Home Design Trends Vol 1 No 9

home & design
R.N.I. MAHENG/2013/50949
Volume 1 No 9
` 250
A Times of India publication
contents
6 Design in context
Presenting new design products and concepts from across the globe
12 Interview
Pritzker winner Toyo Ito talks about why architecture needs to be for the people
16 Guest column
Ramesh Edwankar writes about how interior design has been reduced to the role of decoration
18 My view
Product design experts on Ludwig Mies van der Rohe's statement Less is more
12
22 Portfolio
Architect Federico Babina pays tribute to cinematic architecture through a series of illustrations
28 Interview
Acclaimed designer Pinakin Patel talks about refinement in simplicity
32 Architecture on the road
Editor Preeti Singh writes on 2012 World Design Capital - Helsinki
36 Iconic design
This months pick is the world's largest dam - Hoover Dam, USA
RESIDENTIAL DESIGN
74
Cover
40 Tranquil retreats
The sunroom of this renovated residence by Peterssen/
Keller Architecture and Engler Studio is a light-filled free
flowing space complete with formation chairs
(see page 92)
Embraced by the land

Set on a ridge, this family home favours quality over quantity
40
Away in the hills

This holiday villa in Khandala is an idealic family getaway
48
On the beach
An urban sensibility combined with a laid-back lifestyle makes this home last for generations 58
A play on levels
A raised plot, multiple levels and a tropical interior defines this Lonavla bungalow
Interviews
12 Toyo Ito
28 Pinakin Patel
66
82
contents
74 SUBURBAN HOMES
With due respect
This house fits perfectly into the neighbourhood of 1920s sandstone houses
74
Fit to form
Guto Requena designs this apartment to reflect contemporaneity, Brazilianness and flexibility 82
Gracious welcome
This Georgian charm renovated home benefits from a light-filled, flowing interior
92
Perfectly aligned
This Hyderabad home represents the best of classical and contemporary design
100
140
110 CHALLENGING SITES

Down the garden path
Tucked away in a secluded valley, this house makes the best use of its challenging site
110
Front to back
With its open and transparent circulation areas, this house maximises both space and light
117
COMMERCIAL DESIGN
124 PROJECT PORTFOLIO
Garden of illusions
This office is a tropical space designed to reflect the companys business ethic
124
152
PUBLIC BUILDINGS
Jewel in the crown

Moshe Safdies Louis Vuitton Island Maison in Singapore is a sparkling multifaceted gem
132
Multifaceted
This museum demonstrates how an expansion need not always be large in scale one
140
150 Properties on the Block

TRENDS showcases premium properties on the market
152 THE GALLERY

Lightopia - Lighting designs from iconic artists showcase the role of light in art and life
Hatch and Disintegrating by Fabian Oefner - A two-part series that combines art and cars
Houses of Goa - Graphical illustrations of the designs of Goan-Portuguese houses
158 Showcase
Mrigank Sharma (India Sutra)
from the editor

Good architecture and design is always on our minds at TRENDS. But as
architect Ramesh Edwankar points out inside the pages, architecture in itself
cannot be an end in itself. Without interiors that accepts its outer body and
enhances ones complete experience of a space, the job is only half done. This
is not an interiors special but we do dwell a bit in this issue on exploring the
anatomy of an inviting space.
So is less more? This evocative aphorism was made famous by architect Ludwig
Mies van der Rohe. What is not as well-known is that it has been adopted from
Robert Brownings poem (1855) Andrea del Sarto. Here, Browning imagines the
words of the famous painter Andrea as he talks to his wife, when he feels her
appreciation for his work and love for him waning.
we received
overwhelming
entries for
the TRENDS
Excellence
Awards for
Architecture &
Design 2013
Who strive - you don't know how the others strive

To paint a little thing like that you smeared
Carelessly passing with your robes afloat,Yet do much less, so much less, Someone says,
(I know his name, no matter) - so much less!
Well, less is more, Lucrezia. I am judged.
But in architectural terms, simplicity, according to Rohe, was
far harder to achieve than complexity. And it held a much
greater meaning and value. Do see our My View pages to
read interpretations of less is more by design entrepreneurs
Sahil Bagga and Sarthak Sengupta, Mustafa Eisa, Latika
Khosla, Cecilia Morelli Parikh of Le Mill, Rajat Singhi of
Address Home and Shilpa Pastala of Fusion Access.
Our interview of the month is with the acclaimed Pritzker

winning architect Toyo Ito, who believes that spaces should serve people that
inhabit them and not specific design ideologies. So his work uses not only
minimalist tactics but also strong organic elements. Do also read the interview
with Pinakin Patel who talks about the power of simplification.
In our projects this issue, check out the homes designed by Gautam Naik
& Bhavna Jacob, and Riyaz & Simeen Quraishi as well as the extraordinary
Louis Vuitton Island Maison in Singapore designed by Moshe Safdie and the
contemporary office space by Core Architects.
And lastly, we received overwhelming entries for the TRENDS Excellence Awards
for Architecture & Design 2013. Jury chairperson Nitin Killawala and judges
Sanjay Puri, Kalhan Mattoo, Mujib Ahmed and Lalita Tharrani met last month to
deliberate on the winners. Our big thanks to Doug Meyer for participating in the
judging process remotely from New York. We have tried to do something different
with these awards. The judges looked at work very critically and chose those that
stood as proud examples of good architecture & design.
Shortlist on pages 38-39. Winners to be announced soon.
Enjoy.
Preeti Singh
trends.edit@wwm.co.in
More ideas, information and inspiration at Trendsideas.in
home & design
Chief Executive Officer Tarun Rai

Editor Preeti Singh
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design in context
Presenting designs from

across the globe that push the
boundaries of form and function
And Repeat
Consisting of multiple rectangular frames, admire the curves of the straight lines that are repeated in rotation around the entire
body structure to form a new cluster of objects. Designed by Korean designer Jeon Kyung Ok, the Revolving Chair gives in to the
movement to reconstruct a harmonious form that may not be that high on comfort, but scores high on design ingenuity.
Surround Sound
A human-sized hamster ball is certainly not an
ideal place to relax, but that is what challenged
the Scandinavian creative lab ST in collaboration
with experimental studio Petter Johansson Art
Direction and Design to create the AudioOrb. The
orb is an amalgamation of contemporary design
with technological precision and functional art.
The poly (methyl methacrylate) glass sphere has
a hole for entrance, is lined with memory foam
pillows, and 18 speakers to offer you an idyllic
ambience to relax with the melody of your choice.
For further information, visit www.indiegogo.com/
projects/audioorbs/
Home & Design Trends Vol 1 No 9 2014
more projects at trendsideas.com
Polished Edge
London-based designer Massimo
Buster Minale, of Buster+Punch
believes in elevating the ordinary
into the extraordinary, a call echoed
by his collaborators and seen in
their collection, Hooked. Inspired
by the raw, passionate, and gritty
Rock n Roll, and motorcycle lifestyle,
the light fixtures elevate materials,
such as brass, dark wood, quilted
silk, leather, and rubber to everyday
objects, which pack a punch. Seen
here is Hooked 6.0, where the light
pendant is finished in solid knurled
brass with matt rubber detailing and
can be fitted with any standard bulb.
The light can also be customised with
shades made from bronzed gun metal
with brass button detailing. For further
information, visit busterandpunch.com
Missing Points
The 3P Clock designed and created by Canada-based design
studio Robocut in collaboration with Baron magazine is an
illusional timepiece. In effect, it is a hexagonal wooden piece with
a cherry wood finish, which creates a 3D effect when placed on
your wall. It is a limited piece, dont waste any more time and visit
www.robocutstudio.com for further information.
Up In The Air
Maison Edouard Franois along with
the Krrish Group are bringing Frenchstyle luxury living to Gurgaon, India. The
Gurgaon 71 residential apartments
will offer the floors as green clouds
spaces that will act as the extensions of
the apartments below. They will offer the
residents a space in the sky, surrounded
by trees with wooden decks, terraces all
embodying French luxury.
Wheeled
Ever wondered what
happens to the wheels of
retired aircrafts? Well
some of them get converted
into bases of coffee tables
as done by UK-based
company Fallen Furniture.
The table comes as a single
piece, which takes 150
hours to complete from
start to finish. The wheel is
hand polished and a glass
top is fixed atop it. The high
degree of polish allows the
user to observe the intricacy
of the wheels design whilst
enjoying their cup of tea.
Yaron Weinberg
Boxed In
Inspired by the origami piece, the Bento
Box, the Foldigon designed by Rami
Tareef, Ayala Bougay, Meydad Marzan, turns
from a boxed coffee table into a sofa. The idea
behind the furniture was to protect the upholstery
from the elements of nature. The upholstery is
divided into polygons to create living hinges and allow
the folding and fitting it to different sitting positions. The
Foldigon was part of the Soft Comfort exhibition organised by
D-Vision for Salone in Milan 2012 where entrants were asked
to send in entries, which invite people to sit on them with
the promise of comfort.
Home Trends Vol 3 No 6 2012
more homes at trendsideas.com
Old Is New
Marcel Wanders new collection titled Rois
de la Fort for French brand Baccarat,
manufacturers of fine crystal glassware,
draws inspiration from New Antiques.
According to Wanders, the term describes
the bridge between the past and present
design approach, which can be enjoyed in
the contemporary moment. The merging
of fragile nature of glass juxtaposed
against the masculine beauty of fine Italian
marble exemplifies elegance and brings
an ethereal quality to the humble vase.
For further information on this limited
collection, visit www.baccarat.com
Stellar Lights
10
The light is clearly the game player here, shadowing silver

metal, glass, and molded carbon fibre. The light pieces crafted
by Jerome Olivet are of an expansive array of futuristic designs,
but each different from the other thanks to the play of light.
There are 16 designs to choose from, each harmoniously
suited or customised according to your architecture.
For further information, visit www.jeromeolivet.com
- Compiled by Moshita Prajapati
homes, products,
designs that
elevate living into
a form of art
if a building
ALL
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R.N.I. MAHENG/2013/50949
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Volume 1 No 9
` 250
VOL 1 NO 9 2014
- arne jacobson,
Danish Architect & Designer (1902-1971)
HOME & DESIGN
INDIA
art
HOME & DESIGN TRENDS
becomes
architecture,
then it is
28/01/14 2:39 PM
Provided by: International Trade Building Corp., Photographer Jeffrey Cheng, Yoshiaki Tsutsui,
interview
12
winner of 2013 Pritzker

prize, Toyo Ito talks about
how architecture needs
to be for the people and
not the economy
What made you decide to become an architect?
I was in the third standard when I moved to Tokyo. At the time, I never dreamt of becoming
an architect - my passion was baseball. It was while attending the University of Tokyo that
architecture became my main interest. For my undergraduate diploma design, I submitted a
proposal for the reconstruction of Ueno Park, which won the first prize. The rest simply went
on from there.
What designs of yours are you most proud of and why?
The most important projects were realised during the aftermath of the earthquake and tsunami of 2011 in
Japan. The disaster spurred a group of Japanese architects including me to develop the concept of Homefor-All, a communal space for survivors. I believe an architect is someone who can make such spaces show
a little more humanity; make them a little more beautiful, a little more comfortable. Another example is my
office, which is like a school where young architects come to work and learn.
What according to you is good design? How do you try to achieve it through your projects?
My works draw inspiration from the principles of nature, as evidenced by the unity achieved between
organic-like structures, surface and skin. I want to ensure that the projects are fluid and not confined to the
limitations of modern architecture.
What do you think it is that people respond to in your work?
I am a creator of timelessness, who at the same time charts new paths. People probably see my projects
with a sense of optimism, lightness and joy, and are infused with a sense of uniqueness and universality.
Tapiei World Trade Centre Square Landscape

Design, Taipei, Taiwan
an
o, Jap
, Toky
achioji
)H
ampus
hioji C
y (Hac
r
y Libra
iversit
Art Un
Tama
What do you consider while conceiving a project?

I think it is important to keep in mind the elements of nature i.e. air,
wind and of course humanity. The classic example is the Sendai
Mediatheque, Japan. It imbibes the elements of air, wind and light
making the structure incredibly light and resilient. I achieved this by
structural tubes, which permitted new interior spatial qualities. In the
Taichung Metropolitan Opera House, Taiwan, the horizontal and
vertical network of spaces creates opportunities for communication
and connection, seeking freedom from the rigidity of a grid.
You mentioned you would like to use architecture to create
bonds between people who live in cities. How do you see the
Sendai Mediatheque doing this?
The Sendai Mediatheque is an open space where people can relax and
enjoy. In that pure and transparent space you can see people walking
around and enjoying. Its a bond that is created between people.
The Metabolist movement in architecture developed during the
time you started at the University of Tokyo. You also worked under
Kikutake a Metabolist architect. How did it impact your own work?
While working with Kiyonori Kikutake, Metabolist ideas for the city of the future were emerging and were
becoming more concrete, notably with the 1970 Expo in Osaka. And at that time I believed in fluidity.
13
Sendai Mediatheque, Aoba-ku, Sendai, Miyagi, Japan
White U, Nakano-ku, Tokyo, Japan
People probably
see my projects
with a sense
of optimism,
lightness, and
joy, and are
infused with
both a sense of
uniqueness and
universality
Another event that also had an impact was the student protest movement that emerged in the late 60s
in both Europe and Japan. I started realising that, the now- the present Japan- is important. I then started
creating my own design concepts. Eventually these influences took me away from Metabolist ideologies.
Most architects want to establish a legacy buildings that would stand as testimonies to their
architectural brilliance. While you tend to care more about personal connections. How has this
played a role when conceptualising the design for a structure?
In contemporary society, I think that 99% of architecture has become the instrument for economic
activities, and I am very sorry for that. Because I think that architecture is supposed to be something that
links people to other people. Architecture has to become a form of co-operation, a co-operational body for
people. It should not be something that is controlled by economy, but that creates a relationship of trust
among people. This is what architects are supposed to do when they create architecture.
Your work is often described as light and transparent. What are your thoughts on this?
In the 1990s, being transparent was an important part of architecture. With the bubble economy in Tokyo,
perceptible realities dissolved and that had an impact on my architecture. I wanted to move away from
definite structures and do realistic designs that epitomised transparency.
White U was an important project for you as a young architect. Why did you tear it down?
21 years after being completed, and after all three family members had moved out, I looked at it and
decided to demolish it. The house had a great influence on its residents, however, its destruction was not a
sad event. My family was no longer in mourning, and the design of White U had been tailored for that mindset. Having served its purpose, the houses demolition marked the start of a new chapter for my family.
You admire Rem Koolhaas vision of architecture. How has it influenced your own?
It has in many ways. I even named my studio Urban Robot - an appellation reflecting the techno-utopias
and city-sized mega structures then current in Japan under the Metabolists, a group of avant-garde architects whose reputation has been recently revived in a book by Rem Koolhaas and Hans Ulrich Obrist.
How have Japanese traditions affected your work?
The Japanese culture derives happiness from simple things like nature. I particularly rejoice Hanami, which
signals the arrival of the winter and the famous Cherry Blossoms where people sit under the cherry blossom tree in a drapery and have picnics singing and dancing. That simplicity is significant to my creativity.
- Compiled by Amanda Peters
TODS Omotesando Building

Shibuya-ku, Tokyo, Japan
14
Acclaimed Japanese architect Toyo Ito has been the recipient of numerous international awards,
including The Royal Institute of British Architects Royal Gold Medal in 2006 and more recently the
Pritzker Architecture Prize for 2013. Ito has designed eminent projects throughout Asia, Europe, North
America and South America. Most recently he was also invited to speak at one of the most significant
events on Asias design calendar, Business Of Design Week 2013, an annual flagship event organised
by Hong Kong Design Centre since 2002.
guest column
Most of the time, the structure is

complete and thats when the task of
interior designing is taken on and this
is the biggest mistake one can make,
says architect Ramesh Edwankar
For any project to be considered successful, it is
imperative that both the architecture and interior
design are complementary and in-tune with each
other. Architects and designers sometimes while
creating spaces forget that they are sides of the
same coin and influence each other in almost all
ways. I feel the interiors of a space are all about
balance and proportion. Be it a commercial space
or a residence, accommodating the requirements
of the occupants is the prime job of any architect
or designer. As clichd as it may sound, for interior
designing, studying the personality of the owner
is key. And the space has to reflect the occupant.
Many a times designers ignore this and end up
creating spaces that are absolutely opposite of
their occupants and are more of the designers
reflection and tastes.
16
An interior design is not only about selecting

the right furniture and accessories. It involves
lots of activities and planning in the form of
plumbing, electrical, light, ventilation, etc. I think
its the education system that needs to change
the way young architects and designers think.
Architecture is always given more seriousness
and unfortunately interior design is always confused and seen as decoration. The problem is
everyone sees interiors in a boarder perspective
and very rarely it is seen at a microscopic view
and hence we see spaces that lack warmth and
personality. All of them look alike and sterile.
The focus is more on style and being in trend
rather than reflecting the occupants personality
and needs.
In the need to design and create an appro-
priate interior, designers forget how the placement of basic amenities influence the shape and
ambience of spaces. For example, just because
the trend says multiple openings, designers blindly
and randomly provide them without any thought of
wind, light, etc. They forget that an opening has to
create a right vision and should influence the room
in terms of volume, depth, height, etc. It is critical
to understand that the atmosphere of any space
speaks a lot. It is a silent introduction to visitors
about factors that cannot be put into words.
Also, one thing that I increasingly see being
ignored is attention to detail. And by detail I do
not mean selection of furniture and accessories,
it is more to do with the kind of accessories. For
example, if someone says they like the colour
black, I cant give them a black bedroom but I can
effectively bring it in with the right colour scheme
and balance the space using accessories. Lets
take an example of a tight space. Architects and
designers should remember that a perfect colour
balance could be achieved only through right
use of everything- furniture, walls, accessories,
paintings, etc.
I think another factor that is very significant
in interiors is lighting as it changes, alters and
defines the mood of any space. I feel, it can literally
make or break an area. One should remember
that natural light is the best form of lighting. It
changes throughout the day, creating new effects
as the day progresses. A single ray of light through
a channelised skylight can be altered and can

completely uplift a space.
Lastly, materials significantly alter a space.
One cannot use dark wood in tight spaces as
it will make the area look smaller. But a lighter
shade of wood against light colours can make
it look more voluminous. Heavy materials like
marble, wood, steel are for spaces where more
room is available. Also, usage is important. You
cannot make a dark solid wood study table for
a young teenage student. Similarly, one cannot
have veneer tables for a company CEO. Choice of
materials has to depend on the person, profession,
usage, area, etc. When an architect or designer
intelligently balances even the basics, the result
is an interior that is warm and inviting and that is
what it should be.
The interiors
of any space
are a silent
introduction to
visitors about
factors that
cannot be put
into words
With over 40 years of experience, architect Ramesh Edwankar of RED Architecture & Interior Design
has been instrumental in shaping some of the best projects in Pune and Mumbai. He has been a
recipient of multiple awards.
17
my view
on: less is more
Cecilia Morelli Parikh, Le Mill

I agree with Ludwig Mies van der Rohes statement
for great innovation and design. But I dont think it
can be applied to all interiors. Having said that, all
pieces of furniture I think work best to this principle
because fundamentally, they are concentrated on
the function of the piece. The result is pure, clean
lines that mimic the best design. Carl Hansens
wishbone chair is a fine example of this.
latika khosla,
Freedom Tree Design
Good design is impeccably poised when
our eye can focus on any one thing and our
mind can comprehend its entirety. Just as
great music is made up of controlled sound
and silence, in design too one wrong note
can spoil the idea. Less is more is one thing,
which speaks at a time but the rest is a silent
cadence making it harmonious.
18
Sahil Bagga and

Sarthak Sengupta,
Sarthak Sahil Design Co
Whether we agree with the concept of
Less is more depends on our audience
and the nature of the project we embark
on. Unlike an artist, who creates to
express oneself, the designer on the
other hand creates for others. Therefore,
we have to take into account the taste
of our clients, which then shapes our
individualistic style for each particular
project. Personally, we really appreciate
designs where the form follows function
and the innovation in the product
is simple and clever. In our opinion,
innovation doesnt have to be something
radical. It can be a simple detail or an
interesting reference from our past that
makes the product closer to our hearts.
Mustafa Eisa, Mustafa Eisa Design

Whilst Mies started his career in the then traditional
neoclassical style, post World War I, he along with
his contemporaries sought to redefine traditional
architecture with a style that would be considered
a style of the times just as Gothic and Baroque
had done during their time. There was a clear and
deliberate effort to shun elaborate classic designs
and replace them with clean lines and simple skin
and bone architecture, that would be cheaper and
in stark contrast to classical designs associated with
the by now reviled aristocratic class. So to put the
statement Less is more in perspective, yes it was
true for that relative period. However, since then we
have seen a revival of elaborate designs through the
Art Deco movements and a return to classical fusion
in contemporary design. The trend of the day however
is eclectic and classic fusion, with minimalism losing
favour in the last few years. If I were to be asked about
the present day design trends, it would be more is
more or classic is the new contemporary. However,
another phrase, coincidentally also by Mies God is
in the details would be something that would hold true
for any period or trend in design.
19
rajat singhi, Address Home

Less is more isnt about spending less or
about a single object. It is about achieving
better design through simplicity and
intelligence. It is about getting the greatest
impact through careful editing and restraint.
For example, accent colour furniture has
larger impact in a room when teamed with
a monochromatic colour scheme. Adding
any other colour in the room would dilute the
effect. Colourful pouffes in teal, red, purple
with neutral colour such as white and silver
accessories can provide plenty of colour and
pattern in the room yet keeping it minimal.
Shilpa Kalanjee Pastala,

Fusion Access
The theory of Less is more is about achieving better design through
simplicity. It is about getting the greatest impact through careful editing
and restraint. Shapes and silhouettes lend a lot of character without
cluttering the space. There is synergy in its simplicity.
- Compiled by by Sanaa Nalwalla
20
the sun
does not
realise
how wonderful
Maximise
what nature
has to offer
with our
path breaking
green homes
it is until
ALL
- Louis Kahn, American Architect (1902-1971)
R.N.I. MAHENG/2013/50949

VOL 1 NO 9 2014
is made
Volume 1 No 9
` 250
INDIA
a room
after
HOME & DESIGN
28/01/14 2:39 PM
PORTFOLIO
Federico Babina creates

illustrations that pay homage
to cinematic architecture
Federico Babina is an architect

who also pursues graphic
design as a passion. The
Italian born artist is best
known for his Archipix series
in which he renders wellknown architects and their
buildings as pixellated eight bit
graphics. Now, Babina wittingly
blends the creative worlds of
architecture and the cinemas
in his series of 17 illustrations
entitled ARCHICINE. Right from
George Lucass Star Wars to
North By Northwest directed
by Alfred Hitchcock, the series
takes a look at iconic pieces of
architecture in film and turns
them into vintage-looking
illustrative posters.
22
23
24
25
Federico Babina says, Movies have the ability to transport us to different worlds and let us live and breathe
real or fantastic architecture. I have always been enthralled by the relationship between architecture and
the cinema, and especially between space and action. People consciously or unconsciously connect a
movie with the space in which the action takes place. Its like a box that contains a gift. My intention, with
the illustrations, is to transform the box into the gift. I believe ARCHICINE represents the spatial match
between films and architectural spaces. In the series, the architectural space is given a protagonist role and
not marginalised to the background. For further information, visit www.federicobabina.com
26
27
interview
Simple things are

refined & mindless
luxury coarsens
design, says designer
Pinakin Patel
You are a chemistry graduate that moved into the
creative discipline. How did you realise you wanted to
enter this field?
After completing my studies and entering the work force, I
realised that I had suppressed many intuitions just to remain
mainstream. I had no job satisfaction or confidence in spite
of my education backing. I realised it was easier if I worked
through my innate creative pursuits and hence that became
my main focus of work.
You have been in the industry for over 25 years. How
would you trace its change and growth?
When I started, one had to manufacture the product and
create your own market by educating clients. Now its
changed. Now one sources a product from an existing
market for an already savvy client. Though the former
was more challenging, it was also rewarding. Today,
it is more fun but short-lived. Back then even though
the market was small, it was real. Post independence,
there was a direction to follow growth. Today post
globalisation, growth is achieved, but the change from the top
comes in spurts and is unpredictable.
What do you consider your greatest achievement?
To be able to hear and hone my inner voice every day in spite of the din around; to act
upon it with tenacity; to keep the action fair for all, and then to be able to discard its noisy
success even faster only to return to the silence and commence the next cycle. This
process is the core of all my achievements so I consider it the greatest.
What does a Pinakin Patel designed space look like?
Elevating uplifting It awakens ones senses and lets the mind contemplate the
space in awe. It is dramatic yet simplistic and creates a warm ambience. The visuals that
I use in a house are never repetitive and are specially customised for the people.
How have your travels added value to your work?
I have travelled to actual production centres to get hands-on experience. Cities like
Moradabad are well known for metalwork, Firozabad for glass, Rajasthan for carpentry
and so on. These travels revealed the scope as well as limitations for the successful materialisation of my design ideas. However, the ideas came from my international
travels mainly because they had already experienced several generations of consumer
design, whereas I was trying to define the first.
You mentioned in one of your other interviews, To be able to adapt and remain
relevant with the changing times, technology and globalisation and yet to remain
faithful and sensitive to beauty and nature is the core of my design philosophy.
Can you explain with examples from your designs?
In my architectural work, I have avoided vertical concrete buildings and instead favoured
brick, mortar and wood personal buildings, which address the climate and environment.
For interiors, I incorporate technology and international products so that while the core
28
Jhoola Bed
Monster Profile Chair
remains integral to nature, the mind is left open to some fresh ideas. I have always used natural materials,
crafts and plenty of art before it gets commodified.
To be able to
hear and hone
my inner voice
every day in
spite of the
din around
Do you believe that less is more in design?

Yes, simple things are refined. Mindless luxury coarsens design. I would further explain my own intent on
minimalism I like to make things solid enough to be singular. I like patterns and prints, but I like to apply
them in a way that they dont fragment or overtake the product. It is not that I prefer a blank room with one
object in it. But even in an assemblage, I subconsciously work at achieving a singular delivery.
Architecture for architectures sake or for good designs sake?
If my answer must be localised to Indians then First, architecture for architectures sake. Respect life.
Understand lifestyle. Consider cost. Relevance that itself becomes the basic school for design. Then
when that maturity is achieved, let architecture become good design. That will be its logical graduation. If
we just apply the reverse theory because its a forward thought, there is a grave danger of superficial imitative design.
How do you perceive modernising Indian crafts?
It is important to challenge the faceless nature of global merchandise that will bore consumers as quickly
as it thrilled them, by reviving unique crafts. Environmentally also, crafts will carry smaller carbon footprints
because of their materials and processes, as well as their long term relevance and utility, compared to
mindless weekend retail therapy disposables. Now the danger lies in their modernisation. If you manage
to create a successful dialogue between the craftsman and the shopper in the mall, we will win. At the
moment the craftsman is at the mercy of an urban designer who is trying to patronise him sentimentally.
Or of the babus in the councils who are pushing them to make modern objects that end up so ridiculously
naive that they are left as tourist merchandise outside monuments. If this kind of modernisation continues,
we will actually fast track the crafts to their obliteration.
Which city according to you pushes the design envelope?
It starts with the living quality of its people and then the same extends to its visitors. I would say Hong Kong
is a good example. It is an island city where public transport takes you from one end to another, up and
down the hilly terrain, under the sea, in less than half an hour. One debit card lets you withdraw money,
pay bills, is your train ticket and is valid everywhere. Elevated, covered walkways from building to building
provide commuters and pedestrians convenience as well as comfort from the climate. Even the rich can
actually zip past on the roads in their fancy cars with equal comfort. From the airport, to its trade fairs to its
information systems, I think Hong Kong is the perfect example of a designed city.
Designer Pinakin Patel launched his own design store Etcetra in 1984, making it one of Indias first
lifestyle stores. The success of his own line of furniture, based on modernising Indian crafts, combined
with his innovative displays soon won him high-end interior design assignments. Since then he as
moved into other creative areas namely photography, journalism, exhibition design and production
design for the cinema.
30
whatever
good things
we build
end up
building us
- jim rohn,
American Author (1930-2009)
HOME & DESIGN
Volume 1 No 9
` 250
INDIA
VOL 1 NO 9 2014
ALL
R.N.I. MAHENG/2013/50949

28/01/14 2:39 PM
explore the
exciting flux in
Architecture through
the mercurial skyline
of the global cities
Wiki x3, 123rf snohetta.com x 3

123rf.com x 2,x3
architecture on the road
the Rock
lled The Church in
ilt in 1969) also ca
Rock Church (bu
mppeliaukio
This page: The Te
Above and
above right
: Finlandia H
all
ral at Katajanokka
Uspenski Cathed
Growing
Designs
Helsinki was selected as the World Design

Capital for the year 2012. That year also
marked the 200th anniversary of the city
as the capital of Finland, after the Russians
moved it in 1812 from Turku. Before that
Helsinki was barely a city; made of wood,
suffering from numerous fires during the
17th and the 18th century.
- Feature by Preeti Singh
Wiki x2, 123rf, firstindigoandlifestyle.com,

e-architect.co.uk, archello.com
The University of Helsinki City Campus Library
pi
in Kamp
Silence
hapel of
C
utheran
above: L
Top and
Inside L
utheran
Chapel o
f Silence
The city revels

in its Nordic
conservatism
and its intuitive
understanding of
good design,
with great care
spent on
the details
The Enso-Gutzeit Headquarters
Long before it came to be the design

capital, Helsinki was known as the White City
of the North. It was given this name because
of the Carl Ludvig Engel, who was greatly
influenced by neoclassicism while designing
the new city centre (Senate Square Area) of
the city during the first half of the 1800s.
But now, that name stands inaccurate.
During the early 1900, Helsinki became famous for its Art Nouveau (Jugend architecture) styled structures, such as Lars Soncks
Jugendsali Hall (built in 1904), Helsinki
Central Station by Eliel Saarinen and the
unique housing areas called the Katajanokka. Inspired by the national epic Kalevala, it
took the form of national romanticism.
The Korkeasaar
i Island Lookou
t Tower
(Kupla the bu
bble)
Later on, the city became interspersed

with many examples of buildings designed in the style of Functionalism (i.e. creating a form that befits its function, associated with the
Modernist movement). Perhaps the most talked about of this style have
been buildings by Alvar Aalto, a pioneer of architectural Functionalism.
Aalto is best remembered for his work on prefabricated houses that he
designed to lessen the stress on housing issues after the Second World
rt
War. He was inspired by the forms found in nature and believed that a
temporary A
eum of Con
Kiasma Mus
building needs to grow organically along with its surroundings. Some
The
examples of his work are The Academic Bookstore, Finlandia Hall, the
Enso-Gutzeit Headquarters among others. Other bold examples of
Functionalism can be found in the Olympic Stadium (built in 1938) and the Temppeliaukio Rock Church (built in 1969). The Church
in the Rock as it is also called is a space carved (rather roughly) through solid rock and covered by a copper dome.
It is generally agreed that Helsinki is an apt physical manifestation of the Finnish spirit itself. The city revels in its Nordic conservatism and its intuitive understanding of good design, with great care spent on the details. It is a city that has been designed around
its natural landscape of the area. And Finland is one of the very few countries that have made design a part of the national conversation by introducing it through its public policy. So in addition to the legacy of Aaltos historic works, there are many contemporary and
experimental examples in varied styles that can be found in the city. For example the uniquely shaped Lutheran Chapel of Silence in
Kamppi (designed by K2S Architects as a part of the World Design Capital programme in 2012). The Kiasma Museum of
Contemporary Art opened in 1998 and was built by the famed Steve Holl. Considered a bit controversial in architecture circles, the
primary criticism was the use of a foreign architect than a homegrown one and that the design clashed with the citys more subtle
architecture. There is the University of Helsinki City Campus Library that uses a curved facade and a series of openings in the ceiling
aligned together to bring together functional spaces inside. Other some fascinating works are the House Moby Dick by Arkkitehdit
NRT, the Korkeasaari Island Lookout Tower (Kupla the bubble). The latter was designed as a transparent tower overlooking the
island, and consists of 72 long battens that were bent, twisted and fixed on the site.
Helsinki is one of the cities whose cityscape is changing ever so constantly. Styles and designs are experimented upon but
whatever shape they may take on the streets of the city, they seem to become a seamless part of a consistent whole where thoughtfulness to design. Helsinki is one of the cities whose cityscape is changing ever so constantly. Styles and designs are experimented
upon but whatever shape they may take on the streets of the city, they seem to become a seamless part of a consistent whole where
thoughtfulness to design and details take precedence.
35
iconic design: Hoover Dam, USA
getty
Filling the gap
36
Hoover Dam, once known as Boulder

Dam, at 726 ft high and 1244 ft long, is
the longest dam in the world. It is a
concrete arch-gravity dam located in the
Black Canyon of the Colorado River, on
the border between the US states of
Arizona and Nevada. Constructed
between 1931 and 1936 during the
Great Depression, it started operations
on September 30, 1935, much ahead of
its schedule set by the then President
Franklin D Roosevelt. The initial
Gothic-inspired design for the dam was
rejected and thats when Los Angelesbased architect Gordon B Kaufmann
came on board, and applied the now
elegant Art Deco style. He designed
the sculptured turrets rising seamlessly
from the dam and clock faces on the
intake towers set for the time in Nevada
and Arizona. Denver artist Allen Tupper
True was hired to handle the design
and decoration of the walls and floors
that incorporated motifs of the Navajo
and Pueblo tribes of the region.
Complementing Kaufmann and Trues
work, Norwegian-born sculptor Oskar J
W Hansen designed sculptures on and
around the dam that include the
monument of dedication plaza, a plaque
to memorialise the workers killed and
the bas-reliefs on the elevator towers.
37
excellence
awards
for architecture
& design
2013
Aamir & Hameeda Interior Designers, Hyderabad

Abin Design Studio, Kolkata
Abraham John Architects, Mumbai
Architecture Paradigm, Bangalore
Atelier, Pune
Core, Pune
Hiren Patel Architects, Ahmedabad
KNS Architects, Mumbai
Malik Architecture, Mumbai
Mathew & Ghosh Architects, Bangalore
Mohan Consultants, Hyderabad
Nandu Associates, Hyderabad
Ochre Architects, Bangalore
Patch Design Studio, Mumbai
Romi Khosla Design Studio, New Delhi
Space Dynamix, Mumbai
Spasm, Mumbai
The Ashleys, Mumbai
Vir.Mueller Architects, New Delhi
residential design
tranquil retreats
Embraced by the land

Perched atop a low rise and governed by substantial setback covenants,
this family home favours quality over quantity
42
Anyone who has ever built a home will

have encountered local authority planning
regulations some are easy to deal with,
but others can be frustrating.
When the owners of this new house
approached architect Jim Fraerman
to devise a design, their suburban lot
included a rather substantial setback.
Given that the site is also on a low
ridge, these two factors together seem
rather restrictive at first glance.
However, the owners were realistic
about creating a program that maximised
the long, narrow building platform. So,

rather than being constrained, we used the
conditions to generate a plan for the house
that met the familys needs and celebrated
the natural setting.
Fraermans design comprises a series
of grouped volumes of varying heights
with smaller linking circulation spaces.
The centerpiece of the house is the
great room a single-storey, double-height
volume that reads as self-contained. The
other structure is a two-storey, L-shaped
volume that folds around the great room.
Preceding pages and above left: Designed by

James Fraerman AIA ALA, this family home
maximises the building platform of its elevated
site. An exterior materials palette comprising local
stone and cedar ensures the house is in tune with
its surroundings. Architectural elements have been
devised to enhance either the built environment or
natural setting.
Above: Maintaining the relationship between
indoors and out was central to the design. Ample
glazing, along with open risers in the staircase
ensure the visual relationship between inside and
out is not lost.
43
While the house has a contemporary

look to it, the architect says the impetus
was more about creating a series of harmonious elements, rather than adhering
to a particular style.
The design explores a number of
relationships between the built and natural environments, between the buildings
themselves and even, on an experiential
level, between the ways people interact
with the buildings.
For example, the site is a corner block
with two street frontages, one higher than
44
the other. The driveway, as well as the

main pedestrian access path were set out
on the higher side, but secondary access
from the lower side was also desirable.
Resolving this dichotomy neatly
became pivotal. From the drive there is
a nice sequence of spaces, framed by the
trellis structure, that follow a linear built
path, while for the lower frontage, a more
organic rambling experience was devised
with both paths coming together at the
open, courtyard-style entry.
Complementing the setting is the
choice of materials on the exterior a mix

of locally sourced stone and cedar, offset
by the industrial steel elements.
The owners wanted natural materials
both inside and out as a way of keeping
the natural environment to the fore.
Ample glazing and open sightlines
throughout the house ensure a natural
vista from every angle. This is achieved
dramatically in the great room with floorto-ceiling windows, says Fraerman. You
cant help but feel the room itself is part of
the environment.
For interior designer James Dolenc the

natural setting was also key to the project.
We were very conscious of not
detracting from the setting, so the material
and colour palettes are quite pared back.
Sumptuous yet simple forms are teamed
with solid fabrics and patterned accents.
The architecture is very crisp with an
international feel, but is also accessible, so
thats what we set out to achieve with the
interior. It is an orderly scheme without
being cold.
Almost imperceptible touches such as
hand-scraped edges to the wood flooring

lend textural character akin to a patina;
without cluttering up the color palette.
Similarly, the sapele cabinetry in the
kitchen, and the patterned fabric chosen
for the bar stools, impart a sense of organic
texture, which is balanced by the solid
plane created by the porcelain tiles on the
floor in this part of the house.
Texture, texture, texture it became
a mantra for this project, and pieces such
as the Martha Sturdy resin-top table are
timeless exponents of this.
Above left: One of only three primary spaces on

the first floor, the kitchen is a hub for the familys
day-to-day interaction. Interior designer James
Dolenc has used a mix of wood grain and neutral
solids to underscore the link between the house
and its setting.
Top: The great room has been designed almost
as a stand-alone structure within the scheme.
Windows on all sides enhance the pavilion-like feel
of the room.
Above: In the library, Dolenc has used darker tones
to create a more intimate feel.
45
Architect: James Fraerman AIA ALA

Fraerman Associates Architecture
(Highland Park, IL)
Interior designer: James Dolenc and Tom Riker,
Jamesthomas
Builder: Jon Kogan, Highgate Builders
Stone walls: Eden Stone Company
Roofing: Sheffield Black Camelot shingles by GAF
Doors and windows: Pella
Flooring: Walnut plank flooring; Midtown by Lea
Ceramiche in Deep Cameo grs porcelain tiles
Lighting: Juno; Tatiana pendant by Urban Electric from
Baker Furniture
Kitchen cabinetry: Custom sapele
Countertop surfaces and backsplash: Nebula Series
Merope by Silestone
Oven, cooktop and microwave: Wolf
Refrigeration: Sub-Zero
Dishwasher: Bosch
Water dispenser: Franke
Fireplace: Isokern; stone surround by
Materials Marketing
Bath: Duravit Starck
Vanity: Custom
Basin: Hasting Tile and Bath
Faucets: Lulu by Dornbracht
Shower fittings: Dornbracht
Tiles: Sienna Silver stone tile from Walker Zanger
Wall tiles: Sienna Silver and Roku Sharkskin glass tiles
from Walker Zanger
Toilet: Duravit
Story by Justin Foote
Photography by Eric Hausman
Share this story online at

Trendsideas.com/go/39440
Top: As with the interior design for the rest of

the house, Dolenc has used tone-on-tone texture
and pattern, rather than a variety of colours, to
create visual interest in the master bedroom.
Windows on both sides ensure the natural setting
is always accessible.
Above:: The master ensuite takes traditional
symmetry and updates it for a modern lifestyle.
A pared-back colour scheme is in keeping with the
rest of the interiors, while the highly textural floor
tiles add interest, but also mimic the look
of bark, once again bringing the natural
environment indoors.
46
Moving upstairs, Dolenc introduced

blue and grey tones to the mix to create a
calming environment.
The view from the upper level is
more of the tree canopy and sky, so while
it is still about texture, the colour palette
becomes less varied, lending itself to a
muted, intimate scheme.
Tone-on-tone features such as the
custom headboard, bedside lamps with
quartzite bases and side tables with leather
accents echo the texture over colour principle of the rest of the design.
Ultimately, there is great respect for

aesthetics, which begins with the architecture and carries through all the finishes
including aspects such as the lighting
plan, says Dolenc. Multilamp fixtures
more typical in retail or commercial settings have been incorporated here to give
maximum coverage without dominating
the ceiling plane.
Says the architect, It is one of those
happy occasions where the vision has
been surpassed by the reality, thanks to
the input of all involved.
homes, products,
designs that
elevate living into
a form of art
if a building
ALL
R.N.I. MAHENG/2013/50949

Volume 1 No 9
` 250
VOL 1 NO 9 2014
- arne jacobson,
Danish Architect & Designer (1902-1971)
HOME & DESIGN
INDIA
art
becomes
architecture,
then it is
28/01/14 2:39 PM
Away in the hills

This holiday villa in Khandala is an idealic family getaway
Located in the hills of
Khandala,
just
outside
Mumbai, is this villa designed
as a part of gated community
of second homes. Conceptulised by actor Suniel Shetty,
the architecture of this residence is the brainchild of
architect Alan Abraham of
Abraham John Architects,
while the interiors are by the
actors wife Mana Shetty.
Shettys real estate venture
S2 Realty has developed this

seven-acre estate into a commune of 21 villas. Each villa
covers a built up area of 6300
sq ft on a quarter acre plot
while almost half the estate is
open land. At the heart of the
development project is a community centre designed on a
waterbed, giving the project
the feel of a resort.
The project has deliberately
been designed to have more
open land in order to allow

space for children.
We wanted to give people
a house where they can enjoy
and spend time with their
family. At the same time, as
this is a second home, weve
ensured that the maintenance
is extremely low. And this was
exactly the design fundamental for this residence, says
Suniel Shetty.
The entire project is
Facing page: The sloping roofs

of this 6300 sq ft villa by S2 Realty
are adapted to cope with the
extreme wet climate. This ensures
that water does not collect and is
channeled. The minimal wood and
sandstone facade blend in with
the surroundings.
Above: Within the house are two
green spaces with double-height
ceilings. One connects the living
to the bedrooms and the second
connects the kitchen and the dining.
49
designed to maximise on the

extreme weather and intense
rain experienced in the area.
The architect and Suniel
collaborated their professional
skill and knowledge of the
terrain to turn these weather
problems into the plus points
of the project. The exterior is
a muted facade of sandstone
and wood. Wooden rafters,
pergolas and columns give it
an intricate yet clean finish.
Preceding pages: Glass has been

used to keep the house open to
natural light. Sunlight keeps the
moisture and humidity out, making
the interiors easy to maintain.
Left and above: The floating dining is
the highlight of the house and is the
focus of activity. The wooden deck
and greenery eliminate the barrier
between indoors and outdoors.
53
Above: Every area of the house has

been accessorised with one eclectic
piece that stands out. Leather finish
sofas as seen in the den ensure
minimum maintenance.
Facing page: The double-height
staircase landing mimics the
garden path making it seem like an
extension of the outdoors.
54
The exterior has an element of mystery to it. We

wanted an elegant, enduring
and
green
design.
Granites and Italian marbles
have a very urban feel to them
so I preferred natural stone. We
wanted that element of nature
in the design of the structures
so that they fit into the valley
around and dont stick out like
sore thumbs, says Suniel.
On entering the house,
one steps into a double-height

voluminous space that accommodates the living room and
the dining on one side. Glass
walls here ensure visual connectivity at all times. The
dining area that is designed
around the pool is the central
focus of the house.
Weve broken the divide
between indoors and outdoors
in all the public spaces. Each
area is connected to the other
and allows communication all

the time. On the other hand,
the bedrooms are completely
private areas, says Suniel.
The interiors by Mana
also follow the projects design
theme. The furniture is minmal
and the colour palette is a
serene mix of earthy tones to
match the blue and green surroundings with a splash of
vibrant colours.
I strongly believe that
Owners: S2 Realty; www.s2rd.com

Architect: Alan Abraham; Alan
Abraham Architects
Interior designer: Mana Shetty;
R House
Price: ` 7.5 crores onwards
Story by Namrata Shah
Photography by S2 Realty

Above: The bedrooms are almost

bare with a subtle earthy touch. They
are luxurious in spirit but uncluttered
to ensure the openness of the space.
Right: Wooden pergolas, rafters and
beams are a recurring feature in the
house. The design of the roof
stands out as it breaks away from
the conventional sloping roof
structure. Every space is visually
connected with the use of glass
and double heights.
56
trendsideas.com
in any space you need openness and a sense of warmth.

A home should look like a
home. Harmony of colour was
very important. While designing this house, I was very
clear that I wanted to design
a space that exudes a relaxed
ambience. And at the same time
I was very conscious of
ensuring easy maintenance,
says Mana.
The overall aesthetic is
that of an everlasting country house. The four bedrooms

have been distinguished using
colour and each has one accessory piece that stands out.
Most of the artefacts
used in this residence are
from India. The entire look is
tropical and blends with the
surroundings. Even the bathrooms have one accent piece
that adds instant character to
the space, says Mana.
Above: The bathrooms, like the

bedrooms, are defined by colour.
The mirrors stand out as unique
pieces in each of the bathrooms in
the house.
57
On the beach
Designed to span the suburbs to the sea, this beachfront house
combines an urban sensibility with a laid-back lifestyle
to create a home that will last for generations
58
Above left: Perched above the sand dunes, this

new beach house was designed to maximise an
expansive ocean view. Architect Lindy Leuschke
says the dunes were built up so the elevated living
area would open directly onto a deck on the same
level as the sand. The dunes are planted with
muehlenbeckia, a fast-growing grass that grows
naturally on the dunes.
Above and left: The front of the house presents
a cedar-clad box-like form to the street, which is
enhanced by a flush garage door. A concrete blade
wall helps to separate a self-contained suite on the
right side of the entry.
59
XXX more new homes at trendsideas.com
A sense of relative isolation is a key

requirement for most people planning a
beach house as a place of escape. But with
prime beachfront sites in short supply, its
not always easy to achieve.
Architect Lindy Leuschke says this
house, in a beachfront community, needed
to straddle the suburbs to the sea.
On the west side, facing the street,
the house has a suburban outlook, but to
the east it faces the wide expanse of beach
and ocean. The owners didnt want to be
too exposed to suburbia, but they didnt
want to disengage entirely. The design

was also influenced by the need to create
an outdoor living area that would be sheltered from the strong sea breezes that
develop mid morning. This space needed
to face north and west, so it also had to be
screened from the street.
To resolve these challenges Leuschke
positioned the house around a semienclosed central courtyard. From the
street, the house has a closed, box-like
form that belies the open, transparent
nature of the architecture beyond.
Facing page: On the interior, the crisp,

contemporary design is balanced by natural,
textural surfaces that are fitting for a beach house.
The galley-style kitchen teams a textural, bark-like
Laminex laminate with deep quartz benchtops.
The aggregate concrete flooring has been ground
and polished.
Above: Structural steel columns and beams,
like the precast concrete walls, have been left
exposed to reinforce the sense of the house being
a composition of steel, glass and concrete. The
curtains are on double tracks that provide the
option of a mesh or heavy lined layer.
61
Legend for plan: 1 entry, 2 garage, 3 guest suite,

4 gallery, 5 living, 6 dining, 7 kitchen, 8 bedrooms,
9 master suite, 10 decks
Above and below right: Balustrades and hand rails
feature unpainted sealed steel. The concrete wall
has also been left in its raw state. The flooring in
the bedroom is Tarkett prefinished wood.
Far right: The bathtub in the upper master suite is
positioned so the owners can enjoy the view while
bathing. A translucent glass wall behind the vanity
brings additional light into the room.
62
We used a simple, restrained palette

of materials wood, steel, concrete and
glass, says Leuschke. And we have left
these exposed so the materials themselves
form the decoration both inside and out.
The main axis through the house is
defined at the front by a precast concrete
blade wall, which provides a degree of
separation between the public entry and
a private guest suite. Bifolding cedar
battened screens also provide privacy.
A long corridor, or gallery, that runs
from the entry and steps up to the main
living area further defines the main axis.

The gallery is glazed on one side, which
looks into the courtyard.
The stairs in the gallery are widely
spaced so that this space creates a very
slow, deliberate transition from the public
to the private end of the house, says the
architect. While it adds to the drama of
the architecture, its also a calming element that conveys a sense of casualness
thats appropriate for a beach house.
A glimpse of blue ocean at the far end
of the circulation spine draws the eye up
to the large, open-plan living area, which

opens directly onto a deck on the sand.
The living area is elevated 1.8 m
above the ground to maximise the sea
view, says Leuschke. Using sand from
excavation, we built up the dunes, so
the owners could walk straight out onto
the beach.
Large doors on the east and west sides
of the living area open up to the beach
deck and courtyard living area respectively. The large expanse of glass allows
a view right through the house from the
63
Above: Steps lead up to the sheltered courtyard

terrace, which is screened by Maori Princess
pohutukawa trees.
Above right and far right: A pergola with
adjustable louvres provides shade to the dining
seating in the courtyard. The architect says the
house needed to respond to all seasons and
weathers, providing a cool refuge in summer, and
a cosy, inviting retreat in winter.
Story by Colleen Hawkes
Photography by Jamie Cobeldick
64
sheltered courtyard to the ocean beyond.

Leuschke says houses in the beach
community need to be able to respond
quickly to weather changes. For this
reason, she added a 4 m cantilevered overhang to the east elevation, and provided
an adjustable louvre canopy to the alfresco
dining deck in the courtyard. This area is
screened by vertical-growing Maori Princess pohutukawa trees that will be kept
trimmed so sunlight is not compromised.
The trees act as a foil, breaking the
visual contact with the street but you can
still get a sense of the landscape beyond.

Two master suites, one up and one
down from the living area face the ocean.
A concrete wall inside the house, which
reads as an extension of the blade wall at
the entry, provides visual continuity from
the front to the back. Its exposed surface,
visible from the stairwell and master bathrooms, reinforces the raw, natural quality
of the architecture.
Architect: Lindy and Colin Leuschke, Leuschke Group

Ltd Architects (Auckland)
Interior and kitchen designer: Lindy Leuschke,
Leuschke Group Architects
Builder: Brackenridge Builders
Kitchen manufacturer: Matakana Kitchens
Cladding: Herman Pacific
Roofing: Colorsteel
Doors and windows: Rylock
Louvres: Locarno Aluminium Louvres
Decking: Purpleheart hardwood from Herman Pacific
Flooring: Ground and polished concrete
Paints and varnishes: Resene, by A&J Painting
& Decorating
Lighting: Lightplan
Heating system: Fujitsu
Indoor and outdoor fireplaces: Escea
Kitchen cabinetry: Laminex
Benchtops: CaesarStone
Oven, cooktop, refrigeration and dishwasher:
Fisher & Paykel
Ventilation: Smeg
Award: Brackenridge Builders Master Builders
Auckland House of the Year Gold Award houses
$1million-$2million
65
A play of levels
A raised plot, multiple levels, and a tropical
interior, which beguiles its contemporary exterior,
is what defines this vacation bungalow
These pages: This 9500 sq ft
bungalow designed by architect
Gautam Naik of Th Zone projects
and interior designer Bhavna
Jacob of Bhavna Jacob Designs is
a multi-level residence. Located in
Lonavla and spread over one acre,
the bungalow rests on a raised plot
along with a pool and landscaped
gardens. The formal living room is
furnished with furniture and artefacts
from Bali. Smooth yellow limestone
is used for floorings throughout
the house.
66
Vacation homes as such are designed and

built to be smaller in size, less formal than a
family home, and usually feature an open interior planning. These parameters also apply
to Aarhant, the family vacation bungalow by
architect Gautam Naik of The Zone Projects Pvt
Ltd and by interior designer Bhavna Jacob of
Bhavna Jacob Designs.
The two-storey bungalow along with the
pool and the landscaped gardens covers 9500
sq ft of a one-acre plot in Lonavala. It consists
of four bedrooms, a formal and informal living
area, a dining room, and a kitchen. The media
room, and the spa area are located in the basement. Jacob, who has done the interior design of
the house, had already done the basic architectural plan. Thus, when Naik took on the project
he worked further on it along with the structural planning and landscape.
According to the duo, the client wanted a
bungalow that would also accommodate his
extended family, the structure had to be built
and designed according to vaastu principles.
The owners vaastu requirements worked
to our benefit. According to vaastu, the bungalow had to be on a higher level, which is what
we had drawn up in our plans. The original plot

had sunk into the ground, therefore we raised it
to a level drawn up in the architectural plan,
explains Naik.
The exterior of the bungalow follows a clean
straight-line design, atypical of a bungalow
built around a tropical theme. A raised concrete
staircase leads into the bungalow, flanked by
a stone clad wall and a two-level glass facade.
A small nook has been created as recreational
space towards the end of the house.
While you enter the bungalow on a higher
level, you have to climb down the staircase
Facing page and above: The

mezzanine floor above the informal
living space functions as recreational
area. The entrance to the pool is
through the patio doors seen here.
Above left and top: The two-storey
glass facade floods the living room
with natural light, highlighting the
different textures of stone used in
the space.
69
to reach the formal and informal living room

area, says Naik. Access to the dining area,
kitchen and the first floor of the house is also
from here. One bedroom is located in the space
adjacent to the informal living space.
The living room is an elongated rectangle, measuring 30 ft in height and about 60 ft
in length. To break the monotony, a mezzanine
floor was erected towards the end of the space,
above the informal living room, which is accessible by a wooden staircase. This is at mid-level
and operates as another recreational area in the
space. Jacob has decorated the space with low-
level sofas and statues bought from Bali. Bright

coloured cushions brighten the space otherwise
filled with dark teak wood.
The two-level glass facade was part of our
design plan, because we wanted to cash in on
the views and flood the living area with natural
light, says Jacob.
The dining area and the kitchen are accessible by stairs from the living room. Located
on a level up, the open dining consists of just a
table made from rescued wood and chairs, all of
which has been imported from Bali.
The staircase here provides access to the first
Facing page: The guest bedroom

is located on the first floor of the
bungalow. French windows along
with a four-poster bed and yellow
limestone tiles complete the look.
Above: The bathroom comes
attached with an open skylight, to
recreate the feeling of the tropics.
The lotus motiff on the tiles was
etched on the rough stone and then
polished for brilliance and effect.
71
Above: This area overlookes the pool

and is an extension of the terrace
adjacent to the dining space.
72
floor of the bungalow, where three bedrooms

with en-suite bathrooms are located, each with
their small terrace or patio, overlooking either
the pool or the gardens. The passage connecting
the bedrooms was widened above the mezzanine floor to create place for a snooker table.
All the furnishings in the house, along with
the artefacts and paintings have been imported
from Bali. Jacob breaks away from her signature style to design a tropical-themed vacation
home by using Indian materials. Limestone and
yellow kota tiles have been used for flooring and
the walls for a smooth and unfinished texture.
Architect: Gautam Naik; Th Zone Projects Pvt Ltd.

Interior designer: Bhavna Jacob; Bhavna Jacob Designs
Associations: Indian Institute of Interior Designers (IIID),
Council Of Architecture (COA), ESEEED
Cladding: World of Stones
Furniture: Imported from Bali
Cabinets: Teak wood
Bath: Jaquar
Story by Moshita Prajapati
Photography by Sameer Chawda

Know your architect: Bhavna Jacob and Gautam Naik

Bhavna Jacob: A gold medalist from Raheja School of Architecture,
Bhavna Jacob prior to setting up her own practice in 1997 worked with
architects like Ved Segan and Sanjay Puri. Recipient of 2010 IID MK
Awards under multi-dwelling category, Jacob has designed over 200 residential and commercial interior projects across India, London and USA.
Gautam Naik: Th Zone Projects by architect Gautam Naik was
established in 2007 and has multiple offices in Mumbai, Pune and
Kolhapur. The firm also has an additional unit called PMC and their range
of work includes high-end residential, hospitality, retail, corporate offices
and health care projects.
Gautam Naiks New Delhi project
Bhavna Jacob
Gautam Naik
Bhavna Jacobs show apartment in Mumbai
Gautam Naiks New Delhi project
Which works of yours are you most

proud of?
Bhavna Jacob (BJ): I am proud of Vivarea,
a show apartment Ive done for K Raheja
Corp and Loungevity, a nightclub in Cochin.
Gautam Naik (GN): All the works that I
have done till date make me feel proud but
my best work is the Delhi Bungalow that I
designed for the Sandhu family.
Interior design style that you are
partial to?
BJ: Minimalism with the hint of bling.
GN: I prefer contemporary straight lines.
For you, which is the best city in terms
of architecture and why?
BJ: Fatehpur Sikri because of its historic
and mysterious nature.
GN: Paris and Barcelona because they both

have great historic and modern architecture
that blend into the city.
One iconic architect designer that
inspire you the most and why.
BJ: Rajiv Saini and Nari Gandhi for their
sensitivity.
GN: Charles Corria for his passion towards
architecture and his timeless works.
Bhavna Jacobs show

apartment in Mumbai
What according to you is good design?

BJ: Any design that has the power to move
your soul.
GN: A design that fulfils all the requirements of clients with a sense of uniqueness
and innovation. It should also address the
environmental issues and should stand as
piece of art.
73
suburban homes
With due
respect
This project recognises the
original intent of a heritage
suburb planned by architect
Walter Burley Griffin
There is a strong appreciation of our heritage
suburbs today, but this wasnt always the case.
Back in the 50s, for example, local authorities
allowed a red brick-and-tile pitched-roof house
to be built right in the centre of Castlecrag,
Sydney a heritage suburb designed in the
1920s by renowned Canberra city architect
Walter Burley Griffin.
With the older properties having flat roofs
and a sandstone construction, the 50s house
was a serious incongruity, says Joseph Alliker
of Rudolfsson Alliker Associates Architects, the
architect responsible for the design of a new
home to replace the red brick house on the site.
The original homes sit on curved, radiating
streets that appear carved out of the local rock.
They are relatively small, mainly single-storey
houses on large blocks given over to greenery,
with gardens running into one another, and
shared areas of parkland. The houses on either
side of this one were the original display homes,
and were considered quite radical for the time.
Not surprisingly, there were strict covenants
in place for the new build, not only in terms of
the aesthetics, but also in respect of retaining
neighbours views and privacy, and various
setback requirements.
It was logical to extend the house into the
garden, says Alliker. This determined the idea
of the glass living pavilion, which pushes out
to maximise the northern aspect. The bulk of
the house remains in the same position as the
original. We also decided to put the carport at
the front, as another low, flat-roofed extension,
which relates to the scale of the neighbouring
properties. Walter Burley Griffin was adamant
that all the houses in the development would
have flat roofs.
Both of these single-storey extensions have
planted green roofs, which minimise glare and
light reflection and enhance the view from
above and the street appeal.
Left: This new house fits right into a

neighbourhood of 1920s sandstone
houses designed to a plan by
renowned architect Walter
Burley Griffin.
Above: Architect Joseph Alliker
designed a long glass pavilion for the
living room, which opens directly to
the garden.
75
Left: The square dimensions, flat

roof, rendered plaster walls and
slatted timber sunshades keep the
summer sun at bay.
trendsideas.com
77
Top right: The roof of the pavilion

appears to float above the room,
thanks to the glass walls and long
clerestory window. A swimming pool
was added to the far end of the site,
with a glass safety fence.
Lower right: A long clerestory
window provides glimpses of the
leafy canopy at one side of the
house. There is also a wide opening
that looks out on an attractive
sandstone wall next door.
78
The architect added timber sunshades to the

garden pavilion to keep out the sun in summer.
Large openings on three sides provide plenty of
cross ventilation and maximise the leafy views,
yet dont intrude on the neighbours privacy.
The house also has a huge thermal mass
and low-e glass that keeps it cool in summer
and warm in winter, says Alliker. The planter
box on the roof is a long, thick concrete beam.
Yet the design still feels light on the interior
the roof appears to float above high clerestory
windows, for example.
A recessed tray ceiling in the living room,
which features uplighting, helps to soften the
living area and avoids an overwhelming flat
plane. With the soffits around the edge lining up
with the timber sunshades, the ceiling appears
to extend outdoors. The floors are also flush
with the terrace, with recessed door tracks top
and bottom, to enhance the easy flow between
inside and out.
Walls are painted in an off-white shade,
providing a perfect backdrop for the owners
artworks. At one end of the living room, there is
a contemporary, galley-style kitchen imported
from Germany. This features white cabinetry
and a wall of timber veneer.
A second living room, with a television, is
positioned at right angles to the pavilion, within
the two-storey volume. This room opens to a
balcony facing east, but has small windows on
the north side to avoid overlooking the neighbouring property. Here, as in every room, there
is built-in furniture that provides streamlined
storage for all the familys belongings.
Maintaining an uncluttered look is a lot
easier when there are places to store everything
within easy reach, says Alliker.
The master suite is positioned directly above
the second living room, where it has an attractive view across the green roof to the park-like
surroundings of the neighbourhood.
Architect: Joseph Alliker, Rudolfsson

Alliker Associates Architects (Sydney)
Builder: Charles Salvaggio (owner)
Kitchen manufacturer: Leicht
Landscape designer: James Salvaggio
Landscaping
Paints and varnishes: Sikkens on
cedar for awnings
Flooring: Pietra Serena tiles from
Nefiko Marble
Kitchen cabinets: Leicht from Germany
Benchtops: Caesarstone
Oven, cooktop, coffee machine and
dishwasher: Miele
Refrigeration: Liebherr
Photography by Brett Boardman

Facing page top and left: The master

suite on the upper level overlooks
the garden and the green roof of
the pavilion. The structural concrete
beams on the top of the pavilion
form the planters for the green roof.
Facing page lower: A second living
room in the main volume also
looks directly out to the garden.
Small windows were provided
on the north wall to retain the
neighbours privacy.
81
Fit to form
Architect Guto Requena renovates this So Paulo apartment to
reflect the values of contemporaneity, Brazilianness and flexibility
82
A renovation project often poses a greater

design challenge than constructing a structure
from scratch, explains principal architect Guto
Requena of Brazilian-based firm Estudio Guto
Requena. It truly tests the architects creative
ability to incorporate the owners new design
intent whilst maintaining a conscious flow in an
already existing form.
According to the architect, the owners of
this house found the original layout of the
apartment to be too conventional for their
tastes. They thus, sought him out to transform
their three-storyed abode into one that reflects
the values of contemporaneity, Brazilianness

and flexibility.
The apartment is spread across an area
of approximately 2150 sq ft. The design brief
called for the space to be divided into two areas
- private and social. The first floor houses the
private spaces, which includes the family living-cum-dining area with an attached kitchen
and bathroom. It also conceals the master bedroom with an attached bathroom, laundry and
a study area.
The second floor has the social areas with
a second living-cum-dining and an integrated
Above left and above: The owners

found the original layout of their
2150 sq ft So Paulo apartment
too conventional and thus invited
architect Guto Requena to transform
their abode. Requena of Estudio
Guto Requena refurbished the
spaces to make them larger areas
with multiple uses. To create a
contemporary yet cosy ambience in
the family living room, Tauari wood
is used extensively.
83
Preceding pages: To demonstrate the

flexibility in design, the end of the
dining table forms one of the stairs.
Above: The concept of Brazilianness
is emphasised by a splash of
vibrant colours brought in through
the gourmet kitchen.
Facing page: An exposed concrete
ceiling and wooden surfaces
highlight the social area. A red
suspended lamp by Sylvain Willenz
adds an aesthetic value to the space.
86
gourmet kitchen. An outdoor space with a pool

and seating area is also located here. Finally, the
third floor has a guest bedroom with an attached
bathroom and a tropical garden overlooking the
southern So Paulo area.
The major challenge was to reconfigure
the spaces prior to the renovation in a way that
the architecture was flexible enough to maintain the independence between the private and
social areas, says Requena. This was achieved
through the extensive demolition of walls to
create large environments with multiple uses.
On the first floor, the master bedroom, study
and laundry spaces are cleverly concealed

behind a mirrored wall. The wall is movable
and when opened adds to the total area of the
family living room. Further, the choice of glass
adds to the volume of the space.
Another folding door made from formica
and MDF further hides the open kitchen in
this space. The television unit and flooring are
wood-clad to create a warm family environment
in the living-cum-dining. The architect further accentuates the concept of Brazilianness
through the use of vibrant colours brought in by
the furniture and soft furnishings.
Top and above: The guest bedroom

and the tropical garden on the third
floor were created as part of the
renovation. To take advantage of the
view, the walls of the guest bedroom
are primarily made of glass. While
the orange outdoor seating area is
made from all weather material.
88
However, the piece de resistance of the

space is the staircase leading up to the second
more social area, says Requena. The staircase
represents the transition from the private to the
social environment. This transition is reflected
in the range of materials used to create it.
In addition, the space showcases the flexibility in design as it transforms one end of
the concrete dining table into a stair, turning
a simple object and a restricted space into one
with multiple uses.
The staircase leads to the dining area on the
second floor. This space further continues the
transition into the social environment with the

extensive use of wood and concrete. The public
area is demarcated through an exposed ceiling
creating a strong visual identity.
There was also a desire to show the structure and materiality of that architectural space
as an aesthetic value, says Requena.
The colour scheme for the gourmet kitchen
is a result of the owners desire to have a lively
environment that still retains a sense of elegance
and contemporaneity. Thus, a tropical colour
palette that derivates from purple, red, oranges
and different wooden tones was chosen. This
highlights the exposed ceiling while an assortment of stools breaks the monotony and brings
a sense of whimsy to the space.
An outdoor space creates another socialising environment. This area is divided into two
sections a poolside and a seating area. The provision for the pool was part of the apartments
original design. In the renovation, it took on a
darker tone to highlight and enhance the area
in contrast to the rest of the outdoor. This space
also houses a spiral concrete staircase leading
up to the guest bedroom and tropical garden.
The third floor spaces were created as
Above: The bathroom here is open to

the tropical garden and is clad in blue
tiles that the designer reused from
the pool renovation.
Left: The grey and black bathroom
creates a striking and dramatic
ambience with its classical
chandelier that is suspended at
the basin. The painting brings in a
fun element.
89
part of the renovation. For this, a new slab on

an existing pergola was created, explains
Requena. To maximise on the view and
to maintain the continuity between the exterior
and the interior, the walls of the guest bedroom
are primarily made of transparent glass. To
further highlight this aspect and create a
finished unfinished sense, one of the walls is
clad in raw ironstone.
The bathroom here is open to the tropical
garden with a jacket of blue tiles that are reused
from the pool. Furthermore, the coating of
cement gives the space an elegant touch.
Architect/ designer: Guto Requena, Paulo de Camargo,

Lucas Ciciliato; Estudio Guto Requena
Kitchen: Marcenaria Conceito
Paint: Suvinil
Lighting: LaLamp, Micasa, Bertolucci
Furniture: Dpot, Barauna, Tidelli
Stove/ hob: Lofra
Refrigerator: Electrolux
Taps: Deca
Tiles: Antigua ceramics
Toilet: Deca
Lighting: Andra
Wall coverings: Marcenaria Conceito
Landscaping: Camilla opirari
These pages: In the outdoor space,

the pool takes on a darker tone to
demarcate it from the seating area
on the other side. The third floor is
accessed through a concrete spiral
staircase from the outdoor.
Story by Amanda Peters
Photography by Andre Klotz

91
Gracious
welcome
A picture of classic Georgian
charm from the street, this
home now benefits from a
light-filled, flowing interior
A remodel of a classically styled house often

has to address claustrophobic interior layouts,
along with under-considered refits. Faced with
such hurdles, remodellers typically aim to
sweep away clutter, and open up the interiors
to let the good bones of the original architecture
shine. On this project, the owners had bought
a Georgian house with a view to renovate. The
Peterssen/Keller Architecture team of Gabriel
Keller, Carl Olson and Lars Peterssen provided
the architectural design, with interior design by
Linda Engler and Emily Thull of Engler Studio.
Keller says the house had an attractive, not
too ornate exterior and a generous backyard.
While there was not much that needed to
be done to the facade, inside the spaces felt
cramped and lacked flow for example, the
modest, narrow kitchen was a dead end. Worst
of all, an earlier addition on the rear of the home
cut off the light and connection to the backyard.
Perhaps the most overwhelming issue we
faced was the dark, oppressive nature of the
interiors. The restricted size of the connections
between rooms, combined with somber paint
tones and woodwork that darkened over time
made the heart of the home feel fairly gloomy.
For the remodel, Peterssen/Keller removed
the office and porch addition and introduced a
new kitchen with an adjacent banquette breakfast area and a separate family room alongside.
We took out a disused service stair and
powder room near the old kitchen and put a
large butlers pantry in its place, says Keller.
This expands functionality and storage in the
kitchen, and is also perfect for entertaining.
Now theres a relaxed circulation around the
first floor, from the entry to the living room and
kitchen, then back through the butlers pantry
to the dining room near the front door.
Left: Built in 1912, this house

has more than stood the test of
time, especially on the outside.
Peterssen/Keller Architecture
undertook the remodel, which
included excavating at the rear for
additional basement space. Interior
design was by Engler Studio.
Above: The entry, like the rest of the
interiors, is now lighter and brighter.
An antique Japanese tea cabinet
works well with the new stained
oak floors.
93
Peterssen/Keller also added a mud room

on the kitchen side of the house, creating a logical access to the back lawn. Next to the living
room, an original sunroom was restored. It now
incorporates French doors repurposed from the
original master bedroom.
Other improvements involved replacing all
the floors with stained oak, and introducing
broad casements between living spaces to allow
the light to penetrate right through the home.
Rooms that experience the heaviest day-to-day
wear the kitchen, mudroom and sunroom
are finished in hard-wearing beadboard.
Left: The dining table has an antique

flavor but is actually a new Hickory
White extension table that seats up
to 14.
Top: Seating in the living room
includes a Hickory Chair sofa,
finished in a Stark textile, and a pair
of Amy Howard fauteuils, covered in
Travers cloth.
Above: Two Formations chairs in an
indoor-outdoor Perennials fabric take
pride of place in the sunroom.
95
Above: The new kitchen is light-filled

and served by a spacious butlers
pantry. White cabinetry provides
a compelling contrast to the richly
stained floors. The absence of upper
cabinets helps maintain the airy
feeling. A large floor area paired
with an efficient work triangle
makes it easy for several family
members to use the kitchen at
the same time. Most surfaces are
white unless they are constantly
being touched such as the kitchen
counters and stair bannisters.
96
Bookshelves were added on the landing and

some of the stained glass window panes replaced
with clear glazing in this area to let in more light,
says Carl Olson.
We repeated existing crown mouldings and
other classic detailing in the reworked spaces.
And most of the heart of the home is now white,
including the central staircase. Darker colours
are only seen on surfaces that are often touched,
such as the bannister, which is black. With these
light-filled rooms, larger cased openings and
updated colour palette, the look of the home has
been completely transformed.
Interior designer Linda Engler says the

owners wanted understated rooms with a sense
of quiet opulence.
In the kitchen, the custom range hood and
Moroccan tile backsplash form the centerpiece.
While the paneled cabinetry has a traditional
air, the large hood offers a more contemporary
aesthetic. The non-directional stainless steel
finish has the lustrous look of pewter.
With the inclusion of a butlers pantry, it was
possible to avoid upper cabinets in the kitchen,
which would have blocked natural light. The
white cabinetry and beadboard walls, along
with a solid walnut countertop that acts as a

butchers block, give the kitchen a practical feel.
But there are personal touches too, such as cabinet hinges modelled on icebox door clasps and
antique posters sourced by the owners.
Interiors finishes are an eclectic mix of the
traditional and opulent, and the occasionally
surprising. A uniform palette of grey, white and
turmeric, and a sense of common scale for the
furniture draws the rooms together, says Engler.
In the living room for example, the chairs
have classically styled frames but are upholstered in hard-wearing materials. A coffee table
with a gesso finish makes a playful counterpoint

to the formal seating and grand piano.
Understated contrast continues in the dining
room. Engler custom designed the sideboard
that sits beneath the stained glass windows,
giving it a whitewash finish to complement the
grey wash of the antique Swedish dining chairs.
The rawness of these pieces is contrasted by the
antique style of the extension table, the strongly
patterned drapes, and the chandelier. The
rooms original light fixture is now in the entry.
The rejuvenated sunroom has also been a hit
with the owners and visitors, says Engler.
Top: The breakfast table has a

weathered finish, which contrasts
the pristine paneled cabinets.
Pendant fixtures above the island are
from Waterworks and complement
the curvaceous range hood.
Above: The traditional stools at
the kitchen island are from The
Sterling Collection. The new family
room behind features French doors
that open to the garden. An office
addition had previously blocked the
rear of the home.
97
Architect: Gabriel Keller Assoc AIA,

Lars Peterssen AIA, Carl Olson Assoc
AIA, Peterssen/Keller Architecture
(Minneapolis, MN)
Interior designer: Linda Engler ASID,
Emily Thull ASID, Engler Studio
Cabinet company:
Braatan Creative Woods
Builder: Bob Near,
Streeter & Associates
Structural engineer: Joe Cain,
Mattson Macdonald Young
Doors and windows: Marvin
Windows and Doors; SP Windows;
Simpson Door Company
Flooring: Rift-sawn red oak
Paints and varnishes: Benjamin Moore
Lighting: Urban Electric Company,
Waterworks, Rejuvenation, Circa
Lighting, Currey & Company,
Lamplight Designs
Furniture, blinds and drapes:
Engler Studio
Audiovisual and home theater:
John Deering Theater Design
Kitchen cabinetry: Inset cabinets with
exposed finial hinges, Cliffside icebox
latches, Rejuvenation bin pulls
Countertops: Soapstone; walnut
butcher block on island
Backsplash: Ann Sacks Medina field
tile in Pale Blue; Marrakech border
in White/Pale Blue from Fantasia
Showroom
Kitchen sink: Shaws Fireclay; Rohl
Faucets: Rubinet Raven
Range: Wolf
Ventilation: Custom, with
Vent-A-Hood insert
Refrigeration: Sub-Zero
Dishwasher: Miele, integrated
Bathroom vanity: Braaten Creative
Woods, Calacatta marble top
Basin: Kallista Barbara Barry
Faucets and shower fittings: Kallista
Hampstead
Tub: Porcher Epoque Nouveau
Story by Charles Moxham
Photography by Karen Melvin
Above right: In the master bedroom,

light patterns and textures bring a
soft aesthetic. The bed is by Hickory
White and the bench by Hickory
Chair. A subtle Ralph Lauren drapery
fabric finishes the room.
Right: A fireplace formerly at
the far right of this picture was
removed, allowing the space to be
reconfigured more effectively.
98
Before
We initially drew a floorplan that included

more furniture, but having decided it would
make an ideal area for reading and reflection,
the room now has just two chairs. The concrete
tile floor is a departure from the rest of the
home, and so is the ceiling. Porch ceilings are
often painted pale blue said to keep bees
away so I followed this tradition, but made a
stronger statement, with a more intense blue.
Upstairs, Peterssen/Keller created a spacious
new master bathroom off the existing master
bedroom, allocating the old bathroom space to
walk-in closets.
We removed an open fireplace from the

bedroom, allowing us to reorient the space more
effectively, says Keller.
For this master suite, one owner wanted a
feminine, floral look and the other, some design
punch. We were able to cater to both. The feminine side comes through in the furnishings, rug
and drapery, while the bathroom is in a strong,
punchy blue. This contrasts with the predominant white of the mosaic floor tiles, the marble
countertops and the cabinetry. The chandelier
and a clawfoot bath add to the resort-like feel
of this space.
Outwardly refined, the house now offers

gracious functionality on the inside too, say
the owners. Once gloomy spaces are now light,
bright and open to the surroundings, and the
wall of windows at the rear of the kitchen draws
the eye through the home.
The banquette seating area is a favorite
spot for family and friends. Whoever comes into
the kitchen seems to automatically gravitate to
this inviting corner.
Top and above: The new master

bathroom is more clearly opulent
in style. Wall sconces are from
Waterworks and the ceiling fixture
is from Currey & Company. Tiny
hexagonal floor tiles add to the
classical appeal, as does the
freestanding tub. The W Van Deusen
Blue colour is an exception to the
white walls elsewhere in the home,
and provides the drama that one
owner wanted.
99
Perfectly aligned
Breaking away from their signature style, Riyaz and Simeen Quraishi
create a residence in Hyderabad that represents the best of classical
and contemporary design
100 more projects at trendsideas.com
Taking on a project mid way

is always a tricky task and
comes with its own set of challenges. And designers Simeen
and Riyaz Quarishi of Moriq
Interiors, Hyderabad faced a
similar challenge when they
took on to design the interiors of this residence in Banjara
Hills, Hyderabad.
The architecture was ready
when the duo took on the
project and thus they had to
design the interiors in a way

that complemented the exteriors and also translated the
owners character in the best
possible manner.
As a firm, we stand for
contemporary designs and
have a certain signature style
that we adhere to. The owners
were looking for a decor,
which deviates slightly from
our style but as we had taken
on the project at a much later
stage, we adapted to their style

and design philosophy. We
were given an existing structure to work with and were
asked to complete the interiors. The owners had seen our
other projects and they liked
the kind of look we give to the
interiors so they were insistent
that we take up the project,
says Simeen.
While the owners appreciated the firms work, their
Above: The ribbon-twist staircase

is the hallmark of this 7000 sq ft
house designed by Riyaz and Simeen
Quraishi. Walls were broken to
ensure it is visible from the living
room. The living room itself employs
wooden panelling to break the
monotony as the ceiling is a large
expanse. Thick carpets have been
used to add a touch of warmth.
more projects at trendsideas.com 101
Above and above right: The formal

lounge has a scalloped wooden
ceiling to give a distinct look. The
staircase forms the backdrop of the
dining area and there is a recurring
motif of circles and roundness in the
space. The circular floor pattern rises
into the round dining table that faces
the round crystal chandelier above.
Facing page: The staircase is clad in
Corian and a small basin has been
subtly tucked below. The chadelier
accentuates the overall space.
use of colour and the way

they integrate spaces in their
various projects, the designers
themselves were looking for a
compelling reason to take on a
project that had been designed
by another architect.
The
twisting
central
staircase sealed the deal for
them and they took it up as a
challenge. It is the highlight
of the ground floor where the
dining area, living room and
formal lounge are located.

We found that the spaces
in the house were well planned
and we thought we would be
able to play around with the
design of the staircase. The
only problem was that it was
not vaastu compliant so we
retained the original shape but
shifted it to another side of the
hall, says Riyaz.
The house covers a built up
area of 7000 sq ft spread over
the ground floor and an additional two floors.

The house has a total of
five bedrooms on the ground
floor are the guest bedroom
and the owners parents
bedroom while the master
bedroom and childrens room
is on the first floor.
The second floor has an
additional bedroom, a home
theatre and a terrace. The
designers have broken a trend
in their own design style

and used copious amounts
of wood and stone to suit the
owners taste.
We
already
had
a
pre-designed structure, which
was a typical sloped roof
house. It is a very common
design in this area and several
of the houses surrounding
the plot have the same sloped
roof structure so we wanted
to
break
away
from
this mould in the interiors,

says Simeen.
Wood has been used to
add a touch of warmth, but
more importantly to define the
spaces. Quarishi has used it on
the walls and ceiling to give a
distinct identity to each space.
The ceiling usually has a
straight line structure except
in three places where we
have experimented even further. In the formal lounge, we
have created a pattern of semi

circles. The second is the double-height dining and the third
space where we have gone all
out with the ceiling design
is the kids room where the
sloping roof has been clad in
wood, says Riyaz.
The second running element is the use of stone. The
client took a great interest in
the selection of stone and spent
almost a year choosing what
Facing page and top: The master

bedroom ceiling is a grid of
white wooden beams thus
concealing exposed beams without
compromising the ceiling height.
The furniture is all in muted shades
of white and grey to balance the
patterned walls, ceiling and floor.
Above: Natural stone used in
the bathrooms has a richness of
colour and an inherent pattern. The
designers have used unique fixtures
to draw attention.
Above: Two young daughters occupy

this bedroom hence the designers
decided to use vibrant colours for the
space. The wood panelling adds a
touch of warmth.
he wanted, says Simeen.

While the bedrooms follow
the same basic colour and
material palette of the ceiling,
walls and floor in the public
spaces of the house, the bathrooms truly showcase the use
of stone. The bathroom design
combines the grain pattern on
the floor with the swirling colours and patterns of the stone
on the walls to create a bold
and overwhelming design.
Architect/ designer: Riyaz Quraishi,

Simeen Quraishi; Moriq Interiors
Associations: Indian Institute of Interior
Designers (IIID)
Kitchen manufacturer: Poggenpohl
Cladding: Hindustan Marble & Granite
Furniture: Natuzzi
Flooring: Hindustan Marble & Granite
Paints: Asian Paints
Lighting: DEFA Lighting, ALC Lighting
Basin: Villeroy & Boch, Beeevue,
Keuco, La Belle
Taps: Jaquar, NewForm, Toto
Tiles: Hindustan Marbles & Granites,
Bangalore
Toilet: Duravit
Accessories: Natuzzi
Bedroom: Atmosphere
Photography by Riyaz Quraishi

Left: This space is marked by an

elaborate theme of striations. Stripes
of varying thickness on wood and
stone have been used on every inch
from the floor to the ceiling to create
a dramatic space.
trendsideas.com 107
HOME & DESIGN
Volume 1 No 9
` 250
INDIA
VOL 1 NO 9 2014
HOME & DESIGN
Volume 1 No 9
` 250
INDIA
VOL 1 NO 9 2014
R.N.I. MAHENG/2013/50949
R.N.I. MAHENG/2013/50949
28/01/14 2:39 PM
28/01/14 2:39 PM
the sun
does not
realise
how wonderful
Maximise
what nature
has to offer
with our
path breaking
green homes
it is until
ALL
R.N.I. MAHENG/2013/50949

VOL 1 NO 9 2014
is made
Volume 1 No 9
` 250
INDIA
a room
after
HOME & DESIGN
28/01/14 2:39 PM
challenging sites
Above: This new house designed by

Box Living was built on the flat part
of a steep site. Access is by stairs
leading down from the road. The car
deck, which is cantilevered at the top
of the site, has a carousel for turning
the cars. Living areas are positioned
on the lower level, where they flow
out to the terrace and pool. There is
also a door opening to a balcony and
stairs on the upper level.
With land in prime city suburbs scarce, it is

only to be expected that every square inch will
be maximised. Its no surprise therefore, that
architects are finding design solutions for even
the most challenging building sites.
This site was one of the more tricky ones that
Box Living has worked with. Not only was the
land steep, but it was also long and narrow, says
general manager Dan Heyworth.
The site was just 12 m wide and subject to
the usual height-to-boundary restrictions, he
says. Initially, we toyed with the idea of putting a driveway down the hill, but then chose to
build a cantilevered car deck at the top, with a

turning carousel it is less treacherous.
Heyworth says the narrow width of the land
determined the design of the house, which is
based on Box Livings modular post and beam
architectural concept.
This is inspired by the work of mid-century
architects, such as Pierre Koenig and Craig
Ellwood, who produced beautiful, accessible
and affordable modern buildings.
For this project, we created a double-height,
rectangular volume, flanked by single-storey
wings. The plan is essentially a cross, with the
Down the garden path

Tucked away in a secluded valley, this new house maximises
a challenging site that is just 12 m wide
upper level of the main volume extending out
past the wings on either side to provide shelter
for the outdoor living area beneath.
The architecture is also defined by the
exposed exoskeleton. Steel bracing crisscrosses
the large windows on the lower level, and the
engineered timber posts and beams are also
exposed, and painted in a dark shade to match
the stained, rusticated cedar weatherboards.
We positioned the main living areas on the
ground floor, so we could provide a flow out to
the only area of flat ground, which is where we
placed the outdoor living area and pool, says
Heyworth. The upper level accommodates

bedrooms and a second living area, which can
be used by the children. This allows segregation
between adults and children when required.
A pared-back design and a simple, natural
palette of raw materials define the open-plan
living area. Materials are limited to concrete,
glass, steel, timber and Okuplex varnished plywood. The plywood features on shelving in the
kitchen, including a suspended unit above the
island, and on a bank of cabinetry in the living
room. The central stairs have a similar finish,
contrasted by black timber balustrades.
Above: The house was assembled

on site using Box Living modular
components. These provide an
exposed exoskeleton, which includes
structural bracing crisscrossing the
windows. The top storey extends out
over the terrace to provide shelter
and shade in summer. This part of
the house accommodates the master
bedroom suite.
Above: Full-height bifold doors open

up the living space to the outdoors.
The flooring in this part of the house
is concrete, which enhances the
seamless flow to the terrace.
Right: The main palette of materials
featuring on the interior comprises
concrete, glass, timber and steel.
The kitchen cabinets are lacquered
a dark grey, while the benchtops are
a mix of honey-grey composite and
stainless steel.
112 trendsideas.com
Architect: Tim Dorrington, Box Living

(Auckland)
Builder: Box Living
Cladding: Rusticated cedar
weatherboards
Roofing: Membrane; Coloursteel
Doors and windows: Nulook
Weathertight Series
Door and window hardware: Nulook
Flooring: Polished concrete; carpet
Paints and varnishes: Resene Cool
Colours
Lighting: Halcyon LED; David Trubridge
pendant
Heating: Hydronic underfloor
Kitchen cabinets: Fluid Interiors
Benchtops: Honed granite
Refrigerator: Fisher & Paykel
Photography by Emma-Jane
Hetherington
The vertical timber battens are a distinctive

sculptural element, says the architect. They
help to lead the eye up the stairs, enhancing the
perceived height of the space. For this reason,
also, we made the internal doors and windows
in the house full height. This makes the rooms
seem much bigger.
To continue the visual drama, the kitchen
features dark-grey cabinets, teamed with a
honey-grey benchtop on the island. The perimeter benchtops and backsplash are stainless steel.
With the timber shelving helping to warm
the space, it doesnt feel cold, says Heyworth.
The material palette continues on the upper

level, where the bedrooms and the common
area feature built-in plywood cabinetry. Black
carpet offsets the white walls and complements
the black balustrading and David Trubridge
light pendant.
Other features of the house include LED
energy-efficient lighting throughout, and a heat
pump that powers the underfloor heating, hot
water and swimming pool.
Facing page: Plywood cabinetry in

the living area includes a storage
area beneath a window seat. Blackpainted timber balustrades extend
right up through the centre of the
house, creating a dramatic sculptural
form.
Top and above left: The internal
doors in the house are full height,
which makes the rooms seem larger.
Above: The bathroom features black
tiles and plywood vanity units.
Front to back
Every inch matters when space is at a premium. With its open and transparent
circulation areas, this long, narrow house maximises both space and light
While the concept of the terrace house
has been around for centuries, the idea of
such a home having an open floor plan is
relatively new.
This freestanding house, designed by
owner Jane Agnew of Agnew Interiors, is
not technically a terrace house, but it does
have a similar footprint on a long, narrow
building site. And it was the site restrictions that posed the greatest challenge for
the designer.
The block is the last one in a row that
was developed on former industrial land,
says Agnew. At 230 m2, the site was

always going to be tight and it was clear
the space would need to be maximised,
both inside and out.
The designer says she did not want to
reinterpret traditional terrace architecture.
Rather, she wanted a very contemporary,
streamlined design.
However, I did want to incorporate
an old drystacked stone wall along one
boundary, which dates back to the 1890s,
she says. There was an opportunity to
contrast the very old with the very new.
Facing page: Bold, contemporary lines define this

new house on a long, narrow block. Designed
by the owner, interior designer Jane Agnew, the
house has a top storey that forms a black box,
which cantilevers out over the entry. The threshold
is comprised of a series of overlapping horizontal
planes that incorporate a lily pond. The geometric
paving provides off-street parking.
Above: An open interior layout allows a view right
through the house, maximising the natural light
and space. The internal doors beside the kitchen
can be opened to provide a view to a park over
the road.
In particular, I wanted a clean massing of

streamlined materials that would create a
sharp, minimal look.
Black and white, a signature colour
combination for the designer, defines the
front facade.
The upper level appears as a black
box that protrudes out over the entry. In
fact, the entire top level has been stretched
at both ends to maximise floor space at
the rear it cantilevers over the terrace to
provide welcome shade.
Agnew says creating a transparency
through the house was also essential, to

provide views of a park over the road,
and to draw the eye through the house in
the other direction. To this end, she introduced tall windows beside the front door,
that allow a view right through the house
to the landscaped garden at the rear.
There are also sliding doors to the
office at the front of the house, which
opens off the kitchen-living area. When
these are open, there are views back to the
park. Rooms come off wide circulation
areas, rather than hallways, which not
only saves space, but also opens up the

house to the views and natural light.
To provide a sense of openness and
space in the main living area, Agnew
introduced a wide opening at the side,
with sliding glass doors. These open onto
a long, narrow lily pond and a decorative
black powdercoated steel privacy screen.
The screen is laser cut with a pattern
resembling a Manchurian pear tree, the
designer says. It allows lovely filtered
light to shine through, and provides
glimpses of the limestone wall behind.
Facing page: A wide opening at the side of the

living area helps to make the interior seem more
spacious. Large sliding glass doors open to reveal
a lily pond with a decorative black powdercoated
steel screen behind. The screen was laser cut to
provide a silhouette of a Manchurian pear tree.
Light filters through the screen casting patterns on
the floor.
Above and left: The designer chose a simple
palette of hardwearing materials, including
American oak flooring, Brazilian granite benchtops
and a reflective smoked mirror glass splashback
and island front.
Architectural and interior designer: Jane Agnew,

Agnew Interiors
Landscaper: Emma Lipscombe
Kitchen manufacturer: Kitchen Haus
Cladding: Scyon Matrix by James Hardie
Roofing: Colorbond by Joshua Wenden Roofing
Window and door joinery: Aluminium Solutions
Australia
Window and door hardware: Madinoz Design
Hardware
Blinds: Vertilux from Agnew Interiors
Drapes: Ripplefold from Agnew Interiors
Flooring: American oak by C&J Flooring
Wallpaper: Fornasetti from Agnew Interiors
Paints: Dulux; Porters from Unique Painting
Lighting: Dimension 8 from Alti Lighting
Heating: Warmtech
Furniture: B&B Italia
Ponds: Exclusive Water Features
Outdoor furniture: Philippe Starck chairs from Space
Kitchen cabinets: Gloss lacquer
Benchtops: Brazilian granite from Zuccari Stone
Splashback: Smoked mirror from Glass Masters WA
Sink: Afa Cubeline from Reece
Taps: Billi Slimline from Reece
Oven: Gaggenau
Cooktop and dishwasher: Bosch
Ventilation: Best
Refrigerator: Liebherr
Vanity cabinets: Franke cabinets
Vanity top: Azul grey stone from Forezzi
Vanity basin: Mojo from Galvin Plumbing Supplies
Bathroom taps: Pol from Reece
Bathroom tiles: Carrara stone, white gloss and
honeycomb mosaics from Original Ceramics; Blacglass
mosaics from Attica Tiles
Carpet: Cavalier Bremworth from Carpet Force
Photography by Andrew Pritchard

Preceding pages and facing page: The ground floor

opens out to a landscaped alfresco living area
that has a bright fuchsia pink wall as a backdrop.
Colour accents also enliven the interior, notably in
the chartreuse chair, patterned rug and artworks.
Top and above: Space is also maximised on the
upper level. The master suite, at the front of the
house, features a corner window that overlooks a
mature Norfolk pine tree and the park across the
street. Two walls and the floor of the bathroom
are lined in Carrara marble, while the other two
walls are painted to ensure the marble does not
overwhelm the space.
A smoky mirrored glass splashback

and matching front to the island reflect the
screen and the natural light. These things
make a huge difference to a small space,
says Agnew.
In keeping with her desire for a simple
palette of materials, the designer specified Brazilian stone for the benchtops and
high-gloss white lacquered cabinets that
also help to reflect light.
I chose to have one lovely appliance
on display the Gaggenau oven and
integrated the rest with the cabinets.
However, bright colour accents do

make an appearance. Agnew teamed
charcoal-grey Italian sofas with a chartreuse chair and a colourful patterned rug
with velvet cushions to match. Collected
artwork and two brightly painted interior
doors also enliven the interior.
I wanted the outdoors to make a
strong visual statement as well, so I chose
a bright fuchsia pink shade for a wall at
the rear, the designer says. This gives
the landscape a focal point and helps to
draw the eye to the outdoors.
Commercial design
project portfolio
Garden of illusions
At the core of this contemporary office building is a meditative tropical space
designed to reflect the companys work environment and business ethic
Preceding pages This 50,000

sq ft office by Sunil Kulkarni is
a combination of a meditative
soothing workspace coupled
with a vibrant and buzzing
environment. The effect has
been achieved by connecting all
the spaces visually and by the
inner sanctum that is designed
as a garden.
Facing page above and this
page The wooden screens are in
keeping with the tropical garden
in the interior. The screens are
larger on the ground floor and
become more scant towards
the top to cope with the amount
of sunlight each area receives.
A unique feature is that these
screens are moveable and are
at angles instead of simple flat
louvers. This adds dimension to
the facade which is otherwise a
simple combination of straight
lines and concrete.
Facing page below Rainwater
from the roof is channeled
through two large spouts into the
water body. Since it is a large
reflective pool, it appears to
double the size of the building.
home & design trends vol 1 no 9 2014
Designed by architect Sunil Kulkarni and

his team from Core, this building is the corporate
headquarters of the Indian subsidiary of a German
company. Factories surround this headquarters, as
it is located in Punes manufacturing hub. Thus, the
facade itself sets it apart. Created with traditional
materials, such as concrete and wood, the exterior
is designed such that these elements take on a
minimal and contemporary sleekness..
The facade of the building is a simple grid, as can
be seen in the box-like design of the windows as
well as the straight line grooves carved into the flat
concrete exterior.
Since this is an office building, we were faced
with a choice between ensuring good natural light
and avoiding heat. So we have limited the use of
glass in the facade. The building is oriented along
the east-west axis. The walls in these two directions
are narrow and dead and thus we could avoid harsh
sunlight of the morning and evening. The north and
south walls are wide and expansive, says Kulkarni.

The orientation of the building is such that it cuts
the dependence on artificial cooling and maximises
the sunlight. Along the east and west are cavity
walls that ensure that heat is not transferred inside.
While trees protect its north face, wooden screens
have been used on the southern side.
The wooden screens are a unique feature
because they give the structure a tropical look while
staying true to the design. They add softness to the
facade and can be moved or opened depending on
the angle of the sun, says Kulkarni.
Beyond the facade is the built up area of 50,000
sq ft divided into two office blocks. On the ground
floor there is the drop off point beyond which is the
reception, waiting room and a large meeting room.
In the other block, the same level is the canteen, IT
department and other service areas. Within the two
floors above are the offices.
Between these two office buildings lies the highmore Projects at trendsideas.com
127
Facing page The inner landscape

is divided into smaller niches to
give each space a more personal
feel. At the same time, the visual
connectivity over all the levels of
the building gives this space the
illusion of volume and drama.
Below Hardy plants such as
bamboo, creepers and Arica
palms have been used to create
dense foliage. The design of
the roof ensures that the plants
receive ample sunlight and air.
light of the project a grand tropical environment

mimicking a lush hillock.
The owners wanted a green design and a sustainable building. When we made our pitch, we did
not use these terms at all because it is something
we have always been doing. It is already and evidently a part of our design so we didnt see the need
to mention aspects like solar panels or rainwater
harvesting. Instead we focused on how we would
solve problems of lighting and weather control architecturally. The first consideration was to harness
natural light while keeping out the harsh sun. This
also impacts the temperature within the building so

the inner landscaping and structure of the building
keeps it cool, says Kulkarni.
Air flow has been channeled such that there is air
circulation in every office. The landscaped area acts
as a void at the centre of the building. Moreover,
there is an opening in the roof above this space
for fresh air to enter. This inner cavity of cool air coupled with the interconnectivity of the office spaces
ensures that air is constantly circulating.
The inner landscaping plays a variety of roles.
First and foremost, it provides a meditative and
more Projects at trendsideas.com
129
Left The office spaces are sleek

and minimal but the element of
wood adds a touch of warmth to
these spaces.
Although there is an elevator, the space is designed

such that people find it more efficient and also more
pleasant to walk up, says Kulkarni.
While this inner courtyard is lush and densely
planted with varied plants, the office spaces in contrast are sleek and minimal.
Owners Elantas beck India ltd

Location Pune, Maharashtra
Architect Sunil Kulkarni; Core
Project management Sandeep Potadar, Mayuresh
Shirolkar, Aparna Kulkarni
Design team Neha Purandare, Shweta Patil, Shruti
Nilegaonkar
Structural design Sudhir Kulkarni
Landscape design SAMA, Pune
Services consultant CCPL, Pune
Facing page below A

conference room is tucked away
within the garden space, giving
it a unique setting for boardroom
discussions. Overhanging
creepers create an extraordinary
curtain of privacy.
pleasing retreat to escape to between work. It adds

drama to the visual appeal of the space. Apart from
this it also helps control the climate within the office
as the moisture generated keeps the space cool.
We had a landscape consultant for the horticulture but we have designed the spaces ourselves.
Glass roof structural design Third Wave Design, Pune

Paints Asian Paints
Flooring Armstrong, Nitco
Right The architect has used

the multiple staircases within
the office to add the creepers
and plants, which effectively
creates a tranquil zone.

Photography by Atul Kanitkar
131
public buildings
Jewel in the crown

In a skyline dominated by distinctive architectural landmarks, the new Louis Vuitton Island Maison
in Singapore holds its own as a sparkling multifaceted gem thats symbolic of the luxury brand
132
MORE projectS at trendsideas.com
Below:Like the prow of a ship,

the illuminated glass pavilion
housing the Louis Vuitton Island
Maison reaches out over the
harbour, reflecting the water
beneath and vice versa. The
pavilion sits in front of the
ArtScience Museum at Marina
Bay Sands, Singapore.
Parks, promenades, cafs and retail stores

are revitalising waterfront precincts in many cities,
but the architect behind the Marina Bay Sands
development in Singapore didnt want to stop
there. In fact Moshe Safdie literally looked offshore
for inspiration.
I felt it was important to maximise the waterfront
experience, he says. Even with new retail stores
opening up to the promenade right along the bay,
I felt there needed to be something more, an
additional drawcard.
Safdies solution was to introduce two floating
islands several metres offshore. The design of these
structures posed several challenges, however. Not
least was the need to come up with a design that
would stand on its own alongside two other feats of
architecture and engineering by Safdie Architects
at Marina Bay Sands the SkyPark and the
ArtScience Museum. The SkyPark, 200 m above
the bay, spans the resorts three hotel towers,
cantilevering approximately 65 metres.
The ArtScience Museum is equally dramatic,
comprising a curvilinear building with 10 extending
finger-like structures.
Safdie contrasted the curves and solidity of these
buildings with two light, transparent glass volumes.
Once I had come up with the name crystal
pavilion the whole concept fell into place, the
architect says. I envisaged each island as a highly
transparent, crystalline form a magical place in
the middle of the water. People would enter via a
tunnel and pop up in the middle of the bay.
Although both pavilions were originally planned
as entertainment venues, one was snapped up by
Louis Vuitton. The company could see a strong
synergy with its brand and welcomed the opportunity to develop its own Louis Vuitton Island Maison,
which helped determine the final design.
To maintain the sense of a crystalline form and to
provide uninterrupted retail floor space, the building
was engineered with a column-free interior.
This meant the skin had to be strong enough to
support the entire building overlapping triangularshaped structural steel trusses and cables help
133
Facing page:The Louis Vuitton

Island Maison appears to float
within the harbour, moored to a
jetty. The pavilion can be reached
via the jetty, by boat, or via a
tunnel and travelator from the
Marina Bay Sands retail centre.
Below right:Clad in steel and
clear glass, the pavilion exposes
its structural composition. But
large shade sails on the interior
keep out the harsh sunlight.
to stabilise and stiffen the structure, says Safdie.

They have the added advantage of giving the
interior a nautical look, a theme that was further
developed by interior architect Peter Marino.
To minimise the extremes of the tropical
climate, the building features high-performance
glass, with the roof comprised of alternating glass
and metal panels.
Safdie says using clear glass his preference
compounded the challenge of keeping the sun at
bay, but was essential to maintain the transparency
of the structure. The base of the building is clad in
stainless steel above the low-tide water line.
For fire egress, a delicate bridge element links
the boat jetty to the mainland. There are also fire
egress routes within the underwater tunnel.
Not surprisingly, Peter Marino says the main
challenge in designing the interior was managing
the large amount of daylight streaming in.
This was solved by introducing interior shades,
which also help to soften the interior, allowing the
products to be the main focus, rather than the
exposed structural elements. Somewhat translucent and designed to loosely evoke yacht sails, the
shades allow diffused sunlight to enter, while
protecting the interior from harsh sunlight. Yet they

still enable people to enjoy views across the bay to
important landmarks on the Singapore skyline.
Unlike other Louis Vuitton stores, the showrooms
in this store are positioned around the core of the
building, creating a promenade around the perimeter that enables shoppers to look out. At night, the
windows create a glowing lantern-like light, which is
reflected on the water.
Marinos interior design introduces a series
of nautically inspired spaces based on traditional
seafaring materials, including polished teak
most commonly found on yachts and launches
and stone, such as that seen on harbour walls
and slipways.
Louis Vuitton Asia-Pacific says these spaces
invite visitors to become explorers themselves as
they embark on their own journey discovering the
stores multiple facets and treasures.
The company says the design pays homage to
the traveller and the spirit of the sea. The entire
island represents the ultimate embodiment of the
sea-faring aesthetic and evokes Louis Vuittons
associations; not only with the golden age of ocean
travel, but also with prestigious international sailing
135
These pages:Nautical
references abound on the interior
and include mast-style lighting
fixtures and teak wood accents.
136
137
Left:A private lounge for intimate

presentations is fitted out like the
interior of a luxury yacht.
The nautical theme extends to
the striped cushions and teak
wood panelling.
Below right and lower

left:Louis Vuitton product is
displayed within eye-catching
illuminated shelving units and
glass counters.
yacht or ocean liner, is an extension of this room.

Art and cultural elements are also an integral
part of the Louis Vuitton Island Maison. The space
features a permanent installation by British artist
Richard Deacon. His suspended sculpture on the
main floor, titled Upper Strut, was inspired by the
surface of the water.
The maison also exhibits a large artwork by
Cuban-born illustrator Ruben Toledo. This cityscape painting is displayed beside the spiral
staircase linking the Watch and Jewellery Universe
and bookstore. A mirrored ceiling above the
stairwell enhances the decorative effect.
Project:Louis Vuitton Island Maison, Singapore

Client:Las Vegas Sands Inc; Marina Bay Sands Pte Ltd
Architect:Moshe Safdie, Safdie Architects, Somerville, MA
Interior architect:Peter Marino, Peter Marino Architect (for
Louis Vuitton), New York
Structural engineer, facade and fire safety
consultant:Arup
MEP engineer:RG Vanderweil (design);
Parsons Brinckerhoff Pte Ltd (production)
Main contractor:Yongnam Singapore
Marine side works contractor:McConnell Dowell
Retail fit-out contractor:ISG
Retail lighting:Lighting Planners Associates
Below:Cuban-born artist Ruben

Toledo created the large painting
in this stairwell.
competitions, notably the Louis Vuitton Cup and

the Americas Cup.
Teak wood features extensively in the Mens
Universe and Womens Universe retail areas, and
the soaring ceiling has suspended light fixtures that
are reminiscent of the masts of sailing ships.
The mezzanine level, devoted to travel, includes
a private lounge for intimate presentations. This
was designed to evoke the interior of a private
cabin on an ocean liner, complete with wood
panelling, bulkhead-style soffits and expansive
ocean views. An outdoor loggia with a nautical
railing, which is reminiscent of the deck of a luxury
Interior sun shades:FTL Design Engineering Studio;

Eventscape Inc
Artists:Suspended sculpture by Richard Deacon; stairwell
art by Ruben Toledo
Photography: images on pages 48 and 51 by Timothy
Hursley; other images by Jimmy Cohrssen
139
Multifaceted
The design of the Museum of Contemporary Art Cleveland demonstrates that
a museum expansion need not be large in scale to be ambitious in all respects
Art rarely exists in a vacuum it creates a

dialogue with the surroundings, and in recent
times this relationship has taken on a much
greater significance.
The Museum of Contemporary Art (MOCA)
Cleveland has explored the connection between
art and architecture in the most constructive way
possible by commissioning a new building at
the gateway to the emerging uptown district and
cultural hub known as University Circle.
Designed by Iranian-born London architect
Farshid Moussavi, along with Cleveland-based
executive architects Westlake Reed Leskosky,
MOCA Clevelands new museum needed to serve
as a catalyst for creativity and growth in the cosmopolitan neighbourhood, says MOCA Cleveland
executive director Jill Snyder.
The precinct is home to one of the countrys
140
largest concentrations of cultural, educational and

medical institutions, she says. We believe this
building will stimulate critical thinking and animate
social exchange. MOCA is expanding its scope and
activities on all fronts, supported by new architecture that allows for flexibility, unconventionality,
and technological capacity in the presentation of
contemporary art.
The 3158 m2 building, which is 44 per cent larger
than MOCAs former rented space, is a four-storey
structure that rises almost 20 m from a hexagonal
base to a square top, where the primary exhibition space is located. Clad primarily in mirror-finish
black Rimex stainless steel, the facade reflects its
urban surroundings, changing in appearance as the
light and weather change.
Three of the buildings eight facets, one of them
clad in transparent glass, flank a public plaza.
Below:The changing face

of contemporary art MOCA
Clevelands new building sets up
a strong dialogue with the city.
Reflective stainless steel panels
mirror the urban landscape.
141
142
Below:Doors appear as deep

penetrations in the skin of the
building, opening up to the
triangular site.
Moussavi says that museums today are not just

homes for art, but serve multiple functions and host
a variety of activities.
Our design for MOCA Cleveland aims to provide
an ideal environment for artists and visitors, and
to foster creativity and variety in exhibitions and
programmes, Moussavi says.
Located on the corner of its triangular site, the
building has entrances on all its sides to allow it
to open along its entire perimeter and be used in
different ways.
Synder says because MOCA Cleveland is a
non-collecting institution one of the relatively few
such contemporary art museums in the country
its new building did not need to accommodate
collection galleries.
This buildings design is a perfect expression
for the museums philosophy and programmes.
Flexibility is key to a programme like ours that
embraces aesthetic, conceptual and cultural diversity, and displays works in a great variety of media
and genres.
Moussavi says visitors entering the building
find themselves in an atrium where they can
appreciate the dynamic shape and structure of the
building as it rises. A grand staircase in the atrium,
which is known as the Donna and Stewart Kohl
Monumental Staircase and Atrium, is the dominant sculptural feature. This stair, which begins its
ascent in the atrium, has been stacked on top of a
second staircase.
This not only creates an impressive sculptural
form, but also enables visitors to chose between
two dramatically different routes, says Snyder.
They can climb the main staircase, which is open
to the atrium and views of the other floors, or the
egress stairs, which are enclosed yet illuminated,
evoking a tube of light.
All floors contain areas for either exhibitions or
public programmes. The top gallery floor has no
fixed dividing walls, allowing for a variety of
configurations.
143
These pages:The grand

staircase, which is essentially a
stair embedded within a stair,
appears as a bold, sculptural
architectural element within the
soaring atrium. It leads to the
main exhibition space on the
top floor.
145
146
Below:The exposed services,

ceiling and interior of the outside
walls are all painted a deep blue,
signifying the building envelope.
This floor also contains a gallery for new media
work, and a lounge overlooking the plaza and
uptown. Angled slot windows and wall linings
enhance the edgy, dynamic feel of the space.
To celebrate the opening, the inaugural
exhibition, titled Inside Out and from the Ground
Up, provides an in-depth look at how a number of
international artists engage with architecture and
concepts of space.
David Norr, MOCA Cleveland chief curator, says
this expanded discourse has particular resonance
in the new building as the architecture creates
striking effects through transparency, openness
and scale.
The artists in our inaugural exhibition prompt us
to consider how we physically and psychologically
relate to the built world layered with all its cues
and miscues. A common thread in the exhibition is vision and the body being immersed in
or excluded from spaces; the tenuous boundary
between inside and outside, self and other; and the
disorientating effects of shifting perspectives.
Norr says MOCA Cleveland commissioned three
of the artists to question the logic of the building
itself through deliberate additions, subtractions or
alterations to the architecture.
In contrast to the newness of the architecture,
for example, Brazilian installation artist Henrique
Oliveiras cave-like environment (Carambxido,
shown at left) is made from materials gathered from
the streets of So Paulo. It appears to emerge from
the gallerys walls, suggesting organic growth or
parasitic invasion.
MOCA says the gallery is also hosting a number
of interactive educational programmes, concerts
and dance performances designed to connect
diverse audiences to the art and architecture.
Location:Museum of Contemporary Art (MOCA) Cleveland,

Cleveland, Ohio
Architect:Farshid Moussavi,
Farshid Moussavi Architecture, London
Executive architect and engineering services:
Westlake Reed Leskosky
Landscape design:James Corner Field Operations
Facade engineering:Arup Facades
Lighting consultant:Westlake Reed Leskosky
Exterior cladding:Rimex steel panels
Photography by Dean Kaufman, courtesy
MOCA Cleveland
147
HOME & DESIGN
Volume 1 No 9
` 250
INDIA
VOL 1 NO 9 2014
HOME & DESIGN
Volume 1 No 9
` 250
INDIA
VOL 1 NO 9 2014
R.N.I. MAHENG/2013/50949
R.N.I. MAHENG/2013/50949
28/01/14 2:39 PM
28/01/14 2:39 PM
the sun
does not
realise
how wonderful
Maximise
what nature
has to offer
with our
path breaking
green homes
it is until
ALL
R.N.I. MAHENG/2013/50949

VOL 1 NO 9 2014
is made
Volume 1 No 9
` 250
INDIA
a room
after
HOME & DESIGN
28/01/14 2:39 PM
Properties on the block
TRENDS selects premium properties

making the rounds today
Panorama @
The Address
Developer:
The Wadhwa Group
Location:
Ghatkopar West, Mumbai
Status of the project:
Under Construction
Area of project:
19 acres (approx.)
Residential type:
Duplexes and 4 BHK apartments
Residential area:
5113-12500 sq ft
Architect & interior designer:
Shakti Parmar Associates, Mumbai
Construction:
Larsen & Toubro (L&T ECC Division)
Landscaping:
Sitetectonix, Singapore
Financing:
ICICI, HDFC, HSBC, Indiabulls for
home loans
Special features:
Spacious apartments with an exclusive
spa club house, swimming pool,
concierge service, banquet hall, sports
and exercise facilities
Pri
c
` 9.4 e:
4
crore
onwards
Geras Isle Royale

Developer:
Gera Developments Pvt Ltd
Location:
Bavdhan, Pune
Status of the project:
Under Construction
Area of project:
10 acres
Residential type:
4.5 BHK apartments, 3.5 and
5.5 BHK villas
Residential area:
3080-5500 sq ft
Architect:
DSP Design Associates Pvt Ltd,
Mumbai
Interior Designer:
Metaphors- Amala Sheth, Pune
Construction:
Satish Marathe Consultants, Pune
Landscaping:
Land Art Designs, Pune
Financing:
HDFC, ICICI
Special features:
The complex has iPad controlled
homes, a 5-layer world-class
security system as well as a
clubhouse with a fitness studio,
tennis, squash and basketball
courts. Apart from an 8500 sq ft
swimming pool, select villas come
with attached private pools
Price:
` 2.2 crore
onwards
(approx.)
The Gallery:
Lightopia,
Weil am Rhein,
Germany
Markus Tollhopf, Archivio Storico FLOS, Ursula Sprecher, mischertraxler 2010, kalle Sanner and Daniel Rybakken, Cesare Casati
till March, 2014
An exhibition
of lighting
designs from
iconic artists
Vitra Design Museum presents Lightopia, a

lighting exhibition comprising of 300 works
of art by numerous iconic artists along with
never before seen light works by Wilhelm
Wagenfeld, Achille Castiglioni, Gino Sarfatti
and Ingo Maurer. Curated by Jolanthe Kugler,
the primary focus of the exhibition is to present
works by contemporary designers and artists
such as Olafur Eliasson, Troika, Chris Fraser,
Front Design, Daan Roosegaarde, Joris
Laarman, who illustrate and explore new
design with light. Along with the exhibits,
Lightopia also explores the topic in form of
interactive and walk-in installations that give
visitors a direct experience of the primordial
power of light. The exhibition is divided into
sections of four. First is living in Lightopia,
which portrays the influence of light in todays
living environment. Second is the Icons of
lighting design that showcases 50 artefacts
upcoming events
maurer westfriedhof
Building M+: The Museum and

Architecture Collection
52 Weeks, 52 Cities Photographies by Iwan Baan
All Design Istanbul
Over 100 works of more than 35

architects, firms and artists from
Hong Kong, China and Asia
Iwan Baan photographic exhibition

of 52 photographs of striking
buildings by famous architects
Trend forecaster Li Edelkoort and designer

Karim Rashid along with other speakers at
a two-day conference plus trade fair
Hong Kong, Till February 9
Herford, Till February 16
Istanbul, 21-22 February
sarfatti
examining their historical, social, political and

technological background that played an
important role in their inception. Colour, Space,
Motion is the third that explores the role of
light in defining spaces, creating atmospheric
moods and telling stories. Lastly, Light for
tomorrow is designed as a large laboratory
that showcases contemporary solutions, as
well as prototypes, experiments and visions
that could alter the way we perceive light in
our daily lives.
Exhibition room 3
instalation room
mischer traxler
expo 1900
Design Shanghai
Shanghai, 24 February-2 March
An exhibition showcasing the

best of contemporary and
classical designs of Shanghai
colour light
casati grifoncino
Melbourne Now
Boston Design Week
An exhibit of the latest in art,

architecture and design to reflect the
creative landscape of Melbourne
Bostons first design week to highlight some

of the citys best architects, fashion designers,
and interior designers
Melbourne, Till March 23
Boston, Till March 30
Review: Hatch and Disintegrating

by Fabian Oefner, Geneva
till May, 2014
Fabian Oefner combines his

love for art and cars into
a two-part series
hatch
Considering Swiss artist and

photographer Fabian Oefners
love for automobiles and art, his
two car themed series Hatch and
Disintegrating incorporates six
computer generated renderings.
Hatch focuses on capturing
the birth of a classical car
while Disintegrating showcases
deconstructed vintage cars, creating an illusion of an exploding car.
Inspired by the picture of a
hatching chick, Hatch is Oefners
interpretation of how cars would
be born. The images comprise of
a 1962 Ferrari 250 GTO model
car bursting out of its shell. The
process comprised of him making
a latex mould of the car filled with
gypsum to create the shell. Several
other shells were used to create
the illusion of the vehicle breaking
out. To capture every moment, he
disintegrating
connected a microphone to his camera, so that

every time the shell hit the surface of the car, the
impulse was picked up by the microphone which
triggered the camera shutter.
According to Oefner, the Disintegrating series
is about artificially creating a moment in time by
blending hundreds of individual images together,
what looks like an exploding car. The images show
exploding views of an intricate scale models of
classic sports cars like a 1954 Mercedes-Benz
300 SLR, a 1961 iconic sleek black Jaguar E-type
and a 1967 Ferrari 330 P4.
concept: houses of goa
Graphic illustrations explore

the architectural heritage of
Goan-Portuguese houses
Inspired by the Windows of New York

project, Abhishek Sarda, creator of
the Beard Design Company in Goa,
set out on a four-month discovery to
document the architectural heritage of
Goan houses that showcase the rich
Portuguese culture. The idea of the
project was to exhibit Goan houses
at the time of Portuguese invasion
that were built of mud and a thatched
roof, facing inward towards a central
courtyard accompanied by a small
window mostly devoid of ornaments.
The major aesthetic influences focused
on the Portuguese architectural style,
adaptation of foreign ideas to local
conditions and use of local materials
along with protecting the house and its
occupants from the monsoons of Goa.
Goan houses are characterised
by decorative elements, such as
exposed pillars, large ornamental
windows, elaborate compound walls
encompassing porches and decorated
gateposts. This gave way to the use of
dramatic colour as the colour white was
reserved for churches and government
buildings. The framework of the project
involved categorically listing, visiting
and documenting each house and
studying its characteristics in order
to graphically represent them. The
blueprints of the houses where
replicated using photographs and
initial sketches of the house and
experimenting with various illustration
styles they settled on the flat vector
which allowed them to hack into the
intricate pattern detailing on the walls
of the houses or the metal grills to the
ornaments on the window and walls.
- Compiled by Sanaa Nalwalla
vivian
fernandes
robeelo
solar
silva-house
panjimm
monte-silva
valeriano
Showcase
LATEST IN DeCOR ACCESORIES AND FURNITURE

Pallate gets a new address
The luxury lifestyle store Pallate has opened
its doors again in Mumbai. Conceptulised and
designed by Rajesh Balachandran and Chetan
Shah of Coloured Pencil, the new store continues
to integrate contemporary design with traditional
while presenting a versatile collection of furniture,
accessories, lighting, soft furnishings and
upholstery. Taking its new venture a notch higher,
the brand has partnered with various global design
brands like Edra, Christopher Guy, Moooi, Cassina
and Brand van Egmond. Pallate also has a special
in-house design team that will soon present its
signature line of furniture. For further information,
email info@pallate.com or call +91-22-24956666
Luxury quotient with Newform

Newform, the designer bathroom and kitchen brand from Italy
introduces its latest collection of faucets called Ergo-Q-Ergo-Open
collection. In order to cater to the increasing demand of crystal studded
bathroom accessories, these gold and PVD-finish taps come studded
with Swarovski crystals that not only accentuate the design but also
add a glamour quotient to the bathroom space. The elegant, cascading
open spout of the faucets merges with the aesthetic perfection of the
square lines while the flow of the water adds fluidity. Ergo-Q-Ergo is
available in two colours, gold and silver. For further information, email
info@newformindia.com or call +91-124-4945060
The Grand Trunk Show

Taj Khazana in collaboration with The Great
Eastern Home has conceptualised a oneof-a-kind event to showcase an eclectic
ensemble of furniture and home accessories.
The event, which will be held at various Taj
hotels across the country, begins at Taj
Falaknuma Palace, Hyderabad from 1218 February. The show will also bring forth
period antique and reproduction furniture in
diverse styles like Rococo, French, Italian, Art
Nouveau, Chinese and Japanese. For further
information, email spr.interiors@gmail.com or
call +91-22-22910764
Villeroy & Boch celebrates love

Villeroy & Boch celebrates red- the colour of love with its
latest Valentines Day collection. Comprising of vases, cutlery,
crystal ware and dinnerware, the range showcases the brands
craftsmanship to perfection. Red Classics, Red Anmut, Red
Accents, Red Sparkling and Red Elegance completes this
range. Representing 266 years of work, the European brand
presents a wide collection of tableware, tiles and ceramic
sanitary ware. For further information, email prashant.m@
genesiscolors.net or call +91-9560566710
A tale of travels
Curated by designer JJ Valaya and TJ Singh, The
Home of the Traveller (THT) showcases a global
collection of home decor accessories and furniture.
A first-of-its-kind, this concept store infuses
old with the new and presents a wide range of
contemporary and traditional accessories. In order
to give a consumer a complete experience, the
store is divided into six different themes, namely
Art Deco, Vintage, Organic, Glamour, India and The
World. With an aim to focus and uplift local Indian
culture, colours, textures and designs, THT also
exhibits work from local artists and craftsmen. For
further information, email contact@thtlifestyle.com
or call +91-8505801234
Happy 13
To celebrate the completion of its 13 years in Indian market, Red Blue Yellow presented
a preview of 13 designs from their latest collection. Brainchild of Karishma Bajaj, Asim
Merchant and Paul Rodrigue, the brands latest collection comprises of beds, sofas, dining
tables and other timeless pieces. Exploring various forms, materials and finishes, the 2014
collection, addresses the future of classicism practical, style oriented, timeless and
modern along with staying true to organic principles. For further information, email info@
redblueyellow.in or call +91 22-66662641
home & design
trends.edit@wwm.co.in
More ideas, information and inspiration at Trendsideas.in

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home & design

A Times of India publication

Acclaimed designer Pinakin Patel talks about refinement in simplicity

32 Architecture on the road

Editor Preeti Singh writes on 2012 World Design Capital - Helsinki

Embraced by the land

Away in the hills

110 CHALLENGING SITES

Jewel in the crown

150 Properties on the Block

152 THE GALLERY

Mrigank Sharma (India Sutra)

from the editor

Who strive - you don't know how the others strive

Our interview of the month is with the acclaimed Pritzker

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Chief Executive Officer Tarun Rai

Presenting designs from

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The light is clearly the game player here, shadowing silver

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Tapiei World Trade Centre Square Landscape

What do you consider while conceiving a project?

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White U, Nakano-ku, Tokyo, Japan

TODS Omotesando Building

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on: less is more

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Sahil Bagga and

Mustafa Eisa, Mustafa Eisa Design

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rajat singhi, Address Home

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- Compiled by by Sanaa Nalwalla