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The sixth issue of Design Matrix.
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A presentation
PEOPLE • L I FESTYLE • DES IGN • INTER IORS
September - October 2011
VOL. 1 • ISSUE 6 • `80
M A T R I X
Dean
Reboni
DÊcruz
Saha
„At Design Valley, we aim to create an alliance of creative minds for functional solutions‰
„Sometimes a casual discussion could lead to brilliant designs‰
DESIG
N M
ATR
IX • SEP
TEMB
ER-O
CTO
BER
A Pap
rika Med
ia presen
tation
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2 DESIGN MATRIX • JULY-AUGUST 2011
FICJalaram
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2 DESIGN MATRIX • JULY-AUGUST 2011
Publisher : Karan Jhunjhunwala
Managing Director : Manohar Jhunjhunwala
Editor-In-Chief : Babita Krishnan
EDITORIAL
Content Editor : Savitha Hira
Asst. Editor CP : Priyanka Mathur
Writers : Varun Godinho
Trainee Writer : Sheena D’Lima
Brand & Strategy Manager : Riddhi Walia
Finance Controller : Manjari Ved
Head-Administration : Maria Fernandes
BUSINESS ENQUIRY
WEST : Sameer Adhikari
EAST : Vishal Shroff
NORTH : Ashok Bajaj
SOUTH : Abhishek P. Agrawal
Nallari Rupana Reddy
Sheetal Jain
T. Jayakrishnan
OVERSEAS ENQUIRY
UAE : Prem Mishra
USA : Kishore Dadlaney
UK : Jayendra Ved
Subscription : Shalini Sawant
ART
Art Director : Rahul Das
Designing : Devang H Makwana, Brijesh Gajjar,
Chittaranjan Modhave
Digital Imaging : Devang H Makwana
Production : Harish Suvarna, Mangesh Salvi,
Sandeep Borkar
PROJECT MANAGEMENT TEAM
Project Manager : Vishwanath Shanbhag
Chief Operating Offi cer : Rajnish Rawat
Chairperson : Smiti Kanodia
Owned, Printed and Published by Karan M. Jhunjhunwala. Printed at Print House India
Pvt. Ltd., 6 Datta Mandir Road, Bhandup (W), Mumbai 400 078,India and Published at
MRJ Creations Pvt. Ltd., 201 Shyam Kamal ‘C’ Building, Agarwal Market, Vile Parle(E),
Mumbai 400 057, India. Editor: Babita Krishnan
A & venture
DESIGNM A T R I X
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JULY-AUGUST 2011 • DESIGN MATRIX 5
N O T EEDITOR’SI had been following Dean D’Cruz’s work for some time before I met and was totally
charmed by him some years ago. During one of our meetings, he had expressed
in passing, the desire to be able to connect with diff erent design professionals.
Later, I got an email from him informing me about his partnering with Reboni Saha,
a product designer, for a new venture – mozaic design combine. Architect – product
designer, an interesting partnership, I had thought then. Still, I didn’t realize how
exciting the possibility really was, until I visited Goa a few months ago for a holiday
and met with Reboni. The soft-spoken designer I had interacted with over the phone
turned out to pack quite a punch! To say that I had an enriching interaction is an
understatement. The need to understand how their synergies work together and
share all of that and more with all of you led to the Cover Story. The bonus was the
information about Design Valley, their dream, of alliances across design streams.
Alliances mean opening yourself to newer perspectives and ideas. It is, in my
opinion, a sure way of enriching knowledge and erasing blind spots. Design also
needs to be socially and environmentally relevant and things/events (both positive
and negative) happening in the world around you tend to spark creativity. It was
this discovery that conceived the idea of Design Matrix and in the past one year,
we have shared the experience with you through all our issues. As we prepare
for our anniversary, it’s your encouragement that keeps us going. Do keep those
communication portals open…
Babita Krishnan
Partners: Location: Le Sutra; Jewellery: Anmol Jewellers; Make-up & Hair: Rudra Spa
Now follow us on www.facebook.com/DesignMatrixMagazine
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CONTENTS
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SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 9
60
14
COVER STORYReboni Saha & Dean D’Cruz hope to create
an alliance of like-minded design profes-
sionals at the mozaic Design Valley – for
functional solutions Pg 14
AR. AAMCHERA Sirsi farmer prototypes an economic so-
lution to back-breaking paddy transplanta-
tion Pg 27
MARINE DESIGNsolus4 Architecture, Maine, addresses a tsu-
nami research centre with a new typology
for stationary in-water based marine proj-
ects Pg 28
HOSPITALITY DESIGNThe new Deli at the Taj, Kochi, employs a
blend of rustic local fl avours as its key de-
sign element Pg 32
DESIGN ASPECTWe map Eyewear trends and take a look at
where they are going Pg 36
• Cover featuring: Reboni Saha & Dean D’Cruz • Photograph by: Tushar Rao • Location: mozaic Design Valley, Goa
60 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011 SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 61
GREEN DESIGNThe concrete industry ventures into green
technology and refl ects the simplicity of its
application via the iCrete corporate offi ce
Pg 40
CREATIVE IDEASThe Tree House Resort underlines the fact
that creativity is unbounded, with nature as
the unstinting partner; trendy trimmings,
unique themes and the ultimate fi nish char-
acterize the design of wedding invitations
Pg 50
MY SPACEGerman designer Nils Ferber talks about de-
sign as a tool to debate, and chisel a mean-
ingful future Pg 60
LANDSCAPE DESIGN Indoor landscaping can begin small via a
salad garden in the confi nes of your home
Pg 64
ARTY-TECHTURE Designing sound speakers is an art that
blends lifestyle with functionality Pg 66
27
76105
CONVERSATIONSAnju Kumar from Delhi talks about her infl u-
ences and inspirations as a prolifi c sculptor
Pg 72
PHOTO-FEATURE9th century sculptures of the Solanki period
refl ect current fashionist fundas –swinging
from the heavily adorned to the unfussy to
the sacrosanct bare look.. Pg 76
RETAIL DESIGNRupal Bhat creates a studio feel for the
sprawling Durian showroom – a contem-
porary backdrop to showcase the furniture
Pg 82
YOUTH FORUM Erik de Laurens of the Royal College of Arts,
London, endeavours to create new materi-
als from everyday objects. Pg 90
MUSINGSWe look at the art of Art Curation Pg 94
PRODUCT LAUNCHAll the news from the market Pg 105
ETCETERAHappenings; art conservation; book & prod-
uct review; and events Pg 113
76 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
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10 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
Each issue, you have the chance to win a special gift courtesy
We would love to have your views, comments and/or suggestions on what you would like to see or read in our pages.
Please email to: [email protected] or write to Design Matrix, MRJ Creations Pvt. Ltd., C-201 Shyam Kamal
Agarwal Market, Vile Parle (E), Mumbai-400 057 or Call on 022-26187132.
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SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 11
I saw your the latest Design Matrix, and was
speechless. Kamal and Arjun are freinds, but
reading about them was an expereince. I think
its the fi rst time, you made architects look like
people! Wonderful presentation, where we
get to read more about desingers’ views and
opinions. Most design magazines focus on
projects and there is an element of mystery,
when one would like to know more about the
person behind the projects or objects. Con-
gratulations, on your new role and hope you
succeed in this new avatar.
Ramprasad Akkisetti
Managing Director,
Christopher Charles Benninger
Architects Private Limited, Pune
Congratulations for a very graphic and strong
cover (and cover story). It is a true example of
a wonderful collaborative eff ort. We expect
nothing less from the team. Keep it up.
Ninad Tipnis,
JTPCL Designs, Mumbai
Congratulations for another outstanding pub-
lication. Its truly amazing. Since Design Matrix is
very popular among students and young pro-
fessionals who worship the fi eld of work space
interiors, would like to suggest something.
Eager to see some exceptional work space
designs which inspire them.
Deepang Nandu,
Ex- Student,
(Rachana Sansad- School of Interior Design)
Being a student of architecture, I have done
a case study on Kachchi Kothi, the residence
of Revathi Kamath. Seeing it on the cover and
learning in her own words about her passion
and commitment to the Earth and its resourc-
es was a diff erent experience altogether.
Thank you for sharing that part of her with us
because as students, there were many things
that we could not muster up courage to ask
her.
Jyoti Singh,
Jamia Milia Islamia, New Delhi
The cover story made for a really nice read.
After working with her, I can honestly say that
she is a person with great ethics and very fi ne
architectural works. I am her all-time admirer!
Great work Design Matrix, congratulations!
Abhs Jain,
New Delhi
I have been creating “weird stuff ”, as my mom
calls it, for the past two years for my friends as
notebooks, bags, etc. as gifts. Reading about
Kirtana Krishnan in your last issue gave me the
courage to try my hand at marketing some of
it. Though I have started small, I already have
a few people who have places orders for my
handmade gifts. Thanks for the inspiration
and encouragement
Natasha Mehta,
Surat
I loved the cover of the last issue. From what-
ever little I know of Revathi’s work and pas-
sion, that image brings forth all that and more.
I was very proud that my photographs were a
part of the issue as photo feature. As a photog-
rapher, I really love your presentations where
images are an equally important part of the
content. Way to go Team Design Matrix!
Cleo,
Bangalore INB
OX
WINNER
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Coverstory
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SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 15
TWOTO
TANGO
Words: Babita Krishnan; Images: Tushar Rao & (projects)
courtesy mozaic design combine
Their professional ideologies fit
together perfectly like the pieces of a
jigsaw. Dean D’Cruz and Reboni Saha of mozaic design
combine reveal to Babita Krishnan, their dreams of
creating a Design Valley in Goa – an
alliance of creative minds from varied
fields to give functional solutions.
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Babita Krishnan: How did you gravitate towards your chosen
professions?
Reboni Saha: I was fascinated with machines and aero model-
ing and greatly infl uenced by my travelling. Also, I have a thing for
3D; so the closest I could get to converting my dreams to reality
without becoming an engineer, was product design.
Dean D’Cruz: The intention was to do engineering since my
dad was an engineer. I applied for IIT but couldn’t get in. So sought
out whatever had free forms available (laughs), and as I was always
good at drawing, sailed through the entrance exam. I dabbled at all
sorts of subjects – from science to commerce and hoped to join my
dad’s shipping business. Architecture being very unconventional as
a course of study, was an eye opener for me.
BK: Both of you have done your professional courses at land-
mark institutes. How was the experience?
RS: NID was one of the only two design institutes in India till the
90s. Its focus was on real-life experiences and the most prized take
away was the design process – a method of creative discipline and
problem solving.
DDC: JJ was great with its beautiful campus right in the
middle of the city. I remember my dad coming to college one day
after about a year. I was with friends in the canteen and someone
recognized the car and told me. So I bumped into him in front
of the Principal’s offi ce as he went in for a meeting that lasted
precisely ten minutes. He was informed that his son will be in the
canteen and probably learning more there than he would in the
class. He couldn’t believe it! We were very chilled out towards aca-
demics but there was an eagerness to learn, which sadly seems to
be missing now.
BK: Dean had his roots in Goa, but Reboni, what prompted you
to move here?
RS: I generally don’t like to follow the crowd. So after NID
when everyone started moving to bigger cities, I zeroed in on Goa
because I could set my own pace and agenda here. People were
not demanding. Though I could have moved abroad given my
background and training at Bosch-Seimens Hausgerate, Germany, I
decided to stay back as it was the fantastic possibility to bring some
conclusions to the chaos that is India that attracted me. Satisfaction
comes from making a change and I knew, I could do that.
BK: So are the perceptions about product design changing?
RS: Yes, they slowly are. Product design is like an orphaned
baby. While other design faculties have the support of the industry,
media, public, etc. – be it fashion, IT, interior design, nobody quite
knows where to fi t product design, even though it has the most
advanced curricula of teaching.
BK: It must have been really diffi cult initially.
RS: Yes, simply because it was the bastion of engineers and
there was a general feeling that we were trying to venture into their
territory. We would face hostility and disinterest in anything new. In
16 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
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fact, initially I had to overstep my boundaries. Unlike abroad, where
you just design and then pass the baton onto the engineer, here I
had to do the detailing and the engineer’s job as well, just to prove
that it can be done. You need a bit of pigheadedness and that got
me through (smiles), though many times the products morphed
into something I hardly recognized. But the work I’m doing now
is more socially relevant and closer to my heart – gives me satis-
faction as a designer. Though they might not be beautiful in the
printing sense (laughs).
BK: Dean you have become synonymous with the beautiful
Goan architecture and its conservation. How is it diff erent from Por-
tuguese Architecture?
DDC: Goan Architecture has been around from before the Por-
tuguese came. It has developed climatically like Kerala Architecture
– small dark spaces, closer to the land, very agrarian in its approach;
Portuguese Architecture, on the other hand is more lively, showy,
with high plinths, etc. But due to the local craftsmen working for
the Portuguese, what came out was a very beautiful combination.
For example, the cherubs have very Indian faces; in my own house,
the columns have cobras, which is very Indian. It is more like a Goan
interpretation/adaptation of the Portuguese idea.
BK: Is Goa also facing the loss of heritage buildings to builders
due to commercial/economic pressures like Bangalore?
DDC: In towns, yes; but not so much in villages. Goa has already
lost its cultural identity owing to apathy of the authorities and
people, and what we have today is just marketing gimmicks. That
whole lifestyle is now lost. There are a few groups working towards
maintaining what is left, I’m also part of them. We are trying to do
our bit towards getting landmark judgments against mining, intro-
ducing composting, taking care of the environment, etc. I’m now
working with the government on town planning and it is another
learning experience because it is very diffi cult to predict how future
development will take place. You just put in those checks that allow
discerning future development and hope for the best. (Laughs)
BK: This being your adopted home, are you also part of this
movement?
DDC: Oh, she is the face of the Goa bachao andolan…
RS: I actually got dragged into it by just looking at the tip of
the iceberg. We were able to pinpoint what was going wrong but
realized that people across the country did not comprehend the
magnitude of the problem – Goa was just a tiny spot on the map!
So in desperation, I thought let us hit where people will understand
it most – we took images of places that were close to everyone’s
hearts; what tourists knew, and work on them. For example, Baga
Hill across Panjim, where one is used to seeing the green spread; we
took it away and photo-shopped it with buildings. The impact was
tremendous and I couldn’t believe that something done in such a
hurry could work that well. It galvanized this whole movement. I
came to know a lot of interesting people who cared and had con-
nections and as a spin-off , each one has gone back to their own
area of expertise to contribute. They are looking at garbage, women
issues; somebody has a foot in the Govt.; so that helps in getting
sanctions when required.
BK: So what drives you?
RS: As product designers, we need to look into the minute
details as well. We can’t just design and leave it to a fabricator, we
need to look for material that is functional and looks good so that
people like using it as well. It is not a fashion statement. Like this
composting machine that we have developed as an experimental
project, is shaped like a mushroom. I saw the way people treat gar-
bage. That is a huge problem not only for the authorities who are
not interested, but also for people because otherwise how do you
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18 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
encourage them to separate garbage? I realized that people feel
a little eeked-out with this whole business of separating wet and
dry garbage and the fact that it starts to smell after a while. Being a
product designer, I decided to make something that was not eekey
and a fun element; so we made it like a mushroom where the top
lid can be spun to air the garbage and this takes care of the smell. All
you do is spin it every now and then. At the end of the day, you just
open a little thing underneath and scoop it out. It is at the testing
stage right now.
Another area that interests me is the idea of compost toilets.
Based on the premise that we are using water to clean something
that we consider dirty and the same water is then purifi ed as drink-
ing water, is precious. The initial concept and mechanism is ready
and I’m going to install it in my new house for testing so that it
is accepted by the middle class without being patronizing, rather
adopting it as way of life. If I can slip it through the mind block of
people towards something new, then I have won as a product
designer. I don’t believe in creating something touristy but more
relevant to the environment around me. I put design in two boxes
now – design as an end in itself, and design as a means to an end.
DDC: Right now there is this green agenda that we are working
towards and I feel it is something that needs to come from within.
All these ratings etc. are all still very new – every building should be
green. One might think it is a new concept, but traditional Indian
architecture was always green. I wish there was a process where
architects went through something like priesthood so that they
don’t get into the business mode. If your daily needs are taken care
of, you can concentrate on creating what you really believe in. It
should become a vocation like Gaudi or in the times of kings, who
were patrons. Most of us are so caught up in other mundane issues
that there is little time for creativity. And that is where collaborations
come in. Any project is never the work or vision of any one person.
Not that the clients don’t have a vision; but they have a very narrow
spectrum, so we are trying to create a setting where everyone is
able to collaborate at what we call the Design Valley, because archi-
tecture is no longer intuitive.
BK: How do the synergies work when both of you work
together?
DDC: There was this project that we did for The Taj where we
developed the brief together with the client, who was very demand-
ing but educated about where each aspect of design came from.
We all got together, discussed and realized that the end result was
much better, much more polished and refi ned. Design is not one
dimensional; there are so many aspects and it is better to involve
everyone to ensure a richer product. Having a team like this ensures
that I will not miss out on anything because of my own blindness.
RS: The ideal situation would be to get a client who under-
stands the importance of both, otherwise one tends to get over-
shadowed. We have to take cues about what needs to go where
in a building; that needs research, which is part of my training and
thought process. That is my value addition to a project. Then of
course comes detailing – the spaces and the kind of feel we want to
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20 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
Exchanging ideas could lead to innovative product designs like this switch board.
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The top lid can be spun to air the garbage and this takes care of the smell.
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22 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
give, textures, etc. So giving shape to these requirements is where
the architect plays a role. Also in interiors, there are many require-
ments where practical solutions are needed from a product design
perspective. Dean can probably make a sketch of what he needs
but the actual feasibility is what I have to design.
On the other hand, there is a great synergy in terms of ideation.
Dean is really great at concepts and ideas; so whenever I get stuck,
I call him in and he just throws the problem open. Similarly, I can
give a product thrust to his buildings. Many times architects get
so involved in the materials and other practical stuff that smaller
details get lost. So I just step in, give a whacky perspective and that
adds to the overall eff ect. Sometimes ideas just crop up out of ordi-
nary chats. A few months back over lunch, Dean mentioned how
disappointed he was with the designs of switches in the market –
the same old square or rectangular box, and that got me thinking
that we should try and design a switch box that becomes a part of
the aesthetics. We have just fi nished prototyping this new design
and it is very exciting. The most important thing is communication.
BK: Is that how the idea of mozaic came about?
RS: Mosaic is a design that is created by the coming together of
diff erent tiles – each independently beautiful but part of the whole
pattern. Some years back, Dean had to shift out of his offi ce and
we saw a couple of soul-less places. So we decided to start from
scratch – land was cheap enough, and we just bought into it. Also,
as designers grow older you realize that richness of ideas comes
from interaction, and sharing administration is an added bonus
(laughs). So there is architecture, interior design, product design and
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SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 23
‘‘We decided to make a design
centre; other like-minded people bought into the idea and it just
started rolling on its own. We all have a common value
system, a common sense of where
design should be.’’
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now with the mozaic Design Valley, we aim to bring diff erent design
genres under one roof to give complete solutions.
DDC: In fact, by understanding the client and his requirements,
we aim to give him the brief as well, rather than it being the other
way around. The aim is to involve all aspects/parties concerned, right
from day one, so that there is minimum confrontation at various
stages of the project and the delivery time is reduced.
BK: Design Valley sounds a very exciting concept. Do share more
with us.
RS: We don’t even know when it happened. There was this blank
space where we decided to make a design centre; other like-minded
people bought into the idea and it just started rolling on its own.
There is no concrete plan but somewhere down the line we all have
a common value system, a common sense of where design should
be and the fact that we can pool our resources, draw from our expe-
riences, and can hence, off er a much superior service.
DDC: Architects are actually just assemblers of material manu-
facturers, so we need someone to look at the fi ner details. It is always
better when people from diff erent design fi elds collaborate: like
products, planning, graphics, a business point of view, etc., create
informal environment for people to come together and work. We
are building a design centre that will hold workshops, training pro-
grammes, etc. and document each event there. We’ve been collabo-
rating with universities abroad for exchange programmes. It is also
like a retirement plan (laughs), something to do in old age. But on a
serious note, all this comes from having worked for so long and real-
izing the ego has been beaten down and the service aspect needs
to come to the fore.
BK: Is design also being looked at as a commodity at Design Val-
ley?
DDC: Yes, why not. We have a concept that is viable and func-
tional; that can be sold to the industry. For example, we are working
on this idea of pre-fabricated homes, which will give you tremendous
economic and ecological benefi ts. The drivers of this project will be
the people from design fi elds, and others like fi nance, etc. will be the
support group. There is a need to reconnect art with the industry.
You see it happening abroad, it’s high time it happened here as well.
BK: Looking back, what would you rate as one of your most
cherished projects.
DDC: Each one has been a learning in itself. Sometimes there
were lovely projects, but lousy clients or lovely clients who lacked
vision, at others everything just fell into place. It has been more
about relationships than anything else. I’m still servicing clients and
projects 25 years later – maintenance issues, little touches here and
there. It is wonderful.
RS: Every project that moves you out of your comfort circle is a
challenge. But the greatest high was when I saw a train streak past
me in Punjab with a ‘mozaic’ designed front end ICF DOOR
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26 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
“We all have a common value system, a common sense of where design should be and the fact that we can pool our resources, draw from our experiences, and can hence, offer a much superior service.”
“Architects are actually just assemblers of material manufacturers, so we need someone to look at the ner details. It is always better when people from
different design elds collaborate”
Design Matrix_Sept-Oct11.indb 26Design Matrix_Sept-Oct11.indb 26 8/26/2011 5:15:56 PM8/26/2011 5:15:56 PM
SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 27
Ar. Aamcher
HOME-GROWN
INGENUITYSirsi farmer and mechanical engineer, Raghavendra Hegde
is the new hero in the small farmers’ circles. 12 months of
labouring over revamping the mechanically operated paddy
transplanter into a manually driven, low-cost mechanism has borne
fruit, and he is now ready with the working prototype of a simple
(in construction and operation) transplanting mechanism, which he
calls ‘Surya Sarala Naati Yantra’.
The paddy transplanter is a well-known farming tool that facili-
tates the labour-intensive task of paddy farming. Generally available
in sizes that cater to transplanting 4, 6 and 8 rows, the mechanism is
often diesel-driven and comes at a whopping cost of `1.5 to 2 lakhs.
While the transplanter benefi ts the farmer with its adjustable bill
spacing (planting distance) and reducing water consumption up to
20%, also increasing yield by about 10% due to even planting den-
sity and reduction in uprooting of seedlings, it can only be aff orded
by those with sprawling estates.
Besides, it is impractical to transport it to remote areas.
Designed and developed in the interest of small and marginal
farmers (those with half to two and a half acres of cultivable land),
Hedge has worked on the same invention and improvised it with
certain modifi cations that make it conducive to manual opera-
tion. Hedge’s version of the transplanter weighs a mere 28 kg for
the larger (six row) and 20 kg for the smaller (4 row) operator. This
makes for convenient handling by male and female members alike.
It drastically reduces the farmer’s dependency on employing day
labour; and thus cuts costs.
Estimated cost: `15, 000 and `10, 000 respectively
Estimated launch of transplanter: Late 2011
To share more such designs or experiences, positive or
negative, contact Ar. Aamcher at [email protected]
Ar. Aamcher gives a big ‘thumbs up’ to the new
manually-operated paddy transplanter developed by
Raghavendra Hegde…
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28 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
Words: Savitha Hira; Images: courtesy solus4 Architecture
Natural habitat informs the design of a new research vessel with under and over the surface facilities representing a new typology for stationary in-water based marine projects.
Marinedesign
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SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 29
MORPHING CATACLYSM
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30 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
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SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 31
A recent international design compe-
tition for a marine research centre
in Bali, Indonesia, gave architec-
tural fi rm solus4 an opportunity to study
and architecturally interpret the structure of
tsunami waves. The competition, co-spon-
sored by Arquitectum and Universitas Pelita
Harapan in Indonesia, sought to address the
need for tsunami research and preparation,
in response to the devastation caused by the
2004 Indian Ocean earthquake and tsunami.
Three major events are generally known
to generate tsunamis: meteors, landslides,
and large earthquakes. Underwater earth-
quakes — the most common type in Indo-
nesia — with epicentres close to coast lines,
form the conceptual basis of the architectur-
al proposal. The solus4 design team sought
to understand wave dynamics and the
resulting wave force patterns that are gener-
ated as tsunami waves are created and radi-
ate out from an epicentre. The wave forces,
when translated into linear patterns, inform
the shapes that are integrated into the build-
ing form and result in patterns that seem
to be born of the sea. The concept, thus,
uses the initial elliptical pattern and cross-
sectional diagram of the tsunami wave, one
of the main focuses of the centre’s research
and prevention eff orts, as the morphology
generator and guide of programmatic orga-
nization for both, on-board scientists and
the interested visitor.
The design is both aesthetically impos-
ing and seamlessly integrated into its natu-
ral aquatic environment. It is an imposing
fl uid structure with an immediate and direct
visual connect to the exterior. Located just
100 meters away, parallel to the shore of
Kuta Beach, Bali, the 2,500 sq. m. marine
research centre programme is composed of
three main components: public, semi-public
and private. The spaces vary from research
labs, scientist bedrooms, library and aquatic
garden to sea-water pool, swimming pool,
terrace, bar and an auditorium. The spaces
are distributed above and under water and
allow the visitors and scientists alike to take
full advantage of the amazing landscape
that surrounds the project.
In keeping with the nature of the uni-
versal ocean, the project is intended to be
wholly energy effi cient. Photo-voltaic cells
embedded in large glass-based panels –
both transparent and opaque – constitute
the skin of the vessel. The close in-to-shore
location allows for tidal/current generators
to serve power requirements, while rain-
water collection and seawater conversion
systems take care of the domestic water
requirements. Deeper source seawater is
circulated through the skin for radiant cool-
ing and temperature control of the overall
anthropomorphic shape. Incidentally, the
unique shape and programmatic require-
ments are proposed to serve as an icon for
scientifi c study and tourism in this location.
The centre will serve not only as an
architectural icon for Bali, but also as an
international model for modern sustainable
design with its use of on-site renewable
energy resources through its integration of
such technologies as tidal wave energy gen-
eration, natural ventilation, rainwater collec-
tion, passive solar energy, low E glass, and
high refl ectance fi bre glass materials.
This project represents a new typol-
ogy for stationary in-water based projects
reached by boat, which in the past have
been mostly relegated as merely work,
non-destination platforms, both fl oating
and rigid, which do not take into account
the design possibilities presented by in-
water sites
ABOUT THE FIRM:
solus4 is an architectural studio specializing in architecture, planning and interior
design, headquartered in Kittery, Maine. The fi rm, while newly formed, has an extensive
background in commercial, residential, institutional and hospitality design and planning
through the experience of its partners. solus4 operates as a collaborative on a global
platform, adding intensively focused experience to each commission through key team
members who specialize in sustainability strategies, macro planning, community building,
project logistics and team management.
The design is both aesthetically imposing and seamlessly integrated into its natural aquatic environment. In keeping with the nature of the universal ocean, the project is intended to be wholly energy ef cient.
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32 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
Its existence is probably as old as the his-
tory of the recognized hospitality indus-
try in India; yet the Taj Group of Hotels is
known to reinvent itself and remain in sync
with the trends and moods of the day. So
when The Gateway Taj, Kochi, wanted a cof-
fee shop that refl ects “today” and appeal
to the trendy young crowd, Fahed Majeed
of the Cochin-based 10X10 Design Consul-
tants knew just where to begin from.
With a casual seating and giving a
lounge feel to the 800 sq. ft. space, Fahed
managed to create a lively yet relaxing area
evoking the fl avours of Kochi that would
appeal not just to the hotel guests but the
local populace as well.
“The idea of a café being primarily a
transit space was the basic premise around
which the design evolved,” Fahed explains
the design that refl ects local references in
a site that is located opposite the Kochi
port. Though the primary colour scheme
has been restricted to shades of brown,
red being the corporate colour, was incor-
porated in the primary board and furniture.
“The broad range of materials put to use in
the design have been specifi cally chosen
for their evocative qualities. The key design
elements holding the space together are
the metropolis installation, saucer lights,
the rusty wall, incandescent lighting and
the Kochi-New York installation,” he reveals.
Why New York? You ask; “It is the estab-
lished melting pot of the world!” he quips,
“The Queen of the Arabian Sea, Kochi,
is well on its way to becoming a mega
city. The two cities are represented in the
abstract.” The Deli at Gateway sign, on a red
background stands out of the map of Kochi,
showing the harbour and main roads. The
area around the Gateway hotel has been
mapped and extruded as metal compo-
nents of varying heights to compose the
name of the café. Similarly, New York has
been mapped and extruded to morph
into a bread stand. New York has a grid
iron layout, which results in a more orderly
arrangement of buildings; approximately
5,000 MS chrome-plated components have
been used to achieve this.
One fi nds many such subtle touches
that go beyond the brief and refl ect the
sensitivity of the designer towards the
many things usually considered mundane.
For example, the light installation that
refl ects nostalgia: “Today CFL and LED lights
are phasing out the yellow bulb that all of
us grew up with. The humble incandescent
light brings memories of home and ways
of living that are being outmoded. This
installation adds a touch of nostalgia, while
acknowledging the changing preferences,”
Fahed smiles. Keeping energy costs in mind,
361 lights glow with a bare minimum inten-
sity so that only the fi lament glows. Then
you have the “saucer light” – the mundane,
utilitarian vat used to mix cement and
aggregates at construction sites usually
With a casual seating and giving a lounge feel to the 800 sq. ft. space, Fahed managed to create a lively yet relaxing area evoking the avours of Kochi that would appeal not just to the hotel guests but the local populace as well.
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BILLET-DOUXFROM KOCHIBabita Krishnan; Images: courtesy 10X10 Design Consultants
Hospitality becomes an experience of local flavours at the Deli at Gateway in Kochi, under the creative flare of Ar. Fahed Majeed.
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departs with the workers. “As a tribute to
all those who labour to build the edifi ces
of our cities, they were given a permanent
place and put to innovative use here,” says
the designer. A coat of the same paint as
the walls and viola! The ordinary little ves-
sel is turned into a chic light fi xture. While
it serves as mood lighting, it also dresses
up the otherwise unexciting ceiling.
An outdoor sitting area of about 200
sq. ft. in front of the café is ensconced in a
glass wall that equips the passersby with
an easy view of the café. It is also a good
way to enjoy the famous Kerala monsoon.
The seating is casual and very fl exible with
bean bags and movable swivel chairs that
can be rearranged according to prefer-
ence. The eye-catching red bar stools are
provided for those waiting for their take-
away orders.
There is nothing more satisfying than
the appreciation of guests and we sign
off with this interesting comment on the
Metropolis wall by Meghan Young, a Deli
customer: When I look upon the Deli at Gate-
way glowing wall, I can’t help but imagine
that there is a society of fairies living behind
it, lending a magical glow not only to their
happy home, but also to Gateway visitors. Of
course, that is not the case, but it still puts a
smile on my face
One nds many such subtle touches that go beyond the brief and re ect the sensitivity of the designer towards the many things usually considered mundane.
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EYE TO EYE Words: Sheena D’Lima
We map Eyewear trends and take a look at where they are going.
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DesignaspectIn the March of 2011, Tokyo city buzzed with tangible excitement as gaggles of giggly
twenty-somethings made a bee-line for Japan’s biggest Fashion event of the year – The
Tokyo Girls Collection Spring/Summer 2011. Fashion photographers weaving through
crowds of the pretty young things noticed that a particular trend was abound – lens-less
glasses. The world watched in amusement as Fashion bloggers termed this new statement
“a cross between Hipster Woody Allen and kindergarten play props.”
While it may be a bit of a stretch to compare the edgy, eye-popping fashion traditions
of Japan’s Harajuku girls to the rest of the world’s trends, one cannot deny that the humble
pair of spectacles has travelled a long way. From being the (forced) staple style statement
of the book worm, it has come to stand as an expression of your personality. Your eyewear,
apart from making you see better (but myopia is hardly a prerequisite anymore), will instant-
ly complete your look – whether its hipster, fl ower child, vintage, retro, diva or ubër-modern.
New trends in eyewear are a fashion phenomenon that has hung upon certain icons in
popular culture sporting a look that promptly took off as a worldwide fad. We take a look at
some of eyewear’s biggest trends.
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38 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
The late fi fties were marked by a kind of understated elegance. This was the era of pearls,
low heels and elbow length gloves on one hand and debut of the bikini on the other. “Cat
Eyes”— the famously tip-tilted glasses that imitate a feline-eye shape and used tortoiseshell
frames – were fi rst worn famously by singer Buddy Holly. However, the real game changer
came in 1961 when Audrey Hepburn wore her Cat Eye shades in the fi lm Breakfast at Tiff anys.
After that, Cat Eyes went down in fashion history with icons like Marilyn Monroe and Grace
Kelly sporting pairs. This era also saw the rise in the famous “Ray ban wayfarers” style in
eyewear worn often by US Senator Robert Kennedy.
CAT EYES
Beatle John Lennon’s’ tea-shade glasses – round and wire-framed with tinted lenses –
took off as part of a 1960s counterculture in certain states of America as well as sections
of Europe, and still have their own little throne on retail shelves today. On the other hand,
Jackie O’s made famous by fi rst lady Jackie Onassis Kennedy’s oversized frames that went
down past her cheekbones began to sell themselves silly, and remain a celebrity favoured
choice even today.
LENNON AND JACKIE OÊS
Two words – Bug Eyes. These were a style
of spectacle frames that made an appear-
ance after the Cat Eyes fad but really picked
up after the 60s were over and done with.
These glasses, with almost opaque lenses
were large and tended to protrude slightly
away from the face when worn. The choice
of frame started out as tortoiseshell but
soon plastic and other materials began to
be used. Celebrities who wore this style
and came to stand as its ambassadors were
Nicole Richie in the nineties, Cheryl Tweedy
and the Olsen twins.
BUG EYES
1970’S- 60’S
1950’S
1990’S- 80’S
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SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 39
Indians and glasses are about as much of a happy couple as India and say numbers, or India and Bollywood. In the 90s, the Western
world especially Hollywood and British Television comedy jumped onto the stereotype of the bespectacled, earnest Indian, always in the
background and interested only in academics. We too rested easy with the stereotype. Glasses were for the nerds and that was that. Now
however, you don’t have to be a expert to fi gure out that this mindset is fast disappearing. Even if you don’t know your brands too well, a
quick stroll down any city’s fl ea markets will show you spectacle frames in rainbow hues, iunconventional shapes and with detailing and
design that would make our conservative ancestors of the erudite Gandhi glasses turn in their graves.
“While initially, utility defi ned most of the mass market choices, nowadays Indians are more exposed to luxury brands and global
styles and are a little more experimental,” says Ronak Sheth, Director of Eternity Lifestyles, who has been in the eyewear industry for fi fteen
years. Bollywood has had a huge impact on the eyewear fashion in India. Everyone still remembers the Preity Zinta frames fad (thick black
rectangular frames), named after the glasses that the actor wore in the 2003 fi lm Kal Ho Na Ho. Slightly before that, the blue-tinted glasses
that Bobby Deol wore in Barsaat (1995) sparked a nationwide trend. “But its not just Bollywood, really,” confi rms Sheth, “Rajiv Gandhi became
known for wearing his high-end Cartier Glasses and will always remain associated with the brand.”
As far as future trends go, Indians stand in a gray area. They’re experimental and edgy but aren’t really ready to go the double-take way.
“It takes two or three years for a trend to catch on and while Retro styles like a Clark Kent (the glasses Christopher Reeves playing Clark Kent
wore in Superman in 1978) can make a comeback, Vintage styles still don’t hold too much appeal,” says Sheth.
Still, the writer of this piece can only look at a pair of Fushia and black striped frames displayed at a fl ea market in downtown Mumbai,
and wonder whether the day when Indians wear lens-less glasses is just around the corner!
INDIA AND EYE
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40 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
Greendesign
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SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 41
Words: Babita Krishnan; Images: courtesy FKA
Felderman Keatinge + Associates give iCrete’s LA office a space that reflects its
corporate philosophy.
IDEASCONCRETE
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42 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
T he concrete industry is one of the
most important in the world as
this material can be made relatively
inexpensively from local materials and just-
in-time, making it probably the most popu-
lar building material. Founded by industry
professionals and experienced entrepre-
neurs, iCrete’s mission is to help bring con-
crete production into the 21st century
by helping producers turn their data into
actionable information.
The company understands that the
industry has historically had diffi culties in
introducing new technology and therefore
been unable to achieve many potential
gains in productivity, quality, performance
and sustainability. In many industries,
companies have taken advantage of data-
driven decision making and integration
software to great eff ect and iCrete believes
that the concrete industry needs and will
have these solutions too and is working in
partnership with producers to accomplish
these objectives.
When launching innovative and green
technology, iCrete wanted its new corpo-
rate offi ce in Los Angeles designed to refl ect
its strong work philosophy. Desiring an
open and minimalist space, they wanted an
environment that would foster innovative
thinking and encourage interaction among
employees. To this purpose, the LA-based
Felderman Keatinge + Associates have
created a non-traditional space that both
expresses the raw and sustainable nature of
iCrete’s new product, as well as the innova-
tive nature of their own approach.
Celebrated for looking to the future for
design inspiration, FKA was challenged to
combine showroom space with a working
offi ce. Designed not only to promote inter-
action amongst employees, the space also
invites the visitor into the heart, or “hub”,
of the open-space. In place of a reception
desk and waiting area, a long work surface
provides layout space for the company’s
products, while also doubling up as a con-
ference table. “Our focus is on creating
inspiring spaces that authenticate who our
clients are. We co-create the environment
together,” says Nancy Keatinge.
Particularly for this project, the mini-
malist workstations were created to seem-
ingly fl oat just above the gray carpet.
“There’s a sense of movement, a rhythm,”
Stanley Felderman explains, “That’s almost
musical.” By juxtaposing the sculptural
white gypsum and refi ned architectural
elements with exposed industrial and
mechanical systems, Felderman Keatinge
cleverly succeeds in creating a careful bal-
ance of yin and yang.
Desiring an open and minimalist space, they wanted an environment that would foster innovative thinking and encourage interaction among employees.
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SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 43
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44 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
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SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 45
ABOUT THE FIRM:
Felderman Keatinge + Associates (FKA)
have always been future-forward: con-
stantly in search of fresh perspectives and
new frontiers, each new project stands as
further proof of its commitment to one-
of-a-kind solutions tailored to each and
every client. Designing everything from
architecture to furniture, FKA’s focus is to
create a sense of community, and consis-
tency and equality of design throughout
a space. FKA takes a humanistic approach
and views architecture as a living organism,
which is an extension of people – eff ecting
how they live and work. The fi rm’s goal is
to elevate the quality of one’s experience
of the built environment. FKA has designed
for manufacturers like Herman Miller,
Global, Hon, and Haworth.
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Le decor
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50 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
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SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 51
Creativeideas
MAGICGREEN
Words: Natasha Bohra; Images: courtesy Tree House Resort
The Tree House Resort is a fitting narrative to help convert a barren land into an ecologically balanced haven, where
dwellings grow on trees, quite literally!
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52 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
L ittle that any modern hotel provides
can match up to the experience
of waking up in a bedroom that
literally falls in nature’s lap, or in this case,
her bosom. With a petite number of about
22 rooms resting on real trees, in the
outskirts of Jaipur, is the Tree House Resort.
Indeed, one can feel the magic of nature at
every sight.
Inspired by the famous hunter turned
conservationist Jim Corbett, who built the
Aberdere National Park in Kenya, Sunil Meh-
ta visualized this resort, after his fi rst tree
house was built at his own farm house. A
keen nature lover, Mehta managed to bring
together this unique concept despite no
formal learning in the fi eld of architecture
or engineering. His simple knowledge of
the forest and the skills of locals led to the
creation of this rustic resort.
The Tree House Resort is a replica of the
tropical rain forests – lush vegetation, brave
creepers and beautiful trees surround the
entire site. “It may be hard to believe but
the fact is that there were absolutely no
designs or engineering drawings involved
in building this resort,” narrates the proud
owner. What the entire workforce now calls
‘The Magic Wand’ is nothing but an iron
rod that Mehta carried to draw designs and
pathways on the soft soil of Mother Earth.
Every little design from the structure to
the landscaping, was either drawn on the
ground in the form of a map or was a verbal
explanation based on common sense and
an acute vision. What started off as a brown
and shrubby landscape in the land of desert
sands has today turned into a green forest.
The consistency in plantations, water har-
vesting and rural employment has made
the Tree House Resort much more than a
hospitality project; it is an experience.
To comprehend any vision, the pre-
requisite is an involvement of resources,
planning and management. However, it
defi nitely is easier said than done. The chal-
lenges faced in building a project of this size
and nature, were multifarious and unique
pertaining to the area in conversation. The
fi rst and biggest challenge was to create a
fertile stretch out of a barren infertile land.
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SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 53
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54 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
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SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 55
Devoid of standard brick and concrete walls, it instils a feeling of being in the midst of nature whilst continuing to enjoy the comfort of luxury.
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56 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
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SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 57
It was through the basic understanding of
the landscape and soil that planned experi-
ments were possible with a variety of plant
species. Constant manure provisions and
rainwater harvesting helped enrich the
soil and replenish the underground water
table. What started off as 95% mortality rate
amongst plants has now fallen down to ‘nil’!
Next on the list was educating neigh-
bouring villagers on the importance of
aff orestation and the benefi ts of rural
employment and increased skill sets. “We
adopted the school in the village and also
held a number of training camps. The same
villagers who had once got used to seeing
one or no crop during the monsoon fl ood-
ing were now growing multiple crops due
to the water harvesting and dam construc-
tion,” Mehta explains.
Encapsulated with wood and bamboo,
rooms at the Tree House Resort provide
unimpeded spectacular views of the for-
est. Devoid of standard brick and concrete
walls, it instils a feeling of being in the midst
of nature whilst continuing to enjoy the
comfort of luxury. Sometimes a branch or
may be a tree trunk or the tree itself, accen-
tuates the modern interiors.
Spanning across 40,000 square yards,
the maintenance of a project such as this
involves periodic gardening and a consis-
tent scrutiny of the tree houses. Restored
and standing tall is the 400-year old Pea-
cock car that surely cannot be missed.
Another attraction of the resort is the fact
that it is on the World Birding Map owing
to more than 50 species of birds that can be
spotted here.
The Tree House Resort is an exquisite
experience of nature infused with the spoils
of luxury for those who want to experience
the magic that is nature
Design Matrix_Sept-Oct11.indb 57Design Matrix_Sept-Oct11.indb 57 8/26/2011 5:28:24 PM8/26/2011 5:28:24 PM
58 DESIGN MATRIX • SEPTEMBER-OCTOBER 201185858585858588858888558585888858885885855855555858858588885858555888588858555558885855558585855858855555858558588858555555558855555555888885558555855555555555555555585555555858855555558855558555558555885558555555888555555588885555555888855555555588888558555588888855555555558888855555555555888555558888855555555888888855558888 DDDEDESDESDESDDEDEDDDEDEDDDEDESDDESESSSSD SSSSSSSSDDDESSSSSDESSSD SSSD SSSSSSSD SSSSDDD SSSSSDD SSSSDDED SSSSSDDD SSSSIGNIGNIGNIIGNIGGNIGNIGNGNNNNNNNNNNNNNNGNNNGNNGNIGGNIGGGGIGGGGGGGIGGGGGGG MA MAMA MAMAMA MA MAAMAAMAAMAMAMAMAAMAAM MAAAAAAAAAMAAAAAAAAAAAAAAAAAAAAMAAAAAAAAAMMMMMMAAAAAAAAAAMMMAAAAAAAATRITRITTRITRTRTRTRTTTTRITRTRTRTRTRTRIIIITRRTRTRTRTRTRTRIIIIRRRTRRTRRIIRIITRTRTRTRTRIRRRRTRTRTRRRRIIRIITRITRITTRTRRRRTRTRRRRRRIIIITTRRRRRTRTRRTRRRRRIIITRRRRRRTRTRRRRITRRRRRRTRRRRRRTTTTRRRRRRRTTTTTTRRRRRRRRRRTRTTTTTTTTRRRRRRRRRTRTTTTTTTTRRRRRRRRTTTTRRRRTTTTTRRTTTTRTRTTTTTTTTTTTTTTTTTTTTTTT •XXX •X •X •XXXXXXXXXXXXXXX •X •XXXXXXXX •X •X •X ••X • SE SESSSEEPTEPTETEPTEPTTETTEMBEMBEMBEMBEMBEMBEMBEMBEBBBEBBEEMBMBEBBMBEMBEMBMBMBEMBEMBEMBEMBMBEMBMBEMBEMBEBBEMBEBEBEMMMBEEM EEEEEEEEEEEEEEEEEEEEEBEEEEEEEEEEEEEEEEEEEEEEEEEEEER-OR-OR-OR-OR-OR-OR-OR-OR-OR-ORR-O-OR-OOOOR OR-OR-OOR-OR-OR-OR-OR-OR-OR-OR-OR-ORR-OR-OR-ORR-OR-ORRR-ORRRRR-ORRR-OR-RRR-OR-ORR-OR--OOOOR-ORR-OR-OR-OR-ORR-O-OOR-ORRRRRRR ORRRRRRR ORRRR ORRRRRRRRRRRRRRR OORRRRRRRRRR OOOORRRRRR OOOOOOORRRRRR OOOOORRRRR CTCTOCTOCTCTOCTOCCTCTOCTOCTOCTOCTOCTOCTOCTOTOTCTOCTOCTTOOCTOCTOCTOTCTOCTOCTOCTOTOTCTOCTOCTOCTOCCTCTOTTCTOOOTOCTOCTOCTOCCCTOCTOTCTOTOOOOCTOCTOCTOCTTTTOOCCCTCCCCTOCTOTOCTOCTOCTOCTOCCTOCTOCTOCTOCTOCCTCTTTCTOCCTTCTCCCTCTOCCTCCCTOCCTOCCCCCCTOTTOCCCCCCTTOCTOTOOCCC OCTOCTOOCTOCCCCC OOCCCTTOCC BERBERBERBERBERBERBERBERBERBERBERBEBERBERBERBEBEBERERRBERBERBBBEERBERBERRBERBEBERERRBERRBERBERBEREERERERBEERBERBEREREEBEEEREEEEEBERBEREEEEEREEEEREBEREEEEEEREEEBERRRBEREEEEERBEBEEERRRRBERRRRRBERBEREEBEEEERRRRRBEEERERRRRRRERRBBERRRRRRRB RRRBBBB RBBB RRRERRBERRE 22 202220 22 2222222020202020002000000222222222 2 220200200020000000022222222202020000000200022222020000000020002222202000002020020002002 22222020000000022222020200000222200000022222000200222200000000002222200000002222000000000022222000000000002222202200000000000222220000000000 22222200000000022222200000000002222220000000000002220000000222220002222200000000111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111111
Creativeideas
Words: Savitha Hira; Images: courtesy the designers
Elegance, style and exquisiteness mark the design of a wedding card,
and the market and trends veer towards the unexplored
and avant-garde …
HAPPY WEDDING!
How does it feel to receive a
wedding invitation that opens
out to reveal a box with seven
katoris containing mishri, iliachi, kesar,
etc., and each of the saat vachans printed
under each katori? A delicate drawer slips
open under this paraphernalia and gives
you the requisite information on the
wedding and its associated celebrations.
Another beautiful design spells out a
customized box with four different kinds
of flavoured honey complemented by
honey spoons and accompanied with
a silver-leafed invitation. Well, you
tend to store them away for
keepsakes as they are too
‘wow’ to be discarded!
Design Matrix_Sept-Oct11.indb 58Design Matrix_Sept-Oct11.indb 58 8/26/2011 5:28:38 PM8/26/2011 5:28:38 PM
SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 59SESESEPSEPSEPSEPSSEPSEPSSEPEPSEPEPSEPSEEPEPEPEPPSESESEPPPEPEPEPEPSEPSEPSEEPEPEPEPEPSEPPSSEPSEEPPPEPPPPESEPEPSEEPPPSEPPPPPEPPPPPSS PPSSS PPSEPPTTTTTEMTTEMTEMTEMTEMTETEMEMEMEMEMEMEMEMTEMTEMEMEEMTEMEMEMEMEMTEMEMEMMMTEMTTTETTTTEMTTEMTEMTEMTTTTTEMEMEMTEMTEMEMEMEMTEMEMEMMTEMMMMTEMMEMEMMTEMEMMTTEMTEMTTTEMTTTEMTEMEMEMEMEEMMTEMMMMEMMTEMMTEMMMTEMTTTTTEMTEMTTTEMEMEMMTEMMMMMTEMMTEMTTTTTEMEMEMEMEEMEMMMMTEMMTTEMTTEMTTEEEMEMTEMMEMTEMMMMMMTEMTTTTTTTEMEMEEEMEMMMMMMMMMMMMMTTTTTTTTEMEEMMMMMMMMTEMMMMTTTTTTTTEMEMMTEMMTEMMMMMMTTTTTTTEMEMMMMMMTEMTTTTTEMEMEEEMMMMMMMMMTTTTTT MMTEMMMMEMTTTEMMMMMMTTTTEMTTTTEMMMMMMMTTTTTEMMMMMTTTTT MMMTTT MMMMMMMMMTTEEMMMTTTTT MMMMMMMTTTT MMMMMMTTTT MMMTTTT MMMBERBERBERBBERBERBERBEREEBERBERBERBERERBERERERBERERERERBERBERBERBERBERBBBERBERBERBERBEBERBBEEEERBERERBERERBERBERBERBERBERBERBBBBERBBEEBEREBEREERBERRBERBERBBBEBERBERBERBEBEBERRRBBBEBBEBEEEEBERBERERBERBBBBBEEERERRBBERBBBEEEBERBBBBBBEEBERRBBBERBBERBBBEEEERBBBEREERRRBBEEEERERRBBBBEBEEBERRBBBEBBEEEERRBBBEERBBBBEBERBBEEREEERRBBBBEEEEEEERRBEERERR-O-O-O--O-O-O-OOOOOOOOCOCOOCOOOCOCOOCCOCOCCCCOCCCOCOCCOCCCOC-O--O-O-OOOOOOOOOOOOCOOCOCCOCOCCCCOCCCOCOCOCOCCC-O-O-OOOOOOOOOOCOOCOCOCOOCOCOCCCOCCOCC--OOOOOOOOCOOOCOCCOCOCOCOCCCCCCC-OO-OOOOCOOOOOCOCOCCCCCOCCC--O-OOOOOOOCOOOCOCCOCOCCOCCCC-O-OOOOOOOOOOCOCOCOCOCCCCCCCCC-O-OOOOOOOOOCOCOCOOCCCCOCCCCCCC-O-OOOOCOCOCCCCOCCCCCOOOOOOCOOCOCCOCOCC--OOOOOOCOOOOOCCOCCCCCC--OOOOOOOCOCCCCCCOCOCCC--OOOOOOOCCCCCCCCOOOOOOOOCCOCCCCC-OOOOOOOOCCCCCCCCCOOOOOOOOOOOCCCCCCCCCOOOOOOCOCOOCCCCCCCCCCCCOOOOOOOCCCCCCCCCCCOOOOOCOOOOOCCOCCOCCOCCCOOOOOCCCCCCCCOOOOOOOOCCCCCCCCOOOOOCCCCCCCCCCTTOBTOTOTOBTOTOBTOBTOBTOBTOBTOBTOBTOBOOOOBTOBTOBOBOTOTOBTOBOOOBOBTOBTOBTOBTOBTOBTOBTOBTOBTOBTOBTOTTTTTTOBTOBTTTOBTOBTOBOOTOOOBOTOBOTOBTOBTOOTOBTOOBBTOBTOBBBBBTOTTTOBTOBTOTOBTOBOTOBTOOTOBTOTOBOOOBTOBTOBTOBBBOBBBTOBTOBTTOTOTOBOOOTOOOBBTOBOBOBBBBBTOBTTOBTOTTTOTOBOBTOTOBOTOOOOTOTOTOOBBBBBBTOBTTOBTTOBTTOTTOBTOOTOOOOTOOOOTOBBBBBBBBBOBOBTOBTTTTOBTTOBTOBTOOBTOOOOOOBOOOOTOBBTOBBBBBBBBTTTOBOOOOOOOOTOOOOBBBBBBBTTTTOTTTTTTTOOTOOOOOOOOOOTOBBTOBBBBBBTOBTOBTTTTOBOBOOOOOOBOOBBTOBBBBBBTTOTOTTTOBOOOBOOOBBBBTOBTTTTOOTOOOOOTOBBBBBBBTTTTOOBOOOOOBBBBBOBOBTTTTTTOOOTOTOBBBTTTTTOBOOTOOOOBBBBBBBBOBTTTOBOOOOOOBBOBBBOBTTTOOOOOOBBBBTTTTTTTOOOOOOOBBTTTTTTOOBBTTOOOOBBBBBTOOBBOBBBOOOOOOBBER EEERERERRERERERREEEEEEREEEEERERRRRERERERERERREEEEEEEEEERRRERRRRERRRREREEEEEEEEEEERRERRERRRRRRRREEEEEEEEEERRRRRRRERRRREEEEEEEEEEERERRRERRRRRRREEEEEEEEEERRRRERRREEEEEEERRRRREEEEEEEEERRRRRRREEEERRRRREREEEEEEERERRREEEEEEERERER EEER RRRRR EEEEERRRRREEEEEEEEER R EEEEEEEEEREEEEEEEEEEEEEEEEEEREEEEEEEEEER 2012202012201220120122012012000020202010020020100111201111201201220122201202012220122001201201012000001200201201111112012220120202201222220120120101002010020111120122012012022220200002012010011112222222012201020100201020201202012011110122222222010012011120222222010001112201220122202220201010222222001220200201222012201220120020120101222222200001012200000020220201220122000122200122001111111 •11 • •1111 •111111111111 •11111 •111111111111111111111111111111111111111111111111111 11111 DESDESDESDESDESDESDESDEDESDESDEDDEDEDESEDEESDESSDESSDESSSSDESDESDESDESDESDESDESDDESDESDDDESDESDDESESDEEEDEEEEESSSDESSDESDESDESDESDDDDDESDESDESDEDEEESEEEDEDESSDESDESDDESDESDESDDESEEEEEEEESSSDESSDESSSDESDESDESDEDEESSSESDESDDESDESEESSDESDESDESDESDDESSSDESDESDESSD SDESDDESDESSDDD SDDD SDESDESESSSDESSSD SSSSDDDESSSIGIGIGIGNIGNGNGIGNGNGIGNGNIGNGNGNIGIGGNGNIGNNGNIGNNIGGNGNIGIGGNGIGIGNNNNNNNNNGNGNNGNGNGNGGNNNNNNNNNNNNNIGGIGGNIGNNNNNNNNNNNGNGGIGGNNNNNNNNNNNGGGGIGNNNNNNNNGNNGGGGGGNIGNNGNNNNNNIGNGNGNGNNIGNGNGNIGNIGGNNNNNGNNGNNNIGNIGGGIGNNGNNGGNNGNGNNNGNNGNGGNNGNGNIGNIGGNNNGIGGGNGNNNNNIGNNNNGGGGIGNNNNNNIGGGGNNNNNGGGIGNNNNNNIIGGGGNNNNNIGNGGGGNIGGGGGGGGGGGGG MAM MA MA MA MA MAMMAMAMAMA MAMAMMMAMAMAMAMAMAMMMMAMAMAMAMMMAAMMAMMAAMAMMAMAM TRITRITRITRITRITRTRITRTRITRTRITRITRITRTRTRITRITRITRTRRTRIIRITRITRITRIITT IRIIITRRRRRIIRIRIRRIRIIRRRRRRRIRRIRRRRRIIIIXX XX XXXX XX XXXXXXXXXXXXXXXXXXX XXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXXX XXXXXXXX XXXXXXXXX XXXXXXXXXXXXXXXXXXX XXXXX 5555555559595959595959995995999595599595999999555555999999595959959555599995995959959595959555555995959959959595959595995959595959955555555595959595955555599955555595955595959555555955955955995955555959559599999999999959595999599995959959999955999999995555955995999559599999555999555559999
“A wedding card re ects the status of the parties concerned and is indicative of the kind of wedding you are being
invited to – extravagant, rich, simple...”
The wedding invite is no longer the
demure calligraphic artistry that once was,
but mastery of integrated solutions that
spell chic and are symbolic of social stature
and progressive outlook. “A wedding card
refl ects the status of the parties concerned
and is indicative of the kind of wedding
you are being invited to – extravagant, rich,
simple, you name it,” informs Nilesh Parekh,
Partner, Parekh Cards, leading manufactur-
ers of Indian wedding invitations based in
Mumbai. “This important element, which
once formed only a miniscule part of the
entire grand brigade, is today an iterant
indication of one’s social status and spend-
ing prowess,” he continues, “And the bud-
gets are no mean feat either.”
The entire concept of the wedding
invite has seen a sea change over the last
decade. Certain western motifs and use
of more refi ned materials have silently
entered the wedding card market as a
‘fusion’ of ideas and mindsets, where tradi-
tional ways have mingled, and co-exist with
open-minded perspectives. Calligraphic
art, which was once the ultimate diktat of
a wedding card design has made way for
more elaborate printing techniques, and
paper is not the only substrate in use. Acryl-
ic, cardboard, glossy foil, satin-brocade fi n-
ishes, etc. are some among a host of base-
material options. The overall look and feel
is one that demands exclusivity and there
is nothing to delimit the creativity quotient.
Where the quality of paper and print-
ing is an absolutely ‘no-compromise’ issue,
and aesthetics are high in avatars that spell
chic and sophistication, religious crypto-
grams and designs have made way for
neutral thematics, welcoming fresh colour
palettes and trimmings. Of course, this does
not negate the conventional set-ups. Those
are still very much a ritual, but are open to
being fi ne-tuned with innovative elements.
Innovation is where the name Ravish
Kapoor makes a grand entry. In the fi eld of
‘innovative invitations’ for almost a decade,
the brand brings you customized solutions
and is best approached at least two months
before the grand day. “It takes a few meet-
ings to understand client requirements
and to ideate and seek his approval. Then
comes the productionization part,” says
Surbhi, designer at the Ravish Kapoor studio
of Innovative Invitations in Mumbai. Each
request is handled exclusively and each
invitation designed to perfection, integrat-
ing the mandatory ‘gift’ with the invitation
card. Themes are developed and discussed;
colours and material are personalized to the
needs and wants of the client and voilà, a
new tailor-made concept in sync with the
client’s sensibilities is readied for posterity.
Gone are also the days when nothing
less than a kilo of mithai or a box of rich dry-
fruit spelt the social stratum. “Nowadays,
people understand that the gift with the
wedding card is a solemn shagun; the quan-
tity no longer matters, the quality of the
gift does. With mithai, dry-fruit and home-
made chocolates passé, gifting options are
taking on novel dimensions – fl avoured
honey, khajoor, home-grown fragrances, sil-
ver leafed and gold plated murtis, silver bars,
not to mention a ground-breaking initiative
that marked a hi-profi le wedding with a
pre-programmed cell phone as the beauti-
fully packaged wedding card cum gift!
“It is a convenience that we off er when
we integrate the whole package,” elabo-
rates Surbhi. “Often, people want more
than a single type of wedding gift, to be
given at diff erent occasions to diff erent
sets of people. Here, we create coordinat-
ed settings according to tastes and sensi-
bilities. The wedding cards and gifts can
also be personalized with the names of the
individual guests. “These are little things
that inadvertently underline the emotions
attached to the occasion and the people
involved; it is a method of reaching
out to near and dear ones in a
way that says ‘I’m glad you
are there for me’. It com-
bines umpteen senti-
ments that get min-
gled in an all-inclusive
package of gratitude
for favours granted,
presents received, sup-
port systems ensured,
and the like.
And it is this emotional response that
makes today’s weddings a grandiose aff air.
Budgets are often not a constraint as people
are willing to traverse the extra mile for the
extra edge. They demand exclusivity and
style. While there are the unique personal-
ized and custom options as Ravish Kapoor
studio, there are also the Parekh Cards kind
of retailers who are absolutely in sync with
market trends and tend to introduce close
to a hundred new designs every year to
reach out to a wider spectrum of society,
who want inimitability within the reach of
their pockets.
So, whether it is a card made of silver
tissue-fi nish paper, or a stunning rich colour
shimmer-fi nish card with kundans and gold
laser-cut patterns, out-of-the-box invita-
tions have given the wedding card, and
thus the couple, a special place, etched in
memory for posterity
Design Matrix_Sept-Oct11.indb 59Design Matrix_Sept-Oct11.indb 59 8/26/2011 5:28:57 PM8/26/2011 5:28:57 PM
60 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
Words & Images: Nils Ferber
Nils Ferber enunciates his belief in design as a medium of communication, to initiate discussion and provoke new thought.
IS THE KEYRELEVANCE
Design Matrix_Sept-Oct11.indb 60Design Matrix_Sept-Oct11.indb 60 8/26/2011 5:29:17 PM8/26/2011 5:29:17 PM
SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 61
Myspace
Design Matrix_Sept-Oct11.indb 61Design Matrix_Sept-Oct11.indb 61 8/26/2011 5:29:35 PM8/26/2011 5:29:35 PM
62 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
Sometimes I wish I could still believe
in the idea that the designer‘s role
is to provide material wealth to the
masses. Finding ways to produce appeal-
ing and aff ordable products in high quan-
tities in order to make them available to
everyone, actually sounds like a respect-
able task; the only drawback is that accom-
plishing this is not easy.
In our industrialized society, the con-
sumption of products has exceeded our
actual needs by far; and has become a
serious problem for the earth‘s ecosystems
and an equitable distribution of available
resources. We are currently living at the
expense of the third world and are taking
a huge loan from our future generations.
Therefore, it is an enormous but inevitable
challenge to transform our squandering
lifestyle into a society that is based on
renewable resources and ecological limits.
Being aware of these problems and
feeling the urgent need to rethink our
lifestyle also makes me furious to see how
design is often used to sell the same need-
less stuff again and again.
Nonetheless, I love working as a
designer. And that is not because I want to
fuel the thriftless consumption even more;
but because I believe in design‘s potential
to alter reality. When I am working on proj-
ects, I don‘t think about having them mass
produced later. I don‘t see my objects as
prototypes for the industry. I rather con-
sider my works as tools to initiate discus-
sions and provoke new thoughts. In this
way design can act as a communication
medium to visualize abstract thoughts
and ideas to make them understandable.
By presenting a design concept to
someone, one always shows how things
could be. That also implies to question
why things are just as they are. Even when
a new design concept is not realized and
has no direct eff ects, it still opens up room
for discussions and thoughts that stretch
from status quo to the concept’s fi ction.
Therefore, I understand design as a tool
to debate and create our future instead of
just letting it happen.
To give you an example of what I am
talking about: The project “EX” is a three-
wheeled, screwdriver-powered vehicle
that can accelerate its driver up to 30 km/
hr. If you look at the vehicle from an indus-
trial or commercial perspective, it prob-
ably appears to you as completely point-
less. It is too slow to compete with real
motor vehicles; the batteries won‘t last
long and there is pretty much no place
where you could drive it. But as you can
imagine, that‘s not really the point here.
Instead of designing the next sports car
TwOne glowing ring tells you that there is slightly increased radiation coming from yourWhen there is no increased radiation measureable all OLED rings remain off.
Design Matrix_Sept-Oct11.indb 62Design Matrix_Sept-Oct11.indb 62 8/26/2011 5:29:38 PM8/26/2011 5:29:38 PM
SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 63
with a huge but heavy engine, we wanted
to use a very limited power source and
create a vehicle that still looks dynamic,
aggressive and spectacular while provid-
ing a lot of driving fun. Everyone knows
how little torque you gain from screw-
drivers and therefore there is the direct
association of the amount of power one
can deal with. But despite the screwdriver
engines, it is surprisingly exciting to drive
the “EX” and with one‘s head close to the
ground, it defi nitely feels fast enough. So
the “EX” proves that using smaller engines
is not necessarily a loss of driving fun but
can open up room for completely new
transportation concepts. You begin by
questioning cars as luxurious and exces-
sive status symbols.
Another project of mine is the “Fuku-
shima Plate” that I conceptualized shortly
after the nuclear catastrophe in Japan. It
is an ordinary kitchen plate with built-in
radioactive metre and LED rings to visu-
alize food’s level of contamination. What
seems like a real product on fi rst sight is
actually my ironic comment on how I
expect our technology-religious society
to fi ght the risks of nuclear power. I was
almost waiting for a product like this after
the Fukushima accident. Not because it
would solve anything, but simply because
people would buy it. So it didn‘t really sur-
prise me that there were a lot of people
asking me where to buy the plate but no
one wondered how it worked or whether
it could protect you from nuclear radiation
reliably. And if that doesn‘t make you think,
here are some other questions I wanted to
raise with the “Fukushima Plate”: What will
happen to those who cannot aff ord their
own plate? Will superfi cial innovations
like this aff ect our estimation of nuclear
power‘s risks? Are we willing to accept an
increasing number of electronic aids to
make our polluted environment inhabit-
able again?
There are plenty such questions in all
fi elds of societal and technological devel-
opments and I think designers should
imply such questions in their work. The
future will somehow happen anyway. But
by asking questions and proposing ideas
today, we can moderate and negotiate the
process of future becoming reality. We can
choose from a broad variety of possible
futures and decide which way we want
to go. Showing some of the possibilities
and encouraging people to actively shape
their future is what really drives me as a
designer. And I know that there are scores
of like-minded creatives out there some-
where, who share the belief that relevance
is the key to good design
Two glowing rings mean there is significantly inreased radiation and your dish is notour The red ring tells you that the measured dose of radiation is beyond the limiting valu
Design Matrix_Sept-Oct11.indb 63Design Matrix_Sept-Oct11.indb 63 8/26/2011 5:30:18 PM8/26/2011 5:30:18 PM
64 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
While urbanization has been a
boon to mankind on the one
hand, our clock-patterned
city life has been greatly compromised by
space and greenery. A kitchen and dining
room combined; treadmill in the corner of
the living room for a gym; and the washing
machine in the bedroom, are only but a few
instances of cramped spaces. A green corner
then, apart from of a little bamboo plant on
the desk and a money plant on the kitchen
sill is almost non-existent.
But nature is a natural healer and people
turn to gardening as therapy, as a hobby, to
eat organically or to enjoy the simple joys in
life. An edible garden within your own home
is a healthy trend that seems to be catch-
ing on; and lack of space is not a deterrent
here. “You can grow methi (fenugreek) or
coriander in an old carton of yoghurt,” says
Vaibhav Dugar. Dugar is the co-founder of
an organization called Ek Titli that conducts
workshops on organic gardening. Started
10 months ago in Pune, mostly because
he was tired of eating vegetables sprinkled
with pesticides, Dugar helps you grow your
own vegetables and teaches you everything
there is to learn about seeding, taking care of
the soil, watering, harvesting and more.
If you are imagining hours spent toiling
over manure, seeding and harvesting, let
me assure you, it’s a lot easier and the joy
of a bountiful garden is worth its value in
gold. “You need to spend just about 10-15
minutes a day watering your plants,” says
Dugar; and involving all members of the
family in the upkeep of the garden is gener-
ally a good idea, he advises.
The fi rst step towards creating your
own garden is planning. Restricted space
means you can’t grow every plant you
wish to. Start slow. Pick something simple;
make sure you pick a location that receives
adequate sunlight and shade and set a
time specifi cally to water them. Every once
in a while, trim the dried leaves. If you plan
to grow fl owers, consider colours that will
complement the colour palette of your
room, ushering in joy and vibrancy.
Once the plants are growing success-
fully, you can beautify decorate them in
any way you like. “An advantage of living
in a city like Bengaluru is that I have space
to create a green patch right behind my
house. I buy plain earthen pots and paint
them myself and I have three stone animals
around my cacti collection; a turtle and
two frogs. They just add a little fun ele-
ment,” says Jaya V, a housewife who started
her own garden over ten years ago. “I only
decided to grow edible plants recently. I
started with basil, mint and lemons. Now
I also have tomatoes, chillies; and I’ve just
planted pumpkin seeds and hopefully, I’ll
have beautiful vine growing soon.”
For those who do not enjoy the luxury
We discover that squeezing a little garden in a cramped space isn’t as hard as you think – just stick your green thumb out.
Words: Sharanya S; Images: Mohnish Dabhoya
HOMETHE
TURF
Landscapedesign
Design Matrix_Sept-Oct11.indb 64Design Matrix_Sept-Oct11.indb 64 8/26/2011 5:30:56 PM8/26/2011 5:30:56 PM
SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 65
Coriander Use a container of any size and make a hole at the bottom. Fill it with a layer of
gravel and then put soil on top. Crush a few coriander seeds and add them to
the container with a small layer of sand over it. A bunch of coriander leaves will
be fl ourishing in less than a month.
Chillies Slit a few chillies and spread the seeds in a pot. They will start sprouting in a
week or so.
Mint Mint grows just like coriander does and needs a small container. Make sure you
cut the dead leaves or it will continue to sap all the nutrients.
Beans Beans grow in a vine so you can twist them around a grill of your window or a
pole.
Tomatoes Tomatoes need more space and a small pot won’t do. Cut a small tomato
into pieces and plant them in soil. Use a big, deep pot and make sure there is
enough space for the plant as it grows. They take almost a month or more to
start sprouting. You can even try and plant cherry tomatoes.
of a backyard, there are many space-saving
techniques that can be employed. The
simplest being, pots that hang from roofs
of balconies, or off balcony railings. A verti-
cal rack that lets you set a number of pots
anywhere close to a light source is an eff ec-
tive way to bring in some green into the
room. Decorated pots also lend a touch of
colour to the garden. Those lucky to have a
terrace or a verandah can place stone fi gu-
rines, cob stones, mini-fountains or even
a bright colourful bench to complement
their plants If you’re a DIY kind of person,
you can recycle old chipped mugs, buckets
or teapots and grow plants in them. You
can even grow an assortment of herbs in a
large wok or deep dish.
While the benefi ts of plants in the house
are several, a little patch inside your house,
born out of your eff orts can provide you with
a peaceful haven of clean, pure air and, to say
the least, the thriving beauty is a jackpot
SALAD BARGet down and dirty, here’s how:
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66 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
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Artytechture
The fascinating creativity that goes into chiselling speakers is nothing
short of a work of art.
A-BOXYJACKETS
Words: Varun Godinho, Images: courtesy Bang & Olufsen
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68 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
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SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 69
I f you’ve looked at a speaker and thought
that it was part art and part science, then
you’re probably looking at the latest range of
speakers to come out of the factories (some call
them design studios and sound laboratories) of
few of the world’s leading speaker manufacturers.
These magnifi cent pieces aren’t physics
experiments hijacked by product designers with
absolute disregard for convention. They are the
outcome of designers who have spent decades,
not thinking ‘out-of-the-box’, but rather ‘outside-
the-cabinet’. “There was really quite a tradition
about how speakers looked for a long time;
and they came from the way you could make
them and had to go on making them— and
they were boxes,” said Kenneth Grange, the
former chief designer at Bowers & Wilkins in an
interview with the B&W Society of Sound. “The
box was the dominating form. The cabinet, as I
call it, is a natural piece of furniture [of the living
room]. And I think, it poses the fi rst big question
whether hi-fi is a piece of equipment or a piece
of furniture. And I think that’s the designer’s
dilemma,” he had continued.
Such designer’s dilemmas are often resolved
by unconventional methods. David Lewis, chief
designer at Bang & Olufsen since the ’60s, has
apparently worked in a silo, barring a minimum lev-
el of interaction with his team members. He report-
edly visits the offi ce every other week for just a day
and uses the intervening days to mull over brilliant
concepts, which he then focuses into execution on
that single day. He also claims that the designers at
Bang & Olufsen do not associate with each other.
This unusual method of heightening the creative
instinct of designers has worked for them.
At work, Lewis uses cardboard when design-
ing his speakers and not paper and pencil. Mal-
leable and tangible, it serves him an added
advantage when designing his product. Grange
was an industrial designer credited with working
on designs ranging from Kodak cameras to Ken-
wood food mixers. Lewis worked on designs for
refrigerators with Vestfrost. What their power to
think laterally gave him, apart from the ability to
work as comfortably with optical lenses and cool-
ing compressors as with acoustics, was an under-
standing of design as a means of communication.
The speaker designs by both Lewis and Grange
took on forms that ranged from hexagonal and
round to oblong and irregular.
But at what point does “bold and diff erent”,
become an esoteric practice, where the design
isn’t universally appealing and is more likely to be
the self-indulgent pursuit of a designer? “There’s
an element of selfi shness in this,” says Grange. “I
think every designer should want to own and live
with what he or she designs. Therefore, I wanted
to live with my designs and therefore, I could
begin to see them in my home, which is a mix-
ture of old and new, and furniture and function,”
said Grange. For some pieces, like the Fergusson
Hill FH001 horn speaker, the design has just shat-
tered every notion of what a living-room speaker
must resemble. The nearly 1.65m tall horn made
of perfectly see-through acrylic is said to deliver
sound that is as good as it looks. At approximately
Rs. 9 lakh, they don’t come cheap.
Another stunning speaker is the Nautilius
that was the product of fi ve years of research led
by Lewis. These are pieces beautiful enough to
be lifted from your living-room and curated in
a museum. And some of them are. The Nautilus
and B&W Signature Diamond speakers by Grange
are part of the collection housed at the Design
Museum, London. Several Bang & Olufsen pieces
by Lewis, including the svelte BeoLab6000, are
part of the permanent collection at the Museum
of Modern Art, New York.
The pursuit by designers for a median that
blends lifestyle with functionality, led to creations
like the beautiful BeoLab 4000 speaker. This
speaker is as tall as a book and narrow as a tome,
designed by Bang & Olufsen’s Lewis, specifi cally
to stand inconspicuously in a bookshelf. Another
example is JBL’s Control Now two-way satellite
quarter-round-shaped speakers, two of which can
be attached to form a semi-circle that can then be
mounted on a wall or even on the edge of a wall. At
approximately Rs 20,000 a pair, this is where design
runs parallel to aff ordability. Although Bose’s col-
lection includes speakers with sharp edges and
unimaginative designs at large, the quality of their
sound especially that from the 5.1 Channel Home
Theatre Speakers and even their Bose Wave music
system packs a punch several times its size. So here
appearance takes a backseat.
The larger picture, however avers to the evolv-
ing design of speakers from top notch brands. The
proverbial household ‘sound-boxes’ aren’t merely
objects placed in a living room they stand as dis-
tinct objects within a space
They are the outcome of
designers who have spent
decades, not thinking ‘out-
of-the-box’, but rather ‘outside-
the-cabinet’.
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70 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
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These magnificent pieces aren’t physics experiments hijacked by product designers
with absolute disregard for convention.
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72 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
Conversations
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SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 73
Words: Priyanka Mathur; Images: courtesy Anju Kumar
When it comes to sculptures, Anju Kumar has become a name to reckon with. Her latest Ganesha collection is just a glimpse of what is in store for art-lovers.
MOULDED TO
PERFECTION
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74 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
T he art of sculpting is an age-old one;
this is an expression that continues
to fl ourish with its evergreen three-
dimensional appeal for the simplicity with
which it can be understood.. There was a
time when sculpting was a means of liveli-
hood in ancient civilizations. Over a period
of time, this art form managed to wind its
way into the inner circles of urban contem-
porary society, moving from the realm of
traditional expression to one of ubër-chic.
How a work of art is created from
a lump of clay is something that would
intrigue any art-lover, and Anju Kumar is
no diff erent. This Delhi-based artist fi rst
dabbed her hands in mud about 20 years
ago. She says, “It is said that creativity
knows no bounds. This holds very true for
me. Sculptures, paintings, pottery…all are
creative works that are close to my heart.
My school encouraged creativity in all
forms. However, the seed of my passion for
pottery was sown only in grades 11 and 12.
I owe my strong foundations to my won-
derful school and dedicated teachers.”
What started off merely as a hobby
soon grew into a full-fl edged profession.
With more than 80 solo exhibitions under
her belt, Anju has defi nitely arrived.
Shut away in her basement studio,
this self-taught artist spends long hours
experimenting with mediums and design.
Putting her creativity to good use, she has
been able to come up with fascinating and
unique shapes in diff erent mediums, such
as wood, matte, leather and metal. She has
created a range of earthen vases in gold
and copper hues, exquisitely carved vases
in metallic tones with embossed fl oral pat-
terns, and the like.
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SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 75
Apart from making pottery, Anju cre-
ates garden sculptures, vases, urlis, garden
furniture, and murals in diff erent materi-
als. She has also decorated homes for the
who’s who of Delhi, worked for the Jaypee
Chain of Hotels, The Radisson Hotel, The
Oberoi Group of Hotels, Hotel Ibis, The
Fortune Group of Hotels, OVL, Petronet,
ONGC, The Jindal University, The Saagar
School, to name a few.
Recently, Anju unveiled her Ganesha
collection, called the “5 Looks of Ganesha”.
Like most artists, she explains her fascina-
tion with Ganesha, “Sculptures, in par-
ticular Ganeshas, are something I love to
create as I am spiritually attached to Him.
His blessings give me happiness and pros-
perity. I have been creating Ganeshas in
diff erent moods and forms from the time
I held my fi rst show in 1990 and though I
also love to do Buddhas in abstract forms, I
do enjoy making Ganpatis the most.”
About her recent collection, she says,
“The handcrafted vases and sculptures
that I have created are a part of the Neo-
Paleo collection. Also, apart from giving off
a positive Zen-like aura, they add elegance
and beauty to any corner. Earthen vases
are eco-friendly, add warmth and bring
an outdoor feel in the interiors. They also
make ideal gift items.”
With a new design studio in Gur-
gaon, Anju continues to exercise her
individuality as a studio potter revising
traditional shapes, sizes, and designs into
modern day design ethos while retain-
ing traditional ways of manufacture. The
self-taught potter infuses vibrancy in her
works through a host of textural tech-
niques and colours
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76 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
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A Ph. D. student of Sculpture Art in the monuments of Gujarat,
Dharti Patel traces the male and female costumes, hair-dos and
head-dresses of Gujarat’s Solanki dynasty – a period recognized
for traditional art by harmonious reconciling of the classicist style
of emphasizing garments of the late 9th century. She chronicles
hairstyles like Alakchura, Ghammil, Kuntal; costumes like Sari,
Dhoti, Uttariya, Duppatta; also ornaments like the Katimekhla and
Katiband that were used as costumes.
SCULPTURESDRESSING THE
Photofeature
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78 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
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SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 79
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80 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
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SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 81
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82 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
Retaildesign
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SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 83
SPACED OUTWord: Varun Godinho; Images: Prashant Bhat, courtesy the designer
Rupal Bhat and her team of interior designers just completed a back-to-the-basics exercise of renovating
the Durian showroom in Mumbai.
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84 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
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SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 85
Durian’s showroom in downtown
Mumbai, has been around for
12 years. You’d be forgiven if you
didn’t know it existed, especially since it
is tucked away in a non-descript lane off
Dr. E Moses Road in Worli. Shilpi Dokania,
director at Durian Furniture, enlisted the
services of Rupal Bhat and her design team
at AR Intertect to make it distinctive from
the clutter of furniture showrooms that
dot the surrounding area. Given the 6,000
square feet showroom, spread across two
levels, in a part of the city where every
square inch of retail and residential space is
worth its weight in gold, it made sense to
re-do the look of the retail space to make
every inch count.
“We wanted to re-launch the show-
room. The shell had to be retained while
undertaking the project. We could not shut
the store, which is why we had to com-
plete the work phased out in sections,”
Shilpi explains. Working with a well-known
national brand that off ers a collection of
neo-classic, art deco, and modern furni-
ture, Rupal decided to meet these designs
mid-way – by placing them in a contempo-
rary ambiance as far as the interior design
scheme was concerned. Her team began
by opening the space that formerly seemed
cluttered. They opened the false ceiling,
plugged the leakages, re-laid the carpeting
on the top fl oor, installed an LCD display-
ing the catalogue of the store’s collection,
and made all necessary surface alterations
in keeping with the new look. The railing
on the top fl oor of the atria, POP walls and
IPS stone fl ooring on the ground fl oor, were
left as they were. The project was complet-
ed within a record time of six weeks. “Each
of our 50 stores across the country sport a
look that is city-specifi c. So, while in Delhi
we would require opulence with marble to
impart a rich look; in Mumbai there is no
need to be showy. Here, you are catering to
the well-travelled and affl uent sections of
society,” says Shilpi.
A furniture store commands a dynamic
layout with its ever-changing range on dis-
play. Durian isn’t an exception. The inven-
tory keeps changing to refl ect changing
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86 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
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SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 87
The renovated showroom isn’t an opulent masterpiece, but a persistent back-to-the-basics exercise. The project was completed within a record time of six weeks.
“We wanted to re-launch the showroom. The shell had to be retained while undertaking the project. We could
not shut the store, which is why we had to complete the work phased out in sections,”
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88 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
trends and this would include an entire
range of furniture completely diff erent in
its shape and size than its predecessor.
Rupal has met this challenge by compart-
mentalizing the store into two distinctive
sections: the ground fl oor – a fi xed sec-
tion – is made available for home furniture;
while the upper level is for offi ce furniture.
But the arrangement of furniture within
each section is fl exible. The furniture dis-
play can be easily played with. Strategically
positioned track lights serve two purposes
A furniture store commands a
dynamic layout with its ever-
changing range on display.
– become navigational pathways for cus-
tomers; and being adjustable, they eff ec-
tively light up the constantly-changing
range on display.
The renovated showroom isn’t an opu-
lent masterpiece, but a persistent back-
to-the-basics exercise. The aim of giving
customers a simple, yet classy habitat that
doesn’t overpower the furniture it houses,
is one of the most distinctive features of this
store that is defi nitely turning more heads
than it did before
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90 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
Youthforum
Words: Savitha Hira; Illustrations: ©Ola Mirecka, courtesy Erik de Laurens
SOLUTIONSFANCY
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SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 91
Exploring the realm of materials by challenging what they are and asking what they could be, product designer
Erik de Laurens endeavours to create new materials from everyday objects.
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92 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
My work challenges assump-
tions that one can have on the
definition of industry in order
to propose alternatives,” says product
designer Erik de Laurens, who just gradu-
ated from the Royal College of Arts, Lon-
don and exhibited his innovative ideas at
the institutions’ annual show in the last
week of June 2011.
Constantly striving to seek design alter-
natives that could have implications in the
social and economical realm, the young
man has a host of innovative products to
his credit. While the material is as unusual as
the application is common, it goes to show
what the calibrated mind can accomplish
when it ticks in the ‘now’ and ‘beyond’.
Erik’s fi rst product that stands out for its
sustainable design is what he calls “The Fish
Feast”. A water dispenser made with fi sh
leather; tumblers realized with fi sh scales
and a table cloth patterned to explain how
to build your own boat. In his words, “The
fi sh feast started when I was asked to design
objects for the canteen of a primary school
of Macassar, a township of Cape Town.
When I was a kid, the sea was for me a very
important source of joy and daydream,
which surely led me to design. I decided to
create a monthly event in which the pupils
of one class would be brought for a ‘fi sh-
ing day’ to a nearby beach. They would
then go back to school with the fi sh they
have caught, and prepare the traditional
cape kedgeree. To accompany this feast, I
designed a range of objects related to fi sh.”
In continuation of ‘the fi sh feast’, Erik
created a surprising material made of
100% fi sh scales (no added compound).
He explains, “The fi shing industry gener-
ates several circumstances where many
tons of fi sh scales are leftover. Using this
waste as resources for the production of
fi sh-scale-plastic, I tried to highlight the
potentiality of these industrial fl aws.” In
order to test the material, he has designed
three pairs of goggles and glasses inspired
by swimming goggles and a table with
a fi sh inlay. Further, he has extended
the range of colours in the previously
designed fi sh-scale tumblers.
His other project called “The Milk Proj-
ect” questions the production of plastics
and works on the revival of casein plastic
as a regional product produced by dairy
farms. “These materials are so present in
our lives that they have become indispens-
able. But they are meant to get even more
expensive over the next few years due to
the rarefaction of resources. Therefore it is
legitimate to try to fi nd other ways of pro-
ducing them,” says Erik.
Based on the theory of reviving the use
of casein (milk) plastic to produce various
objects, the young man evaluates the cost
ratio of oil-based plastics to the milk plastic
and fi nds that oil is worth three times the
price of milk; hence it is only logical to try to
revive the milk plastic material. He has it all
worked out: Today dairy farms are the keep-
ers of their region’s identity; anything they
produce, whether it is milk, cheese, butter,
cream or yoghurt, is evidence that things
can remain simple, honest and authentic.
This huge cultural content is a force that
other plastics cannot compete with.
“Further,” says Erik, “The process of
making this plastic is somewhat similar to
the process of cheese making and could
easily be produced by a dairy. Moreover, it
would require no further equipment.”
Erik has recently exhibited a selection
of his research and latest work during the
graduation show 2011 at the Royal College
of Art. His work has been shortlisted for the
‘Sustain RCA Award 2011’. He will show his
work in the Sustain exhibition, which will
take place during the London design week
in September 2011.
Raring to go, the young lad is presently
looking to push both these developments.
We wish him all the best
“The shing industry generates several
circumstances where many tons of sh scales are leftover. Using this waste as resources for the production of sh-scale-plastic, I tried to
highlight the potentiality of these industrial aws.”
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SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 93
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94 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
Musings
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SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 95
Words: Priyanka Mathur; images: courtesy Time Out, Mumbai.
What is it like to be surrounded by brilliant pieces of art? What helps you decide which
is worth showcasing? What does being a curator mean?
THE
ARTOF THE MATTER
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96 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
For many, art is chiefl y about aesthet-
ics. What looks beautiful is what
counts. However, to a trained eye, art
is not just about aesthetics. It is about the
story it narrates; the era it represents; even
the making of potential artistic infl uences.
Masterpieces like Leonardo Da Vinci’s The
Last Supper and The Mona Lisa, Botticelli’s
The Birth of Venus, Michaelangelo’s David
and The Pieta and Pablo Picasso’s Les Dem-
oiselles d’Avignon are some great works of
art that, apart from detailed artistry, repre-
sent thought processes of the times they
were created in – perhaps that is why these
paintings, withstanding the tests of time,
are considered as masterpieces.
Museums around the world house sev-
eral works of art, most of which date back
hundreds of years. Galleries are rampant
and form a fundamental institutional link
between the art lover and the artist. This
brings us to some key questions: Who cares
for these works of art? How are these works
valued? How are they selected for exhibi-
tions? This is where the curator steps in.
Susan Hapgood, director, Mumbai
Art Room and Senior Advisor, Indepen-
dent Curators International (ICI), New York,
enlightens. “An art curator is a person who
cares for works of art, manages an art col-
lection, organizes art exhibitions, or any
combination of these functions, as his /her
primary responsibilities,” she says. “The job
has been compared to being a producer or
a conductor or a deejay, and these are all
apt references as well.”
Well-known curator Girish Shahane
puts it simply, “A curator is a person who
looks after a museum’s collection and orga-
nizes its display. In recent years, the term has
come to be used for persons who concep-
tualize temporary art exhibitions.”
Since art is subjective as a theme, the
approach given to a particular work of art
varies from curator to curator. It is up to
him/her to decide what kinds of works
should be put on display. However, in order
to be able to distinguish one work of art as
‘more deserving’ than the other, diff erent
kinds of expertise are integral to being a
curator of visual art.
Susan says, “What is of utmost impor-
tance is visual sensitivity and breadth of visu-
al experience. Other key expertise needed is
knowledge of the kind of art one is working
with, study of art history, awareness of cura-
torial methodologies, and writing skills.”
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SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 97
Artist and curator, Bose Krishnamachari
concurs, “A curator should be equipped
with awareness about all contemporary art-
related practices that include architecture,
fashion, photography, design, new media,
video and cinema, etc.” He feels that the-
ory and practice should go hand-in-hand.
Where am I curating? Who is the audience?
How is the space? Such issues need to be
addressed. “I would closely look at the nit-
ty-gritty – invitation design, typography,
catalogues, interviews, etc., in addition to
making sure that everything is art-sensitive
in the space,” he concludes.
A curator also needs to have a good
understanding of another aspect: commer-
cial viability. Art and commerce are linked
together. As Girish explains, ‘‘The process of
curation, apart from other factors, depends
on whether it is a commercial or non-com-
mercial venture. The process begins with a
concept and selecting works of art or com-
missioning pieces that fi t the concept.’’
This process leads to another curatorial
aspect: how to decide the value of an art
work. Just as any other trade functions, the
art ‘trade’ functions based on market condi-
tions – i.e. by demand and supply, and what
people are willing to pay for it. Apart from
this, there are other practical, logistical,
conceptual, fi nancial, and political consid-
erations that need to be deliberated upon.
In recent times, Indian art is marching
ahead on the international radar. Susan
points out, “Unfortunately though, the fl ow
is rather one-dimensional, because not so
many foreign works fi nd their way into Indi-
an galleries, museums, auction houses, and
private collections. If there was more per-
meability to the incoming and outgoing,
the art scene in India would be nurtured in
a more global way.” Indian artists, Bose and
Riyas Komu have made a commendable
stride in this direction by introducing India
to the global Biennale scenario. The Bien-
nale will be the fi rst international art festi-
val in India and will take place in Kochi and
Muziris in 2012. Partnering with the Muziris
Heritage Foundation, it will celebrate India’s
rich cultural and social heritage, showcas-
ing some of the world’s most engaging art-
ists, both established and emerging, from
India and abroad.
Equipped with profi ciency in the fi eld
and a keen eye, the role of a curator, is thus
becoming more well-defi ned and it is he/
she who plays a key role in the art world
‘‘Awareness about all contemporary art-related practices that could include architecture, fashion, photography, design, new media, video and cinema, etc. and a receptive and open mind towards the past/present art and cultural history is a must for a curator. Added to this, is his belief in himself and in his artists.’’
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98 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
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SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 99
This latest addition to the party scene in the Capital will pull at your dance-strings putting you among the A-listers…
ELITESERENADING THE
Designpromo
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100 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
As the days move towards the week-
end, the mind starts planning for
it and a night out with friends is
a given. Now we give you an option that
is not just the latest to the party scene in
the Capital, but also has the potential to
become your most favoured – the night
club at The Lalit. This 10,000 sq. ft. multi-
level, state-of-the-art, shrine of aesthetic
innovation, opulence and music that was
Dr. Jyotsna Suri and her son Keshav’s vision
of indulgence, has been conceptualized by
Ar. Bobby Mukherjee and executed by The
Lalit project team. Calling it a shrine is only
apt, as exquisitely carved totem poles stand
on either side of the gold-gilded entrance,
clearly protecting its inner sanctum.
On stepping inside, one comprehends
the fusion brought alive in the form of
its decor – an artistic exploration of past
and present that is beautifully translated
into not just the ambiance but also in the
music that ranges from electro to pop,
from house to disco. The seating, lighting,
sound system, technology, all spell class,
while earthy shades, dark wood fl oors,
evocative sculptures sourced from Khaju-
raho depicting scenes from the Kama
Sutra, make one travel back in time, and
want to celebrate sexuality.
Adjacent to the main dance fl oor is the
The Salon – a mini nightclub within the
nightclub that comes equipped with its
own DJ console. Infl uences of India’s rich
cultural heritage can be felt within every
detail here. Luxurious tapestry in skilled
patchwork and intricately carved wooden
jaalis cover the walls, while bright fl uores-
cent LEDs add to the mood and give it a
contemporary essence.
A restricted and exclusive area aptly
named The List tells its own story. One of
the rooms depicts the power of energy
through a chandelier installation that is
the brain-child of Dr. Jyotsna and Keshav.
Another chamber in this area celebrates
fashionable India complete with a mini-
ramp that is the symbol of glamour. What’s
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SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 101
more, the privacy of the A-listers visiting
this area is also assured. Especially made
electronic key cards have been presented
to extremely select guests to enable them
free access to and from this area.
The nightclub also boasts of a Cham-
pagne Lounge – The Dressing Room –
that only serves the choicest of delectable
champagnes, sparkling wines and cocktails
made from the bubbly.
Also on off er at the club are its inimita-
ble range of branded merchandise – unique
and imaginatively designed products that
are fashionable but don’t lose out on that
essential fun factor! Starting with T-shirts
and fl ip-fl ops, plans are already underway
One of the rooms depicts the power of energy through a chandelier installation that is the
brain-child of Dr. Jyotsna Suri and her son Keshav, the Executive Director of the group. It shows a chandelier falling on
glass; breaks the glass but manages to stay intact.
to extend the line to include shoes, bags
and perfumes, among other chic items.
This newbie is also setting some
never-heard-before benchmarks. To dis-
courage drinking and driving, exclusive
pick and drop services are offered to
the guests. Apart from this, a variety of
special packages give enjoyment and
relaxation an all-new definition! A certain
sense of dignified and subtle aesthetic
has become inseparable from its identity.
The Lalit not only maintains its commit-
ment to being modern in its thought, yet,
not disconnected from its Indian roots,
but this addition to its family, takes it a
notch above the rest!
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L
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MAY-JUNE 2011 • DESIGN MATRIX 105
PRODUCT
Who said nothing good ever came out of a night of heavy drinking? Drinking mavens Chandni Shahani & Imran Rizvi, decided to sober up and design a range of bar accessories that were in line with their personalities. Wasted Fish the name of their venture is unique, quirky and cheered on by every drinker. Their products range from shot glasses, upscale wine glasses, decanters to ashtrays and even matchboxes. This range is individualistic, and unlike anything ones seen before.
www.wastedfi sh.com
Bar accessoriesfrom Wasted Fish
LAUNCH
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Dior
AquavivaAGBath Accessories from
Luxury of the fi nest kind will make its way into your bathroom with this set of gold bath accessories studded with Swarovski Crystals. The collection consists of a gel dispenser, brush holder, Q-Tip jar and a jar for cotton balls. Unabashedly high-end but with a touch of class, gleaming with the utmost perfection, this bathroom collection is bound to grab eyeballs. The AcquavivaAG collection is made with the latest techniques in metallurgy, resulting in products of the highest quality. These crystal encrusted accessories will complement dark tile, stone and wood bathrooms and add glamour to your space.
The new Dior VIII 33mm Quartz
from the House of Dior is chic,
refi ned and classic couture. The
watch is feminine and elegant
with a black high-tech ceramic
and stainless steel case. It has a
turning Bezel set with black ceramic
pyramids. The crown is set with a
black ceramic insert screwed with a
steel case-back. The dial has black
lacquer hand applied diamond
shaped indices.
www.dior.com
Watch from House of
Exclusively available at Bathline Sensations, A-232, Okhla Phase-1, New Delhi.
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MAY-JUNE 2011 • DESIGN MATRIX 107
Firefl y brings a range of lighting accessories that will instantly transform either your interiors or an outdoor space. Whether its illuminated plant pots up the garden path leading to your front door or a lampshade with an illuminated champagne bucket on a side table in the living room, Firefl y helps you ensure that your home and garden get a touch of class, elegance and luxury. Some of the products are custom made and can be brought out on special occasions. www.illuminatedpots.in
The Rosenthal studio-line collection presents a designed dining concept of porcelain,
glass, cutlery and accessories of excellent form and crafted by Precillia Urquiola.
The transparency, a major feature of high quality porcelain products, is particularly
evident in Urquiola’s design and refl ects Rosenthal’s many years of competence and
experience. The fi ne relief structure emphasises the shimmering eff ect of the wafer-
thin porcelain.
www.rosenthal.de
Illuminated Pots from
Firefly
Dining accessories by
rosenthal
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108 DESIGN MATRIX • MAY-JUNE 2011
Bedspreads from NAS Home This new line of bed linen from Nas Home has everything you need to bring a beautiful look to
your bedroom right from elegant and trendy designs, stunning shades to sturdy and comfy fabrics. This range of bedspreads includes comfortable cotton and trendy polyester, fl oral bedspread collections
and stylish bed covers made from specially hand picked natural fabrics. The shades used for this season are bright and bold shades adding elegance and style to your bedroom. This collection is also a merger of attractive prints, vibrant themes and ethnic motifs.
www.nashome.net
Elegant and spacious, wardrobes are an impor-tant part of the household and the new range of wardrobes from Kiwa. An IKian venture, will not only refl ect the elegance of your home but ignite a spark of fl amboyance and sophistication to the drawing room and bedroom. Kiwa’s latest innovation is the Falcon range of wardrobes with a matt fi nish on contemporary classic swing door compositions. The modern wardrobe from Kiwa is an amalgamation of attractive designs and functional traits and is designed to organize and distribute space.
www.forzza.in
Wardrobes from
Kiwa
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If you want to transform your conventional bathroom into a private spa, Al-lure Brilliant has the perfect fi ttings for you. A consistent design philosophy guarantees harmony throughout the product line and elongated cubes with chamfered edges rise from every faceted surface to meet at precisely defi ned intersections. The faucets’ most extraordinary feature is the spout and cut-out square “Aqua Window” that provides for a unique view of the water fl ow – a perfect marriage of function and design, allowing fl owing water to become an integral element of the product.
www.grohe.com
Horizons new range of LED lights (a massive 60 watt Luxo Brite EV07) guarantees you the
satisfaction of doing your bit to save the environment by saving no less than 700 per cent
more energy than your average traditional lighting. Besides this, the clean white light emitted
lasts almost double the time of other lights and is, in the long run, a design wonder and
excellent investment.
www.hle.co.in
Allure Brilliant Faucets from
Grohe
LED lighting from
Horizon
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110 DESIGN MATRIX • MAY-JUNE 2011
Living in Style brings you accessories that will brighten your home instantly. Where else will you get a smug white china cat to sit majestically on your mantelpiece or a magnifi cent black horse rearing its proud head, mane a fl utter? Imported from Italy, each accessory takes on its own indi-vidual character through meticulous hand work and attention to detail. These ceramic animal-shaped accessories will spruce-up your ambiance with their beauty and add a touch of the exotic to your home décor.
For more details contact 2877 3448
Animal shaped accessories from
Living in Style
Ganesha Idol from Episode Episode, the renowned silver brand in India, unveiled a large pure silver Ganesha close to the oc-
casion of Ganesh Chaturthi. This magnifi cent piece, the fi rst of the limited edition series, has been in the making for over a year by master craftsmen and Episode’s talented designers. The deity has been placed on a base made in onyx and dressed with exquisite hand-crafted jewellery.
www.episode.com
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MAY-JUNE 2011 • DESIGN MATRIX 111
Renaisaance Homez is a one-stop shop for elegant luxury furniture from leading brands of America and Europe. Rich fabrics, fabulous lighting and scores of unique accessories from renowned manufacturers are available to instantly transform your interiors. Every item is a fi ne harmony of distinct design and essential quality. Look out for the fabrics from Beacon Hill and Robert Allen that off er quality and durability in every inch.
www.rennaissancehomez.com
This colourful delightful set of bowls from Casa Bugatti are frivolous fun and a visual
delight. We fell for the bright eye-popping colours like fl ame orange, deep purple, electric
blue and moody grey. The cheese grated bowls come with spoons and have a SAN base.
They have a pure white lid and a polished, altogether delightful fi nish and are available at
the Home Collective store in Mumbai.
www.casabugatti.it
RennaissanceHomez
Casa BugattiGrated Cheese Bowl from
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JULY-AUGUST 2011 • DESIGN MATRIX 113
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114 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
DESIGN SHOW
GLOBAL OPEN
July saw Planet One infrastructure
inviting ace architect and well-
known sculptor Arzan Khambatta
along with internationally-renowned
architect, writer and Professor Will Alsop,
to unveil the logo of GODS – Global Open
Design Show – a platform where creative
minds from diverse design fi elds will meet
and exchange ideas. Alsop regards as
his architectural heroes Le Corbusier, Sir
John Soane, Mies van der Rohe and John
Vanbrugh. His avant-garde, modernist
buildings are usually distinguished by
their vibrant use of bright colour and
unusual forms.
The evening saw a congregation of
architects, designers and students of
design at Le Sutra Gallery eagerly awaiting
the interactive session with Professor
Alsop for what was a unique painting
session with young volunteers on a 8 ft.
x 6 ft. canvas in just over an hour, with
him giving a presentation on his design
process simultaneously. Everyone present
got a lesson in having fun while at work.
Global Open Design Show is
conceptualized as a one-of-its-kind show
that would bring together creative people
to interact with each other and enjoy
the experience. Designed like none else,
this show will be curated and presented
in an environment that suits the creative
mind – that of being free-spirited. The
guests will participate in presentations,
workshops, exhibitions, debates, quizzes
and a lot of other exciting activities.
The added attraction will be the locale
that will set the mood right from the
moment everyone receives the invite – it
is destination Goa!
Happenings
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SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 115
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116 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
COLLECTIVEA store with home accessories that can rival collections from homes across the globe.
Home Collective is a home accessories store that caters to bar accessories like
coaster sets, gardening utilities like bright jackets for your brown pots, and kitchen
essentials like storage boxes among other items from 27 brands. The inauguration
was a star-studded event. The chief guests– Ira and Lilette Dubey – were hobnobbing
with celebrities including Divya Palat, Suchitra Pillai and Nisha Jamvwal. The co-owners of
the store – Pooja Kejriwal and Anay Choksey – had a task at hand while playing host at
the event. Choksey, who is also known to be an excellent cook, personally welcomed the
addition of Rashmi Uday Singh to the guest list.
Choksey is a 26-year-old techie with a degree in economics. No doubt then that
the products in the store, whether a wall-mounted wine rack or a wall clock made with
silverware, are not only aesthetic and ergonomic but also economical. Most of the products
in the store are priced from `250-50,000. “We have tried to put together an assortment of
products that make your house a better and more organized place, with the vision to make
your lifestyle better,” said Kejriwal.
Although we were tempted to walk away with the `37,000 Vitalis 24-piece cutlery set, it
was the magnetic key rack priced at `4,439 that caught our attention the most. We’re sure it
would catch yours too when you visit the store
HOME
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SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 117
Happenings
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118 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
INDIA INTERNATIONAL FURNITURE FAIR
L ike so many things in life, the value of good-quality
furniture can often be underrated. It should essentially be
a prerequisite for a fi ne and comfortable life, and keeping in
tune with this, the MP International Pte. Ltd. (MPI) is collaborating
with the International Furniture Fair Singapore (IFFS) Pte. Ltd. to
organize the inaugural India International Furniture Fair, which
descends upon these shores from November 16th to 18th, at the
Bombay Convention and Exhibition Centre.
The exhibition will feature around 80 participating brands
and companies from the world over, all household names in the
furniture industry globally, with several countries being dedicated
special country pavilion spaces. A majority of the exhibitors at the
fair are expected to be international names. The concept for this
novel showcase has been derived from the Singapore International
Furniture Show, which originated three decades ago, and is a
fl ourishing platform for furniture showcase and purchase today.
The primary function of the forthcoming exhibition is to provide
the industry with an insight into global industry and design trends
as well as provide a respectable buyer-seller market and bring to
the fore, a space for idea exchange and interaction. It serves to fi ll
the void and hopefully provide leading furniture brands a chance to
enter the Indian market with high-quality products.
The furniture industry in India has immense potential for growth,
which is what the festival aims at capitalizing, with several eminent
European and Asian companies set to venture into the markets.
One of the chief reasons for this potential is the development of
the country’s economy, with the furniture market in India currently
worth $8 billion, and growing at a compound annual rate of 30 per
cent, according to a report compiled by KPMG.
Exhibitors from Singapore are expected to dominate the
fair, and the country’s pavilion will stretch over a space of 500
square metres, and will be fronted by Singapore Mozaic, a group
comprising of major furniture brands from the company, and led
by the Singapore Furniture Industries Council (SFIC), thus further
consolidating the fresh and exciting initiative undertaken for
the exhibition.
One striking and especially noteworthy aspect of the
fair is the emphasis on the environment, and the organizers
have stressed the need for the industry to think ‘green’ and
ensure minimal consumption of scarce resources, imploring
them to consider factors such as sustainability, protection
and preservation of the environment. With this in mind, the
organizers have encouraged the companies displaying their
products to focus on eco-friendly materials as well, and these
‘green’ products will be tagged with special labels, thus allowing
visitors at the fair to spot these particular exhibits with ease since
they will be tagged with distinctive green ribbons.
The show will, if all goes to plan, witness over 3,000 trade
visitors from India and other parts of South Asia, while attempts
are being made to ensure the recruitment of 150 key buyers from
metros and major cities across the country. The show is expected
to follow a decentralized and evenly spread out format, targeting
furniture importers, retailers and distributors, as well as architects,
interior designers, residential and commercial property owners,
among several other segments.
It will also host seminars on business sustainability and best
practices, industry challenges, and design trends, aside from various
workshops and presentations focusing on relevant aspects of the
industry, thus providing comprehensive insight into the intricate
functions of the booming furniture industry in the country.
Happenings
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SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 119
IIID COPPER AWARD 2011
T he Institute of Indian Interior Designers (IIID) joined hands
with the International Copper Promotion Council (India)
[ICPCI], to organize the inaugural at the IIID Copper Award
in Mumbai recently, celebrating the contribution of architects and
designers from across the country for their remarkable endeavours
at integrating copper as an intrinsic element in their works.
A distinguished jury comprising eminent names such as
architect and sculptor Arzan Khambatta, industrial designer and
Director at the National Institute of Design, Pradyumna Vyas,
Rachna Sansad, among others, reviewed 30 shortlisted entries,
to fi nally award the prestigious prize to Saloni Shah from Surat,
for excellence and best design executed in copper and its alloys
(brass/bronze) in Architecture, Interior Design, Product Design
and Industrial Design, for 2010-11.
The event, an annual feature this year onwards, aims at
recognizing excellence in interior design and providing a platform
to showcase trends in design and incorporate these elements
into everyday use. The organizers received entries from all over
India, which were fi nally shortlisted to 30 entries, which the judges
evaluated. Shah’s prize winning entry was based around the theme
of the ‘Tree of Life’, assimilating symbols of prosperity and happiness.
She displayed a 12 feet wide by 31 feet long installation extending
from the wall and stretching across the ceiling in the coff ee and
tea lounge at a hotel in Surat. Elements of the work that stand out
include the fact that the installation is an instantly-alluring piece,
visible in all its resplendence from the entrance to the property,
as well as from the lobby, reception, and other parts of the hotel.
An artistic image of a tree adopting a curvilinear geometry stands
out as an especially soothing aesthetic visual, with an enormous
trunk providing the strapping foundation for the tree, while the
branches interact with each other to form a sense of incredible
depth. Other notable contestants included Samira Rathod from
Mumbai for her work titled ‘Table – Shipwreck’, and Walter D’Souza
from Ahmedabad for ‘Sculpture – Ribbon’.
The award night also featured a glorious photo exhibition
displaying copper works of illustrious architects and designers
from across the world, including names like F Javier Bernalte
and Jose Luis Leon. These images captured interiors and iconic
landmarks, providing a peek into the tremendous use of copper,
for both its artistic merits and functionality. The exhibition
comprised of over 60 images, and also included a few entries from
the IIID Copper Award 2011.
A live fashion show, on the theme ‘Copperlicious’, organized
by the Rachana Sansad School of Fashion and Textile Design,
added a lighter twinge and some zest to the proceedings of
the evening, as models walked the ramp in eclectic outfi ts
predominant in copper and decked with copper jewellery for this
splendid celebration of copper
Happenings
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120 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
Conservation
The art of conservation can be learned at:
• Camboville College of Arts, London
• Delhi Institute of Heritage Research and Management
• The Vishwabharati Institute, Kolkata
• Anupam Sah’s workshops and courses on conservation, Mumbai
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SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 121
Intervention that is ‘as little as possible’ and ‘as much as is necessary’ is the mantra of an informed conservation.
In 2006 Richard Speare, the European art consultant at Chhatrapati
Shivaji Maharaj Vastu Sanghralay (CSMVS ) Museum in Mumbai,
was sifting through the collection at the museum. Attempting
to clear the mounds of artefacts and paintings that lay in a corner,
that weren’t on display and whose origins hadn’t been conclusively
determined, he came across a Sword of Damocles painting.
This painting, it turned out, was the work of Antoine Dubost,
commissioned by Sir Ratan Tata in 1922. For years this painting had
been gathering dust, and steadily degrading. It was at this time that
Anupam Sah and his team intervened.
Sah, the head of art conservation, research and training at
CSMVS Art Conservation Centre, is known to pull back paintings,
manuscripts and artefacts from the brink of ruin.
Sah insists that there is a “design of degradation” that
conservators must understand before they undertake their work.
Unless a conservator can understand and deduce the mechanism
of degradation, he cannot reverse it. Restoration, he explains, is the
intervention on the image of the object to convey its message. The
maxim that Sah and his team follow is intervention that is “as little as
is possible and as much as is necessary.”
Omkar Kadu, a 33-year-old conservation assistant at CSMVS
further interprets, “While undertaking conservation, we need to also
keep a close eye on aesthetics.” It is that care of aesthetics that has
permitted him to work on a 1962 VS Gaitonde painting that belongs
to the NCPA and a circa 1965 MF Husain miniature painting that
belongs to a private collector, among other projects.
Detailing indicative signs of degradation that private collectors
should watch out for and immediate remedial steps before they
deliver a painting/manuscript to a professional conservator, Kadu
succinctly lists the following:
• Physical factors that can cause damage include improper
mounting and weakening adhesive. Typically this would result in a
condition known as cockling that would manifest itself by way of
a wavy surface area on the manuscript/painting.
• Biological damages could occur due to attack by termites and
other insects. Keep a close eye on any traces of fungal growth
on the work.
• Chemical damages could occur due to acidity or reactivity of
substances in close proximity to the work of art. These damages
may not be easily discernible to an untrained eye, but will show up
in the lab under raking light.
• If you do spot damage to the manuscript/painting due to physical,
chemical or biological reasons, carefully dismount the manuscript.
• Place in an air-conditioned room with the temperature regulated
from 18-25 degrees Celsius.
• Wrap the work in a non-acidic archival tissue paper, which is
commonly available in stores where hand-made paper is available.
Do not place in a polythene bag as this can have an adverse
chemical reaction on the work.
• Hand over immediately to a work conservationist for further
assistance.
Paridhi Sharma, paper conservator at the centre, outlines the
steps that are undertaken for the conservation of documents.
“First we complete a condition-report that outlines the work
required and the estimated budget for the manuscript. Following
that we propose a treatment and discuss it with the team
before we begin to implement it.” But before that can begin,
Sah insists on a dry-run through the entire process to ensure
minute variables like where in the laboratory the piece will be
restored, ability of the conservationist to move freely around the
table and an assurance that the movement of chemicals near the
manuscript aren’t left to chance
PAST PERFECT
Words: Varun Godinho
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122 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
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SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 123
T he fundamental principle of shiny, glossy paper is, or should be: the bigger, the
better. And White Flag, the publishers of Corporate Offi ces in India, follow this
unwritten tenet to the hilt, pulling no punches in presenting an ambitious coff ee-
table book in all its splendour, documenting the most visually attractive corporate offi ces
in the country in a format that can only be termed as generous. Tastefully captured images
of imposing offi ce structures peek out gracefully from within the giant-sized pages, as one
gets a true sense of the architectural marvel and vision that would have gone into the
creation of these representations of ambition and design talent residing in the country and
beyond, as well as of a fl ourishing economy.
The book, with a foreword by well-known architect C N Raghavendran, highlights the
structural elements of 20 of the fi nest corporate offi ces in the country, depicting fi nely
detailed prints of the facades, interiors and wide shots of the buildings, placing emphasis
on the stylistic fundamentals incorporated in their creation, as well as drawing attention
to the work of the architects involved. Short captions complementing the photos reveal
the nuances of architecture on display, and speak largely about the aesthetic design
elements – be it minimalistic styling or imaginative restructuring of existing structures; also
various other factors such as cost effi ciency, economy of resources, lighting, comfort, and
environmental aspects, etc.
Commencing with a long shot of the iconic Indian Oil building in Delhi, designed by
J Subramaniam and Abhin and Vasudha Alimchandani, it includes comprehensive details
of the architectural fi rms and teams involved, and brief histories of the company and the
building itself, aside from the much-vaunted photographs that showcase the quality on
display. With more than 200 pages of quality content, Corporate Offi ces in India pays ample
attention to each building featured. (One fi nds spaces designed by Christopher Benninger,
Hafeez Contractor, Mihir Thaker, etc.)
The book also focuses extensively on the interiors – the 8 hours of the day, the 6 days
of the week, the 12 months of the year, the spaces where a greater part of one’s productive
adult life is spent, as the introductory passage states – and deconstructs the seemingly-
intangible aspects that make functioning in the corporate world comfortable and calm.
In fact, the book points out notable quirks and enlightening chunks of information about
each of the 20 buildings it features.
While a simple and not-especially impressive cover and minor editing and spelling
errors do serve to hinder the entire experience of traversing through the book, these remain
minor grievances. All in all, Corporate Offi ces in India largely justifi es its hefty price tag for
connoisseurs, making for pleasant yet intellectually stimulating coff ee table conversation,
giving life and emotional malleability to these concrete and brick constructs, which would
precisely be the point behind its inception. The one real obstacle though, might be the task
of actually managing to fi t the entire book on a coff ee table!
Bookreview
CORPORATE OFFICES IN INDIAPublisher: White Flag, `2995
Reviewed by Akhil Sood
Design Matrix_Sept-Oct11.indb 123Design Matrix_Sept-Oct11.indb 123 8/26/2011 5:51:51 PM8/26/2011 5:51:51 PM
124 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
Design Matrix_Sept-Oct11.indb 124Design Matrix_Sept-Oct11.indb 124 8/26/2011 5:51:59 PM8/26/2011 5:51:59 PM
SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 125
Design and luxury engage in a relationship that culminates into a new feather for the Porsche Design World Collection.
Purist is a style of art that was developed in France in the early 20th century –
characterized by the use of simple geometric forms and images evocative of
objects produced by machine. Purist design combined with high-end materials
has been the iconic style-credo of the Porsche Design luxury brand ever since its
inception in 1972. With contemporaries like S T Dupont, Montblanc, Gucci, and Prada,
this luxury brand is particularly focussed on technically inspired products that are
functional and timeless.
The latest to hit the market in the Porsche Design World Collection is the hookah
christened Shisha. Combining products from diverse cultural backdrops, the World
Collection has a product portfolio that includes exclusively designed chopsticks, a tea
and soup set, as well as a few fashion items that include a silk scarf (India). Shisha is
meant to cater to the Middle East for its fi rst Porsche Design store which is in Dubai.
Made in Austria, the Porsche Design Shisha combines high-quality materials such
as aluminium, stainless steel and glass and stands at a height of 55 centimetres. It only
shows a discreet branding on the aluminium top of the Shisha and comes with a long
fl exible tube made out of TecFlex material, which is also used for the classic Porsche
Design TecFlex writing tools.
Public Relations Offi ce, Porsche Design Group, Christian Weiss quotes Founder F
A Porsche: “If you analyze the function of an object, its form often becomes obvious.”
Weiss explains that the luxury brand has remained true to this idea. “Moreover,” he says,
“A truly good product has to fulfi l both aspects in order to be a long term success.”
The “engineered luxury” and expertise of Porsche Design has won the company
more than 130 national and international awards. As Weiss elaborates, “The functional,
enduring and purist demand of the brand is combined in a way that not only captivates
with its classic design, but also with the innovative combination of materials.”
With a customer base that swears by the Porsche design signature, irrespective of
their ownership of other celebrated Porsche products (specifi cally the Porsche sports
car), Shisha was launched in mid-July 2011 at Harrods and is available in worldwide
Porsche Design Stores.
In India it is available at the Porsche Design Store at New Delhi. The extravagant
indulgence is priced at Rs. 94,700 (US$ 1,960)
Words: Savitha Hira; Images: courtesy Porsche Design Group
LUXE-WRAP
Productreview
Design Matrix_Sept-Oct11.indb 125Design Matrix_Sept-Oct11.indb 125 8/26/2011 5:52:41 PM8/26/2011 5:52:41 PM
126 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
Japan Jewellery FairJapan, in particular, Tokyo city is known for
its edgy fashion sense as well as its keen
business and technological know-how.
This premier jewellery event in the heart
of the city will be attended by jewellery
wholesalers, agents, duty free retailers,
jewellery manufacturers, jewellery design-
ers, watch and time piece retailers as well
as student designers. The exhibitor’s pro-
fi le includes experts from the fi elds of
antique jewellery, pearls, rubies, sapphires,
emeralds, crystal and jewellery and acces-
sory design equipment.
Date: Sept 1st- 3rd
Venue: Tokyo, Japan
The Stitch and Creative Crafts ShowThe Stitch and Creative Crafts Show 2011 is
a premier event for the stitching, craft and
knitting industry in the United Kingdom.
The show will provide a matchless oppor-
tunity to craft enthusiasts to network and
get inspiration from the most creative
artists and learn about various skills of
knitting, stitching and paper craft from
the experts. Hundreds of exhibitors from
across the world will be participating in
this show in order to showcase their latest
products/services. Moreover, the fair will
also include an educational programme
and workshops, off ering an insight into the
current trends in the stitch and craft mar-
ket. The Stitch and Creative Crafts Show
2011 will be a one stop shop for sourcing
latest designs and supplies.
Date: Sept 1st- 3rd
Venue: Manchester, U.K
Madrid International Fash-ion FairThe Madrid International Fashion Fair, to be
held this year at the Feria de Madrid, will
bring quality and variety to the runway and
guarantees fashion investors and enthusi-
asts an event where business can be mixed
with pleasure. Among the visitors you will
fi nd manufacturers, exporters, boutique
owners, traders and wholesalers. Experts
in the fi elds of fashion industry, mass retail,
exclusive designer’s collections, and brand
name merchandise as well as representa-
tives from major fashion institutes. Fashion
publications and young designers will also
be in attendance.
Date: Sept 1st- 3rd
Venue: Madrid, Spain
Home Design and Remod-elling Show, USAThe Home Design and Remodelling Show
is a fi ve-day event featuring new home
designs, and ways to remodel and reno-
vate old ones. The spirit of the show is that
there is no other place like one’s own home.
Architects and interior designers have an
immense opportunity to promote their
expertise in the business for the benefi t of
millions of home owners under one roof.
The Home Design and Remodelling Show
will witness record sales of home products,
design and equipment.
Date: Sept 2nd- 6th
Venue: Miami, U.S.A
Tableware ShowThe Tableware and Giftware Show gives its
participants the great possibility to dem-
onstrate their novel, fashion and modern
tableware, décor elements both for cater-
ing enterprises as well as for domestic use.
The Tableware Trade Show is the exhibition
of new market opportunities, latest devel-
opment tendencies of the tableware indus-
try, analysis and development perspec-
tives. Dealers and distributors, re-exporters,
wholesalers, interior professionals, major
corporate businesses related to the table-
ware and home textile industries are the
target visitors.
Date: Sept 7th- 10th
Venue: Kiev, Ukraine
Home and Garden, SalemThis Home & Garden Fair is an international
mega event inviting people from all over
the world. The show will provide an oppor-
tunity to all its visitors to see top-of-the-line
quality of both, design, and technology in
furniture and other household products.
The event will be hosted by companies who
deal with household products and garden-
Design Matrix_Sept-Oct11.indb 126Design Matrix_Sept-Oct11.indb 126 8/26/2011 5:53:06 PM8/26/2011 5:53:06 PM
SEPTEMBER-OCTOBER 2011 • DESIGN MATRIX 127
ing products from all over the world and will
draw experts from relevant industries. The
exhibitors will be related to china and glass
industry, innovative kitchen accessories, gar-
den and terrace fl oral accessories and also
landscaping for the theme gardens.
Date: Sept 8th- 11th
Venue: Salem, Germany
LuxeHome Open HouseThe LuxeHome Open House off ers material
for building and re modelling your home.
Visitors can expect the widest selection of
products to fi t all lifestyles, from modern
European to classic American to traditional
English. In addition to the extensive line up
of world renowned manufacturers, each
boutique off ers the advice and insight of
knowledgeable designers who are available
to assist with every phase of an ideal design
project. The profi le for exhibit includes out-
door furniture, hearth products, tabletop/
decorative accessories, garden accessories,
statuary and cast metal furniture.
Date: Oct 1st
Venue: Chicago, U.S.A
Northeast Bead Extrava-ganza, NewarkThe Northeast Bead Extravaganza, Newark
stands alone as one of the largest shows
related to the Gemstone industry. Many
exhibitors are participating from across
the world to showcase the latest brands
in product line like silver fi ndings, burma
jade, crystals, be-venetian, swarovski, pearls,
lamp work, silver, seed beads, vintage glass,
jewellery and much more. This year, the
Northeast Bead Extravaganza will be focus-
ing on the machines and equipment used
for stone mining. Stone processing will
also be on display for visitors coming from
all over the world. The main focus of the
event will be on the buyers and importers
of products and service-related people.
Date: Oct 1st- 2nd
Venue: Newark, U.S.A
Times GlitterTimes Glitter is a grand exhibition for fash-
ion, jewellery and lifestyle sector in India.
The event will showcase elegant jewellery,
fashion couture and trousseau products,
which will create wonders for visitors. This
three day show is being organized by Asian
Business Exhibitions and Conferences Ltd.
Manufactures from trousseau, menswear,
lifestyle, accessories and cosmetics will be
participating. The event, which will be held
at the J.W Marriot will be attended by lead-
ers in fashion, celebrities and other envoys
from the fashion industry.
Date: Oct 6th- 8th
Venue: Mumbai, India
Northern Colorado Home and Decorating ShowThis event has been taken over by Great
Western Productions and is a fabulous
home and decorating show featuring ven-
dors with everything for improving the
home. Paintings and wall hangings, fur-
niture, tips on how to be energy effi cient,
fl ooring, windows and docking. If you off er
a service in the home improvement area,
this is your show. Trade visitors will include
designers and re-modelers, interior design-
ers, luxury home builders, architects, pro-
fessionals involved in home re-modelling.
The general public are the target visitors.
Date: Oct 8th- 9th
Venue: Fort Collins, USA
India Carpet Expo-VaranasiThe India Carpet Expo Varanasi will be held for
four days at Varanasi, India. It is organised by
the Carpet Export Promotion Council under
the aegis of Ministry of Commerce, Govern-
ment of India to exhibit a range of hand-knot-
ted carpets and various types of fl oor cover-
ings. Traditional rural inspired motifs and
fi ne fabrics will be focussed upon. The fair
provides an opportunity for dealing directly
with buyers and taking them to manufactur-
ing units, godowns and warehouses. Visitors
will include professionals from the specialty
carpet stores, buyers and sellers, suppliers,
carpet manufacturers, carpet importers and
exporters, handloom houses, designers,
emporiums and the general public.
Date: Oct 15th- 18th
Venue: Varanasi, India
Design Matrix_Sept-Oct11.indb 127Design Matrix_Sept-Oct11.indb 127 8/26/2011 5:53:07 PM8/26/2011 5:53:07 PM
128 DESIGN MATRIX • SEPTEMBER-OCTOBER 2011
I F C: Jalaram
Agar Bazar S. K. Bole Road, Dadar (W),
Mumbai 400028. Tel: (022) 24318444/555
9/b, k, Laxmi Ind. Estate, New Link Road,
Versova, Andheri (W), Mumbai – 400053.
Tel : (022) 26327733 / 34
Pg. 1: Ebco
402-3, Hyde Park, Saki Vihar Road,
Mumbai 400072
Tel: (022) 67837777 Fax: (022) 66920700
Email: [email protected]
www.ebco.in
Pg. 3: Durian Home Furniture401, The Chambers, Western Express Highway,
Vile Parle (E) Mumbai 400057
Tel : (022) 26269000
Email: [email protected]
www.durian.in
Pg. 4: Design Matrix Ultratech Excellence AwardsEmail: [email protected]
Pg. 6: The Art LoungeHodiwala Bhatehena & Co
3, J. Tata Road, HP Petrol Pump,
Near Ritz Hotel,
Churchgate, Mumbai 400020
Tel: 22878787
Email: [email protected]
Pg. 7: VITA Vitrified Tiles383 – A, Vasu Smiriti,
Flat No.4, 1st Floor,
13th Road, Khar(W), Mumbai : 400 052.
Tel : 022- 42367900/909
Email:[email protected]
Pg. 10 & 11 : Le Cdeor8/H, Laxmi Ind. Estate, New Link Road,
Versova, Andheri (W), Mumbai – 400053.
Tel : (022) 26327733 / 34
Email: [email protected]
Pg. 12: Heritage Decorative LaminatessDeco Mica Pvt. Ltd.
306, 3rd Floor, Iscon Mall, Star Bazaar Bldg.,
Jodhpur Cross Road, Ahmedabad - 380 015
Pg. 13: Loom Crafts
HO & Manufacturing Unit: A-7/98 & 99,
South side G.T.Road Indl. Area,
Ghaziabad - 201009. U.P (India)
Tel.: +91 9871122239 / 9810031705
Email : [email protected]
Website: www.loomcrafts.com
Pg. 19: Durian Office Furniture
401, The Chambers,
Western Express Highway,
Vile Parle (E) Mumbai 400057
Tel : (022) 26269000
Email: [email protected]
www.durian.in
Pg. 46: MRJ Flooring Corporate Ad
MRJ Marketing Pvt. Ltd.
201, Shyam Kamal ‘C’ Bldg., Agarwal Market,
Vile Parle (E), Mumbai – 400057.
Tel : (022) 26187132 / 26131442
Email: fl [email protected]
Pg. 47: Uniply ATS
Uniply Industrirs Ltd,
#52, Harleys Road, Kilpauk,
Chennai-6000010.
Tel : 044-26605995
Pg. 48: MRJ Le Cdeor MRJ Trading Pvt. Ltd.
201, Shyam Kamal ‘C’ Bldg., Agarwal Market,
Vile Parle (E), Mumbai – 400057.
Tel : (022) 26187132 / 26131442
Email: [email protected]
Pg. 49: Delta
Olympic Laminates Pvt Ltd
6, Patel Avenue, 1st Floor, Near Gurudwara,
GLOSSARY S.G.Highway, Ahmedabad – 380059.
Tel: + 91 – 79 - 40017979
Pg. 89: Uniply Elementz
Uniply Industrirs Ltd,
#52, Harleys Road,
Kilpauk,
Chennai-6000010.
Tel : 044-26605995
Pg. 102 & 103: Bright Outdoor Media Pvt. Ltd.8th fl oor, Crescent Tower,
Near Maurya House,
New Link Road, Andheri (W),
Mumbai 400053
Tel: (022) 67140000
Email: [email protected]
www.brightoutdoor.com
Pg. 112: Surface Décor (India) Pvt. Ltd.Abdul Satar Lakdawala Compound,
W. E. Highway,
Besides TATA Motors,
Jog-Vikroli Link Road,
Jogeshwari (E), Mumbai 400060
Tel: 28362424 / 28242424
I B C: Durian Corporate Ad401, The Chambers,
Western Express Highway,
Vile Parle (E), Mumbai 400057
Tel : (022) 26269000
Email: [email protected]
www.durian.in
B C: Ultratech Paints & TexturesF 213A/1, Lado Sarai,
Old M. B. Road,
New Delhi – 110030
Tel: (011) 46061549/50
Email: [email protected]
www.ultratechpaints.com
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Design Matrix_Sept-Oct11.indb 130Design Matrix_Sept-Oct11.indb 130 8/26/2011 5:53:13 PM8/26/2011 5:53:13 PM