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JULY-AUGUST 2011 DESIGN MATRIX 1
DESIGNMATRIXMARCH-APRIL2012
APaprikaMediapresentation
PEOPLE L I FESTYLE DES IGN INTER IORSMarch - April 2012
VOL. 2 ISSUE 3 `100
A presentation
JULIA
LUNDSTEN
SWATI
MEHROTRA
EDWIN
PINTO DESIGNS FORHAPPY FEET...
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4 DESIGN MATRIX JULY-AUGUST 2011
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MARCH-APRIL 2012 DESIGN MATRIX 9
N O T E
EDITORS
Now ollow us on www.acebook.com/DesignMatrixMagazine
We asked the Design Matrix Group members on Facebook to guess the
connection between Design Matrix and Lady Gaga. While Naresh Mistry
elt that both are vibrant, Devesh Jaisinghani elt that both have a daring
and out-o-the-box attitude. We like these simply because that is what we strive to
do with each issue and love the appreciation.
But there is one more connection Julia Lundsten, Gagas shoe designer. She
is part o our cover story along with Edwin Pinto and Swati Mehrotra. Three shoe
designers drawing inspirations rom diverse and totally unrelated things while
Julias shoes are architectural, Edwin creates shoes inspired by Elves and Pixies and
Swati looks at the Zodiac Signs to create shoes or you! Conversing with them we see
how design goes beyond the apparent, down to what inspires and drives a creative
person.
There is a similar compulsion, again across continents, to do something or our
eathered riends as designers create habitats or birds. This entire issue is about
people, driven by passions beyond the usual, rom diverse design felds ashion,
cinema, architecture, technology and products it is always about pushing the
envelope just a little bit more. Im reminded o these lines I read somewhere Life is
occupied in both perpetuating itself and in surpassing itself. If all it does is maintain itself,
then living is only not dying.
I would like to congratulate all the participants o Design Matrix-Ultratech Paints
Excellence Awards whose projects have been shortlisted or the fnal jury to be held
in New Delhi in mid-March. All o you will be inormed individually by mail soon a ter
the jury is done.
Do keep those mails, messages, posts and calls pouring in. They help us improve
and give you what you want to read.
Until next time, ciao!
Babita Krishnan
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12 DESIGN MATRIX MARCH-APRIL 2012
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CON
TEN
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MARCH-APRIL 2012 DESIGN MATRIX 15
COVER STORYA ascinating insight into the lesser known
genre o ootwear design with Edwin Pinto,
Swati Mehrotra and Julia Lundsten. Pg 22
AR. AAMCHERAr. Aamcher is excited about the Esplanade
project in Mumbai initiated by Ar. Brinda So-
maiya and Shivjit Sidhu. Pg 32
LEISURE DESIGNAr. Khozema Chitalwala draws inuences
rom Gujarat to create a vibrant decor or
The Fern in Ahmedabad. Pg 36
RESIDENTIAL DESIGNAn elegant and high on impact residential
space by Ar. Asit Karekar in Mumbai. Pg 44
CREATIVE IDEASMore than a sneak-peak into the world o our
eathered riends a world created by de-
signers as Bird Houses rom across the world.
Pg 50
Cover featuring: Edwin Pinto, Swati Mehrotra & Julia Lundsten
Shoe designedby Julia Lundsten
Photographs by: Tushar Rao (Edwin Pinto), Indrajit Sathe
(Swati Mehrotra), courtesy FINSK (Julia Lundsten)
40
60
92
CONVERSATIONSTurquoise Mountains initiates a task to re-
store and revive Aghani art and culture.
Pg 66
EXHIBITION DESIGNAr. Jaydeep Ghag highlights the impor-
tance o designing stalls to represent the
clients identity. Pg 74
DESIGN PROMOLe Cdeor a store that stands as a meta-
phor or contemporary liestyle. Pg 80
DESIGN DIMENSIONAn insightul understanding o the world o
changing ashion or should we say revolu-
tion o ashion! Pg 84
PHOTO FEATUREGoa an experience, a personal project o
photographer Tanvi Madkaiker, giving in-
sights o the lovely State in a novel way.
Pg 88
ARTY-TECHTUREReection a light-based interactive instal-
lation by Ivan Depena or a public space in
USA. Pg 96
MUSINGSArt Cinema a genre that is here to stay! Pg
100
TECH DIARYThe controversies, strengths and weakness-
es o the recently introduced Aakash a low
cost tablet. Pg 106
PRODUCT LAUNCHInteresting products to atter your design
senses Pg 109
ETCETRAInormation and news rom the design
world happenings, product review, events
etc. Pg 115
92 92
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16 DESIGN MATRIX MARCH-APRIL 2012
Each issue, you have the chance to win a special gift courtesy
We would love to have your views, comments and/or suggestions
on what you would like to see or read in our pages. Please email to:[email protected] or write to Design Matrix, MRJ Creations
Pvt. Ltd., C-201 Shyam Kamal Agarwal Market, Vile Parle (E), Mumbai-400
057 or Call on 022-26187132.
JULY-AUGUST 2011 DESIGN MATRIX 1
PEOPLE L IFESTYLE DES IGN INTER IORS January - February 2012VOL. 2 ISSUE 2 `100
I believe in doing thing betterrather than different.
AshishGupta
A presentation
Thank you readers for liking us on www.facebook/DesignMatrixMagazine.
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MARCH-APRIL 2012 DESIGN MATRIX 17
One o the best magazines I have come across.
All the best and keep it up.
Prashant Goel
via facebook
It was amazing to go through your last issue,
especially the cover story. It was just chance
that I had met someone dealing in yachts and
the very next day I received my copy oDesign
Matrix. Ashish Guptas success story was really
interesting as it tells us that i you are creative,
sky is the limit, though in this case it should
be the sea! The rest o the magazine also, as
always, made or a very good read. My compli-
ments to the entire team.
Pradeep Amberkar,
Academy of Architecture, Mumbai
I have had the privilege to receive all copies
o Design Matrix and have seen it go rom
strength to strength. Congratulations or this
antastic achievement. While there is no end
to where the magazine can go, there was a
hiccup I noticed in the last issue, which I eel
needs to be pointed out. Pages 120 and 121 o
the issue, though connected to the previous
two pages, somehow seem to stand apart in
the absence o any text on these pages. Some-
how the required impact and notice ability o
this Page-3 kind o editorial seems to be lessdue to a lack o connectivity with the previous
pages. I hope this can be conveyed to the cre-
ative team so that it can be looked into.
Praveen Pasricha,
Mumbai
I have been receiving Design Matrix regularly
since its inception. I really appreciate the con-
tent that it carries. It has defnitely broadened
my knowledge as a layman and novice in the
feld o design. One o the things that I have
always thought should be covered is Mod-
ern as well as Heritage hotels in India. Also, I
would love to read something about ancient
architectural practices/marvels o the world. I
would like to thank you or sharing the maga-
zine with me regularly.
Ketan Singhania,
Mumbai
I have been ollowing the progress o your
magazine or the past one year and I must
congratulate the team on the contents put to-
gether in every issue. Not only the reshness o
the design stories but their presentation is also
very commendable. As a design proessional, Ican saely say that fnally India has a true and
complete design magazine.
Chirashree Thakkar,
Ahmedabad
I loved the toy design and logo design sto-
ries as they showed me a dimension that I
had really no clue about. I have randomly
picked up a ew o your issues in the past
and ound each one o them dierent in
their approach and presentation. This, I eel,
keeps the reader guessing and hence main-tains the curiosity about what would come
next. Even the photo spreads are very di-
erent and highlight the art o photography
in itsel. Since I am a photographer as well,
I can really appreciate the eort, especially
rom a design magazine.
Saurav Chakraborty,
Kolkata IN
BOX
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18 DESIGN MATRIX MARCH-APRIL 2012
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22 DESIGN MATRIX MARCH-APRIL 2012
Coverstory
A shoe was just an accessory
until some time back and the
only time one really paid heed
to it was at your own wedding!
Guided more by functionality
and comfort, you owned a
couple and waited for them to
serve their life till the next trip to
a shoe store. Well not anymore!
Meet Julia Lundsten, Swati
Mehrotra and Edwin Pinto, who
have taken footwear design to
a dif ferent level.
BESTFOOTFORWARDWords: Babita Krishnan;
Images: Courtesy FINSK (Julia): Indrajeet Sathe
(Swati): Tushar Rao (Edwin)
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24 DESIGN MATRIX MARCH-APRIL 2012
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MARCH-APRIL 2012 DESIGN MATRIX 25
For the longest o time, buying shoes was a chore that one
simply had to get over with. But slowly, over the years, the
humble shoe has travelled a hard journey to becoming the
most important ashion accessory. Just as we have proessionals
who are specialists in dierent genres o design shoe, too, has
its own set o creative geniuses. We discovered that not only is
ootwear design an independent industry but a ourishing one
at that where each one draws inspirations rom dierent sources
and what comes o that is nothing less than a showstopper com-
plete with the wow element.
We met up with three such creative people all in the busi-
ness o designing shoes but with as dierent creative ideas as
any. While Edwin Pinto o Janota in Goa brings the Elves and Pix-
ies rom the Fairy Tales to lie, Swati Mehrotra o Swatimodo rom
New Delhi might just design shoes according to your kundaliand
then there is Julia Lundsten o the UK-based FINSK or whom
designing a shoe is no less than architecture and has Lady Gaga
in her list o prominent clients. Lets fnd out what drives themto create these beauties without which, the best o ensembles
would be incomplete.
Babita Krishnan:Let us start with the obvious, why shoe
designing?
Edwin Pinto: I was born and brought up in East Arica and
Im araid, was never very academically inclined. But rom the ver y
beginning I knew that I did not want to do something run-o-
the-mill. I loved to do things with my hands, carve, cut, etc. and
then when we moved to our ancestral home in Goa, I decided to
help my wie, who was working with Wendell Rodricks and her
own dressmaking business. I started with just making shoes tocomplement some dress that she had made or a client and then
Wendell noticed some o my shoes and encouraged me to get
into designing shoes seriously.
Swati Mehrotra: My story is not as romantic, Im araid it
is pretty straightorward. Even as a little girl I was interested in
ashion and would draw clothes and make dresses. But when I
grew up, I realized that I wanted to do something more than just
becoming a darzi; I wanted to create something without which a
dress is incomplete and the natural answer to that is shoes!
Julia Lundsten: Like most teenagers, I did not want to ol-
low the same proession as my parents, so I decided to travel
to London and study ashion, rather than stay in Finland. Ater
completing my BA (Hons) at the London College o Fashion, I
did a Masters at the Royal College o Art specializing in ootwear
design. I wanted to be unique and individual and it wasnt until
later I realized that my main interest within ashion was the more
structural, architectural shapes and elements.
BK: So Julia, your parents are architects, how much did
that infuence your work?
JL: I had learned and listened to my parents who are so pas-
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26 DESIGN MATRIX MARCH-APRIL 2012
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MARCH-APRIL 2012 DESIGN MATRIX 27
sionate about their work that most dinner table conversations
were about design and architecture, so it was quite natural that
some o it would flter through to my work. I then specialized in
ootwear or my MA as that seemed to be the perect combi-
nation between architecture and ashion. I cant really say about
the inuence bit but yes, they did shape me and my thoughts
towards design in general.
BK:Where do you draw your inspirations rom? It is a bold
step, especially in India, to be experimental.
EP: For me it was really a very simple choice. I wanted to cre-
ate something chic, which is what Janota is incidentally derived
rom. Also, I just wanted to do something dierent without hav-
ing to answer anybody. Everyone loves a Fairy Tale and most o us
have grown up either listening to or reading them. So I decided
to create a place where the Elves could come or their shoes
(laughs).
SM: You will be surprised how ready the Indian market is or
experiment, in any feld or that matter. I your idea is dierent
and appealing there will be a line o buyers at your doorstep.While growing up, I was very ascinated by the Zodiac Signs and
their dierent characteristics. What makes every one dierent
rom each other, even i you are born under the same sign! Then
we have our ownjanam kund aliwhich rules most o the decisions
and events o your lie. I started studying that and came up with
my collection which was an instant hit. Then I designed shoes or
my dog, just or un, and someone heard about it, I got orders and
voila, I had my pet collection ready. So, it is more about ollowing
your instincts and believing in yourse l.
BK:Coming rom someone so young, it is really amazing.
What is your design approach, i I may call it so? Are there cer
tain guidelines that you ollow?
JL: You cant have a guide or instruction book and I com-
pletely agree with Swati. Always try something dierent, take
risks and dont be araid even i it doesnt work out. Its only by
taking risks that we can push design orward and create some-
thing truly new and unique.
SM: Thank you. It is a constant evolution and I try to keep
up with the mood o the customers, really pay attention to what
they are saying and more importantly how they are saying it.
For us, the kind of material and leatherthat we use, the silhouettes that we giveto the footwear means luxury; but theclients feel that bling is luxury. So wemarry the two and create somethingdifferent.
Swati & Simar
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28 DESIGN MATRIX MARCH-APRIL 2012
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Sometimes, we have to read between the lines to create a cus-
tomized ootwear or a client because not everyone can explain
what they want. I believe in looking or ward but moving one step
at a time (no pun intended!).
EP: I think I am more conventional when it comes to my
design approach. I know that the USP o Janota is its design and
durability. I work with some very senior cratsmen who have avast experience in the skill o shoemaking. For all o us, it is the
love o the crat more than it being a business that is important.
We concentrate on what we are known or and work towards
improving that.
BK: All your creations are so ancy and as an Indian, I have
this xation or durability, how do you ensure that?
EP: My shoes are extremely durable you will be surprise d at
their lie span. I have been wearing the same pair o shoes every-
day or the past three years and they have also weathered the
Goa Monsoon.
SM: You have to give the client value or money, i I am charg-ing a client I have to ensure that she gets the moneys worth. I
guess that is the reason why my Swarovski Collection is such a
big success.
JL: Yes, its true. The client knows and is aware o the value
and worth o what he or she is buying. They could be paying or
the design, material, comort, exclusivity, whatever.
BK:Julia, tell us something about your journey since you
launched FINSK?
JL: I launched FINSK or Spring/Summer 2005. The frst collec-
tion was very small but already had all the graphic architectural
elements that defne the FINSK style in it. In the beginning it
was considered a bit too dierent and perhaps too graphic. We
had comments rom buyers saying they look like small urniture,
not very shoe like. This is exactly how I intended it, I did not want
to just design more normal shoes, as I thought there were plenty
o beautiul ones already in the market. I wanted to do something
dierent, but in the beginning it was probably too dierent so
it took us a while to get buyers to appreciate the dierent style.
And as the main shoe ashion became more and more dierent
it worked in our avour, suddenly FINSK was acceptable. (Smiles)
Through Janota, I have managed toglorify and bring dignity to the artisansand craftsmen in this profession. Iremember when I was growing up, thesepeople would not be allowed inside thehouse but today we are a part of the elitecreative group.
Edwin Pinto
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30 DESIGN MATRIX MARCH-APRIL 2012
BK: And how diicult was it or you guys, in India?
EP: Doing something new is never easy, especially when it is
dierent rom the conventional. But I had people who believed
in me and encouraged me to stick to what I really wanted to
do till things got better. And since we do not advertise, word
got around and I now have customers who come not only or
their own shoes but brings riends and relatives along and rec-
ommend us to all who come to Goa. Now I even have you, Babita
on my list ojanot clients. (Laughs. Incidentally, janot is a Konkani
word that means dapper.)
SM: I agree with Edwin, it is never easy in the beginning.
Thankully, I ha d my amily s un linching sup por t and my ianceto encourage me to ollow my dreams. Now o course, I a lso have
my partner Simar Kaur as a big support.
BK: Which has been your hallmark collection and the one
you had most un creating and why?
JL: I dont have a speciic collection that I love above all the
rest, I have some styles in each collection that are usually a bit
more challenging technically so they become almost like a love/
hate thing, very challenging but i they work out its a triumph.
For example, the trademark FINSK wooden two part wedge took
several seasons to develop, the actory simply did not have the
right machines to make it technically, so when we inally got itinto production it elt extra special.
EP: For me each one o my shoes is special. When you pains-
takingly develop something, it tends to be close to your heart.
SM: I think my Pet Collection is the one that gives me the
most kick simply because you know that the pet is not going to
wear it and walk around, its just that there is such an indulgent
eel to the concept. Also, when someone comes to me and says
that things are going right or him or her since they s tarted wear-
ing the shoe that I designed or them, it is very satisying. I have
a special aection or the shoes that we had designed or kids
suering rom polio. But I love all my creations and the best part
is that I enjoy the exchange o ideas between me and Simar as
that usually leads to a dierent level o creativity altogether.
BK: What do you keep in mind when designing or a spe
ciic client?
JL: It depends on the client, some clients come to us because
they want something really dierent rom beore, some come to
us or other reasons. I think its always imp ortant to have a proper
discussion and throw some ideas in the air so that its very clear
what the client wants. Then I get on with the actual designing,
the detail, colour, materials, shape, mood, but the client is the
starting point and a very important actor.
EP: I dont really design or any particular client. I someone
has a speciication then we incorporate it in the design.
SM: I love to innovate and oer that to my clients like
my latest oering is the shoe laundry which is all about taking
care o your shoes. The customer plays a very important role by
expressing what he or she wants in their shoes and we ensure
that proper justice is given to their eelings and emotions by cre-
ating the shoe ater a well-set process that guarantees its aes-
thetic value along with quality.
BK: Julia, tell us something about Project three. How was
it working with Lady Gaga? She has a huge an ollowing in
India.
JL: Yes Im well aware o that. Project three was based on tri-
angles and pyramids, the whole shoe is made rom these shapes.
It was initially just an experimental art project that I did or FINSK
without a client in mind, but Lady Gagas stylist saw it and it
went on rom there.
BK: So what does the uture hold or all o you? Do share
some o your plans with us.
EP: Now that my son Aaron is helping ater college andwould soon be joining me, we want to expand and market our
brand. We eel there is a vast and appreciative clientele abroad
which is what we are going to look at. A year rom now Janota
would deinitely be a strong international brand.
SM: I am looking to e xpand in this year. We are already retail-
ing in New York and have had very positive response. Now we
want to open our own stores in India.
JL: India!
BK: Do you think India is ready or the change?
JL: India is an amazing country, very colourul and ull o
passion and creativity. We would love India to be ready or the
change. We have been very well supported here, and indeed I
eel, yes, India is ready.
EP: O course. We have evolved as a design appreciating
country. People are now aware and it is up to us to deliver.
SM: You will be surprised at how ready India is. The design-
ers have had to pull up their socks simply because the aware
client knows exactly what he wants. And that is a good thing.
When the designers feel that the country ready to welcome
change with open armsmaybe it is time to invest in a new pair of
shoes drawn from our inspiration!
Always try something different, take risks and dont be afraid even if it doesntwork out. Its only by taking risks that we can push design forward and createsomething truly new and unique.
Julia Lundsten
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32 DESIGN MATRIX MARCH-APRIL 2012
The Mumbai Esplanade is a signifcant civic improve-
ment project connecting the citys open spaces with
train stations and business/cultural districts; it will
create a single contiguous landscaped area o over 160 acres and
will have exibility to transorm itsel or cultural and recreational
events. It is a peoples space or those who accesses the city centre
and is a sae and convenient environment or the pedestrians; espe-
cially connecting commuters alighting at Churchgate and Chhatra-
pati Shivaji Terminus.
Under this project, the citizen will step out into an open space
thoughtully landscaped with walking paths, gardens, bio-diversity,waterbodies, open grounds, recreational areas, toilet acilities, ven-
dor acilities and a bicycle track. The landscaping will be synchro-
nized with the heritage structures and plan o Mumbais central
business district. It also addresses pedestrian tra c as well as vehic-
ular tra c that will be directed under the plaza through a mod-
ern system o underpasses. Since it will only be used by cars and
ast-moving tra c, it will be devoid o encroachments. The project
designers have identifed alternate routes through which vehicular
tra c can have smooth egress and ingress during construction o
the project.
The Mumbai Esplanade Plaza is the outcome o many months
o creative research by, and interaction between, urban planners,architects, civic authorities and citizens groups who are well aware
o the citys needs and issues. The lead design architects are Brinda
Somaya and Shivjit Sidhu. The project has the potential to be one
o the most important developments in improving the availability
o open space in Mumbai city, and also be an example or citizen-
riendly spaces in other densely-populated cities o the world.
When completed, the Mumbai Esplanade will have connected not
only the 102 acres o existing maidans, but will have added on 51
acres new public open space to the city by linking the maidans o
the district to plazas, train stations and the central business district.
To share more such designs or experiences, positive or
negative, contact Ar. Aamcher at [email protected]
The project can be implemented in our phases within a span o 2.5
years. The project phases allow or ef cient restructuring o traf c and
utilities during and ater construction. The phases are:
Phase 1: Churchgate - Veer Nariman Rd
Phase 2: Regal Chowk - Cooperage Ground
Phase 3: Hutatma Chowk / Flora Fountain
Phase 4: CST - BMC / Azad Maidan Area
MUMBAI
ESPLANADE
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MARCH-APRIL 2012 DESIGN MATRIX 33
Ar. Aamcher
51 areas o landscaped pedestrian plaza, comprising o gardens, waterbodies, etc.
Saer or pedestrians and automobiles without possibility o jaywalkin g
Boon or disabled and elderly commuters who cannot climb subway steps
Adheres to new anti-terrorism norms against crowds in conned public spaces
8 numbers o new toilet acilities
Maidans connected by landscaped plazas or sae pedestrian mobility
Provision or amphitheatre and cultural shows
2.5 lakh sq.t. o cultural space or sport and olk and ne art museums
Short underpasses or vehicular traf c eliminate traf c lights at major crossings
Smoother and aster traf c movement rom Marine Drive to Fort
640 new parking spaces spread around Fort and Marine Lines CBD
Reduction in noise and exhaust pollution
Estimated total cost: Rs. 492 crores
Estimated und generation via public-private partnership or various projects within the
completed Esplanade: Rs. 1,239 crores
Value o Open Space to City-Pricele ss
Estimated timeline: 18 months (traf c rerouting: 3 months only)
Architects and Planners: Brinda Somaya (Somaya and Kalappa Consultants Pvt. Ltd.) and
Shivjit Sidhu (Apostrophe Architecture & Urban Design Pvt. Ltd.)
Ar. Aamcher was invited byAr. Brinda Somaya to
understand the Mumbai
Esplanade Project and comes
back looking forward to a
peoples space in the city.
SALIENT FEATURES OF THE ESPLANADE PROJECT
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36 DESIGN MATRIX MARCH-APRIL 2012
Leisuredesign
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MARCH-APRIL 2012 DESIGN MATRIX 37
Drawing from local nuances, Khozema
Chitalwala gives The Fern a decor that
celebrates its location in the vibrant heart
of Gujarat Ahmedabad.
Words: Babita Krishnan; Images: Prashant Bhat
ETHNICFLAVOURS
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MARCH-APRIL 2012 DESIGN MATRIX 43
That it is an ecotel hotel which
endeavours to protect and preserve
the environment through certifcation
on ecological parameters goes without saying;
but what is the most striking eature o The
Fern, in Ahmedabad are the local avours that
are reected in practically every turn o the
property. This hotel was conceptualized as
a very modern and contemporary one with
the accentuation on Ahmedabad avours and
culture, says Khozema Chitalwala, the Mumbai-
based architect, as he prepares to take us
through the design journey o The Fern.
To anyone even remotely aware o Gujarat,
the State is synonymous with the Navratri &
the Kite estivals, heritage architecture, jewel-
lery, beautiul tourist destinations and a vibrant
culture and people. The public corridor and litlobby reect just that! The lit lobby o every
oor has mural and collages narrating stories
to reect the rich culture and heritage that one
associates with Gujarat.
But the reerences begin much beore that!
The back o the reception wall is inspired rom
the architectural tree o lie beautiully etched
on back-painted glass. One fnds traces o the
amous Ahmedabadjaalis and details as screens
or glass windows in the guest corridors, and
also on the room number plates, lit lobby, etc.,
The lobby o this property was very narrowand looked more like a corridor due to its width
and certain architectural restrictions o the
building, Khozema reveals. In order to achieve
some volume, we proposed two arches with the
view to impart a space profle in the lobby.
Since The Fern was designed to be an eco-
tel, most o the materials used in interior are
green in nature. As the design unolded, we
realized that the only way to be true to the basic
design ethos here was to celebrate vibrancy
in every old o the property and thats exactly
what we did in each space, smiles the architect.
And that is what you would ind rom the
moment you enter the property and through-
out your stay, each area rom the most
mundane to the most signiicant is pulsat-
ing with colours and design motis that the
design team has included in the decor high-
lighting the soaring celebratory note that one
has come to expect rom anything rom, o or
in Gujarat
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44 DESIGN MATRIX MARCH-APRIL 2012
Designed by Asit Karekar, this
residence in Thane mirrors a sense of
eclectic chic with a touch of class
resulting in an elegant space.
Words: Natasha Bohra;
Images: Rahul Pawar, courtesy the architectPerfect
Picture
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MARCH-APRIL 2012 DESIGN MATRIX 45
Residentialdesign
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MARCH-APRIL 2012 DESIGN MATRIX 47
The very essence o the word de-
sign implies planning, organization
and aesthetics. And a designers
most important skill is the ability to listen
and execute the expectations o the client.
Designed by Ar. Asit Karekar, this residence
in the central surburbs o Mumbai is many
things simple, elegant, modern and prett y.
But most importantly it suggests more than
what it shows. The picture perect areas o
the 3-BHK apartment are a refection o the
clients lavish liestyle and the designers
tasteul choices.
My mentor Ar. Ajit Shilpi, with whom
I worked or over our years and am grati-
fed or everything I know today, trained
me to not ape the work o others but rather
emerge with originality. This is what I ollowand I love it this way, shares Asit or whom
this residence stands out as a avourite proj-
ect at the start o his independent career.
Together with the keen and active
involvement o the client, Asit bestowed
a home ater being absolutely certain o
what he wanted to deliver. With a common
thread running through the design in the
orm o materials, colours and lighting, each
area blends in with the other yet stands out
individually.
Some element o drama has beenadded in almost every area either with the
use o a certain material or with the applica-
tion o a strong colour giving it a distinctive
identity. For e.g., the common bathroom is
highlighted with a backlit artwork covering
almost the whole wall, while the passage
is dominated by a strong olive green wall
highlighted by black and white artwork
as well as a collage o photographs o the
daughter. The guest bedroom witnesses
extensive use o black and white with a
touch o red while the daughters room is
done up in shades o lilac. The master bed-
room is dominated by the use o veneer
wherein the headboard o the bed made
o a barcode-style print, adds an interesting
element to the design o the room.
A strong design element in the dining
area is the jaali that behaves as a separator
rom the kitchen. The pattern o the jaali
continues in dierent areas you fnd it as
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MARCH-APRIL 2012 DESIGN MATRIX 49
ABOUT THE FIRM:
Auk Design Studio established in 2010,
by Ar. Asit Karekar, a graduate rom GICED,
Mumbai, designs and creates spaces with
aesthetics and unctionality put together
providing inspiration and delight to its
users. As a company philosophy the stu-
dio consciously does not ollow any single
motto thus allowing exploration and exper-
iment in every aspect o design.
the dining table top as well as the light, all
o which have been customized.
Talking about the colours used in the
home, Asit comments, I have always want-
ed to use a dark and bold colour palate.
A right balance was required in between
the bold appeal o veneer and sotness o
abrics. The colours compliment the use o
materials perectly well.
Design is a highly subjective matter;
however, this projects intrinsic power lies
in its simplicity and right combinations. Asit
adds, Like any successul implementation
o a good idea, the credit or this beauti-
ully turned out home has to be shared as
it was a coming together o many things
and people the client or believing in our
concept and letting us go ahead with it,and the entire contracting team o Mandar
Adivarekar along with the carving interiors
contractor, who gave orm to my design.
With its bold palette and use o opulent
materials the decor o this home ourishes
with understated elegance and proves to
be a mystic circle that surrounds comort
and virtues
Website: www.aukdesignstudio.com;
Email: [email protected]
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Creativeideas
MARCH-APRIL 2012 DESIGN MATRIX 51
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MARCH-APRIL 2012 DESIGN MATRIX 53
Ibelieved I could y i I tried really hard
till I ell and got a ew stitches on my
chin! This was a long time ago when
our house had a backyard and a garden
with various trees that were teeming with
birds o dierent kinds and every evening
was a cacophony beore they all retired a ter
sunset. Now all that has been replaced by
high-rises with negligible green spaces and
trees are more grey than green, covered as
they are with the soot and pollution grime.
I dont have anything against urbanization,
but my problem is with its sad eect on our
eathered riends. Im talking about the ones
that visit our back yards, porches, balconies
and neighbourhoods.
Birds have three major requirements
ood, water and shelter or their eggs andchicks. Most birds build nests that are used
as cradles, and are placed in locations such
as trees, eaves o a house, phone poles etc.,
in an attempt to protect them rom preda-
tors. Some birds nest on the ground and try
to conceal their nests by camouage. With
a change in residential architecture and
urban planning, the birds have lost their
habitat and we have been deprived o their
company.
So the question here is do we need to
put houses out or birds to survive whenthey have been surviving or millions o
years without our help? Bird houses attract
birds as do bird eeders and bird baths and
we try to attract birds by ulflling their three
major requirements, because birds are a
source o pleasure, they are interesting and
un to watch, they fll our hearts with joy
with their songs and chirping.
There is a whole lot o designers who
ollow their heart and have over the years
done their bit or our eathered riends,
designing sae houses and eeders that
have resulted in their increased number
over the years. We bring you insights rom
some o them who have endeavoured to
make an eort.
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MARCH-APRIL 2012 DESIGN MATRIX 55
Born in Lisbon, Portugal and raised in the green valley
o Alenquer, the village that saw him all in love with things
rom the multicoloured river pebbles, to the abandonedmills that rest on top o the mountains, to the roads painted
in autumnal colours by the leaves blown away by the wind,
to the sweet music o the night, Luis Porem has a strong
attachment to all that nature has to oer. Ater fnishing the
fve-year degree in industrial and interior design at Univer-
sidade Lusona de Humanidades e Tecnologias in Lisbon,
Portugal, he was granted the Leonardo da Vinci scholar-
ship. Ater his internship at Estudio Mariscal, in November
2008, Luis collaborated in the studio o Martn Aza.
I started developing this project, ater I received the
unexpected visit rom a small sparrow outside my window.
At that moment I was able to admire it careully. He showed
his white chest while peeking inside the house. I wanted
to open the window but he probably wouldnt accept my
invitation. So I thought to mysel at the next visit Ill have
a place to receive you! reveals Luis Porem about his bird
house that is called Abrigo Para Aves (APA). APA welcomes
small birds that are passing through and want a shelter or a
while. APA can be established in various ways and ser ve di-
erent situations. Made in ceramic, it is available in various
colours while the branch is in metal.
ABRIGO PARA AVES Luis Porem
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MARCH-APRIL 2012 DESIGN MATRIX 57
A city or a mixed bird community, Bird City has 33 nest-
ing boxes, catering or the housing needs o 33 dierent
species o birds, to orm a breeding ground or the winged
inhabitants o the city. The design requires a delicate touch:
since dierent species have dierent needs. While one type
o bird wants a squat and wide little house, another may
preer a tall and narrow one. Vogelstad oers something
or everyone. Every city is a big nest. Every nest is a small
city. The diversity o birds in urban areas is oten large and
they specifcally come to the city or its warmth, garbage/
ood and shelter. A par t o all the birds that live and breed in
the city, only breed in holes (voids, cracks, nest boxes) and
not in an open nest, explains Eveline Visser. In June 2010,Eveline graduated with her project Bird City at the Design
Academy Eindhoven (The Netherlands). Ater positive reac-
tions during the Dutch Design Week, the project has been
exhibited in London (Selridges), Milan (Salone del Mobile),
Amsterdam (Woonbeurs) and at the Architecture Biennale
Tallinn (Estonia). Ater graduation, she started (together
with Lucas Zoutendijk) Studio 1:1 that ocuses on design
and research in public space.
The concept was o one rame with 33 dierent nest box-
es, as a small city, or all types o birds that live in urban areas
and breed in nest boxes. By putting all urban nest-box breed-
ers in one rame, birds get a more urban adapted accommo-dation. Hereby you can look at this object as a Demo-City,
where every dierent resident has a or him/her adjusted envi-
ronment. The diversity o the urban environment is not only
visible in the variety o cultures or architectural styles present,
but can also be witnessed in the range o auna that inhabits
the city. But urban auna is a ar rom recognized city eature.
Although the city as constructed human habitat
seems to oppose the concept o wild nature and animals,
these two are more interrelated than expected: the urban
environment is still expanding, leading to greater and more
important maniestations o wildlie in the city. Since we
humans conduct spatial planning, we should be inormed
about our urban neighbours, Eveline believes. As bio-
diversity is an important measuring stick to indicate the
health o an ecosystem with clear advantages or man, the
role that urban auna plays in increasing and guarantee-
ing the biodiversity o the city oers a clear message to be
communicated to the general public. Increasing the visibil-
ity o urban auna in a manner that does not inhibit their
natural behaviour can allow people to acknowledge their
presence and recognize their value.
BIRD CITY Eveline Visser
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MARCH-APRIL 2012 DESIGN MATRIX 59
Gathering inspiration rom shoefti or shoe tossing, three
pairs o shoe-shaped birdhouses became a public art instal-
lation in Lillehammer, Norway. The main goal behind this art
project was to oer a temporary housing solution or the
Pied Flycatcher (Ficedula hypoleuca) a migrant bird that win-
ters in West Arica, while at the same time create a debate
about the human relationship with nature in an urban con-
text. As an ar tist I use vernacular urban elements to address
issues such as belonging and immigration. The Birdhouse
Project gathers inspiration rom shoe tossing onto power
lines, a common sign in America and Europe. This is an urban
element that usually bears negative connotations. I was
interested in giving it a new interpretation by using its place-
ment and aesthetics to open a discussion about what kind ocity one wants to live in, and at the same time to present the
issue o migration in a subtle way, says Christian Bermudez.
As a Costa Rican who is an immigrant and has been living in
Norway or almost 10 years, it was important to him to cre-
ate a metaphor o the migratory birds and human immigra-
tion. Everybody loves (migratory) birds, but the same does
not necessarily apply to (human) immigrants, he eels. With
The Birdhouse Project my intention was to design and build
a temporary house solution to a specifc bird that comes
every year to Scandinavia and Russia all the way rom Arica. I
wanted the city to welcome them and oer some hospitality
ater a long journey.The shoe-shaped birdhouses hung rom the power lines
and street lamps at dierent spots in Lillehammer rom the
last week o April 2011, until the frst week o September 2011.
There were a series o requirements or the birdhouses in
order to be produced and used by the birds. These included
materials, dimensions, porosity, permeability, as well as the
specifc week when they have to be hung, height rom the
ground, weight, etc. The shoes were entirely produced in
certifed wood, using glue to join the 28 laser cut plywood
layers that make every birdhouse.
The sole can be detached in order to clean the bird-
house ater the breeding season. An additional compart-
ment was also created to place a webcam or uture use. This
was a rewarding experience where design, science, technol-
ogy and contemporary art came together to create a new
concept o street art, that became a practical object or the
birds while at the same time giving some local colour to the
urban landscape. When a pair o birds decided to make a
nest in one o the shoes, the project was o cially success-
ul, he says proudly. The Birdhouse Project received support
rom Arts Council Norway and Kunstnersenteret i Oppland.
BIRDHOUSE PROJECT- Christian Bermudez
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MARCH-APRIL 2012 DESIGN MATRIX 61
Frederik Roij is an international design agency which
designs diverse products or brands and or market as orprivate clients. The o ce is renowned or its creativity and
innovative designs and its approach is to reach a new level
in product or space. Frederick Roije graduated in 2001 rom
the renowned Design Academy in Eindhoven where his
preerence or interior products was already visible. Dur-
ing his studies Frederik did his internships at prestigious
design studios as Piero Lissoni, Milan and Marcel Wanders,
Amsterdam. In 2003, he started his own design studio
based in Amsterdam a studio that specializes in interior
and product design, where concept and renewal are the
main points.
The latest design (2011) rom the design studio is Dish oDesire a series o bird eeders inspired by beautiul table-
ware and delicious ood. As the summer has come to an
end and the cold winter days will arrive, we must not orget
the birds, says Fredrick Roije, who eels that birds need a
varied menu which is hard to fnd during wintertime. With
Dish o Desire you can provide the birds a varied dinner
in your tree or on your balcony. Based on the number o
courses, our dierent models are designed, a one course,
two course, three course and fve course bird eeder.
Each model is assembled out o aluminium parts com-
bined with the fnest bone china and red cedar wood. All
materials are weather resistant or outdoor use, so we can
make a east or our eathered riends! But Fredericks
concern or nature and especially birds could be seen even
earlier when he designed a bird house called Holy Homes
in 2007. It is my belie that there will be peace, says the
designer. Fascinated by the value we attach to symbolism
and love o nature, these sacred houses were designed to
be made rom the fnest porcelain ceramics by local crats-
men. The branch is made o blown glass and gold and the
house is available in white and gray.
DISH OF DESIRE-Frederick Roije
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MARCH-APRIL 2012 DESIGN MATRIX 63
Living Typography, which was nominated or the
Cannes Festival in 2010, was a sel-promotion activity or
Water Design Studio. I grew up around nature and always
had a special place in my heart or birds. When I moved
to Mumbai, I was both shocked and saddened to realize
that sparrows, the birds which live around and with us
are gradually reducing in number. The ew which are let
always seem araway, almost nonexistent, reveals Nishant
Jethi. With an inclination towards creating art installations
which interacted with people, let them have un but still
manage to leave behind a message in their minds, he
envisioned this project. He ound that the main reasonbehind the decline in the number o sparrows is the lack
o nesting and breeding spaces. With high-rise buildings
and malls coming up everywhere, the birds have been dis-
placed rom what they once called home. This lead to the
Living Typography idea hollow wooden 3D alphabets,
which also act as bird houses, were created. Appropriate
alphabets were sent to riends and amily members to be
kept outside homes as nameplates or house numbers . Thus
Living Typography had a dual unction becoming a well-
designed name plate and providing shelter to sparrows.
Working with local painters and sign board artists as
a childhood hobby taught Nishant a lot about design andtypography which led him to M S University o Fine Arts.
Later he continued experimenting with typography in art
installations and design. As the Living Typography idea
grew in my head, I began sketching it frst on a notepad
then the computer. I built 3D typeaces o each character
and later analyzed it; got a ew samples made by a manu-
acturer in wood and ater our months o grueling work,
a complete set o alphabets was ready to be installed, he
beams. The project was sponsored and immensely sup-
ported by both Mudra (Nishants employers) and Water
Design Studio and he started with installations in and
around the Mudra building. As the project grew, they were
sent to clients and interested riends and members o am-
ily. Then with the help o an NGO which worked towards
providing shelter to sparrows, areas in Mumbai with the
least number o sparrows were identifed and these type-
aces were installed. Living Typography gained tremen-
dous attention and there have been numerous inquiries on
the availability o these typeaces. Nishant plans to collabo-
rate with a ew international design studios and production
houses to run this project on a larger scale and platorm.
LIVING TYPOGRAPHY-Nishant Jethi
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MARCH-APRIL 2012 DESIGN MATRIX 65
Nature Forever Society is a conservation organiza-
tion that has been working or the conservation o house
sparrows or the past our years as well as the common
birds o India and their habitats. To involve the commonman in the conservation movement, it initiated adop-
tions o nest boxes and eeders which has been very
successul. The aim is to create wildlie-riendly habi-
tats and involve the common man in the conservation
movement to save Indias rich biodiversity. The society
has initiated nationwide projects like Adopt nest box
and bird eeders, Help the birds in Summer Campaign,
Ban the Catapult, etc. to name a ew. World Sparrow Day,
which is an international celebration, is also initiated by
Nature Forever Society.
NFS Nest boxes and eeders provide a sae and
comortable place or birds to roost and nest. These aremade rom sustainable, recycled wood so theyre sae or
birds and have good insulation properties, making them
warm in winter and cool in summer. We careully design
our nest boxes to have the correct dimensio ns and venti-
lation that birds need. Our nest boxes dont have decora-
tions that predators could cling to and threaten the birds
inside, says Mohammad Dilawar.
Mounting bird houses around the yard can provide
hours o enjoyment or bird watchers and aviary enthu-
siasts, while oering beneits to the eathered creatures
themselves. Houses provide nesting birds sae shelter to
lay eggs and raise ledglings. Houses are also a means
o sheltering birds rom harsh weather conditions when
they are not raising young birds. As human popula-
tion grows and new developments are built, birds are
orced away rom their natural habitats. Bird houses are a
replacement or trees and other natural structures where
birds once nested. You can mount bird houses with an
eye toward keeping predators away.
So i you love birds and want to do your bit or
nature, adopt a bird house and eeder today
NATURE FOREVERSOCIETY-Mohammed Dilawar
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Conversations
MOMOVI
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In war-torn Afghanistan, Turquoise Mountain aims to do what seems
to be the impossible to revive and restore the countrys lost art and
culture through its numerous initiatives.
Words: Priyanka Mathur; Images: Jason P. Howe for Turquoise Mountain
NTAING
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Aghanistan, Circa 2001 the Taliban
carries out the destruction o two
monumental statues o Buddha,
carved into the side o a cli in the Bamiyan
valley, deeming them to be idols and
thereore, unIslamic. As the international
community cried out in protest, the art
community could do nothing but watch
helplessly as thousands o years o ancient
history got reduced to rubble. In a country
that has known little else than war, it is
di cult to imagine how an ar ts and culture
scene could have ever existed, let alone
survived. It is di cult to imagine that cities
like Herat, Kabul, and Bamiyan were, at
one point, centres o cultural learning; a
place where men and women alike were
encouraged to learn about art, history,culture and poetry!
Today, the Aghanistan shown on tele-
vision channels is a ar cry rom the coun-
try which once boasted o art inuences
owing in rom regions like Greece, Iran,
Mongolia and the Far East, to name a ew.
A nation that once produced fne carpets,
dierent art and music orms, magnifcent
architectural wonders, now seems to exist
only in the minds o those who lived in a
pre-war era. Iconic works o art, such as the
Buddha statues o Bamiyan, which reected
a vibrant and airly liberal art scenario, have
allen prey to Talibans anatical regime.
Today, though the grip o the Taliban is
slowly weakening, evidence o their regime
is still widespread. Their intolerance towards
music, arts, and culture has orced thou-
sands o artists to either practice their trade
in secret or give it up altogether.
However, as the world grows increas-
ingly aware o the problems in Aghanistan,
eorts are on to revive its lost glory. One
such organization that strives to do so is
Turquoise Mountain. Established in 2006 by
British politician and writer Rory Stewart at
the behest o Englands Prince Charles and
Aghan President Hamid Karzai, in Kabul,Turquoise Mountain is a non-proft organi-
zation that aims to rebuild the nations art
and culture through various development
activities. The name Turquoise Mountain
reers to the great indigenous Aghan capi-
tal o the Middle Ages Firuzkuh, which
was eventually destroyed by Gengis Khan in
1216 and lost to history. The only evidence
to prove that a city did once exist there is
the magnifcent Minaret o Jam, known or
its intricate calligraphy, geometric patterns,
and verses rom the Quran.
The organization, through its numerous
initiatives, aims at restoring the erstwhile
glory o the historic old city community o
Murad Khane, which was once the hub o
artists and poets, by educating the youth in
both the traditional Aghan orms o art and
architecture, as well as the contemporary
orms. Through its eorts, the organization
hopes to promote and develop contem-
porary art as an emerging movement in
Aghanistan and beyond.
In 2006, Turquoise Mountain estab-
lished the Institute or Aghan Arts and
Architecture in Kabul. The institute compris-
es o our schools: The School o Calligraphy
and Painting, The School o Woodwork,The School o Jewellery and Gem Cutting,
and The School o Ceramics. At present, the
school has a total student population o
200, who are taught by master artisans.
Adul Wahab, the cultural director o Tur-
quoise Mountain, talks about the schools
current curriculum, The Institute or Aghan
Arts and Architecture oers a three-year
education programme, in which students
can specialize in one particular school o
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art and eventually graduate with both an
Aghan and International certifcation. Thekey ocus o the institutes programmes is
the arts o Aghanistan, both traditional and
contemporary. In traditional art, subjects
like calligraphy and painting, woodcutting
(both classical and Nuristani), ceramics (Ista-
li style) and jewellery making are taught.
In contemporary art, the Turquoise Moun-
tain Aghan Contemporary Art Prize (which
has been running successully or the last
three years) has been set up to encour-
age a national interest in contemporary art
and draw out artistic talent rom across the
country. The institute also provides theo-
retical and practical workshops in contem-
porary arts, and works to create opportuni-
ties or Aghan artists to engage with the
international art world, and contribute to
the development o contemporary arts o
Aghanistan.
Wahab describes a time in his country
when traditional art ourished. He explains
how the country was home to countless
arteacts o Mongol art, miniature paintingsrom the once-renowned Bahzad School
and the art o wood carving. Due to Aghan-
istans strategic location on the ancient Silk
Route, Gandhara art or Buddhist art, was
introduced by Buddhist monks who passed
through the area. He also speaks o a time
when classical music was practiced reely.
But everything changed when the
war began, he says. Practicing art reely
became di cult, and this only worsened
with the invasion o the Taliban. Everything
architecture, art, as well as our historical
heritage, was adversely aected. The Tal-
iban imposed bans on anything related
to the arts and culture, deeming them as
unIslamic. They destroyed the Buddha stat-
ues in Bamiyan, the National Gallery, and
the National Museum o Aghanistan.
With the destruction o the National
Gallery and the National Museum, great
works o art have been lost orever, some
dating as ar back as the 1st century AD.
Today, with the Taliban orces graduallybeing driven out o Aghanistan, there is
hope once again o reviving and rebuilding
the countrys rich cultural heritage. How-
ever, the road to recovery seems to be ull
o obstacles.
Wahab explains, Right rom 2000
till now, we have plans o rebuilding and
restoring the National Gallery and National
Museum. However, it is not an easy task at
all. So ar, on the war ront, we have not seen
any changes at all. Security continues to be
a major problem in many o the provinces,
and due to this, we have not been able to
realize any o our restoration plans.
However, Wahab continues to remain
optimistic. He believes that it is the youth
who can make a dierence in his country.
By introducing high quality education, art
and cultural activities, he strongly eels that
there is hope or Aghanistan and we say
amen to that
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SHORTLIVEDATTRACTIONS
Though a temporary, stalls need to be well-
thought out creations that reflect the brands
at their best, reveals Jaydeep Ghag.
Information & Images: courtesy Sain Konzepte
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Exhibitiondesign
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The word stall does not usually
have a very positive connotation
or marketing a product, as it is
usually known to be small enclosure or
the display and sale o product. But with
the passage o time, exhibitions and their
stalls have become bigger and better. For
the participating companies or brands, the
stall becomes its ace value which means
that in the presence o so many other
contenders rom the same industry, one
needs the right design to underline their
presence. Exhibitions are a major platorm
or the brand-client interace and attract
thousands o prospective customers whose
interest needs to be generated; hence the
stall should speak or itsel.
That designing and building a stall is
an art goes without saying, and Sain Konz-
epte with six years o in-depth knowledge,
is now nearly an expert in making optimal
use o available space or creating maxi-
mum visual impact. Along with the print
display, it is essential to communicate the
visual representation associated with a
brand and organization, which Jaydeep
Ghag, who heads Sain Konzepte, has been
doing with ease or prestigious clients like
Man Inra, Muktistar and many other inra
structure giants.
The biggest challenge in an exhibi-
tion is not only delivering an extraordi-
nary design but to build it in a very short
span, Jaydeep explains, Timed delivery is
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the most crucial aspect o a trade air stall
design and the maximum one gets is our
to fve days. A eat Sain Konzepte seems to
be achieving i its reputation in this niche
is any indicator. Constantly climbing up
the charts, winning design awards at MCHI
(Maharashtra Chamber o Housing Indus-
try), getting associated with bigger brands
and being present at nearly all the impor-
tant exhibitions across the country or stall
design and construction.
In 2011, at the REIFBS Exhibition (Real
Estate Investment Forum & Business Spaces)
organized by The Economics Times, Sain
Konzepte got the opportunity to design one
o the biggest stalls at the property exhibi-
tion measuring around 3,600 sq.t. or
Muktistar, which was participating in exhibi-
tion with the concept o developing Char-
kop (a western Mumbai suburb) into city like
London. Participating or the frst time, the
client wanted maximum impact on the visi-
tors to the stall. Jaydeep along with his 3D
visualizer Siddhart Shirodkar designed and
build an ultra modern stall with an element
o London i.e. the London Eye-concept and
other organic orms in fve days. The material
used in building these stalls are eco-riendly
and re-useable hence harmless to nature.
The next time you visit an exhibition,
dont be surprised i you gravitate towards
the most outstanding stall and when you
do, look around to see what has gone into
making it
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Exhibitions are a major
platform for the brand-
client interface and attract
thousands of prospective
customers; hence the stall
should speak for itself.
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Designpromo
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A
dding a touch o class to the interiors is indeed an ongoing
endeavour. Located in the heart o suburban Mumbai, the
Le Cdeor store is a metaphor or contemporary liestylecombining new age eervescence with a sophisticated intricacy o
style and design.
The latest addition to its immaculate and aesthetic collection
o arteacts is the stunning metal series, conceptualized and pro-
duced by Philippines-based Miguel Jr. A. Prado. Human fgurines,
vases and interesting arteacts made out o recycled metal are only
some products rom the fne-line collection at the store. Available
or the very frst time in India, they have the potential to beautiy
any space with their queer quaintness, with a raw yet stylish look.
The collection is a part o enchanting works o ar t that constantly
reect a global trend with its perect blend o colour and its har-
monious marriage o diverse materials cratily executed in its fneline o gitware, accessories, home and garden decor. And the most
astounding part is that you have the option o enhancing your
space big or small; personal, commercial or public all by being
completely eco-riendly!
The Le Cdeor store in essence oers basic, limited edition prod-
ucts that enjoy eternal style. The collection available at the store
seamlessly blends beautiul looks to create a contemporary living
experience. The rustic, earthy mediums are put together in unusual
chic with classic appeal. Beautiul lamps, attractive crockery, exotic
candle stands, wall hangings, and more present a beautiul array o
home decor options sourced rom all over the world.
The design store Le Cdeor, is undoubtedly the new bid o home
decor, introducing a sophisticated collection o products that are sure
to enhance the decor o your living spaces at very aordable prices.
ATYPICAL
CREATIONSIntroducing Le Cdeor a store
that enhances living experiences.
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Designpromo
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For bulk & trade
enquiries contact:
Le Cdeor, 8/H, Laxmi
Industrial Estate,
New Link Road,
Versova, Andheri (W)
Mumbai 400053;
Tel: 26327733/34;
Mobile: 09867675556
Email: [email protected]
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Designinsight
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BEASTOF
GLITZIt is the age of the bold and, well, not so
beautiful. Fashion designers across the globe
today are willing to experiment with new
trends in ways never thought of before. Like it or
not, it is very much here to stay, as we find out.
Words: Gaauri Shah; Images: courtesy www.fashion.about.com
M
ost call it ashion; some reer to it as style, glam, vogue or glitz; but how many
o us really understand what ashion really means? What are the parameters that
defne it? What are the actors that inuence new ashion trends? Most o what
we know about ashion is rom what we see, observe and note. Oten, even sel-proclaimed
experts dont really understand the fne intricacies o the word; it has become a mainstay in
our lives; dress-up has stolen the limelight and today, its gotten bigger, maybe better and
defnitely bolder!
Over the centuries, ashion has gone through its evolution, but the turn o the cur-
rent decade has borne witness to an entirely dierent revolution. With designers becoming
increasingly experimental, there is a steady shit rom the known into the unknown. Now,
ashion ramps world over showcase styles that exude distinct vibes be it demure, peek-a-
boo, wicked, louder-than-lie or plain eye-widening!
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Accessories undoubtedly clinch the fnale. Hats are back with a bang; so whether the
edora, the delicate beret or even a sporty one; inculcate these on combinations. Let your
hair speak volumes, literally. Big hair is back; throw out the blow-dried straight-up look
and go all out. Nails are dominating the scene with unky colours and nail art. Diamonds
have been deserted by women as their best riend, and have been replaced by shoes!
The bigger, higher and spunkier the bet ter its the no limit era.
Lets let ashion take its highest trip yet, shall we?
THE WILD, WILD WESTThe 2010 MTV Music Awards was rewarded with a sight so bizarre
by designer Franc Fernandez that the world went into renzy when Lady
Gaga unveiled her much publicized meat dressan ensemble made
up o bee! Every animal rights group protested as a reex, but this dress
goes down as one o the boldest ashion statements in the history o
global ashion!
Alexander McQueen let behind a bang, even in death. His last
collection (incomplete some protested) created a wave that could not
be ignored eather-bottomed underwear or the male population and a
sprinkling o X-ray pyjamas or the ladies; he breathed his last in complete
style. His quirky unk lives on through this bedroom collection.
TINSEL TOWNCloser home, we arent lagging too ar behind either. The ashion capital o the
country has had a taste o the wild pie, deliberately so in some cases.
Akshay Kumar, the (sel-proclaimed) good boy o the flm raternity, revealed
his wild side grappling eye balls when he strutted down the ramp or Tarun Tahiliani
and lovingly asked wie Twinkle (in the audience) to unzip him, which she obliged
willingly with a grateul blush! The collec tion shot into spotlight in an instant!
Sherlyn Chopra got her fteen minutes o ame when she was ortunate
enough to donne on 30-carat diamond bikini or an item number!
WILD CHILD
ACESSO-SPEAK
It would be presumptuous though to contain the wild defnition o ashion
to only a ew meat diamante stick-ons. Style, i asked to be described in one word,
would have to be individualistic; but thats the biggest contradiction actually. Simple
because even so-called designers play copycat ever so oten; ater all imitation is
the best orm o attery they deend. The best element o ashion is its mystery; the
more layers you unearth to understand that many more appear. So its sae to say that
nobody will ever be able to grasp the very core; however each one o us creates our
own connotation o it.
Is psychedelic legging with balloon shorts and an orange shirt with yellow boots
your look? I you have the ability, confdence and carriage to carry it o thats exactly
what you should do! Wrapping a saree? Tie that drape around your waist instead. Make
style all about being the odd one out; standing out has suddenly become dapper!
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Experience!An
Socegado (meaning calm, tranquil, serene in Spanish), is a
series o photographs o Goa by Mumbai-based Fashion and
Advertising photographer Tanvi Madkaiker. A mixture o
landscapes and abstract imagery, Socegado aims to evoke
a eeling o tranquility and calm by capturing quiet little
moments that reect Goas relaxed attitude towards lie.
To view more of Tanvis work visit www.tanvim.com
Photofeature
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Ivan Depena creates a
light-based interactive
installation that will
respond to your
movements and will
even remember it later
to share with others.
REFLECTIVEI N T E R A C T I O N
Words: Babita K; Images: courtesy Ivan Toth Depena
Artytechture
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The Stephen Clark Government
Center Lobby in Miami, USA saw the
unveiling o Ivan Toth Depeas light-
based permanent installation Reection
in November 2011. Commissioned by the
Miami-Dade Art in Public Places initiative,
the work illuminates the dynamism o thelobby space and encourages a sense o
discovery in the visitors. This dynamic art
work is designed with the idea o welcoming
visitors and employees to Government
Center in a un and interactive way, said
Michael Spring, Director o the Department
o Cultural Aairs. It will energize the lobby
and symbolize the Countys commitment
to be inormative and responsive to our
citizens.
Miami-Dade Art in Public Places is a
programme o the Miami-Dade CountyDepartment o Cultural Aairs that is
responsible or the commission and pur-
chase o artworks by contemporary art-
ists in all media. It is one o the fst public
art programmes in the country that was
established in 1973. Depea is an artist and
designer whose studio practice is based on
his multi-disciplinary approach to envision-
ing work. With a Masters Degree in Archi-
tecture rom Harvard Universitys Graduate
School o Design, Depeas output as an
artist is inormed by his experience in art,
architecture, technology and design. Com-
bining many sources o media, technology,
orm and materials, he seeks to blur bound-
aries and create work that exists within a
new and amorphous hybrid o various cre-ative disciplines.
As a main stop in Miamis MetroRail
system, the space serves as a hub or com-
muters; so incorporating the notion o daily
circulation into his piece Depea uses sen-
sors and light to ocus on the communal
nature and circulatory qualities o the lobby.
The project engages the buildings visi-
tors and reerences the idea o community
through various means o reection, group
interactivity and high-tech playulness. The
basis o the project are custom-designedLED light boxes placed at specifc locations
throughout the lobby space. These light
boxes interact and respond to the commut-
ers movements and gestures via camera
tracking, creating an energetic and vibrant
artwork.
Custom sotware has been developed
to complete Depeas vision and the LED
nodes have been individually programmed
to anchor the works responsiveness and
interactivity. Passers-by will have their imag-
es captured by several inrared cameras; the
installations sotware will then abstract that
image in real time, displaying this abstrac-
tion on the light covered columns. The
resulting image will create an ethereal mir-
ror that testifes participation o the audi-ence and the activity o the space. Colour-
ul lights o the installation engage those
beyond the lobby as some columns ace
th
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