Abraham,
developer Navin Raheja, and designer/architect
Rahul Shankhwalkar, where they give valuable insights into the worlds of public
design, real estate and hospitality design respectively.
And in Portfolio, we revisit the Kochi Muziris Biennale 2014. It concluded

early on in the year and inside is a photo-essay on some of the extraordinary
artworks that were created for it. I visited Kochi just when the biennale was
ending and met up with its founder Bose Krishnamchari. The first things I had
said to him, was how proud I felt when I read The Biennale City written boldly
on top of the first archway that was the gateway into Fort Kochi.
Happy reading.
Preeti Singh
trends.edit@wwm.co.in
More ideas, information and inspiration at Trendsideas.in
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The Gallery
Latest products, upcoming exhibitions and must-attend design events
Design in Context
Preview
Revieww
Concept
Public Art
Design in Context
These products fit like a glove in contemporary,

commercial spaces
folly by ron Arad

Folly effectively and intelligently blurs the lines
between sculpture and design. The soft lines and
curves create a dynamic orientation that instantly
attracts ones attention to the piece. The bench,
in rotational-molded polyethylene, is available in
rust brown and is suitable for both outdoor and
indoor commercial use.
more projects at trendsideas.com
Home & Design Trends Vol 3 No 2 2015
Papilio shell by
naoto fukasawa
Originating from a shell with a
design that enhances comfort,
Papilio Shell expresses versatility
that makes it a perfect option for
office use. It is available in two
versions: with a plastic shell in
three colours (white, dove gray, black)
or padded and upholstered in a wide
range of fabrics and leathers.
season Chair by
Piero Lissoni
Its time to bid goodbye to
your boring chair thanks to
the all-new Season Chair by
Viccarbe. Deceptively simple
and elegant, this upholstered
chair consists of two rounded
volumes, a cube and a
vertical rectangular slab that
express the act of sitting
through a simple almost
sculptural approach.
Oasis by bram boo

This extended couch-cum-sofa
allows you to sit, lie and work with
its integrated table all at the same
time. Perfect for a loft, a public
space or a hotel lobby, Oasis
has also been a recipient of the
prestigious Henry van de Velde
Design Award.
Husk by
Patricia urquiola
Husk is designed around a
stiff body with soft cushions
that are divided in portions.
Those who look at this
must visually perceive a
sense of mental and physical
comfort, says the designer,
Patricia Urquiola.
Aura Chair by Mikko Laakkonen

Winner of the Red Dot Design Award 2013,
the Aura Chair by Inno is an intelligent and
harmonious mix of a sofa and a chair. Aura can
be used as a singular chair or can be clubbed
together to make large seating groups.
taivu by
Mikko Laakkonen
If you are looking for a light and
comfortable chair to liven up
your lobbies and waiting areas,
then the answer is Taivu. This
upholstered lounge chair is
a comfortable furniture piece
seasoned with classic shapes,
which is easily tailored to fit
different public interiors.
Charlotte by
Antonio Citterio
This chair is designer
Antonio Citterios tribute to
lightness. The shell of the
chair is completely covered,
but the aluminum frame
profile is visible on the sides,
thus highlighting the line of
the seat. The cover is made
from raw cut thick leather in
six different colours with an
elephant printed surface.
Maui Chair by vico Magistretti

The Maui Chair was first designed between 1995-96
and marked the era of single mould seats in material
that had no ribbing, tracery, metal supports
or reinforcements to support the
back. Kartell gave it new appeal
and brought it back in a fabriccovered version, with and without
casters and arms, thus increasing
its rich family of colours and
functions, thereby able to satisfy the specific
needs in the commercial sector.
Adriatic by theodore Alexander

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

Muller & Hannes van severen
The modular meeting table In-Tensive

was first designed in 1998 and has
been launched again with an all-new
look. The new version is updated with
a wooden leg option. The versatile
system offers solutions for every
conference need with the capability
of easy cable management and
different connections.
Who said office furniture has to be serious

and boring? Fien Muller & Hannes Van
Severen give a playful twist to regular table
and light to create this dual piece of furniture
that brings in an element of playfulness
with its contemporary design. Visit www.
mullervanseveren.be for more information
eames Desk by
Charles & ray eames
Long before modularity and high tech concepts
entered the design lexicon, Charles and Ray
Eames used industrial production techniques to
extend the boundaries of design and create a
modern aesthetic. This desk by Herman Miller
provides ample storage, work and display space.
11
surface by vincent van Duysen

This series of multi-use low tables by Vincent Van
Duysen effectively expresses best of his design
poetics. The quest for balance is achieved by the
use of understated features, small proportions,
basic materials and natural hues.
storage units by
Charles & ray eames
Installation s
by fien Muller
& Hannes van
severen
Libert design studio, Fabrica
Merging light, seating and

storage in a single piece,
Installation S serves as a
functional piece, especially
for tight commercial
spaces. The thin lines in
unlacquered steel give it a
lighter feel that is balanced
with the use of leather
and polyethylene.
Dv549 Lockers by Antonio Morello

Created only on request, the DV549 Lockers is a fresh break
from a regular locker design. The new series of storage units
come with hinged doors and locks, to contain documents
and personal belongings at work. The doors have special
machinery that allows one to put in and not to take out
standard sized documents, even with a locked door.
The Eames storage units are symbolic

of the grace and vision Charles and
Ray Eames used in solving commercial
furnishing problems.The wire crosses
support used in the storage units echo
other classic Eames designs.
Autobahn by Alexander Lotersztain

Autobahn by Derlot Editions is a modular seating system
that is able to adapt to a variety of configurations suitable
for commercial work areas and public spaces. Components
include a straight bench seat in three lengths, with or without
a backrest, and curved modules able to form a 1200mm,
1800mm or 2400mm radius, with the option of an internal or
external backrest. A 400mm diameter table for working or
relaxing may be affixed to the frame at regular intervals
C-Ply by Drisag
The C-Ply is a circular lounge
workspace, specifically designed for
work or consultation in open spaces.
Designed for Drivk, it comprises of a
wooden frame, which is covered with
high-quality foam that comes with a
high acoustic value. The C-Ply consists
of several curved elements, which
forms the circular shape and all these
elements can be linked in reverse,
creating a 'sling' bench.
- Compiled by Kamna Malik
13
home & design
Why does Zarir Mullan of

SEZA value TRENDS?
In a very short period of time, TRENDS
has managed to position itself amongst
the leading publications catering to the
field of design. The quality of articles and
more importantly, the quality of projects
featured make it an essential part of ones
reading material if one is interested in
following innovative projects coming up
all over India from a variety of designers.
So far it has maintained an impeccably
high standard of articles and projects
featured. As a resource guide, there
seems to be a focus on product design
or at times products with a strong design
sensibility. I would say the magazine
and the projects it features are
contemporary and up-to-date with
the latest design trends.
Zarir Mullan founded his firm in 1994, and

today he and his partner Seema Puri are the
principal architects and designers at SEZA.
The duo view design as something that
blends landscapes, architecture and interior
into something that can be interwoven into
its existing urban context. Their portfolio
includes corporate buildings, residential
schemes, private bungalows, showrooms
and cafeterias. They have been awarded
multiple times for their work, including
an award for Excellence in Architecture
in the residential category in 2003 from
the IIA and an award in 2009 in the Best
Merchandise category from the IAD in
association with the Council of Architecture.
HOME & DESIGN TRENDS
HOME & DESIGN
Volume 3 No 1
` 250
A Times of India publication
awards
INDIA
Architecture
Interior Design
Product Design
Visual Design
VOL 3 NO 1 2015
A Worldwide Media Publication
R.N.I. MAHENG/2013/50949
Cover Trends-v301.indd 1
22/05/15 4:04 PM
Preview London, till September 6, 2015
Small Stories: At home in a dolls house

exhibition reveals the fascinating stories behind
some of UKs best doll houses
A Night in the Studio by Ina Hyun K Shin
Home Is Bear The Heart Is by Mister Peebles
Showcasing the stories of 12 dolls houses from the past 300

years, the V&A Museum of Childhood in London is hosting a major
exhibition called Small Stories: At home in a dolls house. Visitors
can take on a journey through the history of each home; explore
their everyday lives and changing family relationships. Curated by
Alice Sage, each house tells small stories that are brought to life by
the characters that live or work there. The exhibition encompasses
country mansions, the Georgian town house, suburban villas,
Upcoming Events
Sketch to Structure,
Pittsburgh, till August 17
Saving Face: 50 Years of New York

City Landmarks
New York, till September 13
Jasper Morrison: Retrospective

Belgium, till September 13
An exhibition that focuses on

demystifying the process of
architectural design
The city of New Yorks many iconic

buildings get an exhibition dedicated
just to them
A retrospective exhibit that celebrates

British industrial designer Jasper
Morrisons 35 year long career
16
The Longest Party Table in the World by Paul

Priestman PriestmanGoode
newly-built council estates and high-rise

apartments. According to Sage, Dolls
houses can be autobiographical or create
fantastical worlds. These special spaces are
deposits for real memories, fanciful ideas and
often a lifetime of dedication. The experience
of peeking into the tiny rooms and seeing
all the meticulous detail is fascinating for
children and adults, and hopefully everyone
will discover something new. A further 20
dolls houses dating from 1673 to 2014 are
on display within the Museums permanent
galleries. The exhibition will go on tour in the
UK, Europe and the United States.
Offline Hideaway by Dominic Wilcox
Library A Recent Plan by Liberty Art Fabrics Interiors
Llama Dreams by Donna Wilson
Wilderness Dreams by Orly Orbach
I Always Dreamed of an Underwater Aquarium

Bathroom by Katie Christiason
Dialogues: Photographs of Hlne Binet

Berlin. till September 21
Snhetta - World Architecture

Copenhagen, June 19 September 27
Material Future: The Architecture

of Herzog & de Meuron
Vancouver, till October 4
By contrasting her architectural photographs

against those of landscapes, this exhibition
celebrates the talent of Hlne Binet
This exhibition celebrates the prolific

Scandinavian firm Snhetta by highlighting
their international projects
An exhibition examining the oeuvre of

Prtizker Prize winning firm Herzog &
de Meuron over the last 15 years
17
Review London, February 20-May 17, 2015
Constructing Worlds brings together

the works of 18 photographers from
the 1930s up to the modern times
Guy Tillim courtesy of Stevenson, Cape Town and Johannesburg, 2014 Eredi Luigi Ghirri courtesy of the Luigi Ghirri Estate,
Nadav Kander, Simon Norfolk, 2014 Stephen Shore image courtesy of the artist, 30, Thomas Struth
Presented at the Barbican Art Gallery

in London, Constructing Worlds was
an exhibition that featured over 200
architectural and photographic works by
18 photographers from across the world.
Some of the participating photographers
included names like Berenice Abbott,
Walker Evans, Julius Shulman, Hlne
Binet, Hiroshi Sugimoto, Andreas
Gursky, Nadav Kander and Iwan Baan.
The subjects in the photographs include
structures by architects and designers
such as Le Corbusier, Frank Lloyd
Wright, Aldo Rossi, Charles and Ray
Eames and Daniel Liebeskind. From
New York's first skyscrapers, through
the colonial buildings in the Congo to
occupied high-rise towers in Caracas,
this exhibition promised a visual treat.
Constructing Worlds was a journey
through a long history of photography
that traced the development of
architecture around the world. Despite
Chongqing IV (Sunday Picnic), Chongqing Municipality
Guy Tillim, Grande Hotel, Beira, Mozambique, 2008
18
Simon Norfolk, Former Soviet-era

'Palace of Culture', Kabul, 2001
Stephen Shore, Badlands National

Monument, South Dakota, July 14, 1973
Luigi Ghirri, Cemetery of San Cataldo, Modena; the ossuary in winter, 1986
the distance in time and space, the

photographers were united
in a common resolve to observe
and record the complex business
environment. The exhibition was
presented in chronological order and
covered a large variety of photographic
techniques and thematic areas. In this
exhibition, photographers challenged
the conventional norms of architectural
photography and reinterpreted an
architect's intentions by showcasing
the lived experience of a space and the
symbolic value that it bought.
Thomas Struth, Clinton Road, London, 1977
19
Concept New York, May 2015
Author and illustrator James

Gulliver Hancock traces his home
town with his latest book All the
Buildings in Sydney
All the buildings, Sydney- Kingstreet
James Gulliver Hancock x3
I feel sick when I am not drawing. I panic

that I may not be able to draw everything
in the world at least once, says James
Gulliver Hancock. Released in New York
and expressed through his unique and
charming cityscape handmade drawings,
Hancock's latest book pays a tribute
to the diverse architectural styles of his
hometown, Sydney. Hancocks buildings
are colourful and full of fun and offbeat
details. Though initially they may come
across as gimmicky, in actuality they
brilliantly capture the technical elements
and the essence of the architecture that
makes Sydney such a beautiful city. From
icons such as Utzons Sydney Opera
House to lesser-known gems like Mark
Foys building opposite Hyde Park, All
the Buildings in Sydney represents each
building with utmost care, detail and precision. The other noteworthy illustrations
include the terrace houses in Paddington,
the bungalows by the beaches and the
incredible sandstone buildings from
Sydneys past. Through these illustrations
Hancock aims to encourage readers to
explore the city with him, to take a step
back from the everyday, pause and take
notice of the little details that get missed
out on in their daily lives.
20
Public Art
Transformative art that alters

perceptions & neighbourhoods
Stain by Pejac
Untitled by Collettivo FX
Santander, Spain, 2011
Palermo, Italy, 2014
Countries in the southern part of the planet are draining

through a hole. As an act of justice, the northern countries
will follow them. I created this in a reflexive time and to
represent it on the street helped take away that anger.
We wanted to create a game between reality and

representation - a mural that is a depiction of a landscape
that is true. This is an attempt to show the confusion that
exists between reality and the representation of it.
Mauro Filippi, FNA Photo
The Kinetoscope by Christina Angelina and Ease One

Slab City, California, 2015
"Kinetoscope features two female faces that partially circle

the inner walls. Each individual face embodies a specific
emotion tied to a meaningful moment when I trusted my
intuition, an inherent sense often ignored by society.
21
more
projects
at trendsideas.com
Home
Trends
Vol 3 No
9 2013
21
Homehomes
& Design
Trends Vol 3 No 2 2015
more
at trendsideas.com
Building Conversations
Views and insights from architects, interior designers and
newsmakers that are shaping the design world
Interviews
My View
Portfolio
Interview
Principal designer and partner of HBA, Rahul

Shankhwalker elaborates on how his designs link
the past with the future
When and how did you notice the potential

for hospitality design in India?
Hirsch Bedner Associates (HBA) has been
designing fine luxury hotels in India for over
40 years now and has been significantly
involved in the development of some of the
countrys most iconic hotels. The last couple of
decades have seen a substantial evolution of
the Indian economy, including the
hospitality segment. HBA believes in
Indias long-term growth prospects, both
economically and creatively. This last decade
has also seen a surge of international
operators opening up hotels in India, both in
the luxury and budget segment. It was only
prudent to set base in India to be able to grow
HBAs relationships further.
Where does India stand in terms of
world architecture?
With its incredible cultural wealth, designs
and designers from India are at an interesting
threshold of global creativity. Very few
countries in the world have seen the economic
growth that India has had. This makes the

country a unique place to design and develop.
How does the local context influence your
approach to a project?
Significantly. It is the DNA of our designs.
No matter where our projects are, local
context forms the base of our designs. For
example, we are currently designing a spa for
a luxury spa operator in Pune, which draws
from and uses Warli art and artists to complete
the guest experience.
When designing a hospitality project, how
does one maintain that balance between
thematic influences and not making the
space look gimmicky?
I believe that while designs have to draw from
the past, they also have to respond to the
future, creating a visual identity that bridges
the gap between the two. In doing so, I try
to understand the spatial and experiential
qualities of the local context and interpret this
in my own way.
Spa in Pune
24
When you work with companies like Hyatt,

St Regis, Marriot, etc. that have strong
design identities, how do you balance it
with HBAs design philosophy?
I believe the best designs come from the most
challenging situations. While most international
operators have design identities, they also give
immense creative freedom to the designers.
Guidelines come from well-researched client
feedback and usage and serviceability surveys.
As designers, this is invaluable for us in order
to create something that is long lasting and
which contributes to building brand loyalty.
According to you, why are clients choosing
you over Indian firms, especially in the
hospitality market?
HBA operates in multiple continents but we
pride our selves as a Local Global Design
Company. In India our staff is incredibly
talented. We have designers, both homegrown and foreigntrained. Now, we want to
work with local designers who understand the
local context and work culture and who drive
designs and build amazing properties. In all
practicality, we are an Indian firm because we
do a considerable amount of creative work out
of our Indian offices.
Amongst all the hospitality projects
executed by HBA, which one would you
term as the best, and why?
My favourite is the Four Seasons Resort in
Seychelles. The designs are simple yet elegant,
and are powerful in a way that a guest who
checks in there has no choice but to leave his
worries behind him and unwind. This property
really does fulfil its function and do what it was
meant to do i.e. help its guests relax.
House in Australia
Double Tree Hilton, Goa

Rahul shankhwalker joined HBA as a Design
Director in 2007. Prior to this, he gained extensive work experience in Australia, singapore
and India. Over his 15 years of work experience, shankhwalker has developed a deep
and sensitive understanding of Asian design
aesthetics and his current portfolio includes
luxury and mid scale hotels and resorts, spas,
retail, offices, private residences, club houses,
restaurants and bar lounges.
Spa in Pune
25
Interview
Navin Raheja of Raheja Developers talks to

Preeti Singh about all matters real estate. Gen
next and executive director, Nayan Raheja joins in
the conversation
What are your thoughts on the deadlock

on the real-estate scene currently?
Navin Raheja: It is mindless oversupplying
brought into the market by so many
inexperienced people with the view to
make big money. That has spoiled the
entire credibility of the sector along with
the confidence of customers. On top of it,
the last five years have seen a slowdown in
economic growth.
How does one break this real
estate deadlock?
Navin Raheja: It needs a trigger. Firstly,
the government should understand that
investment in real estate, in any country
and in any economy has always proved to
be a turnover for that economy. This sector
is supporting more than 250 industries.
The leather industry, steel, cement, copper
or glass, wood, plastic mills, mechanical,
plumbing, almost all these industries are
directly affected by the real estate sector.
The simple logic is to make people invest in
real estate by bringing down the home loan
interest rates. When they bring the interest
rate down to 6-7% on home loans, the country
will start growing in double digits. Secondly,
please allow us to work. The government
should ease the rules of doing business
for us. They come up with something new
everyday. One more legislation or one more
rule to follow. We are not being given time to
work. There are so many compliances to fulfil.
Be it venue, electricity, water, environment,
other local authorities, fire, labour and all the
taxations. And all of these people are not
actually supporting us. These problems need
to be sorted out. The government can put all
these things online. Currently, there is online
approval as a single window clearance and we
are stuck only with attending to them.
26
Shouldnt prices then come down

considerably?
Navin Raheja: Prices have come down
already. But now bringing them down further
is not possible because they are, I think, at
cost or maybe below cost. It will be disaster for
anybody selling below this.
Real estate was not your first
business venture.
Navin Raheja: After passing out from college,
I had savings of about Rs 5000 from a
scholarship. With that I started my first business
of providing accessories for scooters. It was a
very innovative idea at the time, nobody was
doing it. Then, in 1982, there was Asian Games,
so I introduced colour TVs also for the first
time in Delhi. I was one of the initial distributors
for EC and Uptron tv sets. Because of these
opportunities, I made good money and by 83
I made my first investment in real estate. And it
doubled in less than three months. That gave
me a taste of how to bat faster, you know, a
faster run-rate.
You have made a sustained effort to work
with international firms.
Navin Raheja: The Burj Khalifa in Dubai has
been made by Arab builders. So we tried to
get in touch with them because they have
the competency to create that level of work
and those structures. There was a lot of
resistance on their part; they were not willing
to work with Indians. But ultimately, Nayan,
my son, convinced them. Designing alliances
are there with the best global companies like
Thornton Tomasetti, who are also working
on some projects with us. We are bringing in
talented companies from all over the world,
even to execute our individual modules, after
construction. Even our architects are talented
international names.
Why dont developers work with Indian

architects and firms?
Navin Raheja: I used to work with Indian
architects about 10 years ago. But I always
had to go back for frequent changes in
the drawings. The quality was not really
that good. Then we hired the best of the
architects from the School of Planning &
Architecture. We have a team of about 30
architects from the best of the institutes.
They are good in local master planning
and in their knowledge of by-laws. And
they collaborate with our international
architects too.
Whats next for the company?
Nayan Raheja: We are evolving with the
times and there will be a dramatic shift in the
kind of product mix that we do. Currently, it
is probably 80% residential and within that
80% we have probably 50% of the luxury
homes for the middle segment homes. I think
that will dramatically shift to a 30% luxury
and you know like 30% middle and a 40%
lower-income group sort of a thing. That is
the kind of demand pattern, which exists
in the country. Also, we are in the process
of creating smart technology for homes in
the same way we see apps in our phone.
I think the last frontier achieved for smart
technology is going to be peoples homes.
We are creating a new sort of technology
where soon you will see lot of prototypes
where you will be able to experience your
lifestyle better. Through this technology, if
you want to go for a game of tennis and you
know that your friend might be available,
you can check via this technology to see if
a booking is available at the tennis court at
5 pm and ask if your friend is also there. It
automatically communicates. It is almost like
Artificial Intelligence (AI). The home starts
having a personality of its own where you
can communicate with it. Apple and Google
are working on it as well.
Raheja Developers Limited was established
in 1990 by Navin M Raheja. He holds a MBE
degree and is a post graduate in Journalism.
His company is regarded as one of the biggest companies in India with executable and
sanction projects over 60 million sq ft in hand
with projects spanning over 900 acres of land
at various stages of deliberations.
27
Interview
Architect Alan Abrahams radical proposal,

The Bombay Greenway Project, has the potential
to transform Mumbais landscape
What is the Bombay Greenway Project?

The Bombay Greenway Project is a
conceptual design to create a green
umbrella over the citys local railway
system. If the Greenway Project were to
be implemented, 114 km of railway line
will serve as 114 km stretch of podium
gardens that will be traffic-free and meant
for pedestrians only. The sides of the tracks
will be barricaded to discourage people
from crossing and there will be entry and
exit points at every 400 m intervals which
would make it easy to access the greenway
which serves as a North South connector
and dissolves the East West divide. The
three prime objectives of the project are
to prevent railway crossing deaths, create
1000 acres of open space and to positively
influence the lives of the 7.7 million people
that use the trains daily. The project aims
to improve the basic lifestyle that is less
stressful and relatively safe. The Bombay
Greenway Project is not about cleaning up
or beautifying the streets. It is a simple, new
idea. All it proposes is to rethink the use of
public spaces that already exist.
How did the idea manifest?
This proposal was born out of frustration.
We assessed the problems and the potential
of the city and instead of complaining,
we decided to create a concrete plan and
present it. Its easy to transform a project
from bad to good through design. It even
won the International Urban Planning &
Urban Design competition, 2013 at VeloCity, Austria and we hoped that this would
create a fallout effect here. But the sad part is

that locally people are not willing to listen.
What feedback have you received
from government that can help execute
the proposal?
We are trying to contact the right people,
however, the Government bodies have been
unresponsive. The important thing here is to
create awareness amongst people.
Is the recognition a challenge?
Getting local recognition from the right people
is the major challenge. The rest is mainly getting
people to accept, study and take this new idea
forward in a way that is feasible.
The project requires coordination and
involves major policy decisions. Given
the general situation when it comes to
policy makers, what encouraged you to
conceptualise a project of this magnitude?
We have proposed the concepts and case
studies in individual parts to make it simple.
This allows people to understand that it is quite
feasible and not too ambitious if you break
it into parts. The moment each component
connects, it will transform the city. We can think
of the designs, but we cannot execute every
single one. In this instance, it is beyond our
scope. To execute, you need the bureaucrat,
the politician and policy makers to come
together. These agencies have come together
to relook at the development plan. This is an
ideal time for discussing and integrating these
ideas into the plan.
- In conversation with Amanda Peters
Alan Abraham is the joint principal architect of Abraham John of Abraham John Architects.
Founded in 1967, it is a multidisciplinary architecture, interior design, landscaping and urban
planning firm in Mumbai. With a spectrum of clients, the firms design approach is to reconnect architecture with nature.
28
1. Proposed design of the Bombay Greenway Project. This rendering

shows the podium garden as they will be constructed above the railway
lines as well as the barricades meant to prevent pedesterians from
crossing over the tracks. The greenery of the podium gardens will have a
positive impact on the surrouding urbanscape.
2. The Bombay Greenway Project future station section (Bandra Station,
Western Railways)
(i) Ramp access to the Greenway
(ii) Skywalk access to the Greenway
(iii) Staircase access to and fro from the station
(iv) Skylight for the railway station on the Greenway
(v) Greenway Ramping up to avoid disruption in cyclists movement
(vi) Greenway access to the railway station
3. Walk, cycle and play routes on the Western Line between Khar
and Mahim.
4. The proposed underpass for the Juhu Beach Project Plan
29
My View
On: How a colour palette contributes

towards the larger context of architecture
Manish Dikshit
Aum Architects, Mumbai
Colour has a very powerful meaning in architecture.
Contradictions can be easily found, because it is hard not
to be subjective with such a topic. Another problem with
making general conclusions is the fact that colours have
different meanings in different cultures. For example, in
Europe black is for mourning, though in northern parts of
Portugal brides wear black gowns on their wedding day.
In East Asia white is the colour of mourning and in most of
Europe it is the colour of purity. Similarly, in the context of
Indian architecture, earthen colours are used to blend with
the surrounding macro environment.
Dexter fernandes
uneven, vadodara
Colour is not just an emotion but a part of the character of
the structures we design. For example, earthen shades give a
homely aesthetic and are used mainly for residential projects,
whereas commercial and corporate projects are done in
formal colours like greys, whites, walnut etc. Though most of
our works have a basic tone of grey or light beige to help give
a subtle, cool and pleasing look, our main enhancer is always
green adding freshness and life to the projects.
Indrajit kembhavi
kembhavi Architecture foundation, bangalore
Architecture is all about symbolism where infinite
forms are created out of infinite spaces, hence I cannot
associate this profound realm to a monochrome, but
rather I do relate it to a spectrum, which is also defined
as a condition, not limited to a set of chromatic values,
but one that can vary within a continuum.
30
Dikshu kukreja
C P kukreja Associates, new Delhi
In architecture, the entire colour palette acts a strong
tool for any built form to communicate with the world.
Therefore, rather than associating it with a specific
colour, I think it is the entire colour palette that one
should draw from in order to suit the specificities and
the context of any project so concerned.
Percy kutar
4.4 Design, Mumbai
Associating a single colour with the art of
architecture is problematic; its like asking which
colour would you associate with the art of painting,
or for that matter any art. However, I believe that in
architecture, colour is best expressed by an honest
expression of its materiality- singular or plural and
the way in which light plays with it.
Melissa smith
banduksmith studio, Ahmedabad
More than any particular colour it is the clarity of colour
and its meaning for representation that I associate with the
processes of architecture. Colour is powerful when used
with restraint. In my first year of school, we were limited to
the use of black and white, plus just one spot colour (either
cyan, magenta or yellow, pure ink cartridge colours). What
this taught me was all the things that organisation, scale
and proportion can do and how careful use of colour helps
to communicate. Colour restraint for communication is a
practice I continue to use even today, both in the drawings
we make, and in the materials we use on our sites.
- Compiled by Dushyant Shekhawat
31
Guest Column
The design of a vertical mixed-use development

must achieve an efficient solution to integrating
spaces while isolating individual services, says
architect Reza Kabul
F
or centuries human settlements have developed in mixed-use

patterns, that blend in a combination of residential, commercial,
cultural, institutional and industrial zones. Knight Frank, one of the
worlds largest global property consultancies, affirms that given the
lack of housing supply and land constraints, mixed-use development
is an important and necessary part of the urban renewal and
regeneration process.
The term mixed-use, though straightforward, varies in definition from
different zones, cities and countries. However, key elements define
the present mixed-use approach as a space that amasses different
users, designed with a revenue generating approach, with a significant
functional and physical integration of spaces and services. While
developing mixed-use zones in entirety is often unfeasible, either by
a single developer or without municipal support, vertical single unit
mixed-use developments have been in play for a while. Early examples
of these vertical mixed-use developments are apartment buildings with
ground level retail spaces.
Recently, major vertical mixed-use developments have presented
themselves as a phenomenon, with the real estate industry investing
in opportunities to create vibrant, sustainable and revenue generating
spaces. Vertical mixed-use developments hold more potential and have
an advantage over the typical single-use structures, thereby making
them the next step for sprawling cities.
The design of a vertical mixed-use development must achieve an
efficient solution to integrating the spaces while isolating the individual
services. They are also required to manage the sensitive spaces such as
commercial offices and residences, with regard to potentially disturbing
aspects of public spaces such as hospitality and retail outlets. 96 Iconic
Tower (Colombo, Sri Lanka), designed as a ball balanced between four
bats to commemorate the achievements of the winners of the 1996
Cricket World Cup, is an amalgamation of retail, commercial, residential,
institutional, hospitality and public spaces.
Mumbai-based architect Reza Kabul setup his own firm
M/s Architect Reza Kabul in 1988. Kabuls vision has lead
to successful and path-breaking projects like Radisson Hotel
(Mauritius), Arista (Mumbai), Earth Infra (Gurgaon), etc that
are centred on his design philosophy of liberating spaces.
Some of his well-known clients are Le Meridien, ITC,
Ramada and Ajmera Realty.
32
The challenge while designing this mixed-use tower was to integrate

five different users stacked on top of each other, while providing them
individual and independent functioning. The commercial spaces, such
as the multi-screen cinema on level four, offices on level five, and the
panoramic restaurant on level 94 and 95 have the lift lobby located on
the basement level. The public spaces, a 360 observatory on level
92 and the Sri Lankan Cricket Legends Museum on level 93, have
ticket counters and lift lobbies located on the south side of the
ground level. The retail spaces, spread across the ground level to
level three, are interconnected with a series of 18 escalators and
six elevators. The north side of the ground level acts as a separate
entry for the residential spaces, with six elevators taking them to the
residential lobby situated on level six, which houses nine elevators
for residents and their guests, and three service elevators, leading to
the residential apartments across level 15 to level 90, punctuated by
service floors and entertainment decks.
Form and function, the most hackneyed words in architecture,
have been major influencers of design the world over. Commercial
structures, however, demand the additional integration of
performance and management, which helps maintain the revenue
generating component. Mixed-use projects offer developers the
opportunity to spread risks while generating higher yields. At the
same time, complementary tenants attract prospective consumers
from a variety of sectors. Raghuleela Mall (Navi Mumbai, India)
is a classic example, where the mall is constructed on an IT Park
plot, giving the retail sector its prospective consumer. While the
60% of the plot consists of the IT Park, zoning dictated that 40%
be used for commercial purposes, and we incorporated a mall,
a multi-screen cinema, banquet facilities and swimming pool
equipped gymnasium. The location, next to the local railway station,
attracts an even larger number of daily commuters passing by. The
commercial spaces have been designed to be open and permeable
to encourage people to walk through the site, while the central
atrium of the mall encloses a public piazza which establishes the
social focus. The solution to smooth functioning of the mixeduse development is using the same space in different moods and
different attires with different users, and separating the main areas
from the service areas.
Mixed-use developments, whether horizontal or vertical, promote
smart growth. While creating new urban strategies and synergies
in an existing city is challenging, it does lead to efficient land use.
Integrating different zones makes them readily accessible in one
location, while reducing the dependency on public and transport
facilities. We stand at the beginning of a revolutionary era, where the
mixed-use developments are substituting the high-street concepts
of the mid 20th century.
Iconic Tower
Raghuleela Mall - Central Atrium
33
Portfolio
In this prelude to the photo-essay on the

Kochi Muziris Biennale 2014, its founder,
Bose Krishnamachari talks to Preeti Singh
about responsibility, opportunity and struggle
Is it fair to say that the creative community

in India, including architects, seems
hesitant to acknowledge and take on
social responsibility through their work?
Its a sad truth but also an indication of
the system we have. Many of the artists/
architects are not really aware of whats
happening in the country. I hardly see people
reading newspapers or trying to get news
and information about whats happening
in the country. I dont see a lot of people
interested in politics, daily issues and policy
matters, and I think this is a dangerous trend
- to be disengaged from our daily reality. I
think the Europeans, the Americans and the
Australians have realised that their art and
work can affect the culture and ethos of
their communities. They realise the potential
of this soft-power. And sometimes this
becomes much more powerful than political
diplomats and diplomacy, transcending
boundaries and connecting people and
nations. Its also one of the reasons
why internationally they do more cultural
and educational exchange programmes.
I think it is high time artists and architects
of this country became more socially aware
and responsible.
Kochi-Muziris Biennale 2014 x9
Do you think its also a matter of

conversation between the creative
community and the political class? Can
enough pressure from the art and design
community enable the process?
I am sure that there are other concerned
people in the creative community and
some steps had been taken in this regard.
Many people have tried it; in 2005, the art
community tried to start a biennale in New
34
Delhi. The initial amount of three crores was

not be given by the New Delhi government.
They said, Three crores? For art? They
should understand that it is public money and
benefits the public at large; it brings tourists,
national and international visitors and culture
grows and proliferates through such kind of
policy making.
Culture tourism is good economic sense.
Yes, but nationally, we have been a
disappointment. Only 0.02% of the GDP is
put aside for art. Compared to other public
funding and public funded projects, 0.02%
is almost nothing, not even an afterthought.
I read somewhere that Britain generates
35% of its GDP through cultural tourism.
This is huge. That is one of the reasons they
are making more museums and protecting
their monuments. Take for example, the Tate
Modern. When the authorities felt that they
could not accommodate five million people
in a large 3,75,000 sq ft space, they decided
to make another wing for performances,
reading, exhibition spaces etc. They are also
spending 260 million to create that building.
We have to understand the value of investing
in art and culture and the long-term benefits
of it. India has such a rich heritage and
cultural legacy. And it is time that we start
telling our own stories rather than depend on
someone elses version of it.
How did you come to organise a Biennale?
We used to have something called the
Triennale in Delhi, in 1968, which was started
by Dr Mulk Raj Anand and some artists. It
was a part of the nation-building programme
at that time. But due to various reasons it
ended in 2005. In 2009, MA Baby, Keralas

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

the second greatest challenge with the
Kochi Biennale that you had to overcome?
It was to create an infrastructure that was
worthy of museum quality artwork, because
otherwise no artist will send or exhibit their
works. I can invite an artist for the Biennale
but they wont send their works without any
kind of control of the space. Some works
need to have a certain environment. And

now, after all the preparations we have done
in Kochi, we are confident that the space we
have created can host exhibitions of Picasso,
Van Gogh or Rembrandt. We are prepared
for that kind of space and weather control. In
fact, in the first year of the Biennale, we had
the first exhibition brought from the Dresden
museum; they wanted to know, every day,
what the weather was, what the temperature
was etc. This went on for 30 days after
which they said, OK, well send the work.
These are the kind of things we have to
manage carefully. We also created additional
exhibition spaces out of unused buildings
and warehouses. People were excited to not
only see international quality art-works but
also how artists utilise these old architectural
spaces to appropriate their ideas.
This has become an event for posterity.
What is your vision for it?
Definitely, the Kochi-Muziris Biennale will
become the destination for experiencing
contemporary art. We would also like to
create infrastructure for education and make
a museum, not in the sense just a museum
that collects paintings but an interactive
one. In future I hope that we can start an
architecture biennale. We can imagine many
things but I want to be able to do them. We
can have hundreds of ideas, but we focus on
the ones that reflect quality and elevate the
space and region to a different level.
How is the work invited for the Biennale?
The artists chosen for the Biennale are
chosen by its curator, who would have
done his research on the region, its history,
politics, culture etc and will decide what one

can call a theme. He will then conduct
research trips to identify the artists who could
take on his themes and best react to the
site. We give maximum freedom to the artists,
whatever the cost may be. We invite them,
but one of the first conditions is that we want
every artist to come see the site, because
the site is an important space for creating the
project. Then the city is very important; it is
very important to include its history. During the
first biennale 73% of the work was produced
on-site and more than 60% during the second
edition.
You mentioned earlier, the environment in
which the works are housed is essential.
In that, I must say they are absolutely
respectful. The sites and the works are so
entrenched together.
As the biennale director, I have something to
do with that. When it comes to the design of a
project like this, everything is decided through
me. We can look at inviting any artist in the
world, but if we cannot afford it, then I say no.
You said somewhere that the challenges
you faced organising the Biennale have
added a unique flavor to it.
Yes, you should have a challenging space
otherwise there is no interest in creating
something. Conflict is important. Conflict puts
you in a certain kind of space and pushes you
to innovate and create your way out, to survive.
You need to understand conflict; you need
to understand extremity. If you understand
extremities, you can definitely create better.
Conflict is very important. I enjoy it; I have no
complaints. We did it against all odds.
35
three decimal points/ Of a minute/ Of a second/ Of a degree by bharti kher

This installation is artist Bharti Khers fascination with and research into
several concepts; the Penrose triangle, medieval astronomical charts by the
Arab scholar Al-Biruni and one of colonial Indias greatest undertakings, the
Triangulation Survey of India. Through this piece, Kher seeks to undervalue
that, which is not abstruse. The installation is composed of suspended
triangles, each containing a swinging pendulum, creating an aura of instability
but never actually collapsing.
36
the Power of ten by Charles and ray eames

The Power of Ten is a 1977 art film made by the designer duo Charles
and Ray Eames. This piece of conceptual cinema offers a perspective
of the universe from multiple scales, from the most expansive to
the minutest. Beginning with an overhead shot of a couple in a park,
the film zooms out by the power of ten every 10 seconds, gradually
transporting the viewer to the outer reaches of space. At the point
where human knowledge of the universe ends, the camera begins
to zoom back in, at the power of minus 10, culminating in visuals
of protons at a sub-atomic level, offering a reminder of the infinite
worlds with which we share our universe.
37
Mary wants to read a book by navjot Altaf

Both a celebration of the state of Keralas literacy movement and
an alarm call for the state of climate degradation, the Mary Wants
to Read a Book installation by Navjot Altaf underlines the need for
development that is not harmful for the ecology. The installation is
an immersive, built-up space comprising over 2000 books made
from recycled paper. The form of the installation is also a three
dimensional recreation of a scientific chart documenting 2000 years
of climatic change. By offsetting Keralas praiseworthy literacy rate
and library culture with global environmental degradation, Altafs
work is suggestive of alternative modes of development.
38
untitled by unnikrishnan C
This free-standing wall composed of more than 300 bricks is
the work of Unnikrishnan C, one of the youngest artists that
exhibited at this years Kochi-Muziris Biennale. Each brick
serves as a miniature canvas for Unnikrishnan and he has
covered them in paintings that recall his childhood in rural
Kerala. The subjects of his paintings are often relics of a
bygone era, including imagery reminiscent of professions and
lifestyles falling by the wayside in modern times.
39
the fires of faith by benitha Perciyal

It is believed that St Thomas bought the Christian faith to Indian shores
when he landed in Kerala in 52 BC. Benitha Perciyals installation
delves into this history, examining the culture of religious imagery that
flourished in India with the proliferation of Christianity. These sculptures
are crafted from incense made from natural materials like aromatic
herbs and spices and are intended to devolve to reflect the passage
of time; cracks will appear and the fragrance will fade, turning these
sculptures into a testament to impermanence.
40
Matter by ns Harsha
NS Harsha is a painter, sculptor and artist who likes to offer
what he calls birds eye views of life. In Matter, he creates
a bronze sculpture of a lone monkey grasping a spherical
whilst pointing upwards at the sky. The imagery of the
solitary primate silently gesturing at the heavens leaves the
interpretation up to the viewer. It is a work formed from the
depths of speechlessness, says Harsha.
41
the Arrival of vasco da Gama (after an 1898 painting by

Jose veloso salgado) by Pushpamala n
Pushpamala N is an artistic performer whose pursuits
include a series of masquerades where she subverts
iconic images by staging recreations, which she inhabits
herself. In this image, a recreation of Jose Veloso
Salgados painting Vasco da Gama perante o Samorim de
Calecute, Pushpamala essays the role of the eponymous
navigator. This reconstructed photograph uses the element
of theatricality to offer a critique on how this historic event
grew into the status of myth over the passage of years.
42
sun shadow by Pors & rao

Sun Shadow is the creation of Bangalore-based
artistic duo, Aparna Rao and Sren Pors. This illusory
installation at first appears to be discarded material,
the kind of unclaimed debris one might find at a
large exhibition. But this sun, crafted from plastic,
metal and rubber, hides hidden electromagnetic
components that make it come alive. Intermittently,
this melting outline of the sun moves upwards,
attempting to rise before collapsing back down into its
original state as if exhausted by the effort. The artists
sense of playfulness and dark humour infects this
piece, much like their other installations.
43
Iconic Design Arc de Triomphe de lEtoile, Paris
Roger Viollet Collection/Getty
arched respect
It is 1806 and Napolean I, triumphant from his

victories in Europe, commissions French architect
Jean Chalgrin to design a monument that would
be a fitting tribute to the French Army. Chalgrins
design is that of an arch, inspired by the arches that
successful Roman generals and their armies would
later on march under to celebrate their victories
during the Antiquity period.
Named the Arc de Triomphe de lEtoile (The Arc
of Triumph) it is located on the Place Charles de
Gaulle, Paris. It took two years just to lay down the
foundations for the arch. And it took almost 30 years
to complete it. The monument stands 50 m (164 ft)
in height, 45 m (148 ft) wide and 22 m (72 ft) deep.
Jean Galgrin passed away during its construction
and the project was then completed under the
supervision of Jean-Nicolas Huyot. The triumphal
arch is adorned with many reliefs, most of them
commemorating the emperors battles. At the top
of the arch are 30 shields, each of them bearing
the name of one of Napoleons successful battles.
Below the arch is the Grave of the Unknown
Soldiers, honoring the many who died during the
First World War. It would be the biggest, widest and
tallest triumphant arch in the world; (in 1919 Charles
Godfrey successfully flew his biplane under the arch
to showcase its width), till the Arch of Triumph in
Pyongyang was completed in 1982, but The Arc of
Triumph still remains the most iconic in the world.
- Written by Moshita Prajapati
45
Commercial Design
A residential redevelopment complex, a mixed-use structure and a beach club - the projects in this
section showcase how commercial design is getting redefined throughout the world
Project Portfolio
Community spirit
With its hexagonal matrix of interlocking building
blocks, this residential development weaves a new
sense of collective engagement
48
Preceding pages:With its 31 stacked

blocks arranged in a hexagonal
pattern, The Interlace creates a new
form of vertical village. The buildings
enclose large courtyards that provide
a wealth of recreational facilities.
Below:Each block is six storeys
high, but at no point does the
development exceed the stipulated
24 storeys. The openings between
the buildings create physical and
visual permeability, providing cross
ventilation and maximising views.
Distinguished architectural firms are most

often commissioned to design prestigious projects
for the high end of the market. But the experience
and skills they can bring to a more populist market
niche can have far greater ramifications.
This Singapore project proves that innovative
architecture is not the sole prerogative of an elite
few. Rather, it can be accessible to a much wider
market in this case more than 1000 households.
The Interlace, developed by CapitaLand
Singapore, was designed by architect Ole Scheeren
working for OMA. The design brief was straightf
orward the development needed to create an
iconic urban habitat of the future, says Wong
Heang Fine, chief executive officer of CapitaLand
Singapore (Residential).
This was always going to be an exemplary
development that would promote a sustainable,
highly accessible and eco-friendly living environment, with a strong sense of community, he says.
We set out to create an outstanding design for a
development that is not only within reach of those
who aspire to own a private residential unit, but
also those who aspire to a unique lifestyle.
The design was driven by many factors, including
the shape of the 8ha site, which completes a 9km
green belt. It was also determined by the need to
maximise opportunities for social interaction.
In Singapore, the standard typology for
residential developments is a cluster of isolated,
49
towers, which do little to enhance a sense of

community, the architect says. This design, in
contrast, explores a dramatically different approach
to tropical living, providing an expansive and interconnected network of communal spaces within a
natural environment.
Thirty-one apartment blocks, each six storeys
high, are stacked in a hexagonal arrangement to
create eight large-scale courtyards. The interlocking
blocks resemble a vertical village, complete with
cascading sky gardens and both public and private
roof terraces. Extensive residential amenities and
facilities are interwoven with the landscape, amid
lush vegetation, providing opportunities for social
interaction, leisure and recreation.
The architecture is more about the spaces
between the buildings than the built-up areas
themselves, says Scheeren. While the buildings
provide the residences, they are more importantly a
tool to generate the open spaces.
The architect says the company experimented
with many different configurations to maximise the
design of the courtyards and natural light.
In the end, it was the hexagon that won out over
a square or rectangular form. The angles at which
the buildings meet are 120, not 90. This means
the buildings are slightly turned away from each
other, which helps to open up the views and provides more privacy. It also creates well-articulated
outdoor areas.
Scheeren says the stacking principle ensured
there would always be openings in the blocks.
There are no sealed envelopes the buildings
are completely permeable, he says. This allows
the light, wind and cooling breezes to penetrate. It
also creates visual openings, so residents dont feel
50
cut off from the wider landscape. The development

has a very different feel to a tower block it is all
about lightness, openness and transparency.
The architect says the exterior of the building is
layered to create a stratification of outdoor living
areas. These range from highly communal sky
gardens to slightly more private terraces and very
private spaces. All apartments have balconies, and
many have protruding terraces that can become an
extension of the living room.
It looks deceptively simple, but there is a
richness and complexity to the architecture that
helps to generate a sense of excitement and
freedom, says Scheeren. The development never
feels crowded.
The accommodation itself is also varied within
each block. While the overall building form is highly
dynamic, each individual block is an entirely pragmatic rectangle that allows a very efficient layout.
Spaces are also generously sized and light filled,
and the quality of the fit-out is high.
As with all OMA buildings, sustainable design
determined every aspect of the architecture.
We incorporated passive design strategies
throughout the project, says the architect.
Daylight is optimised, and there is shading in the
courtyards. Apartments are positioned to minimise
solar gain, while taking advantage of the breezes
permeating through the building. The apartments
also benefit from evaporative cooling over the
various bodies of water, which remove humidity.
Communal facilities include an environmental
deck, which is integrated into the green belt. This
incorporates the eight themed courtyards created
by the built forms, which in turn are linked by a
4m-wide jogging track. One of the courtyards is
Below:The hexagonal form can be

seen from above, in both the plan and
finished development.
Right:Because the buildings are
stacked on a 120 angle, views and
privacy are maximised. The hexagon
motif can be seen on the underside of
the concrete slabs.
designated as a community garden for use by residents. Art works, including sculptures by renowned
artists, have been integrated into the landscape.
Multi-generational interaction is encouraged,
with childrens playgrounds as well as exercising
equipment for adults and the elderly. Approximately
130 apartments are designed with ageing-in-place
provisions, such as step-free bathrooms. There are
also 16 dual-key units, which provide separate but
adjoining apartments that will serve the needs of
multi-generational families.
Wong Heang Fine says that at the end of May
860 units out of 1040 had been sold.
The feedback from residents confirms The
Interlace is like a self-sufficient community within a
well-established development, with all the facilities
they need available on site.
Wong says the development has already
received several notable awards and has cemented
its position as a new Singapore landmark.
52
Project:The Interlace, Singapore

Developers:CapitaLand Singapore; Hotel Properties Ltd
Design architect:OMA designer and partner-in-charge Ole
Scheeren (now at Buro Ole Scheeren)
Architect of record:RSP Architects Planners & Engineers
Main contractor:Woh Hup (Private) Limited
Civil and structural engineering consultant:
TY Lin International
Mechanical and electrical engineering consultant:Squire Mech
Landscape architect:ICN Design International
Quantity surveyor:Langdon & Seah Singapore
Above:Each of the eight large

courtyards is themed and lushly
landscaped. In time there will be
cascading sky gardens as well.
Awards:Urban Habitat Award 2014; CNBC Asia Pacific

Property Award 2010 Best Architecture (Multiple Units) Singapore;
BCA Universal Design Mark Platinum Award; BCA Green Mark
GoldPLUS Award
Story by Colleen Hawkes
Photography courtesy of CapitaLand Singapore and Woh Hup
(Private) Limited
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Sense of place
Defined by its green walls and cantilevered heliostat
reflectors, this large-scale mixed-use development
creates a new gateway to the Sydney CBD
Its rare to acquire an entire city block for

redevelopment, but when it does happen theres
an unparalleled opportunity for developers and
architects to make a significant contribution to the
fabric of a city.
The former Chippendale United Brewery site on
the western fringe of the Sydney CBD has been
transformed by a masterplanned joint venture
between Frasers Property Australia and Sekisui
House Australia.
But it wasnt simply a case of throwing out the
old for the new. While the developers of the 5.8 ha
site were looking to raise the benchmark for innovation and sustainability, they were also wanting to
preserve key heritage elements and give something
back to the city.
One Central Park, designed by Ateliers Jean
Nouvel, France and collaborating architectural firm
PTW Architects, consequently reflects an holistic
approach to urban design, says PTW architect

Mark Giles.
This was an opportunity to reinvigorate an
entire precinct in what is essentially a city of small
villages. Connectivity was crucial for so many
years the old brewery site had been closed off to
the public. We needed to open up the entire space,
hence the idea of a park-like development that
would provide through links along key axes. The
site is close to Central Railway Station and two
universities, so pedestrian traffic is high.
In designing the tall east tower, we took into
account the height of the existing UTS building on
the other side of road, where Broadway becomes
Parramatta Road, a key arterial route. We chose to
match this height so the two towers together create
a gateway to the city from the west. There is also a
strong urban edge to the development on this side.
In contrast, the residential nature of the
55
Chippendale area to the south is reflected in an

undulating facade treatment to the south of the two
towers. There is also a liveliness to this elevation,
with the balconies stepping in and out this creates
a softer facade.
One Central Park East tower, at 33 storeys,
provides 383 apartments, while the 16-storey
One Central Park West tower accommodates 240
apartments. Sky at Central Park, the precincts
premium penthouse and sub-penthouse collection,
comprises 38 residences in the top five levels of
East tower.
The development also boasts a five-level
16,000m2 shopping centre beneath a landscaped
podium, a Sky Garden at Level 29, a 6400 m2 landscaped public park at ground level Chippendale
Green plus new public pocket parks. Thirty-three
heritage elements have been retained and are
being restored for adaptive re-use. These include a
prominent tiled archway at Carlton Street, terraces
and warehouses, three pubs, the Brewery Yard
buildings and brick stack, and the original brewery
56
administration building.
However, it is the East towers striking form, with
its cantilevered platforms, that has transformed the
skyline. The platforms have a highly functional role
in terms of bringing natural light down into the park,
and the retail centre below.
The smaller west tower has 40 6.2 m2 heliostat
panels on top, which track the sun during the day,
says Giles. Sunlight falling onto these reflector
panels is bounced back up to 320 0.8m2 fixed
reflector panels cantilevered off the taller east
tower. These panels reflect the light back down,
with 40% of the light falling onto a large skylight
over the retail centre.
This skylight has a shallow pool of water over it,
so the light shimmers down into the atrium, giving
it an ephemeral look. Plants in the atrium thrive on
that reflected light. The remaining 60% of the light
from the reflector frame is directed down into the
southern plaza.
The heliostat is believed to be the first of its kind
to be used in a residential context in Australia, and
Preceding pages:A cantilevered

Sky Garden and giant reflector frame
are key features of the new One
Central Park development in Sydney,
designed by Ateliers Jean Nouvel and
PTW Architects. Vertical gardens are
already transforming the exterior.
Below:Central Park, in the lower
centre of this aerial image, occupies
an entire city block. The precinct is
on the CBD fringe, close to Central
Railway Station and two universities.
Right:Chippendale Green is an open
public space within the precinct, with
pathways aligned with key through
routes. Public artworks include Halo,
a wind-powered 13 m-tall kinetic
sculpture by Jennifer Turpin and
Michaelie Crawford.
the largest of its type in the world used in an urban

environment. By night, the reflector frame becomes
a giant LED-illuminated multicoloured artwork, titled
Sea Mirror, by artist Yann Kersal.
The monumental form of the tower is further
enhanced by the green walls that feature throughout One Central Park. Designed by French botanist
Patrick Blanc, the vertical gardens cover more than
1200 m2, across 23 panels.
Every side of the building has a different
microclimate that needed to be taken into account
with the plant selection, says Giles. Plants were
also chosen to flower at different times of the
year, which is why there are 383 species, both
58
indigenous and imported. These all help to create

a discernible tiering of green, like a ribbon that
winds up the building. The plants are watered by a
gravity-feed system that pumps recycled water up
to the top of the building, where it is enriched with
nutrients, then drip-fed back down the facade.
The greening of the building continues on the
top of the podium, which is a recreational area for
residents. This features landscaped gardens, a long
swimming pool and a number of Jacuzzis.
The Level 29 Sky Garden on the cantilevered
deck is another amenity for residents of the Sky
penthouses and sub-penthouses. The garden is
accessed through a darkened passage that opens
Below:The Best Tall Building in the

World, as voted by the Council on
Tall Buildings and Urban Habitat
(CTBUH), One Central Park features
walkways on the retail podium. These
are illuminated by reflected natural
light from the heliostats.
Right:The reflector frame is
positioned to catch sunlight reflected
up from heliostats on the roof of the
lower building. The height of the
east tower matches the 1960s UTS
building on the other side of the road.
Left:The reflector frame shines light

down into the retail atrium.
Right:An orange-red glass box forms
a transition zone that leads to the
cantilevered Sky Garden.
60
Left:Sub-penthouses in Sky
at Central Park at the top of the
east tower incorporate balconies
that can be closed in if required.
As with every apartment in the
precinct, the interior features highquality natural materials.
Below:Gardens right outside
the apartments enhance the
views. The gardens are watered
and fed automatically by a gravityfeed system.
Below right:Tiled bathrooms,
mirrored walls and contemporary
sanitaryware feature in the
sub-penthouses.
into an area washed with bright orange-red glass.

This is a transition zone that heightens the
sense of anticipation, says Giles. The natural
daylight is a burst of colour at the end of the walkway, where you emerge to find yourself out on the
cantilevered platform at the top of the building. This
area is also beautifully landscaped, with gardens
and a Jacuzzi.
A similar attention to detail can be seen on the
interiors. Giles says every apartment, from the
smallest studio to the penthouses, has a similar
design approach and material palette.
The design needed to be of a signature quality
that is consistent right through the building. Smart,
articulate design has always been a priority for the
joint venture developers, and this is a key part of
the One Central Park experience.
Sustainable initiatives were another key driver
of the design. One Central Park, Central retail and
Park Lane have all achieved 5 Star Green Star ratings from the Green Building Council of Australia.
While the vertical gardens are one of the most visible expressions of the commitment to sustainable
urban living, other eco-friendly features are much in
evidence. One Central Park houses its own central
thermal plant and tri-generation power station,
using low-emission gas to produce electricity and
thermal power for heating and cooling. Rainwater is
harvested, and grey water and black water retained
for re-use in laundries, toilets and gardens.
Other initiatives include a 44-vehicle GoGet car
share service, and 94% recycling or re-use of materials removed from the site during demolition.
Giles says the developers commitment to
the community is already paying off, in terms of
enlivening the precinct. The retail centre, hospitality
venues and Chippendale Green are in constant use.
And the apartments themselves have been highly

sought after since day one.
The variety of units on sale ensured there was
something for everyone, to the extent that Frasers
was selling one apartment every minute during the
launch, says Giles.
Central Park development director Mick Caddey
says the completion of One Central Park is a significant milestone for the joint venture partners.
This is an outstanding achievement with
the visually striking design representing the core
values of Central Park in delivering an innovative,
environmentally sensitive and sustainable design of
high standard.
Project:One Central Park, Sydney
Developer:Frasers Property Australia; Sekisui House Australia
Architect:Ateliers Jean Nouvel, France; PTW Architects, Sydney
interior design:East Tower by Koichi Takada Architects; West
Tower by Smart Design Studio
Structural engineer:Robert Bird Group
Building services engineer:Arup
infrastructure services engineer:WSP Group
facade engineer:Surface Design Consulting Group
Geotechnical engineer:JK Geotechnics
Civil engineer (roads):Mott MacDonald
Construction company:Watpac Construction
Heliostat installation:Kennovations
Living wall maintenance:Junglefy
Artist, botanist:Patrick Blanc
Lighting artist:Yann Kersal
Photography by Murray fredericks; aerial image
by John Gollings
63
Miami vice
Bold, bright and a fun place to be, this beachside club
combines the look of colourful Brighton beach huts
with the razzmatazz of a South Florida resort
Left, lower right and following
pages :The outdoor area of the
Matisse Beach Club in Perth, by
Oldfield Knott Architects, comprises
a central pool area and an adjacent
covered outdoor space where a
curved day bed doubles as a DJ stage
at night.
Right:The row of jaunty cabanas is
set higher than the pool, to allow for
an underground garage.
Hospitality can be a fickle business, with the

success of a venue riding solely on the impressions
its most avid promoters or detractors the guests.
One way to ensure a broad, ongoing appeal for a
project is to draw on popular cultural themes and at
the same time create an individual sense of place.
For the Matisse Beach Club in Western Australia,
the owners brief to architect Frank Iemma and interior designer Jenlin Chia of Oldfield Knott Architects
was very much along these lines. Sean Reid wanted
to evoke the lively, vibrant feeling of a Miami beach
poolside club but with a local touch. The idea was
to create a unique entertainment experience for
guests, not simply a bright decor, says Iemma.
Built on a long, narrow strip across the road from
the beach, the site of a famous old band hall, The
Lookout, the 2000 m2 venue has two environments.
There is an indoor bar, dining and party space,
complete with a meeting room; together with an
outdoor party arena centred on a pool with a
covered space at one end. This indoor-outdoor
area overlooks the pool and is backed by a row of
tinted operable glazing looking the other way, out
to the street and the beach beyond. The windows
are angled to mitigate onshore winds, and the
space evokes the prow of an ocean liner. As well as
roomy bench seating, this sheltered area includes a
day bed that doubles as a DJ platform when night
64
falls and the clubs main rival the beach itself is

in darkness.
Along with the blue pool and mature palms
brought in from the United States, the most
eye-catching feature is the row of six colourful
poolside cabanas or seating booths. These are an
abstracted, playful version of the historic Australian
beach huts on Victorias Brighton Beach.
A dramatic use of colour and light is central to
the Matisse Beach Club experience. Not only are
the six huts decorated with LED strip lighting, there
are also matching bands of colour running down
from each cabana across the wood deck and on
into the pool. In addition, colour-changing lights
glow through the laser-cut, aluminium-panel street
facade and adorn the coffered ceilings indoors.
The cabana theme is continued indoors, with six
similar booths in bright colours, and two bench-size
versions for larger groups. The angular lines of the
huts are picked up in the geometric furniture, and
in the white sculpted heads that double as tables in
the bar area and poolside. Adding to the lively aesthetic, a zigzag carpet pattern and a ceramic tile, in
a complementary herringbone layout, cover most of
the floor. The tile has the casual look of weathered
timbers, appropriate to the seaside location.
Sculptural ceiling treatments contribute to the
playful, beachy vibe too, their fluid lines calling to
Below:Indoor bathing these beach

hut-style dining booths echo the six
cabanas outside.
68
69
Left:An internal bar area can be

walled off with bifolding doors to
double as a quiet meeting room.
Patterned vinyl wallpaper adds to the
vibe and is easy to clean.
Lower left:Giant skylights flood light
into the heart of the interior.
Below:Centre of attention a
dramatic ceiling treatment signals the
location of the bar.
Story by Charles Moxham
Photography by Joe Barbitta
mind the waves and shoreline. A dropped waveform slatted ceiling signals the bar service space,
and skylights draw in natural light in key areas.
Despite its recreational feel, the venue caters to
a business clientele as well. There are three main
indoor areas, the bar, the dining area and a second
bar space that can be enclosed with bifolding doors
and used as a private, soundproof function room.
This has its own decorative pool, separate from but
in direct alignment with the open-air pool, offering
another clearly visible indoor-outdoor connection.
The Matisse Beach Clubs location had an
influence on the choice of materials, too. Besides
the durable, non-slip floor tiles, compressed fibre
cement weatherboards were specified to combine
good looks with durability a must in the potentially
damaging salt-laden air. Tinted, angled windows
mitigate glare from the sand and ocean, and motorised sashless windows moderate onshore
sea breezes.
Alive with LED lights, blue water reflections,
swaying palms and sculptural cabanas, the club
captures both the spirit of a Miami resort and
Brighton Beachs own slice of Australian seaside
culture, says Iemma. At the same time, the entertainment venue has a presence all of its own.
Project:Matisse Beach Club, Hillarys, Perth, WA

Architect:Frank Iemma AIA, Oldfield Knott Architects
interior designer Jenlin Chia, Oldfield Knott Architects
Construction company:Buckingham Redevelopment Co
Cladding:Engrave Acrylic; fibre cement Stratum Cladding System
roof:Suspended cement slab with columns
Windows:Viridian Superblue toughened glass, installed with
motorised Aneeta sashless servery windows
flooring Stepping Out carpet tile in charcoal; Knitwear by EGE
Carpet; Viva Statale 9 floor tiles
Wallcoverings:Trends tiles in Brilliante and Vitreo; Dent cubes by
Inex; Laminam Kauri in entry; Wallpaper vinyl in servery from Spice
Digital; optical clear glass with graphics behind waiter station from
Spice Digital; polished plaster
Paints:Walls and ceilings, Dulux; doors, Wattyl
Lighting:LED light boxes
Heating:VRF by Toshiba
Seating:Indoor and outdoor fabric seating by Austex; seat hubs and
outdoor area by Instyle
Tables:Laminate from Proform, designed by Atlam Designers
Laminates
outdoor decking:Modwood Natural Grain in Silver Gum
Drapery:Cration Baumann by Boyac on outdoor cabanas
Ceiling:Barrisol ceiling by Barrisol Les Translucides
71
Educational Institutions
Modern campus architecture reinforces the concept
of an open education facility, integrating
effortlessly with the wider community
Not just another brick on the wall

The structure of this school breaks the pre-conceived notion of a
traditional school layout starting with its unconventional facade
74
Preceding pages and these pages
The facade of the New Town School,

Kolkata has panels consisting of
alphabets, numbers and symbols
all associated with learning.
Spread across 1,60,000 sq ft, over
400 panels were built and warpped
around the facades of both blocks.
Interactive and free flow of spaces
was one of significant design
application in the school by Abin
Chaudhuri of Abin Design Studio.
Seen here is the reception (below
right) in Block 1, a passageway
leading to the top levels of
the school.
This educational institution project came

to us when the construction of the two academic
blocks was already underway. The blocks were
your typical blocks with six floors each, consisting
of spaces arranged towards the periphery of the
central courtyards, says Abin Choudhuri of Abin
Design Studio. Our brief was to work within these
existing parameters to make a school. So
we developed a design programme in terms of
circulation, movement, ventilation, classrooms and
other concerns.
Located in Greater Kolkata, which is an
upcoming township, the New Town School Kolkata
is the first school in the franchise started by
educational teaching company Savitri Education
Foundation associated with Akash Institutes.

The locality is planned in a radial grid and the
site for the school is curved along the longer
edges. One approaches the site along the inner
curve and the blocks are placed at a slight angle
facing each other very slightly. They are separated
by a basketball court. The school also has a
swimming pool on its grounds. Of a two acre plot,
the school occupies approximately 1,60,000 sq ft
of floor space.
The first step was to create an identity for the
school. Our approach was to create a screen
that wraps around the buildings and unifies
them visually. We decided to go with graphical
representations of symbols, alphabets and numbers
75
Facing page Planters and bright

colours highlight the different levels
of this block, which serves as the
primary department of the school.
A transparent ventilated cover has
been placed on the top, which
allows natural sunlight to filter in
and also protects the courtyard
during the monsoon season.
Below The library was designed
as an empty canvas with colour

coming in from the hardwood
floors and ceiling. This was done to
create contrast within the space.
as students and people would be able to recognise

and relate to them, he explains.
A small-scale study model was created in-house
to understand the same and make a decision on
treatment of the panels, the walls and the windows
behind the screen. The bespoke stencil screens
consisting of 488 panels made of Fibre-Reinforced
Plastic (FRP), measuring 3.2 x 3.2 m. A mild steel
framework was devised in a grid like manner on
the projected slabs to align with the FRP panels. A
fixing detail using steel Z-profiles embedded into
the FRP panels was developed to fix these 70 kg
panels to this M S support structure.
The panels were designed with a combination
of lowercase and uppercase alphabets in different
sizes along with numbers and symbols. These have
been placed in various orientations to achieve a
randomised effect on the facade. Structural slabs
were projected beyond the building surfaces all
around in a way such that an exact number of
panels would fit on all surfaces on the symmetrical
cuboids. This also enabled simpler servicing of the
panels from the back and ensured a better light
quality for the building. They are wrapped around
the school blocks, an area of 27,000 sq ft each,
creating a visually appealing facade.

The internal courtyards of both blocks were given
structural slab projections of increasing size as one
moved upwards. The corners of these projections
were filleted into curves, transforming the rigid
square courtyard into a free-form three dimensional
sculptural space. The soffits of these projections
were painted in various hues and the projections
house plants and creepers bring vibrancy to the
tot-lot (play area) while in the senior school block
it serves as a landscaped extension between the
reception and seminar hall.
Another aspect that Chaudhuri kept in mind for
the interiors was free-flowing spaces. As a firm,
this is the seventh school that we are designing.
We have kept certain things in mind whilst
designing schools height ergonomics, corridors,
classrooms. Now with classrooms, you need to
keep in mind the direction from which the light
comes in; in this case, from the left hand side so
we had to change the orientation of the classroom
accordingly to that, he states.
Corridors lead to other spaces in the blocks, but
Chaudhuri has ensured that they flow seamlessly
without many steps in between.
77
Facing page top The sports

area in the school located in the
secondary block is a balance of
traditional forms of exercise and
modern play tables such as air
hockey, foosball etc.
Facing page below The
basketball court has been created
in between the two blocks so when
the students are out to play, the
shadow from the Block 1 would
allow for a pleasant atmosphere
for extra-curcicular activites.
Below The swimming pool is
located adjacent to the first block in
the school premises.
We really felt that we didnt want to break the

momentum of the students as they walk from one
area to another. So we designed the levels
to merge into one whole space so if you are
coming in from the ground floor, to the court and
from the court to the classrooms is almost one
single space. The corridors are designed such
that a coloured panel of tiles abutt each other. The
colours of these 4x4 tile panels were chosen in
a spectral sequence as one moved around the
corridor and align the door frame of the classrooms.
The school colours are of neutral shades whites
and greys. The only exceptions are the canteen,
where bright primary colours are used to add
vibrancy to space and the lower classes.
Young students respond more actively to bright
colours and wall papers and patterns and textures.
We have incorporated those in the playgroup and
nursery and the primary sections, he explains.
Landscape also adds to the learning

curriculum of the school. Solar panels have
been used on the grounds to generate electricity
and the flora and fauna planted on school grounds
consists of plants and flowers that are found either
locally or nationally.
Location Kolkata, West Bengal
owners Savitri Education Foundation
Builder Savitri Education Foundation
Architects SBA Spectra Consultants Pvt. Ltd.
interior designer Abin Chaudhuri; Abin Design Studio
Design team Paromita Chatterjee, Poorvi Dugar Ajmera
Landscape design Abin Design Studio
Story by Moshita Prajapati
Photography by ravi Kanade
79
Right on track
This tertiary campus straddles a railway line,
seamlessly linking a new business school with a
transport interchange
Modern tertiary education is a far cry from
the ivory towers of the past. Not only has the whole
concept of an elitist education been turned on
its head in recent years, but tertiary facilities are
actively merging with the community to remove
barriers and encourage participation.
The Manukau Institute of Technology (MIT) takes
this one step further with the opening of the new
20,000m2 Manukau Campus to accommodate
the Faculty of Business and IT and the School
of Distribution and Logistics. The campus is fully
integrated with Auckland Transports new Manukau
railway station and bus interchange.
Architect Blair Johnston of Warren and Mahoney
80
says the combination of education and transport

facilities is unique within New Zealand.
The focus has centred on producing the best
possible learning environment while also bringing
commuters and the people of Manukau City into
the heart of MIT, exposing its programmes to the
widest possible audience, he says.
The project is aimed at improved educational
outcomes in Manukau, which statistically has a
tertiary education uptake rate that is only about half
that of the rest of the country. By identifying and
removing barriers and thresholds, we have made
a welcoming, all-embracing facility. Providing the
interchange within the building enabled us to go
Below and following pages An

exposed white diagrid defines the
exterior of the new MIT Manukau
Campus and Transport Interchange.
The diagrid references traditional
weaving patterns, while the triangular
forms on the canopy present a similar
motif in timber that carries through to
the interior.
Right:Stairs crisscross the atrium
linking all six levels and helping to
animate the student facilities.
beyond mere co-location towards true integration.

It is literally bringing education to the people.
On the exterior, the building boldly addresses the
street providing a defining landmark that is a key
part of the rejuvenation of adjoining Hayward Park.
An exposed white diagrid, with a diamond-shaped
grid, reinforces a sense of place.
This needed to be a cultural building that would
reflect the community and express its place in the
world, says the architect. So rather than using
an orthogonal grid on the facade, we opted for the
duality of a design that is reminiscent of traditional
weaving patterns. It expresses the idea of both
technology and craft. While this is a highly technical
building we have imbued the entire campus with a
sense of craft and textural richness.
The facade is further defined by layering. Beyond
the diagrid are fixed louvres, angled to deflect
the sun and reduce heat loads inside. Horizontal
louvres feature on the east and north sides of the
building, while the west facade has vertical louvres.
Another key determining factor in the design was
the existing rail trench.
The building needed to straddle the trench, so
much of the structure is hung from the roof trusses
in part it was built from the roof down, rather than
from the ground up, says Johnston. This has
given the building a certain lightness that would not
84
have been achieved otherwise.

This need to accommodate the trench led to the
soaring six-storey atrium, which was not part of the
original brief.
By enclosing this area, rather than having
separate wings linked by an open courtyard, we
created the opportunity for a major civic space at
the heart of the building, says Johnston. Every
floor has a mezzanine that opens into the atrium,
enhancing a sense of connection at all levels, both
horizontally and vertically. The learning process is
highly visible and the entire building is animated
people are much more likely to use the stairs rather
than the lifts because they are such a prominent
part of the architecture.
At the west end of the atrium, sky bridges
form social student hubs on each level. These
are as much a part of the learning environment
as the classrooms.
Modern pedagogy is much more focused on
peer-to-peer learning. This building follows that
trajectory. More than half the learning spaces are
open and defined only by furniture and moveable
screens. There is a lower proportion of traditional
learning spaces, Johnston says.
The various levels on the building are defined by
different colours, which help with wayfinding. The
colours reference the baskets of knowledge from
Below:The triangular pattern

reappears on the carpets, with each
floor defined by a different colourway.
Right:Glazing in the atrium is
confined to clerestory windows and
the ends of the buildings, rather than
overhead. This ensures the interior is
not affected by solar heat gain. Much
of the atrium is suspended from the
roof, due to the need to straddle the
rail trench below ground. The building
comprises three separate structures
designed to move independently in a
seismic event.
traditional Maori mythology. Motifs introduced on

the exterior also flow through to the inside. And
the design team specified Southland beech timber
throughout the interior to add warmth and to bring
a residential feel to the building.
Dramatic wood panels are a key feature of the
atrium ceiling, and the auditorium, with the diamond
motif repeated in both areas.
Flexible learning environments are created by
positioning columns at the perimeter of the building
rather than in the centre. Johnston says it is difficult
to know what the institutes needs might be in 20
years, but these floorplates can be adapted easily.
The sense of openness also extends to the train
station, where the entry, in one corner of the atrium,
is angled at 45.
Again we wanted to remove barriers and make
86
the entry as seamless as possible, says Johnston.

Peter Quigg, MIT director of academic operations,
says one of MITs fundamental operating strategies
is to make education accessible.
Having an integrated transport interchange
fulfils that need almost to perfection, he says.
Accessibility has a direct bearing on student numbers, especially in our catchment area, so to have
rail and bus services bring people right to the door
couldnt be better.
Quigg says the new building is the first phase of
a three-phrase project that will eventually see two
further MIT buildings adding another 45,000 m2 to
the facility.
There are also plans to build Te Papa North
Museum on the other side of Hayward Park, which
will be an additional drawcard.
Below:Learning spaces include an

auditorium, which is lined with beech
timber, interactive classrooms and
breakout student hubs on each level
of the atrium. These feature colourful
furniture and pods where students
can meet and share ideas.
Right:The student hubs occupy the
sky bridges that link both sides of
the atrium.
Left and above:The entry to the

train station near one corner of
the atrium is angled at 45. As with
the MIT facility, there are few barriers
to negotiate.
Top and above right:Trains pull up
right inside the building. Both
MIT and Auckland Transport benefit
from the greater exposure to the
wider community.
Project:Manukau Institute of Technology (MIT) Manukau Campus

and Transport Interchange, Auckland
Architect:Warren and Mahoney, Auckland
Structural engineer:Holmes Consulting Group
Services engineer:Aurecon New Zealand
Acoustic engineer:Marshall Day Acoustics
fire engineer:Holmes Fire & Safety
Quantity surveyor:WT Partnership
Project manager:Beca Carter Hollings & Ferner
Main contractor:Hawkins Construction
facade design, engineering and installation:
King Facade International
Lift services:Otis Elevator Company
Air conditioning, heating and ventilation systems:Aquaheat

New Zealand
interactive classroom and theatre technology:Automation
Associates
feature timber panels:Southland beech from
Lindsay & Dixon
Photography by Jamie Cobel
89
Offices
Your premises may be designed based on an open plan, but does that mean a job
well done? The offices featured here promote a whole new way of working
Sculptural forms
Planet 3 Studios design a Mumbai office that is
in sync with the companys vision
92
Preceding pages The sculpted

wooden wall forms the spine of the
office. Along its length are break out
spaces intended for the employees.
Below The 1,00,000 sq ft
headquarters of Clariant sprawl
across four levels. The reception is a
voluminous space approximately 4000
sq ft in area that is also used as an
exhibition space by the company.
When Clariant, a leading specialty chemicals

company, moved into its new 1,00,000 sq ft office
in Airoli, Navi Mumbai, they needed their new base
of operations to reflect the companys vision for
the future. Kalhan Mattoo, one of the principals
at Planet 3 Studios, explained the brief the firm
received before undertaking the project, The managing director was looking to make the organisation
more open and connected. They wanted a more
fluid atmosphere, less separation between activities and functions and wanted to consiously break
down boundaries. We had to create an office to
further that ambition.
Spread over four floors (eighth-eleventh), the
project came with complications right from the
onset, as the multiple levels did not share a structural core. Additionally, there were concerns about
how the open floor plan might impact the usability
of floor space in the office. However, meticulous
pre-planning led to the project being one where the
design best underscored the clients vision.
The problem of the multiple levels not sharing a single core was addressed by locating the
main reception on the ninth floor, which served as
a holding area for visitors as well as connecting
the two structural cores. The reception is a large,
approximately 4000 sq ft large space that has a
dramatic backlit PVC ceiling and a sculptural central desk, as well as meeting rooms for visitors.
The thought behind the reception was to also
have it serve as a staging area for the clients
brand, says Mattoo.
The large open space, wooden faceted wall and
striking ceiling and table showcased in the reception area set the tone for the rest of the office, while
also creating an awe-inspiring atmosphere. The
spacious reception also doubles up as an exhibition area, with room for the companys installations.
Also, there is a large display screen installed here,
which serves as the companys public interface as
well as a bulletin board.
Perhaps the most eye-catching design element
of the reception is the faceted wooden wall that
runs off from the reception and continues through
most of the eighth and ninth floors. Made using a
dark, smoked veneer, this wall is a unifying element
that ties together the separate areas and departments in the office. The sculpted form of the wall
93
Facing page This faceted wooden

wall is made of a dark smoked
veneer and its wave-like form is a
design element, which breaks up the
monotonous environment so common
at large offices.
Below These wooden fins continue
the design language seen in the
wooden wall on the lower floors
and also serve as a screen to the
MDs office, providing a layer of
privacy while maintaining a sense
of approachability.
also sets the tone for the design vocabulary seen

elsewhere in the project. The inspiration for this wall
came from a need to counter the monotony that is
inevitable when designing large office spaces.
Explaining how the wall serves as an identifying
element, Mattoo adds, Large offices tend to put
the human scale in contrast to the spaces scale,
creating a sense of aloofness. The wooden wall
became a connecting element; a visual marker
that gave employees a sense of visual context and
ownership of the space.
The design of the staffs working area was
driven by efficiency. The nature of work carried
out at Clariant does not lend itself to exuberance
and creating an environment that was as neutral
as possible was necessary. However, while grey
and white are the dominant colours, the designers
also remained sensitive to the local context and
used brightly coloured cushions and chair covers
to enliven the space. As the wooden wall winds its
way through the staff areas, a dozen or so breakout

spaces were created along its spine. Screened
by acoustical panels from the workstations, these
breakout spaces also serve as the setting for
informal meetings, as they come equipped with
monitors and desks.
The companys directors have their cabins on the
corporate floor. The managing directors office sees
a continuation of the design language seen in the
wooden wall, as the series of wooden fins forming a
screen echo the sculptural form of the faceted wall.
The wooden fins represent a convenient halfway
point between privacy and openness.
Moving on from the work areas, we come to
the office cafeteria. The design thought for this
space was performance driven, as Mattoo set out
to address the problem of having a noisy, overstimulating cafeteria. In order to reduce the level of
noise, special noise reduction panels were used on
the walls. The acoustic performance of this space
95
Preceding pages The large cafeteria

has acoustic panels with linear groves
mounted on the walls and ceilings.
The cafeteria was designed to provide
a less noisy environment and serves
as a location for the company to hold
large gatherings.
Facing page Grey and white are the
prominent colours around the staffs
workstations. The spartan design is
livened up by bright splashes of colour
for the cushions and chair covers.
Meanwhile, the wooden wall and the
furniture also add a touch of warmth
to the office space.
Below right The breakout spaces and
informal meeting areas in the office
are all enabled with monitors to permit
employees to access data and make
presentations even in a casual setting.
pleased the clients so that they also use the cafeteria for large meetings as well.
Apart from the stretched PVC ceiling in the main
reception, most of the materials used are simple
and devoid of excess flair. Mattoo and his team
used wood, natural stone, marble, and leather and
fabric panelling.
The materials weve used are often seen in
projects going for LEED certification. Not that
we have, but weve kept those principles in mind,
says Mattoo.
Indeed, active measures like installing faucets
that use less water, adhering to norms on wattage
per sq ft, using LED lighting and using low VOC
paint illustrate how the office adopted environmentally friendly methods in its construction.
By smoothly incorporating the clients brief into
their design, Planet 3 Studios has created an office
that not only brings the clients company back up
to date, but also leaves it prepared for the future.
Location Navi Mumbai, Maharashtra

owners Clariant Chemicals (India) Limited.
interior designers Kalhan Mattoo, Santha Mattoo; Planet 3 Studios
Architecture P Limited
Contractor RP Interior Projects, Kaishar Interiors
Doors MTM Workplace Solutions
Hardware Dorma, India
Tiling Marca Corno by SB Projects Solutions
Electrical Royal Electrical Co.
flooring United Group, MTM Workplace Solutions, Asia Pacific
Ceiling Saint Gobain, Euroceil
Veneers Space One
Lighting Wipro
Workstations Workplace India
furniture Multiseats, 90 Degrees
HVAC HTL Aircon
Story by Dushyant Shekhawat
Photography by Mrigank Sharma india Sutra
99
Well connected
Collaboration, connectivity and an acknowledgement of its Asian context sum up
the interior design strategy for Procter & Gambles Singapore Innovation Centre
Business success today relies heavily

on encouraging innovation and having the
flexibility to implement changes quickly. And a
major factor in achieving those outcomes is the
workplace environment.
When Procter & Gamble decided to build an
innovation centre in Singapore, the goal was to
come up with a radical design that reflected the
companys innovative spirit.
The company says the new building needed to
address the challenge of a tropical climate and be
sympathetic to Singapores cultural heritage, but in
a contemporary way.
While this is a highly sophisticated building from
a technological point of view, we also wanted to
create an inspiring and stimulating work environment
to help drive creativity and innovation.
The 32,000m2 facility is Phase 4 in the Biopolis
biomedical research hub, masterplanned by architect Zaha Hadid. It is Singapores largest private
research centre, and is the first P&G centre to be
100
built in a tropical and urban environment.

One of the results of that is the intelligent facade
design which uses clear glazing and louvres to give
maximum access to daylight while controlling glare
and heat.
While P&Gs own architecture team worked with
IDC Architects on the building itself, Orbit Design
was commissioned to design the interiors and integrate corporate graphics and branding.
Orbit design director Simon Drogemuller says
this involved providing a host of functions from
research laboratories to training rooms and offices.
These were to house an army of engineers,
researchers and scientists who develop beauty, hair
and skin products, he says.
But instead of splitting these functions into
separate wings, lab and office space was allocated
to each floor. The lab areas were internalised in the
building core, while the open-plan work areas were
placed around the perimeter.
This open and flexible plan contributed to the
Below, right and following

pages:The arrival process at
the Procter & Gamble Singapore
Innovation Centre sets the stage
for design principles used throughout
the interiors transparency,
connection and reflecting Asian
culture. The impressive staircase
cantilevers above the reception area
and provides the main circulation path
through the atrium.
Top left:Areas adjacent to the atrium

and staircase act as breakout spaces
and include pantry facilities.
Lower left:The abundance of
open collaboration spaces throughout
the building encourages staff
to work together across organisational boundaries.
Below:Circular meeting rooms mark
the transition between office and
breakout areas. Curved sliding doors
open up the room or close it down
for privacy.
innovative thrust by encouraging creative collaboration among P&G staff, says Drogemuller.
The biggest challenge in creating this open
workspace was taking standard workstations and
customising them to meet specific requirements.
For example, much time was spent designing the
partitioning between the labs and workspaces.
These needed to provide storage for products and
be very durable, yet still allow maximum connection
and visibility between the areas.
For P&G, the centre presented an opportunity
to demonstrate that the company is at the leading
edge of modern office workplace strategy.
As well as having open workspaces, the desks
are not assigned, says Drogemuller. Staff have
lockers where they can store personal items,
but they dont have a fixed workstation. When
they arrive, they log in, choose a desk and the
phone system automatically connects them to
that workspace.
This gives workers the flexibility to work in
positions most suited to their roles on a daily basis,
or to form new teams for collaborative work, without having to make changes to the desking.
Probably the buildings most impressive feature

is its main staircase, located in the heart of the
facility and linking all floors. Its a dominant feature
of the entry atrium, and its base overhangs the
reception area.
The staircase is clad in a vertical wooden louvre
carapace, which references Asian design, says
Drogemuller. This created a design motif that
recurs throughout the innovation centre.
The wooden slats on the staircase add another
layer of connectivity and transparency to the
design, highlighting the movement of staff as they
walk up and down the stairs.
The design encourages regular interaction in the
multiple group meeting spaces that are arranged
around the staircase and atrium. With a 6m floorto-floor height, some of these spaces have been
located on mezzanine floors in the atrium.
For Simon Drogemuller, the success of the
design is in how it encourages new ways to work.
Removing the barriers between offices and labs,
and having an abundance of collaboration spaces
encourages staff to work together right across
organisational boundaries, he says.
more projects at trendsideas.com 105
Project:Procter & Gamble Singapore Innovation Centre

Architect:IDC Architects
interior design:Orbit Design Studio
Main contractor:CH2M Hill Singapore
interior fit-out:Kenyon
Base build mechanical and electrical:Trans Equatorial Engineering
Civil and structural engineer:CH2M Hill Singapore
Mechanical and electrical engineer:CH2M Hill Singapore
Quantity surveyor:CH2M Hill Singapore
facade consultant:HCCH Consulting
AV and acoustic consultant:Hewshott International
Lab consultant:SVR-Architects NV
Landscape consultant:Peridian Asia
Landscape contractor:Princes Landscape and Construction
interior and furniture consultant:Orbit Design Singapore
Timber screens:Accoya/Accsys by Titan Wood BV, supplied by MMF
Timber Hub
flooring:Beige terrazzo supplied by Sintal Enterprise; Shaw Vast
carpet supplied by SMJ Furnishings; Mipolan Symbioz lab floor vinyl
supplied by NSK Baustoffe
High-gloss concrete wall surfaces:Armourcoat
Glass panel feature wall cladding:Trend Glass
Joinery:Kenyon
106
General lighting:Philips T5 supplied by Kenyon

Private lounge pendant lighting:Beat Light by Tom Dixon
supplied by Kenyon
foyer furniture:Coalesse Bob tables and chairs supplied by
Steelcase Office Solutions
Breakout space furniture:Hay About a Chair supplied by BW
Furniture; custom tables supplied by BW Furniture; custom sofa
supplied by Glo Design International; Allermuir Pebble stools
supplied by MTM Solutions
Huddle room furniture:Custom chairs and tables supplied by
Kenyon
Private lounge furniture:Custom fabric finished benches supplied
by Kenyon; Hay About a Chair supplied by BW Furniture; custom
tables supplied by BW Furniture
Lab and facility room shelving:Custom, supplied by Acromec
Engineers
Workstations:Unifor supplied by Unifor Singapore
Workstation seating:Humanscale Freedom supplied by
Schiavello Singapore
Below:The lower level accommodates

training facilities, as well as media
rooms for press releases and product
launches. Orbit Design Studio
selected materials and a colour
palette to provide a well-balanced
interior that wont date.
Right:Natural materials, colours and
the use of patterns in wall fabrics
reflect Asia in a contemporary and
subtle way.
Story by Paul Taylor
Photography by owen raggett
Employees first
The layout and design of this international brands branch
office in Bangalore is driven by its employees needs
These pages:The MAST Globals
branch in Bangalore is inspired by the
ambience of a New York style loft.
Spread over 38,000 sq ft, the office
designed by DSP Design Associates
has several pocket areas within,
which are assigned specific purposes.
Seen here is collaborative hubs,
reception and meeting rooms.
Between design, the wow factor and aesthetic

functions, sometimes the employee working in the
office space looses out. Not in this office though.
MAST Global, an international supply chain organisation hired DSP Design Associates Pvt Ltd to create
an office for its Indian branch, where the functional
needs and purposes of the employee would be put
first via design.
Principal architect Yatin Patel, who supervised
the project says, The MAST Global, a supply chain
organisation is a subsidiary of L Brand, which is a
supply chain organisation with international brands
like Victorias Secret, Pink, Baths & Body Works, La
Senza under its umbrella. The design had to serve
a functional purpose, which would benefit the 250
employees working there.
108
Payal Sandhu Khurana, Associate Vice President

Corporate Real Estate (CRE) of DSP Design
Associates who executed the design of the office
echoes Patels thoughts on the project by adding
further that the employee is the highest person for
whom they were designing the office.
She says, And to aid in this we have given
a variety of work settings for every individual
employee. So we broke down the design into
four work modes Focus, Collaborate, Learn
and Socialise.
Each work mode describes the employee functions. Focus consists of workstations and cabins,
Collaborate comprises of collaborative hubs and
meeting rooms, Learn marks out spaces such as
training and conference rooms and Socialise are
Facing page The polished cement

flooring and the exposed ceiling
along with earth colour tones bring
in a subtle element. Industrial long
hanging ceiling lamps complete the
New York loft style ambience.
Below Linear workstations are
designed to allow for a more flexible
work environment. They can also
be re-arranged to fit new work
settings depending on the needs
of the employees.
the cafeteria and breakout rooms. Spread over

38,000 sq ft, the office is located on the fifth floor of
a multistorey building.
Khurana says, The space was a bare shell when
the project came to us. We had to make a few
subtle modifications to the original structure as the
design we had in mind for the space was not the
space that the developer was providing us with.
The layout of the office follows a rectangular
floor plan and is designed along the X and Y-axis
of a graph. The design is an array of formal and
informal spaces that facilitate these work modes.
The collaborative and social areas are set within
linear rows of workstations on either side of a large
collaborative area.
This collaborative area forms the main focus of

the design and connects to the reception along
a very spacious entry corridor flanked by visitor
meeting rooms. Multiple smaller collaboration areas
allow proximity of socialisation and collaboration
settings to all workers.
The entire workspace is flexible and scalable
using the workstation as a planning module. Linear
benching is used to achieve a high headcount with
ample collaborative areas and efficient workspace.
Workstations can be rearranged to fit new work settings and future expansion, which gives the facility
more strategic viability.
The workstations are laid out between built
volumes and exterior windows to maximise day-
Below The cafeteria is designed

in the central part of the office
so as to allow easy access to all
the employees.
112
light. The cabins and meeting rooms are moved

away from the offices centre to allow access to
the workspace from all areas. A centrally located
cafeteria with a smaller breakout cafe ensures easy
access to all employees.
Khurana says, Recreating the New York style
loft design, the ambience of the office is neat, clean
and precise in its decor. Exposed and polished
cement floor, bare polished columns and exposed
true ceilings are juxtaposed against subtle shades
of beige and gold and earthy tones of green and
brown. Polished slats of oak are added to bring
in a sense of warmth to the offices otherwise
stark appeal.
Location Bangalore, Karnataka

owners MAST Global
Builder Embassy India
interior designers Yatin Patel, Payala Sandhu, Sarla Rao, Angela
Menon; DSP Design Associates Pvt Ltd, Geoff Smith, Damian
Petrescu; MAST Global
interior contractor Exotic Innovations
Hardware Dorma
Plumbing Exotic Innovations
Electrical Shankar Electricals
Mechanical KM Aircon
Lighting XAL, Regent, Zumtobel
Workstations Steelcase
furniture Gordon International, Steelcase
Above:The bare exposed columns

seamlessly complement with the
beige coloured walls and carpet
creating a serene environment for the
meeting room.
Story by Moshita Prajapati

Photography by Mani iyer
114
Know Your Architect: Yatin Patel
DSP Design Associates Pvt Ltd is a multidisciplinary firm founded

in 1989. The firm specialises in providing master planning,
architecture and interior design solutions for corporate real estate,
residential and commercial developments, IT & ITES parks,
hospitality, stadiums, etc. An integral part of the firms design
philosophy centers around the fact that one size does not fit all.
Every building should tell a story it should convey its purpose of
existence. The firm has been associated with many international
design firms as well that are listed in WA100 as their strategic
and local design partners, providing regional know-how and
on-ground support for projects in India. The firm ranked 82nd
globally in the World Architecture 100 2015 survey - an annual
survey of the worlds largest architectural practices.
Why did you become an architect?

For the sheer gratification that comes from the opportunity to design
something on paper out of mere nothingness and then watch it grow and
take shape. It is immensely satisfying.
Which works of yours are you most proud of?
We won iFlex (then Citicorp subsidiary) project in a tough design competition
against Indias largest architecture firms. The unique feature in its design is its
Cable Stayed Structure, a technology similar the one used to build bridges
till that time. It is the only one of its kind structure in South East Asia.
For you, which is the best city in terms of architecture and why?
Valencia the architectural character of that city gives you a lot of
food for thought. It is a paradise for people with passion for
contemporary architecture.
Holiday Inn, Pune
An architectural or design trend, which you

would like to put an end to.
The current development control rules in Mumbai. I would really like
to change them. They are detrimental to the architectural design possibilities
and restrict architects to build boxes. They allow no room for play
for architectural embellishments. The design language of Mumbai is
governed and defined by this law and it is about time we rethink these
rules and restrictions.
One iconic architect/designer that inspire you the most and why?
Renzo Piano. He has a unique perspective of looking at spaces and
architectural design. I spent most of formative years as an architect,
developing my design principles, being inspired by his work.
Name a structure that you think challenges
the boundaries of architecture and design
The Opera House (Palacio de las Artes) in the Ciutat de les Arts i les
Cincies (City of Arts and Sciences) Valencia designed by Santiago
Calatrava. It has been designed as a series of apparently random
volumes, which become unified through their enclosure within two
symmetrical, cut-away concrete shells.
Microsoft Office, Gurgaon
What according to you is good design?

Good design is functional, logical and simple. It has to be contextual to the
purpose and surroundings of the project. Planning is the key aspect in play. If
a project is well planned, everything else just falls into place.
XL Group India Office, Gurgaon
Residential Design
The residences on these pages are constantly being redefined by
their location, materials and the changing needs of their owners
Back to the land

With a profile evoking a humble rural barn, this vacation home complex
offers spacious guest accommodation for several families
118
We each have our own idea of what makes an

ideal vacation home, but most would agree that it
needs to fit with the surrounding architecture, and
open up to the scenery. There can be some inventive
ways to achieve both these goals.
Architect John Vinci had already completed several projects on this historic farm property, including
a barn, museum and bridge, when the owners asked
him to design their vacation home there as well.
This had to comfortably accommodate all their adult
children and their families at any given time.
There was talk of a transparent structure, along
the lines of the Farnsworth House by German

architect Mies van der Rohe, who was head of the
Illinois Institute of Technology when I studied there,
says Vinci.
A glass-walled home would have been ideal
for looking out to the waterways and fields on one
side of the farm. However, a Modernist appearance
would have been at odds with the rustic old barns on
the other side of the site.
To balance the need for harmony and views, Vinci
took a dual approach to the design. And to address
the issue of scale, the new house was built as two
Preceding pages Traditional standing-seam

zinc roofs on this vacation home echo the
pitch of the concrete slab roofs on nearby
barns. The white stucco walls and tower are
also in keeping with surrounding buildings. In
contrast, the private side of the house opens
up to the scenery with a wall of glass.
Above The side of the house facing the
barns has smaller windows and doors, more
reminiscent of traditional farm dwellings.
Preceding pages The great room follows the

shape of the house structure for a voluminous
feel. A stainless steel staircase leads to one of
two master suites. All furniture pieces in the
room were created by contemporary artists.
These pages Carpenter Mike Jarvi gave
the cabinetry in the master suites in both
buildings a crafted, hand-worked feel.
Scallops were carved out of selected wood
surfaces for a textural finish.
122
forms, linked by a glass walkway.

While these twin forms are slightly taller and
longer than the nearby barns, they have a similar
footprint. They also look like classic farm buildings,
with steep hip roofs and white stucco siding. On the
facades facing the barns, Vinci has designed windows and doors to be in proportion with those in the
century-old dairy buildings on the property.
However, this is the conservative side of the
design. The exteriors that look the other way are
essentially Modernist walls of glass, punctuated by
two-story inserts. These facades are only
visible from the fields.

Entry to the large living space is by a door halfway down the long side of the volume. The old-world
farming environment outside gives way to an airy,
modern interior.
You walk directly into the double-height, central
living room, says the architect. This has a dramatically high ceiling that follows the steep pitch
of the roof and is supported by exposed, painted
steel beams. Dormer and clerestory windows flood
additional light into the enormous space. Beyond
this great room are the large kitchen and dining area,
Above and far right lower The pool

and pool house have a decidedly modern
aesthetic, but as they are tucked behind
hedges, they have little impact on the
traditional architecture around them. The
plantings will mature over time to bring
further privacy to this area. Large glass
sliding doors can open up the pool house to
the outdoors as desired.
124
while at the other end there is an office.

Sets of stairs at both ends of the great room
lead up to the two private master suites, which are
separated by the great room void. From the outside,
these bedrooms appear as box inserts on the open
side of the house.
The stainless steel staircases are leading features
of the great room and were custom designed for
the project, says Vinci. The owners had strict
ideas about the furniture, too, and were instrumental in most choices. Together with interior designer
George Larson and artistic advisor Jo Hormuth, they
set about sourcing only classic Modernist

pieces or items made by living craftspeople. For
example, the chairs shaped from wood branches
are by the famous British designer John
Makepeace. The sculptural arrangement of cushions
on the wall is by Jo Hormuth, while furniture-maker
Mike Jarvi crafted the hand-hewn chair, reminiscent
of a milking stool, out of local wood. The imported
rugs are Iranian.
On the same axis as the main house and
connected to it by a glass walkway, the bunkhouse
has a nearly identical profile. A clear sightline runs
Architect John Vinci, Vinci Hamp Architects

(Chicago, IL); project architect, Paul Kraemer
AIA
interior designer George Larson, Larson
Associates
Artistic advisor Jo Hormuth
Kitchen designer Bulthaup
Builder Harold O Schulz Co
Structural engineer Enspect Engineering
Lighting designer Randy Burkett Lighting
Design
Mechanical engineer IBC Engineering
Services
Landscaping Peter Wirtz
roofing Rheinzink, pre-weathered bluegray, standing seam
Siding Portland cement stucco
Doors and windows Hopes in steel and
Fleetwood in aluminum, both from Assured
Corporation; Velux skylights
flooring Royal Mosa porcelain tile; white
oak plank; travertine
Wallcoverings Royal Mosa ceramic tile
Lighting AJ Eklipta by Louis Poulsen; Lucifer
Lighting; DeltaLight; Zaneen; Lightyears
Heating Geothermal systems by Water
Furnace and Munchkin Boilers; HVAC grilles
by Titus and Kees
Hardware Nanz, Rajack, Dorma, Sugatsune,
Baldwin
Glass PPG Solarbarn Starphire Ultra-Clear
insulation glass; Starphire low-iron glass
on interiors
Stairs Custom, Antares Iron Workshop
furniture Mike Jarvi; wood chairs by John
Makepeace
Bathroom vanity White oak
Vanity countertop Petit Granit marble
Basin Alape
faucets Dornbracht, polished chrome
Bathroom flooring Royal Mosa Roman
travertine, cross cut
Bathroom lighting Reflections recessed
fluorescent from Dreamscape Lighting;
Tableau surface luminaire by Alkco
Pool Boilini Company
External louvers on poolhouse Nysan
Aluminum
outdoor railings Custom, stainless steel,
by Dynacoil
directly through both volumes, adding to the sense

of connection.
Shorter and lower than the main house, the
bunkhouse also has windows of a similar
scale as those in the old farm buildings, while opening up to the fields and waterways on the other side.
A four-story observation tower at one end of the
structure offers a birds-eye view of the surrounding
farm. This element connects visually with silos on
the adjacent barns and provides a focal point for
the run of buildings.
The bunkhouse has two bunkrooms, a family
room downstairs and two bedroom suites upstairs.

Separating the bedrooms out over two houses naturally makes entertaining large numbers a great deal
easier, says Vinci.
Beyond the bunkhouse, a swimming pool
and pool house run perpendicular to the two
main buildings, and are discreetly screened from
view by maturing hedges.
The pool house is a deep, shady retreat that
has a distinctly modern air from its shallow
hip roof to its large glass sliding doors, the
architect says.
Top The bunkhouse tower is in keeping

with similar, older versions on two nearby
barn structures. However, the clean-lined
wraparound windows, together with another
in the kitchen of the main home, are playful
modern concessions.
Story by Charles Moxham
Exterior photography by William Zbaren,
interior images by Eric Hausman
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Commanding perspective
A mans home is his castle. Its a saying that resonates with this new house,
which explores myriad ways to balance solid concrete forms with lighter,
more ephemeral elements
126
Initially contracted to design a remodel,

the designer of this new house says the
project escalated until it became clear the only
option was to simply start over.
Fu-Tung Cheng of Cheng Design says
the owners of the existing house on site
required a larger home that simply could
not fit into the same footprint. Building anew
was a better way to achieve what they wanted,
and it did not need to cost much more than a
total renovation.
Their home sat in a neighborhood of
Before
Above left and left Before and after images tell the story
of this transformation by designer Fu-Tung Cheng of Cheng
Design. The original, traditionally styled house on the site
was removed to make way for a new home with a much more
modern aesthetic. The main house features solid concrete
walls, poured in situ. The garage wing is stucco, and the
cube-like volume near the entry is made from reclaimed wood
from vinegar barrels.
Above A lightweight translucent canopy balances the more
austere, solid form of the concrete walls. Bamboo guttering is
used for water run-off.
houses in a similar traditional style there

were plenty of quaint gabled rooflines, Cheng
says. But what they wanted and what
was ultimately proposed was a complete
departure. The owners had seen my work
with concrete on smaller jobs and loved the
modern aesthetic, and we could see there was
a potential to do something similar on a much
larger scale.
Cheng says that in experimenting with
concrete walls, he wanted to move away from
the ordinary. In doing so, he took a very
128
hands-on approach to the house construction.

We chose to pour the concrete in stages,
so it could be manipulated every step of
the way. The formwork of each stage was
just 4 ft high, and was wrapped in shiny
Formica, which imparted a great sheen to
the concrete. Concrete can appear as a very
cold, forbidding surface, but these walls have
a blue-black tint and are hyper smooth and
inviting to touch.
Once the concrete was poured into each
section, I introduced streaks of amber-
coloured concrete that could be pushed

down into the walls. For added visual interest
at the front of the house, the upper concrete
walls were striated to resemble geological
strata bands.
Cheng says the resulting walls, which are
14 in thick, with 3 in of foam insulation, convey
a strong sense of substance and permanence.
And because they make up the entire wall,
there is no need for wallcoverings or veneers.
We introduced porthole windows to the
walls in irregular positions, and added an
elliptical-shaped window to the upper level.

These apertures highlight the thickness of the
concrete and you get a strong sense of the
real mass of the house it is almost castle
like. And it has a solidity that simply cannot be
replicated in a house built from wood.
In contrast, a lightweight, translucent
canopy defines the entry, which is through a
large zinc and brass pivot door.
The concrete side wall extends right into the
house, forging a connection between inside
and out, and helping to screen the living area
from view. An outdoor-indoor fishpond beside

the entry, flows beneath the wall to the inside
of the house.
To relieve the austerity of the concrete
walls and flooring, another wall beside the
entry is covered in Japanese plaster in a rusty
brick tone, with a glowing, illuminated yellow
shelving niche.
It was important to keep the interior warm
and inviting, and this applied to texture as well
as colour, says Cheng. We were constantly
looking for materials that would have a tactile
Facing page, top and lower A zinc and brass pivot door
makes a bold statement at the entry. The water plants in
the foreground are emerging from a long fishpond that flows
under the wall and into the living room on the other side. To
introduce a splash of colour, the wall opposite the door has a
Japanese plaster finish in a rusty brick shade, with a bright
yellow shelving niche.
Above Solar tubes positioned at irregular intervals in the
ceiling bring natural light into the center of the family living
area. A large Japanese lantern-style fixture further enlivens
the space.
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finish, to contrast the very smooth concrete.

Two suspended ceilings in the main
living area feature Japanese plaster
mixed with a fine wood fibre. This imparts a
textural quality that helps to warm the space,
visually. Similarly, a large red paper lantern
with twig-like framing, is a bold contrast to
the grey concrete.
To bring natural light into the heart of the
open-plan living space, Cheng introduced
irregularly spaced solar tubes to the ceiling.
These mimic the form of the port holes on the
Facing page Alno cabinetry was specified for the kitchen,

along with concrete and stainless steel countertops, and
a Cheng Design Zephyr hood featuring Venetian plaster.
The backsplash is an Italian porcelain tile with the look of
rusted steel.
Top The master suite reflects a Japanese influence. The
artwork at left is by Dave Ward of Sticks n Stones.
Above This stainless steel soaking tub drops down lower than
the level of the floor. It is paired with a concrete sink with
mosaic-tiled trough.
Above Cheng introduced a concrete Nemo kitchen island from

his own collection. This conical piece incorporates a perforated
stainless steel door that conceals garbage bins. The adjoining
lightweight table, with its wood top and sculptural steel legs,
provides another contrast to the solid form of the concrete.
Facing page An extra-wide opening at the side of the main
living room opens to a private terrace. Clerestory windows
above the opening help to create the illusion that the heavy
concrete is supported by the lightweight glass.
132
exterior walls and serve a similar purpose.

In the main living room, the focus of
attention is the inset fireplace within the
massive concrete end wall. Here, the concrete
poured for the cantilevered hearth is a soft
olive green shade.
Concrete also appears in the kitchen,
where it forms a conical island with a 5in-thick
countertop, sculpted to create an organic
form, and to provide estuary drainage from a
cutting board. The solid, anchoring bulk of the
island is balanced by the lightweight form of
an adjoining wood table top, which has fine

steel legs.
Another concrete countertop runs along
one wall, while the rest of the work surfaces
are stainless steel.
The kitchen features another of
Chengs designs the rangehood with
Zephyr ventilation is from the designers
own collection. All these elements are
complemented by a bank of European Alno
cabinetry in a light wood veneer.
Other highlights of the living space include
Above At the rear the house opens up to a landscaped

swimming pool area. The existing pool was refurbished,
with the deck forming the coping. A round spa pool was also
added. The existing mature trees lend an established look to
the house. Rooms on the second level include a study and
guest suite.
Right The original house also opened to the pool. The multigabled form of the roof was similar to those of other homes in
the neighborhood.
134
Before
extra-wide openings to two terraces, which

enhance the connection with the outdoors.
One opening is straddled by a massive steel
I-beam, with clerestory glazing above. This
creates the illusion that the heavy concrete
wall is suspended on top of the fine glass,
which suggests a contradiction in terms.
On the outside of the house, we did keep
a reference to the original property, says
Cheng. The swimming pool is essentially
the same organic shape, but we added a spa
pool, and re-landscaped the entire area.
Designer Principal Fu-Tung Cheng; architects J Chan and

Ann Kim; designer Frank Lee, Cheng Design (Berkeley, CA)
Landscape designer Ron Emerson Garden Design
Structural engineer Calin Smith Engineering & Development Co
Builder Chuck Hunt, foreman, Carlson Construction, Inc
Concrete subcontractor Richard Sullivan, Artemio Zavala,
FWS Construction
Concrete polishing Gary Gan, Ganco San Francisco
Geocrete Cheng Design, Inc
Plaster artisan Thom Bruce
Metalwork, including canopy Alan Sklansky
front entry door Hans Rau
Cabinet company Alno
Cabinets Oak veneer in Moccapine
Countertops Stainless steel; maple bar top; Geocrete

cast concrete Nemo island by Cheng Design in Celadon
Backsplash Italian porcelain tile in Argento
Hood Zephyr Cheng Collection Padova with Venetian plaster
in aubergine
Cooktop Gaggenau
range Wolf
Dishwasher Miele
flooring Plyboo
Dining room light fixture and bedroom art installation
David Ward, Sticks n Stones
Decorative sconces Studio Technico
recessed lighting Elco
Exterior lighting Shaper Lighting sconces;
Lightology LED uplights

Bathroom sink Ikea Hollviken
Bathroom faucets Vola
Tub Custom stainless steel by Cheng Design
Photography by Matthew Millman
New identity
Every picture tells a story in this remodeled
Washington, DC townhouse. The owners,
one a photographer, moved from Guatemala
136
A house is not a home until you stamp your

own personality on the interior, at which point it
truly comes alive. This remodeled townhouse is
living proof of the transformation thats possible,
says architect Andreas Charalambous, who was
responsible for the interior design.
The original interior was very dated, and visually
cluttered, with a lot of different materials used in
the various rooms, he says. The new owners, who
were moving to Washington, DC from Guatemala,
wanted to modernize the entire space. They wanted
to incorporate some interesting furniture pieces
they were bringing with them, and because one of

the owners, Manuel Morquecho, is a photographer,
they also needed an appropriate backdrop for his
photography collection.
The changes begin at the entry, which leads
directly into the dining area. To enhance the sense
of arrival, Charalambous created a dramatic dropped
ceiling with LED cove lighting and a sculptural
pendant by Artemide.
The lowered ceiling helps to contain the space,
visually, and makes it more intimate, the architect
says. It also creates a contrast to the more
spacious living area, which is three steps lower and

therefore has a higher ceiling.
A large photograph by Morquecho, a walnut buffet
in the modern style, and a crisscross wood base to
the table are other key features of the dining area.
The table has a glass top that enhances the light,
spacious look, and highlights the sculptural quality
of the base.
To reinforce the visual drama, Charalambous
widened the narrow steps leading down to the living
room so that they run the entire width of the room.
New wide-plank flooring is ebonized to provide a
Facing page This brick townhouse in

Washington, DC has been extensively
renovated by architect Andreas
Charalambous.
Above The dining room is the first point
of entry to the living space. To create a
sense of drama, Charalambous designed
a dropped ceiling with an LED cove and a
sculptural pendant light by Artemide. New
wide steps lead down to the spacious living
area, which has a mix of new and collected
furniture pieces.
Preceding pages Orange accents add visual

warmth to the living area. With new, taller
glass doors, the room now benefits from more
natural light.
Above and right The dining area is furnished
with a square glass-top table, and a mix
of chairs and bench seating. The bench
seat can be moved down to the living
room for extra seating if required. The
large photograph is by one of the owners,
photographer Manuel Morquecho.
140
strong contrast to the walls. The fireplace in

the living room was also transformed by the addition
of stacked stone, with recessed niches for the fire
and television.
We concealed the audiovisual equipment in two low
wood cabinets either side of the fireplace, says the
architect. These provide a perfect base for two of
the owners traditional Guatemalan statues.
To create a restful look, the furnishings are neutral,
but we introduced orange accents this is a colour
the owners like. We added a sculptural Shell
chair, traditional Guatemalan stools, and a custom
Above: Wolesectem quat. Duip erci

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feugait endrerosto con euipit lam
dipis dolor siEx exeriure tin henisit
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quat.
Above: Conulluptat venit am,
commodolorem del ut wissis nim ipit
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Above Hidden pocket doors at each end of

the wall behind the bed open to a walk-in
closet. The suspended ceiling is echoed by
the floating design of the nightstands.
Top right The upper landing was widened to
accommodate a new shelving unit.
Above right Red on white makes a bold
statement in the remodeled master suite.
The existing wood floors on this level were
retained, but were stained to match the
ebonised flooring on the main level.
142
Cha-Cha coffee table that appears to float above

the orange wool and silk rug the table features
concealed wheels. To ensure the interior would be
flooded with natural light, Charalambous raised the
height of the glazed doors in the living room.
Other changes to the main floor include new
cabinetry in the kitchen, which is open to the dining
area and the entry hall. The open layout ensures the
natural light penetrates the interior from both ends of
the townhouse.
A dividing wall between the kitchen and hallway
incorporates a large niche and floating shelf where
artworks can be displayed.

On the upper floor, the stair landing was widened
to allow space for floor-to-ceiling shelving, where
various art books, small artefacts and travel
mementos are displayed under LED lighting. A new
skylight floods the landing and stairwell with light.
Crisp white walls and bed linen create a restful
retreat for the master suite. The bedroom also
features a dropped ceiling highlighted by LED
lighting, and a bright red Womb chair and matching
footstool. The tranquility extends to the master
bathroom, which incorporates a shower.
renovation architect and interior

designer Andreas Charalambous AIA,
and Juan Gutierrez, Forma Design, Inc
(Washington, DC)
Builder: MCA Remodeling, Inc
Cabinet company Metropolitan
Woodworking, Inc
Paints Benjamin Moore Classic Colors
Dining room pendant Artemide
Wallcovering in dining room
Wolf-Gordon
Dining room table Falo by Riva
Dining chairs Frame from Apartment Zero
Buffet Sussex tall credenza from DWR
fireplace surround Rustic stone from
Architectural Ceramics
Living room furniture Cielo from KMP
Furniture; Cha-Cha coffee table by Forma
Design; Shell chair; Saarinen side table; Line
media console from DWR; Rubik service
coffee table from DWR
Living room rug Cha-Cha area rug in wool
and silk by Forma Design
Master bedroom rug West Elm
Chair in master bedroom Saarinen
Womb chair
Photography by Geoffrey Hodgdon
Far left The wall between the kitchen and

hallway was designed to accommodate
artworks.
Left The master bathroom incorporates a
shower with natural pebble walls.
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Beside the sea

Every detail in this remodeled 1940s cottage
is designed to reference the architectural
vernacular of traditional coastal homes
144
While a seaside cottage that serves as

a vacation home may be charming if a little
rough and ready there comes a time when
more comfort is called for.
Architect Robert Hidey says this was
precisely the case with his own familys
vacation home, which dated back to 1946.
With its solid redwood construction,
the house had served us well over the years,
and we still appreciated the small-scale
cottage detailing. But many of the rooms
were substandard, including the bedrooms,
bathrooms and kitchen, which was in a

separate room. And the flow was not ideal
the rear bedroom was reached through a
second bedroom-office space.
Hidey says the position of the front door,
at the side of the house, was also awkward
guests were squeezed into an unappealing
3ft-wide alley space.
The architect consequently moved the entry
to the front right side of the house, where he
created a transitional lobby space. The entry
now lines up with the stairs leading up from
Before
Above left and left This beachside bungalow has undergone

a major transformation that has greatly improved its curb
appeal, as well as its functionality. The original entry (left) was
out of sight around the side of the house. This has been moved
to the front, with the front door now perfectly aligned with the
stairs leading up from the street. The renovation was designed
by architect-owner Robert Hidey.
Above The front door now opens to a small transition zone, or
lobby, lined with wainscoting and decorated with an antique
railway clock and antiqued lighting sconces.
Above and right Before-and-after images highlight the huge

change to the kitchen area. Originally a separate room on the
other side of the entry, the kitchen is now an integral part of
the great room. The painted brick fireplace, on the left of the
before image, was removed to open up the space.
Facing page, top and following pages The interior
furnishings and art were specified by interior designer Cee
Atcheson of Objekt Design.
Facing page lower 1 foyer, 2 great room, 3 kitchen,
4 bedroom, 5 bathroom, 6 laundry, 7 office, 8 master suite,
9 garage, 10 carport.
146
Before
the street, and creates a much stronger sense

of arrival.
Fortunately, the structure of the house
had not deteriorated, nor had the exposed
beams and tongue-and-groove ceilings on the
interior, says Hidey. There was a character
and a quality to the framework and form that I
could work with.
On the exterior, siding was replaced as
required, with new horizontal clapboard at the
front, and vertical batt and board at the rear.
There had been several additions to
the house over the years and there was a

subsequent mishmash of window styles
with many inconsistences, the architect
says. I felt it was better to start over, with
new doors and windows, and white-painted
shutters that enhance the coastal aesthetic.
Its a very clean, fresh look that complements
the cottage style of the houses in the
neighborhood.
On the interior, Hidey removed a
central fireplace to open up the great room.
The existing bay window the only original
window that remains was remodeled and is

now a key feature of the room.
The kitchen area was also absorbed into
the great room to provide a social center for
the family.
The island may be of a small scale to suit
the proportions of the house, but it is very
effective at creating a buffer between the living
area and kitchen, Hidey says.
Shaker-style cabinets teamed with gray
quartz countertops and traditional hardware
complement the authentic cottage feel. And
new radius-curved openings to

the hallway provide another nod to the
traditional vernacular.
The ceiling in the hall is much lower than
in the great room, and this difference is
disguised behind radiused openings, says the
architect. The curves also add character and
introduce a little nautical attitude.
The architect extended the hallway to
link up with the end bedroom, which is now
the master suite. The office is open to this
passage, with double French doors leading
Above, facing page top and lower A new passage addition

links the original hallway to the master suite at the end of
the house. French doors in this passage and in the master
bedroom open out to a tranquil outdoor living area. A wide
opening in the office effectively borrows space from the
passage at the side.
Before
Right and far right The leafy alfresco dining area was
formerly a side yard that the owners passed through on their
way to the garage at the rear.
150
directly out to an outdoor living area. Similar

doors open from the master suite, which was
enlarged with a new bathroom addition.
Interior designer Cee Atcheson of Objekt
Designs was commissioned to furnish the
interior for a tenant.
Everything had to be of a scale that would
work with the proportions of the rooms, she
says. I chose a lot of soft white and off-white
linens, so there would be no distraction from
the architecture it is all very light and airy.
I introduced bright colour accents through
Architect Robert Hidey, Robert Hidey Architects (Irvine, CA)

interior designer Cee Atcheson, Objekt Designs
Builder Robert Hidey Architects
Cabinet company Hartmark Cabinets
Structural engineering Amid Engineering Group
Siding James Hardie
Doors and windows Sierra Pacific
furniture Custom slip-covered sectional sofa and bed in
white linen
flooring Provenza white oak in Tumbleweed
Kitchen cabinets Painted Shaker style
Countertops Quartz
Backsplash Daltile Brick
Cooktop, oven and ventilation Viking
refrigeration Sub-Zero
Dishwasher Bosch
Kitchen sink Kohler
faucet KWC
Paving Flagstone
outdoor furniture Crate and Barrel
Photography by Toby Ponnay Photography
Properties on the block
TRENDS selects premium properties

making the rounds today
Luminare
Price: ` 4.1 crore onwards

Developer: Mahindra Lifespaces
Location: Gurgaon
Status of the project: Launched project
under excavation
Area of project: Seven acres (approx)
Residential type: Penthouses, three and
four BHK apartments
Residential area: 2985-4887 sq ft
Architect: Morphogenesis, New Delhi
Construction: Tata Projects,
Secunderabad
Special features: Private lift lobbies,
wrap around balconies, gymnasium, spa,
swimming pool with a
separate kids pool, squash and tennis
courts and a restaurant along with
banquet facilities
152
Nahars Amrit Shakti
Price: ` 2-12 crore

Developer: Nahar Group
Location: Mumbai
Status of the project: At the
enlargement stage
Area of project: 125 acres
Residential Type: Two and Three BHK
apartments and four BHK villaments
Residential area: 996-4700 sq ft
Architect: Hafeez Contractor, Mumbai
Special features: A club house equipped
with a gym, yoga and meditation centre,
spa, swimming pool, tennis and squash
courts, indoor games area, multi-cuisine
restaurant and banquet hall along with
commercial and social infrastructure
facilities, such as Nahar business centre,
Nahar international school, Nahar
medical centre, shopping plaza, mall
and multiplexes
Showcase
The latest in decor

and kitchen
accessories
Luxury crockery from Versace

InV Home is a lifestyle products retailer that brings some
of the worlds finest luxury brands and products to
India. One such product is the latest Versace collection
of crockery, available at InV Home outlets in Delhi and
Chandigarh. Featuring dinnerware and tea sets, this
collection boasts of a simple, unostentatious style that still
manages to speak volumes as a status symbol. Additional
table accessories and ornaments tie together the decor,
thereby complementing the rest of the crockery collection.
For more information, call +91-11-26801811/12/13
Bathroom elegance with Vitra

Vitra, one of the leading bathroom solutions brand from
Turkey, unveiled a new line in India. Titled Metropole,
elegance is the defining characteristic of the series,
which is a range of washbasins and toilets both in pure
white colour options. The washbasins are available
in mineral cast and ceramic finishes. The toilets are
extremely hygienic, coming equipped with a detergent
dispenser on top of the WC pan. For more information,
visit in.vitra.com.tr
154
India Circus comes to your table

This summer, India Circus announced a new
range of tableware that incorporates diverse
influences and motifs from across India in their
designs. Created by Krsna Mehta, the range
includes tumblers, glass mugs, crystal mugs
and an array of premium crockery. In vibrant
colours like emerald green and royal blue,
these elegant patterns are an easy way to bring
some cheer into your dining room. For more
information, call +91-22-30770256
My Tailor Home brings French

upholstery to Mumbai
The My Tailor Home studio located in
Mumbai marks the arrival of a proponent
of French design sensibilities. In this spirit,
the studio has launched Ateliers Philippe
Courdray, the couture upholsterers and
interior dressers. With collaborations with
well-established brands such as Hermes
and Christian Lacroix under their belt,
Ateliers Philippe Courdray now bring their
approach to bespoke window dressing to
India. For more information, call +91-2240043458 or email info@mytailorhome.com
Visionnaire releases luxury furniture line

In order to mark its 10th anniversary, the Italian
luxury brand Visionnaire announced a collaboration
with noted architect, interior designer and product
designer, Steve Leung, at this years Salone
Internazionale del Mobile. Titled Natures Jewel Box,
this collection features luxurious armchairs, chaise
lounges, dining tables, sofas, beds and bedside
tables. For more information, call +91-11-26018740
trendsideas.com 155
Sink into Italian sofas from Natuzzi

The luxury Italian furniture brand Natuzzi announced a new line of high end leather sofas,
now available in India through the lifestyle retailer ICasa. These sofas show a distinct
Italian flavour in their designs and are available in a multitude of configurations and colour
schemes. The Natuzzi Edition sofa range starts at Rs. 2,50,000. For more information,
call + 91-98193 92242 or email sales@icasafurniture.in
A new range of vitrified tiles from

H&R Johnson
H&R Johnson (India) looks to define the
next generation of tiles with its new range
of glazed vitrified tiles, Johnson Porselano.
The tiles in this range are segregated under
six major themes - modern, contemporary,
minimalistic, Victorian, retro and art deco.
Available in three sizes, the tiles also possess
joint-free and stain-free properties, while the
various themes have a unique appearance
and texture. For more information, call
+91-22-30647484 or email customercare@
hrjohnsonindia.com
Veneta Cucine introduces

Italian kitchens
The Italian brand Veneta Cucine
provides new kitchen solutions and
with Liquida, they deliver a product that
combines design with functionality.
The Liquida kitchen comes with a
built-in refrigerator and cooker hood,
and it is made out of high-performance
materials that are wholly recyclable.
The Liquida series has variations
like the Flipper, Condense, Light and
Frame versions, but all variants share
the same sleek and compact design
aesthetic. For more information,
visit www.venetacucine.com
156
trendsideas.com
TFOD - the future

of design
A platform that showcases the latest in Indian
architecture and interior design
An online portal that serves as a
global congregation spot for the
design community, The Future of
Design (www.tfod.in) is a resource
guide and professional directory
for all Indian architects and interior
designers. After registering for
free, users of TFOD.in can create
a profile and list their areas of
expertise, thereby making it easier
for a consumer to reach them.
This also enables meritocracy
to take its course, and all the
professionals can expect to be
judged on the basis of their merit.
While the site serves design
professionals such as architects

looking to connect with contractors,
TFOD.in also caters to the endusers by offering listings for all
design needs.
Concieved by Roopa Sabnis
Pinge, TFOD.in has steadily
grown into a lively community
filled with every kind of design
enthusiast, from designers to
artists, landscaping contractors to
plumbers, and even carpenters and
civil work contractors.
The website provides a
hospitable virtual environment for
these professionals to interact,
network and further their

businesses. As it grows into
the single largest professional
networking platform for the
community, there is palpable
excitement over how TFOD.in will
impact the design industry.
The website also has a
special space where industryrelated jobs are listed. This
instantly allows newcomers and
freshers to connect with the
stalwarts of the industry.
For more information, call
+91-99303 50555 or email
support@tfod.in
home & design
trends.edit@wwm.co.in
More ideas, information and inspiration at Trendsideas.in

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Volume 3 No 2

Alan Abraham shares a proposal to revolutionise the citys public spaces

This month it's is L' Arc de Triomphe de lEtoile in Paris, France

Back to the land

Beside the sea

152 PrOPertIes On tHe bLOCk

Mrigank Sharma (India Sutra)

from the editor

InsIde the pages

In the Building Conversations section, do read

And in Portfolio, we revisit the Kochi Muziris Biennale 2014. It concluded

More ideas, information and inspiration at Trendsideas.in

home & design

Chief Executive Officer Deepak Lamba

These products fit like a glove in contemporary,

folly by ron Arad

more projects at trendsideas.com

Home & Design Trends Vol 3 No 2 2015

Oasis by bram boo

Aura Chair by Mikko Laakkonen

Maui Chair by vico Magistretti

Adriatic by theodore Alexander

In-tensive by Jouni Leino

Low table + Lamp by fien

The modular meeting table In-Tensive

Who said office furniture has to be serious

Home & Design Trends Vol 3 No 2 2015

more projects at trendsideas.com

surface by vincent van Duysen

Libert design studio, Fabrica

Merging light, seating and

Dv549 Lockers by Antonio Morello

The Eames storage units are symbolic

Autobahn by Alexander Lotersztain

Home & Design Trends Vol 3 No 2 2015

more projects at trendsideas.com

home & design

Why does Zarir Mullan of

Zarir Mullan founded his firm in 1994, and

HOME & DESIGN TRENDS

HOME & DESIGN

A Times of India publication

Preview London, till September 6, 2015

Small Stories: At home in a dolls house

A Night in the Studio by Ina Hyun K Shin

Home Is Bear The Heart Is by Mister Peebles

Showcasing the stories of 12 dolls houses from the past 300

Saving Face: 50 Years of New York

Jasper Morrison: Retrospective

An exhibition that focuses on

The city of New Yorks many iconic

A retrospective exhibit that celebrates

more projects at trendsideas.com

Home & Design Trends Vol 3 No 2 2015

The Longest Party Table in the World by Paul

newly-built council estates and high-rise

Offline Hideaway by Dominic Wilcox

Library A Recent Plan by Liberty Art Fabrics Interiors

Llama Dreams by Donna Wilson

Wilderness Dreams by Orly Orbach

I Always Dreamed of an Underwater Aquarium

Dialogues: Photographs of Hlne Binet