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MAR-APR 2011 • DESIGN MATRIX 1A presenta
PEOPLE • L I FESTYLE • DES IGN • INTER IORS
March - April 2011
VOL. 1 • ISSUE 3 • `80
M A T R I X
DESIG
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2 DESIGN MATRIX • MAR-APR 2011
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MAR-APR 2011 • DESIGN MATRIX 3
4 DESIGN MATRIX • MAR-APR 2011
Publisher : Karan Jhunjhunwala
Managing Director : Manohar Jhunjhunwala
Editor-In-Chief : Babita Krishnan
EDITORIAL
Content Editor : Savitha Hira
Manager : Chetna Chakravarthy
Writers : Tanya Siqueira, Varun Godinho,
Trainee Writers : Sharanya Subramaniyan,
Sheena D’Lima
Brand & Strategy Manager : Riddhi Walia
Finance Controller : Manjari Ved
Head-Administration : Maria Fernandes
BUSINESS ENQUIRY
WEST : Vijay Chauhan
EAST : Vishal Shroff
NORTH : Ashok Bajaj
SOUTH : Abhishek P. Agrawal
Nallari Rupana Reddy
Sheetal Jain
T. Jayakrishnan
OVERSEAS ENQUIRY
UAE : Prem Mishra
USA : Kishore Dadlaney
UK : Jayendra Ved
Subscription : Shalini Sawant
ART
Art Director : Rahul Das
Designing : Devang H Makwana, Brijesh Gajjar,
Chittaranjan Modhave
Digital Imaging : Devang H Makwana
Production : Harish Suvarna, Mangesh Salvi,
Sandeep Borkar
PROJECT MANAGEMENT TEAM
Project Manager : Vishwanath Shanbhag
Vice President : Neelam Kapoor
Chairperson : Smiti Kanodia
Published by Karan Jhunjhunwala on behalf of MRJ Creations Pvt. Ltd., 201 Shyam
Kamal ‘C’ Building, Agarwal Market, Vile Parle (E), Mumbai 400 057, India And Printed At
Print House India Pvt. Ltd., 6 Datta Mandir Road, Bhandup (W), Mumbai 400 078, India.
A & venture
DESIGNM A T R I X
MAR-APR 2011 • DESIGN MATRIX 5
6 DESIGN MATRIX • MAR-APR 2011
MAR-APR 2011 • DESIGN MATRIX 7
N O T EEDITOR’SWhen I think of my fi rst meeting with this handsome couple, I recall one
aspect very vividly – enthusiasm and unshackled creativity. Having closely
watched Kalhan & Santha grow as professionals, I felt they were an ideal
choice for the cover – their repertoire is a case study in itself. What really came across
during the interview was how Planet 3 Studios is all about team-bonding, honesty
and the joy of expressing themselves.
Our editorial team also enjoys being themselves and that usually means someone
at the receiving end of our pranks! This time it was the design team (all guys!), who
turned red, much to our amusement, when they saw the images for Musings, which
I mustn’t reveal, and let you discover for yourself along with the myriad design forms
held within the pages!
I must add that our debut on the stands was a resounding success. My meeting
with many people last month began with, “Oh, I bought this issue from so-and-so
place,” or “I saw it at such-and-such place.” To say that I have been walking like a
proud mom would be an understatement, but I have to thank all of you who have
made this possible.
I hope you have as much fun reading the issue as we had putting it together.
Send us your feedback, who knows you just might end up winning a special gift
from Dreams Furnishing!
So long till the next issue!
Babita Krishnan
Issue Partners: Location: Le Sutra; Jewellery: Anmol Jewellers; Make-up & Hair: Rudra Spa
8 DESIGN MATRIX • MAR-APR 2011
MAR-APR 2011 • DESIGN MATRIX 9
10 DESIGN MATRIX • MAR-APR 2011
CONTENTS
MAR-APR 2011 • DESIGN MATRIX 11
60
16
72
3098
ARTY-TECHTUREWe celebrate Woman’s Day in the Shringar
Room at Le Sutra. Pg 66
CONVERSATIONSVeteran makeup artist Ram Tipnis walks
down memory lane with ingenuous in-
sights into the art of makeup. Pg 72
GREEN SPOTBengaluru-based Rainbow Drive Layout’s
eff orts towards water sustainability. Pg 80
PHOTO FEATUREMake food more alluring, get creative on
the platter. Pg 86
TECH DIARYA low down on the Operating Systems of
your mobile phone. Pg 96
MY SPACEBela Shanghvi’s insight into a sustainable
approach to traditional skills & crafts. Pg 98
DESIGN ASPECTSRediscover FLIP – the design symbol of the
21st century. Pg 102
PRODUCT LAUNCHAll the news from the market. Pg 107
ETCETERAInformation & news from the design fi eld:
Happenings, Organic Book Binding, Tech
Review, Book Review, Website Review &
Events. Pg 113
COVER STORYSantha & Kalhan Mattoo on what make
Planet 3 Studio a fi rm to reckon with. Pg 16
AR. AAMCHERAr. Aamcher accompanies Ar. Vikas Dilawari
to Kotachiwadi in Mumbai. Pg 32
MUSINGSWe trace the changing face of lingerie de-
sign in India with Suman Nathwani. Pg 33
RESIDENTIAL DESIGNAkruti Designs transforms a decrepit home
into a luxurious den in South Mumbai.
Pg 40
CREATIVE IDEASmab architects create a recreational space
atop a fl at roof in Athens. Pg 54
LEISURE DESIGNClub Mojo designed by Keer Designs Group
in Colombo. Pg 58
• Cover featuring: Santha & Kalhan Mattoo • Photograph by: Prashant Bhat • Hair & Make-up by: Anne Bharati Subba, courtesy Rudra Spa • Location: Le Sutra, Mumbai
60 DESIGN MATRIX • MAR-A
74 DESIGN MATRIX • MAR-APR 2011 MAR-APR 2011 • DESIGN MATRIX 75
Anuja Ghosalkar is programme officer at India Foundation for the Arts,
Bangalore and Mr. Ram Tipnis’ grand-daughter. To read more on Ram
Tipnis check out Anuja’s blog: www.papaajoba.blogspot.com
12 DESIGN MATRIX • MAR-APR 2011
This issue onwards 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.
“I like to open the doors to people’s brain”
A presentation
PEOPLE • L I FESTYLE • DES IGN • INTER IORS
Jan - Feb 2011
VOL. 1 • ISSUE 2 • `80
M A T R I X
MAR-APR 2011 • DESIGN MATRIX 13
As people say change is essential in life, I
would like to congratulate you on this venture
and even wish you and your team the best.
Through your innaugural issue, it was good
to know more about Mrs. Brinda Somaya as
I have always been an admirer of her work.
Reading about the step wells took me back to
college when we did a case study on them. I
also found multi-form plateau and eco pods
interesting reads. I just hope that the maga-
zine does not become an advertisement di-
rectory with less of content, though I under-
stand that it is a necessity. I am sure it will be
handled perfectly..
Alpesh Haria,
Zaha Spaces, Mumbai
Congratulations on the second issue of Design
Matrix. I want to congratulate you for this won-
derful enterprise. The magazine completely
held my attention through to the last page. I
am positive that the magazine displays truly
international standards and will soon be rec-
ognized as a bible for the design world. Clean
lines and crisp writing has only enhanced the
features. I loved each photograph and the way
it was presented. Though the cover story on
Phillipe Strack was done by many magazines,
in Design Matrix I did not only understand YOO
Design, but also got to know the people be-
hind it. I really like the language which is not
too technical hence easy to understand. The
magazine has the right blend of work and fun.
Neha Madaan,
Durian Industries Ltd., Mumbai
I am very happy with the way my project has
been featured in the second edition. I also
liked the way the international projects have
been covered. It feels great to share space with
a great designer like Philippe Starck. I wish all
of you the very best and looking forward to
some more great people and projects in the
future issues of Design Matrix.
Ar. Naresh Shah,
Naresh Shah & Associates, Mumbai
wFirst of all I would like to congratulate you on
the fi rst issue of Design Matrix and more on the
commendable piece of editorial. I especially
like the interesting bits of information that
you give in the magazine though I would like
better images. For example, the Kinect from
X-Box is such an amazing application and I say
this because I have it but the pictures don’t say
much about how interesting or exciting it is. It
is the best thing I have played in a long time.
We could also do with some more information
on what’s new in the market. Rest everything
is great, Keep on the good work.
Sheetal Jain,
Uniply Industries Limited, Chennai
Thanks for sharing the issues of Design Ma-
trix. The format is positively diff erent and the
variation makes interesting reading. I espe-
cially liked the photo features. Since design is
visual, your presentations surely catch the eye.
Wishing you all the very best for the new chal-
lenges.
Ar. Rajeev Sathe,
Mumbai
Design has come alive with this issue. Good
work, lots of potential and a great future. All
the best to the entire Design Matrix team.
Ramesh Iyer,
Gaiaka Mediaworks, Mumbai INB
OX
WINNER
14 DESIGN MATRIX • MAR-APR 2011
MAR-APR 2011 • DESIGN MATRIX 15
16 DESIGN MATRIX • MAR-APR 2011
MAR-APR 2011 • DESIGN MATRIX 17
They have built a formidable reputation within the fraternity. The young and dynamic duo – Kalhan & Santha Mattoo
– is as vibrant in their attitude as in their projects.
Words: Babita Krishnan; Images: Prashant Bhat
GETHERTWO
Babita Krishnan: The fi rst question is to both of you. Was architec-
ture always your ambition?
Kalhan Mattoo: When I was in the 7th or 8th standard, I had a clear
interest in architecture. There are three reasons for that: fi rstly, I was
a little creative and used to draw a lot and knew that I had to follow
something creative for a living. But I come from an academically-
inclined middle class family (both my parents are professors). Had
I told them that I wanted to become an artist, they would have
thrown a fi t. Secondly, I never scored high marks that could get me
into any top engineering college. Also it was not of my interest, so
architecture fi tted the bill perfectly. Thirdly and most importantly,
at a very impressionable age I saw the movie In Which Annie Gives It
Those Ones. The whole mood of the movie was seductive and I liked
that. Unfortunately, I didn’t know that it was SPA Delhi; I thought it
was JJ and landed in Mumbai! So, architecture was interesting, to
my liking and a profession – it fi t all the requirements.
Santha Mattoo: In my case, it was my dad’s idea. He is a civil
engineer.
KM: …she got into medicine as well, but opted for architecture.
SM: Because I was destined to meet you (smiles).
BK: So, you met in college?
SM: After ten years of marriage, discussing this is very embarrass-
ing…
KM: Yes, we’ve been together since college. First as friends, then
as professional partners when we established Planet 3 Studios and
then – life partners. It is a 20-years-young relationship.
BK: So, how do the design sensibilities come together? Since you
work closely, both personally and professionally, do the diff erences
hinder creativity?
KM: Actually, it is not about the two of us agreeing, it is more
about all of us agreeing to whatever is being created. For us
design is about collaborating. All of us together ideate and
everything is discussed. Everyone contributes and the best pro-
posal thus created is taken forward. Though most of the time it
ends up being our basic idea, sometimes these kids also come
up with wonderful ideas. But, between the two of us there never
is an issue, as all decisions are taken collectively.
SM: I don’t remember any major confl ict. It is never his idea vs
mine…
BK: How big is the Planet 3 Studios team?
KM: We have a team of about 35 people working on diff erent
projects across the country.
BK: Santha, professionally, you have a large team and husband as
a colleague – it’s perfect. But now, as a mother with a small baby,
how do you balance the two?
SM: Ho jata hai. I have never planned anything, never followed a
time table. And Kalhan has always helped.
KM: We’ve been fortunate that there are a lot of people around
to help. But on a daily basis, I keep the baby engaged in the
morning. That gives me about an-hour-and-a-half with him and
by then half the things are done. Also, when he comes to offi ce,
he gets the same real estate as I do – baby zone is as large as
my cabin… there is always someone to look after babies in the
offi ce. All babies are welcome.
SM: It is good that we get him to work (a privilege that is enjoyed
by everyone in the offi ce) and continue working. I’m sure a lot of
people have to really plan their schedules, mornings, etc. with
the baby in mind, we feel truly blessed in that respect.
18 DESIGN MATRIX • MAR-APR 2011
BK: You have a very young team. Is this a deliberate step, since
your projects refl ect a very diff erent approach?
KM: We want our work to remain consistently fresh. 20 years
hence, we would want to win the young designers award once
again (laughs). But seriously, it is all about being dynamic and
constantly reinventing yourself. The average age around here
is about 25 to 30 years and the associates take their tone from
the guys at the top. If you are solemn about work all the time,
working in a structured environment, they, too, would work like
that and their age would only be incidental.
SM: When some of the guys joined the Studio, they came in ties
and then realized that though this is an offi ce, they were the
only ones dressed that way.
KM: We have never looked at any fi rm as a role model for our
offi ce. We just created an environment that we were comfort-
able in – like the crib, no dress code, everyone able to speak
their mind, etc.
BK: But where did all this begin? I mean, your internship, train-
ing, before Planet 3 became a reality?
KM: Oh, that was only for a few months. Though it could sound
very interesting as a story of how we struggled and started our
own thing, the fact is that when we graduated in ‘96, the mar-
ket crashed and there were no jobs. In order to survive, we did
some very low-paying assignments. We established Planet 3 in
’98.
BK: I recall our very fi rst meeting many years ago when you had
shown me the renderings of Vidyalankar project. How did you
break ice with the clients and convince them for such a maverick
design for an educational institution?
KM: For this we need to look beyond the question. Let me
explain something about us. Most people have their academics
fairly predictable – they know what needs to be done to work
towards their degree. For us, actually, just me, since Santha was
a bit better in studies; I fl unked each and every architecture and
design paper from my fourth to tenth semester. So I learnt to
internalize the whole thing about how my designs were not
received out there. And once in the fi eld, I became more prag-
matic, kind-of let loose and did my own thing.
SM: We went into the presentation with the approach that the
worst that could happen was that we won’t get the project. But
not only did we get it, it has become like a benchmark. And that
doesn’t mean post Vidyalankar, things have been easy for us. It
created a kind of image that we are these funky architects and
we had to convince people otherwise. It gave us the reputation,
but didn’t get us work. In fact, we got the next architectural
project 3-4 years after that.
KM: We had to convince people that a design is governed by
requirements, so no two projects will be similar. Now people
understand this and it is easier. A case in point is this developer
we are working with, who clearly said that he wants to work
only with us because he doesn’t need to work with diff erent
architects to achieve diff erent looks. For long, people didn’t
understand that we had a large repertoire of work.
BK: Now fresh graduates want to join you, as your achievements
have become aspirational. Do you think it could be a trap that
they might fall into – of idealising your work?
KM: I have an issue with the fact that one needs to idolize some-
one else. What we are doing is unique to us. 99% of the work
in India is not design intensive and that is painfully boring. But
if it works for you and you can fi nd a market for it, then well
and good.
SM: Maybe it was destiny, luck… being at the right place at the
right time and fi nding the right people. Even we could have
fallen into the same trap. We never idolized anyone and have
done what we are comfortable with. You just have to be true to
yourself; then there is a greater chance of success.
BK: Therefore, did the absence of infl uences and idols and/or a
formal training with a fi rm actually help you develop your own
style?
KM: I don’t think it would have mattered as working with some-
one can infl uence you only up to a limit. There is no formula to
our work.
BK: How much does work intrude on your private space – at
home or with friends?
SM: Only in case of emergencies does work get carried home –
not otherwise. He doesn’t like it and if I pick it up, “offi ce ki baat
offi ce main karenge” is the response I get.
KM: I like to do things intensively in small spurts. If work is inten-
sive at that point then I’d rather stay in offi ce to fi nish it and then
go home, but prefer not to carry it home. We both like to read a
lot; that is one of our hobbies.
BK: There is a very involved work environment. What is the work
philosophy that you follow?
SM: Sometimes I feel we are running a design academy here,
because of the way we train our associates in every aspect of
design.
KM: That’s ok. Why shouldn’t we use them to their full potential
and give a client the benefi t of getting 3-4 design options.
SM: Yes. Sometimes great ideas come from the youngest per-
son in the team.
BK: So, how would you describe your designs?
SM: We don’t attempt to describe them; we just design. It may
not be very “safe” in terms of design (though we like to give that
option to our clients as well), we try to do diff erent things and
that works for us.
MAR-APR 2011 • DESIGN MATRIX 19
20 DESIGN MATRIX • MAR-APR 2011
MAR-APR 2011 • DESIGN MATRIX 21
22 DESIGN MATRIX • MAR-APR 2011
MAR-APR 2011 • DESIGN MATRIX 23
BK: When you say that, I am assuming your client is satisfi ed. So
how important does the client-designer relationship become in
the profession?
KM: The investment that goes into building this relationship is
phenomenal – the client is putting in a huge amount of mon-
ey, you are committing a huge amount of time and creativ-
ity to it. And many times these attempts fail from both sides.
When things click, it is special and if in your entire career span
you build 5-6 such permanent relationships, it is a precious
achievement. But one needs to be careful so as not to become
predictable.
BK: For example, any such learning experiences?
KM: The very fi rst project that we were working on was an inte-
riors project. Even after developing many concepts, this gentle-
man kept us hanging in.
SM: He kept on postponing the project with some or the other
excuse and we gave it up.
KM: Then he approached us again six years later for the same
thing. He had not approached anyone else and we did it, not for
the money but simply because it was our fi rst project. But we
have never fooled ourselves on one thing – the importance of
money. The relationships that we have built with individuals are
never at the cost of practicality. There was this client we worked
with for a couple of months and then it was time for our fi rst
payment. When I reached his offi ce at 11.00 AM, he was on his
way out and said that he would return by 6.00 PM and could give
me the money only on his return. So when he returns in the eve-
ning, he fi nds me patiently browsing magazines at the recep-
tion. “You must really need the money,” he said, to which my
simple reply was, “It is my money and I don’t mind waiting for it.”
SM: Whenever a project has come our way, we’ve never said no.
Let’s try it, has been our attitude. Each one has taught us some-
thing or the other.
KM: RPG Group is now a regular client, but the fi rst time we
worked with them was on a design-build (DB) small temporary
offi ce to accommodate 42 people in a budget of a-lakh-and-a-
half to be completed in 20 days. You can’t be faced with a bigger
challenge.
SM: DB has been a learning process. It was our fi rst design and
build project and we had no clue about so many things. But we
asked, learned and completed it in 18 days, we even slept on
site!
KM: When the manager saw us sleeping on the table and the
carpenter on the fl oor, he said that this is a great social equalizer;
and when we got our cheque, it was really hard earned money!
While some of our contemporaries were doing their masters in
the US, we were learning practical details on site. Not that the
design part was not of interest, this just seemed more real to us.
And that money at the beginning of our practice helped us go
a long way.
SM: No profession should be static, small beginnings have led us
to where we are today. There are so many things that one can do.
BK: What do you feel about the attitude of today’s generation of
architects and designers?
SM: The fault lies with this whole culture of ideologies. I’m sure
even we had it then and didn’t realize it. I remember us telling a
client to take back the cheque - that was attitude.
KM: Designers have always had an attitude. The kids look up to
some of the icons in the industry and listen to their anecdotes.
The symptoms of the creative process are taken as the attitude
that makes you creative. They think that unless you have attitude
you are not creative. I don’t think it is necessary. We are quite
chilled out. I don’t think you need any of those perceived trap-
pings to be creative.
BK: So what pointers would you give them to hone their skills
and make them better professionals?
KM: One must remember that while it is a creative fi eld, it is also
a profession where you work with others and clients. Secondly,
you have to demystify every opportunity. It is not about becom-
ing the next so-and-so, but about giving what the requirements
are. You need to have the right communication skills. Next, you
have to stay with your convictions, whatever they may be. Most
people tend to follow others, like spending lakhs for a Masters
from a foreign university, sometimes mortgaging their parent’s
homes. But no one stops to think further. This trend scares me
as I cannot understand the co-relation between architectural
success and a foreign Masters. Many of them later end up doing
stupid work that is a sad waste of talent. As a designer, you know
how good you are; fi nd your line of expertise.
SM: Glory is not in building only iconic structures. Everyone who
passes out of design school wants to become the next Zaha
Hadid or Charles Corea. I’m not discouraging that, but there
has to be some introspection about what you are good at, that
nobody can teach you, that has to come from within.
BK: And fi nally what do the two of you do after work?
SM: We are always out. We try not to miss any of the latest mov-
ies, we take the entire offi ce and go. We also love to go for a lot of
trekking and camping trips. Not only are they fun it is also a great
way to bond with your colleagues. We used to do this at least
twice a year but, it reduced due to my pregnancy.
KM: But we will restart now. Even in offi ce, post work we all
sometimes sit and have wine together.
SM: If someone is working late into the night, a break at about 8
in the evening is fi ne.
BK: Drinks in offi ce?
KM: Most people act very responsibly when they are given the
freedom
24 DESIGN MATRIX • MAR-APR 2011
Glory is not in building only iconic structures. Everyone wants to become the next Zaha Hadid or Charles Corea. But there has to be some introspection about what you are good at, that nobody can teach you, that has to come from within
MAR-APR 2011 • DESIGN MATRIX 25
26 DESIGN MATRIX • MAR-APR 2011
MAR-APR 2011 • DESIGN MATRIX 27
The art of translating a concept into a workable solution…with deft strokes of pro-
fessional expertise, peppered with a dash of conviction… is perhaps the secret
of success that Kalhan-Santha thrive on in their leadership of Planet 3 Studios.
Hand-picking a few from their diverse portfolio, we try to decode the mindset and
working philosophy of the duo as they sashay through life – ticking and fulfi lling, both
professionally and personally. Internationally recognized, their rapidly growing portfolio
comprises a range of eclectic projects that span institutional buildings, mixed use and
adaptive-reuse projects, housing complexes, corporate offi ces, retail outlets, hospitality
segment, furniture, industrial products….
‘Self-appraisal’ seems the foremost virtue of this team. Applying a candid evaluation
process to the success of their fi rst major institutional project – Vidyalankar Institute –
they reintroduced the student connect into a vibrant environment for the institute’s
35,000 sq. ft. bio-technology and life-sciences centre in 2008. Taking a cue from what
was best appreciated in their former eff ort; various design elements were incorporated
to corporeally image large student work displays, light sources and graffi ti strips, etc.
in the new structure. Whilst the new design borrows heavily from nature, it attempts
to reiterate the intended use via the graphic quality of most constructs: a staircase
with a railing evoking frayed, dried wheat stalk rendered in wood and steel; a meeting
room with a twist, game board near the entrance; strategically punctured roof with
skylights illuminating the interior corridors; ventilators as signage letters; etc. Amidst this
pandemonium of whimsy-in-the-eye, are diametrically placed symbolic lotus petals –
the seat of learning – and a few other such tongue-in-cheek discoveries that although a
trifl e blasé, bring the ‘aaha’ aspect into being!
and a touch of whimsy…PERCEPTION...Reviewing their projects of the last few years, one realizes how progressive design can impact the thinking-mind, without disrupting the inherent tenets of conventionality
Words: Savitha Hira Images: courtesy Planet 3 Studios
28 DESIGN MATRIX • MAR-APR 2011
Establishing the fact that an evolution is possible in set building typologies,
and keeping pace with changing needs, Planet 3 Studios goes on to prove that
thinking-out-of-the-box can be as much a subtle exercise as a blatant one. In their
recent (2010) design of the reception, recreation and training areas at the RPG
group headquarters at CEAT Mahal, Mumbai, traditional Indian ethnic elements
of design and architecture blend with Grecian typologies in a contemporary
idiom. The recreation area, marking the ethos of an informal active relaxation as
the underlying narrative, is a contemporized interpretation of the Mykonos and
Santorini architecture. The design evokes the pristine white vernacular feel and
consistency of these Greek villages. Similarly, the reception area has a very distinct
character that syncretises modern planning and construction with local
architectural tradition, delivering on the expectations that the building
creates. Large parts of the space are left open and empty to receive art, and
the only built space is an air-conditioned lounge with a distinct Rajasthani
character. In absolute contrast and befi tting its intent, is the training centre,
which sports Spartan chic seriousness.“Communicating the progressive
ideas of the group gives the employees a sense of pride of ownership,”
says Santha.
A pride that they would like to evoke in the residents of Shirdi, where
they are furthering the social initiative of the Somaiya Group, by building a
science centre within the now derelict, original factory structure situated on
MAR-APR 2011 • DESIGN MATRIX 29
a 100-acre site. Awaiting its various mandatory approvals, the project poses
the challenge of maintaining historical continuity while building a modern
facility with a minimally invasive approach. Their proposed design retains
and extends the industrial art deco character of original structures while
newer additions in modern materials blend in via subtle design elements.
Within the confi nes of these structures, innovative technologies will be used
to create futuristic displays and cutting edge science experiments, creating
an experiential high among the users in this small town.
Using cutting-edge technology, the progressive architects have also
elicited a ‘wow’ response to the proposed design of their upcoming luxury
residential apartments in a Mumbai suburb. Inspired by Antonio Gaudi’s forms, and marrying
them with design details borrowed from traditional Indian architecture, the high-rise is
conceived as a modular construct of interlocking solid surface acrylic panels anchored to the
building frame, each thermoformed to create a fl uid, soft character for the cladding. Columns
of the same material, with a twisting fl uted detail in various sizes adorn the façade and together
with the thermoformed panels create a distinct character for the building. The cladding material
will reduce the building façade maintenance to a minimum… something Mumbai buildings
struggle with a lot on account of monsoons. Proposed as the fi rst fully steel-framed residential
building in India, integrating international infl uences, cutting-edge building technology and
innovative use of materials in a thoroughly contemporary context, the path-breaking nature of
this development is a bold attempt at rewriting the rules for such projects in India.
30 DESIGN MATRIX • MAR-APR 2011
Pushing-the-envelope with design notions that challenge an established or conventional outlook is a trait that seems
to come naturally to the duo
MAR-APR 2011 • DESIGN MATRIX 31
Another feather in their cap is the dramatic, spiralling design of a new panoramic
resort in Karnala won through an invited competition. While local building codes restrict
the structure to ground-plus-one, the client requirement of an iconic property provides
the point of inspiration for this remarkable design. Radiating from a central core with luxury
hospitality services and suites on the upper level, fi ve arms extend into the landscape
with out-facing rooms on two fl oors. The building skin is engineered in horizontal louvers
to moderate harsh tropical sun; while the same louvers light up in subtle colours during
the night, suggesting magical lanterns that fl oat in air. The project is at take-off stage and
envisages a 5-year completion period.
But ‘time’ is truly the essence of life and living. Back in 2007, when Godrej had
announced a product design competition, Planet 3 Studios had deigned a modular
portable workstation. They won the best product award but the workstation remained
under production; until last month when Godrej rolled out the product after appropriate
and adequate R&D. Christened ‘Out-of-the-box’, the workstation is a literal rectangular box,
which opens up, much like a Swiss knife, to reveal two perfectly functioning workstations.
It takes no special skills and couple of minutes to install. The trick really, is in using the
surface of the box as a jigsaw arrangement of components that unfold in a logical and
sequential manner. Packed within is the requisite paraphernalia down to the smallest detail
of necessary cabling. The portable box is mounted on lockable castors and can be shut
with the same ease when not in use. The concept encourages multi-use space design by
its mobility, while its compactness opens it up to alternate uses.
With the focus always on context, the constraints and the opportunities that a project
presents, the incisive vocabulary of the space and the project per se communicates with
the architects to evolve into a solution that balances wit with wisdom, keeping it fresh in
visual appeal
32 DESIGN MATRIX • MAR-APR 2011
Ar. Aamcher
VANISHING HERITAGE
Although Mumbai is well known globally for its Gothic
Revival ensemble of public buildings and Art Deco
residential districts like the Queen’s Necklace, several areas
like the Banganga precinct, Kotachiwadi, Matharpakdi, and Bandra
village, to name a few, that identify with the socio-economic and
cultural patterns of the city and are symbolic of local distinctiveness,
are fast vanishing.
It is pitiable to see areas like the Santacruz Catholic Colony and
Kotachiwadi in a dilapidated condition, where buildings in a pre-
dominantly repairable condition are being neglected and instead
pitched for redevelopment.
It is indeed a shame and a sham to simply observe that the gov-
ernment, instead of addressing the core issue of Rent Control Act,
which many states have diluted or repealed, has provided no incen-
tives to see that heritage buildings can be protected and repaired.
On the contrary, the government has introduced Section 33 (7) that
encourages demolition and off ers larger FSI for reconstruction. This
may be true for the really decrepit buildings but this is being grossly
misused for heritage buildings in repairable conditions. Even build-
ings worthy of being Heritage Buildings fall under the threat of
redevelopment as there is no legislative protection. Certain areas of
Girgaum are already undergoing transformation.
Special development laws are needed for redevelopment that
acknowledge and address the character of the place and socio-
cultural values that are integral to the built form and its distinctive
character. A good progressive nation/city is one where heritage
and development go hand-in-hand
To share more such designs or experiences, positive or
negative, contact Ar. Aamcher at [email protected]
Conservation Architect Vikas Dilawari on his drive around the Mumbai metropolis with Ar. Aamcher is saddened at the insensitive management of heritage structures.
MAR-APR 2011 • DESIGN MATRIX 33
Musings
34 DESIGN MATRIX • MAR-APR 2011
MAR-APR 2011 • DESIGN MATRIX 35
A TALE OF
Words: Sheena D’Lima Images: courtesy the designer
Picture this: it is late 1980’s Calcutta and a 17-year-old girl is accompanying a
soon-to-be-married elder cousin on a lingerie shopping spree. The young
girl, fortifi ed with a knowledge born of several Mills and Boon romance
novels, boldly demands to have a look at the “lace negligees” and “baby dolls” on
stock, much to the consternation of several shy shop owners. That little slip of a
girl, Suman Nathwani, grew to be India’s First Lady of Lingerie and Loungewear
design. “Everyone, including my cousin was amazed at my knowledge and the
shocking words that I was throwing around,” Nathwani recalls. The feisty school-
girl ended up designing her cousin’s wedding lingerie herself, even getting it
stitched by the family tailor, much to her conservative parents’ dismay. That story
defi nitely had a happy ending though. “My cousin loved my work. Those were my
fi rst designs, done in cut-work style,” she says. “That’s when I decided to choose
lingerie design as my career.”
Suman Nathwani talks about her unique journey as India’s first
lingerie designer.
&Satin Lace
36 DESIGN MATRIX • MAR-APR 2011
MAR-APR 2011 • DESIGN MATRIX 37
38 DESIGN MATRIX • MAR-APR 2011
Still, if she thought that making this tal-
ent her profession was going to be as easy
as using provocative words from a Marks
and Spencer store, she had another think
coming. “The fi rst six months were the
most diffi cult,” she recalls, talking about
how she wrestled with the condescending
toleration and mild disapproval of the tra-
ditional circles in which her family moved.
“Still, word went around that I was really
good at designing comfortable lingerie
and lightweight sleepwear and I started
getting orders from friends and even fam-
ily. Six months later, I was ready to start my
own factory.”
From there began a steep uphill climb
but the journey just got better as she went
along. With her trademark cut-work and
light, fl owing designs in sweet fl oral prints,
Nathwani carved a
niche for herself in the
minds of women who
wanted more than
what store-bought lin-
gerie could give them.
Her ability to deliver just
what her customer had in
mind, ensured that they kept
coming back for more and soon she had
expanded her business base: begun de-
signing sleepwear for men and earned her
fi rst runway spot (1991).
Now Nathwani overlooks a workforce
that easily exceeds 200 tailors and crafts-
men, with four workshops both in Kolkata
and rural Bengal. “I am truly blessed to have
loyal artisans, who have worked with me
for over 22 years and who know the stan-
dards that my designs have,” she says. She
designs for fashion outlets and also makes
custom-designed lingerie for weddings
and honeymoons. The inspiration for most
of her designs comes from a lot of research
of what works for the Indian woman. “I
design for Indians and I try to cater to
that sensibility – be it in the colour, fabric
or design. For example, while European
women love pastel shades and are partial
to satins in off -white and white, those co-
lours are a no-no for an Indian bride who
prefers bright colours. While I may include
shades like white in a honeymoon collec-
tion, I would never choose white for wed-
ding night lingerie.” Nathwani’s personal
favourite is purple, a shade she describes
as “very in.” As for the material she uses,
quality, she says, is everything. “I buy my
materials abroad because the satin manu-
factured in India is of a slightly inferior qual-
ity,” she says.
Though the high from striking gold,
both literally and metaphorically, has been
thrilling enough, Nathwani is equally excit-
ed at the change in the attitude of women
through the years. “Six years ago, I would
describe the attitude of the average Indian
woman as passionate but shy. Nowadays,
she’s exposed to international
trends; she’s aware of brands
and has become much
bolder.” A good exam-
ple of this change in
mindsets is the change
in shopping com-
panions. “First women
used to shop with their
mothers. That changed to
sisters-in-law, and then to fe-
male friends. Now they shop with
their fi ancés,” she laughs.
Suman Nathwani’s story is not unlike
those of great explorers who discover un-
charted territory and claim it for their own.
Her sense of humour, determination and
incredible eye for detail, quality and design
has ensured that from now on, her path will
be forever strewn with satin and edged in
lace. Whoever said that reading romances
could come to no good?
MAR-APR 2011 • DESIGN MATRIX 39
40 DESIGN MATRIX • MAR-APR 2011
Residentialdesign
MAR-APR 2011 • DESIGN MATRIX 41
42 DESIGN MATRIX • MAR-APR 2011
MAR-APR 2011 • DESIGN MATRIX 43
The Aakruti design team from
Mumbai scoured a double
whammy by revitalizing an
almost decrepit home in South
Mumbai and translating it into
a luxurious den.
Words: Varun Godinho
Images: Indrajit Sathe,
courtesy Aakruti Designs
Luxury second
none
It isn’t everyday that an interior
designer receives a carte blanche
from his client, telling him to “do as
you please.” While Chetan Shah, Ashok
Mewada and Sanjay Sheth from Mumbai-
based Aakruti designs were elated with
this offer, they knew that they had to raise
their hitherto set bar of excellence. Their
client for this project was Hitesh Jobalia,
the promoter and managing director of
Max Flex & Imaging Systems Limited, who
had recently purchased a large 2,200 sq.
ft. pad on Napean Sea Road that could
well pass off as India’s answer to London’s
Billionaire’s Row.
The 22-year-old apartment was in a
state of near ruin. But Jobalia envisaged
that the property would transform into a
luxurious abode under the expert team of
Aakruti Designs.
Starting out with this confidence
of the client and the knowledge that
geographical boundaries and budgets
were factors that did not restrain them,
Shah, Mewada and Sheth set out to give
Jobalia the best from around the world
in keeping with his expectations. The
flooring is done up in Satvario marble,
also known as statuary marble, which is
a highly polished white marble with rare
veins and imported from the quarries
of Carrara, Italy. From China, they have
borrowed the idea of installing a large
SICIS hand-crafted glass mosaic in the hall
that has a floral pattern. “Although Jobalia
initially wanted the house to be done up
44 DESIGN MATRIX • MAR-APR 2011
in cream and gold, we convinced him to
go with white, which would serve the dual
purpose of delivering an uber-luxurious
feel and also of creating the impression
of ample space within the house,” says
Shah. The Ligne Roset signature lemon
green sofa set with gatherings and
pleated fabric is sourced from Dubai. “As
we sifted through the different options,
it was quite a task to decide on any one
particular item as opposed to the next.
Each time Jobalia saw something he liked,
we needed to evaluate whether it was
the best that we could source and then
advise him accordingly,” he continues.
Each part of the home is a marvel
in itself. The living and dining rooms are
fitted with bare minimum furniture, while
the false ceiling conceals mood lights.
There were initially three bedrooms in
the flat that Jobalia asked to be reduced
to two – one for him and his wife, the
other for his son. “While other people ask
for two bedrooms to be converted into
three, I went the other way and asked that
the space from the three bedrooms be
converted into two large bedrooms,” says
Jobalia. His bedroom has been cleverly
designed with a DuPont Corian wall that
camouflages the entrance to a walk-in
wardrobe. The bathing room and a smaller
reading room that serves as his private
get-away. The bathroom is not excluded
from the opulence and grandeur of the
rest of the home. Top-of-the-line material
including a wall made from white onyx has
been especially designed by the Aakruti
team. There is even a chandelier in the
bathroom to add to the defining touch
of elegance. In his son Karan’s bathroom,
the overhead shower panel is fitted with
LED lights to serve as a therapeutic light
massage shower. The wardrobes have
sliding doors that are made of white
back-painted glass. For the kitchen, the
team has been instructed by Jobalia’s
wife, Dipti, to keep the design extremely
clutter-free. The cabinets are fitted with
two-way storage compartments, Corian
top counters with appliances from
Siemens and a wine-red finish to the wall
MAR-APR 2011 • DESIGN MATRIX 45
46 DESIGN MATRIX • MAR-APR 2011
MAR-APR 2011 • DESIGN MATRIX 47
gives the kitchen a sleek finish. The entire
house and all its appliances are controlled
by an automated system from Schneider
Electric.
Major structural repairs have been
undertaken across the entire flat prior
to any of the interior designing work.
With almost a year of repairs, sourcing
and designing, the project has evolved
as planned, a little over a month ago.
Working in South Mumbai came with
its fair share of problems too. “We had
to adhere to a 30-page manual on the
society guidelines and were careful to
follow every norm while the work was in
progress. We generally do not contend
with such issues while working in the
suburbs of Mumbai, where every other
building in the neighbourhood has
construction work underway,” informs
Sheth. The Aakruti design team has
outdone themselves and Jobalia and his
family are thrilled with the look and feel of
their new home. Shah reaffirms that it has
been a privilege to work on projects such
as these and on international ones too,
including a row-house interior designing
project in Hong Kong two years ago
“The 22-year-old apartment was in a state of near ruin. But Jobalia envisaged that the property would transform into a luxurious abode under the expert team of Aakruti Designs.”
48 DESIGN MATRIX • MAR-APR 2011
MAR-APR 2011 • DESIGN MATRIX 49
www.lesutra.inJoin us on http://www.facebook.com/lesutra
14 Union Park, Khar(W), Mumbai-400 052. India # 91 22 2649 2995/7
le Sutra , the Indian art hotel was awarded “India’s Most Unique Hotel” at the Indian Hospitality Excellence Awards (IHEA) held at Hotel Westin, Mumbai on January 15, 2011.
It’s unique conceptualization is based on Indian philosophy and the implementation encom-passes the thoughts and works of artists, sculptors, designers, visu-alisers, stylists and coordinators coming under the banner of Dr.Art+Design, a sister concern of Le Sutra.
It’s an accolade we would like to share with you and appreciate the labour of love, uniquely brought to reality in hospitality terra firma.
Mitali Bajaj
50 DESIGN MATRIX • MAR-APR 2011
MAR-APR 2011 • DESIGN MATRIX 51
Leonardo Arts was started in 2001 as an attempt to blend art and affo rdability, without compromising o n
aesthetics
We offer end to end high quality art solutions on a variety of media (including acid free canvas) that suit
different environments and design ideas.
The versatile nature of our prints has made it possible to use them for everythin g from limited edition art
prints to individual custom portraits.
Some of our clients include:
Hyatt Regency, Kolkata Raj Bhavan, Hyderabad
Hyatt Regency, Mumbai Patni Computers, Mumbai
Hyatt Regency, Pune Ginger Hotels
Taj Holiday Village, Goa Mahindra Holiday Resorts
Aditya Vikram Birla Hospital, Pune Bombay Dyeing, Mumbai
Grand Hyatt, Mumbai TCS, Thane
Grand Hyatt, Goa Talwalkars
Please give us a call to see what we could do for you!
Leonardo Arts Pvt. Ltd.
B/18 A, Ghatkopar Industrial Estate,
LBS Marg, Behind R-City,
Ghatkopar (W) Mumbai 400086 Tel: +91 22 6796 9078 / 79
Email: [email protected]
MAR-APR 2011 • DESIGN MATRIX 53
AdDurian Doors
54 DESIGN MATRIX • MAR-APR 2011
Words: Savitha Hira; Images: mab architects
ROOFESCAPESmab architects create a warm and inhabitable recreational space atop a flat roof in Athens, making a significant difference to the bio climate of the city, and the perception of its inhabitants.
MAR-APR 2011 • DESIGN MATRIX 55
Creativeideas
56 DESIGN MATRIX • MAR-APR 2011
“In a city where the building stock is low-rise and with fl at roofs, the latter represent a wonderful opportunity to be planted and utilized as recreational spaces.”
Melissia is a considerably green,
middle-class district in the
northern part of Athens, in
Greece. Located at the foothills of mount
Penteli, its advantageous raised position
provides beautiful panoramic vistas over
the city of Athens and the Saronic Gulf
in the distance. Finding a home atop a
small four-storey housing block with the
exclusive right to use the fl at roof as a
private terrace was like a dream fulfi lled
for a young couple looking to set up
home independently. Off ering almost 360
degree views of the entire city, the terrace
was to be revamped into an intimate area
for the couple and a place where they
could hang out with their friends, organize
parties, etc. All of this had to be achieved
on a tight budget!
Enter architects mab - Rena Marioli,
Franky Antimisiaris and Branko M. Berlic,
with their fundamental simplicity and
logical clarity through an everyday think-
ing and working process. Understanding
the social, cultural, climatic and urban
context based on the consideration of the
programme and the client’s needs, they de-
rived an indigenous wooden wrap with Iro-
ko hardwood boards of standard dimension
– 12cm wide and 2cm thick – that wraps
around the surface of the fl oor, folds and
wraps the wall, where the wall becomes a
table or a bench, and a bench becomes a
bed or a planter etc., creating a luxurious
tableau, virtually in the sky!
The main idea behind this monologu-
ise vocabulary is to accomplish the design
and create a luxuriant ambiance by mini-
mizing the variety of materials applied and
consequently limiting the variety of trades
used in the construction process. Work-
ing on a tight budget, everything is built
within this module to control the off -cuts.
Unsightly chimneys are for fi re-protection
reasons wrapped with metal sections of
the same dimensions. All furniture is built-
in, except two benches on wheels, which
can be moved around freely. All planting
is indigenous and sourced locally from the
Attica area.
MAR-APR 2011 • DESIGN MATRIX 57
With Athens having long hot summers,
the couple plans to use the revamped roof
terrace on a daily basis for 4-5 months of the
year. It has become a large open-air exten-
sion of their apartment below, where they
prepare their meals in an open-air kitchen,
dine, relax and entertain their friends, sun-
bathe… and a conveniently placed shower
provides the much-longed-for cooling on
hot summer days after lying in the sun.
Although the ‘roofescape’, as the ar-
chitects choose to call it, is a handsome
private open-area that is a definite en-
hancer to any middle-class home irrespec-
tive of its location, the design is driven by
deeper issues: the building, which was
just a few years old, had already devel-
oped problems with water-leaking on the
flat roof terrace. The existing terrace floor-
ing was of ceramic tiling and the most
cost effective waterproofing solution,
thus, was to pour polymer-type sealant
over the existing tile flooring. However,
this new membrane required protection;
so it was decided to install floating wood-
decking over the entire floor. This type of
floor provided the requisite protection
against physical damage and UV rays.
Furthermore, rain water can flow through
decking onto the new sealing layer, which
meant that there was no need to change
any existing floor falls and drainage out-
lets. In order to achieve a uniformed look
and to provide a feeling of luxury (on a
tight budget), it proved cost effective to
use the same material for all – floor and
wall claddings and furniture.
In the present day city of Athens, there
is a critical lack of open green and recre-
ational spaces. In a city, which has such an
advantageous location and mild climate, it
is almost impossible to fi nd that little patch
of green where a contemporary urban
dweller can relax and enjoy his time off . To-
day the city is characterized by locals and
visitors alike, as being an endless concrete
jungle, which spreads and fi lls every little
corner in the Attica basin.
Maybe this conversion has planted a
little seed in the area and possibly more uti-
lized and planted roofs will slowly appear.
Hopefully some of them would be public
Design
mabarchitects
Client
young couple
Location
Athens, Greece
Programme
75 sq. m. roof garden
Major materials
Iroko wood,
galvanized steel sections
58 DESIGN MATRIX • MAR-APR 2011
Leisuredesign
MAR-APR 2011 • DESIGN MATRIX 59
60 DESIGN MATRIX • MAR-APR 2011
MAR-APR 2011 • DESIGN MATRIX 61
Words: Sharanya S; Images: courtesy the architect
Revitalising the night life and party culture of Colombo is Club Mojo, designed by Keer Designs Group.
mojoDON’T LOSE YOUR
62 DESIGN MATRIX • MAR-APR 2011
MAR-APR 2011 • DESIGN MATRIX 63
Abhijeet Keer could well be Batman.
Or a version of a design superhe-
ro, who swoops in, designs your
space exactly the way you want, makes it a
refl ection of your personality and fl ies away
into the vast blue sky. Keer is the perfect cli-
ent’s designer. “I don’t believe in leaving my
signature in everything I design. I’m not de-
signing for me; I’m designing for someone
else. So I like to keep their choice and their
needs in focus,” he says.
Keer Designs Group started in 2003 and
has an impressive line of hospitality proj-
ects including China Gate and Red Box in
Mumbai, InterContinental in Mauritius, and
several residential ones as well. Currently
working on a host of spas and restaurants,
he talks about the bright and shiny jewel in
his crown, Club Mojo, Colombo.
The nightlife and party culture in Co-
lombo began to be resuscitated post the
unrest and civil war in the country and Ho-
tel Taj Samudra decided to resurrect the
night club in their basement. The owners
Sanjay Punjabi and Tambi Fernando want-
ed their earmarked clubbing space to be
up and running again. Keer visited many
nightclubs in the city and reveals, “I had
“Walking into Club Mojo is almost like walking into a different world – a brighter,
more colourful, non-linear world.”
64 DESIGN MATRIX • MAR-APR 2011
to design it so that even after reno-
vation, the other clubs wouldn’t be
able to match up to Club Mojo. I like
to be two steps ahead.” The drawings
were made in Mumbai with his team
– Swapna Hankare and Navneet Keer;
and three months later, Club Mojo
began with a bang.
Walking into Club Mojo is almost
like walking into a diff erent world–
a brighter, more colourful, non-
linear world.
The primary focus of Mojo is the
lighting – tables lit from the inside,
acrylic waves of light that make up
the bar, bubble lights that line the
wall, even an LED fl ower motif on
the ceiling that is almost the sig-
nature of Club Mojo. “Sometimes
clubs are so crowded that you can
see nothing ahead of you. But the
ceiling is defi nitely something you
would notice. When people take
pictures of their parties, they try
to include the motif, so that oth-
ers instantly know that the party
was at Club Mojo,” says Keer.
While the number of lights itself
is quite impressive, it is their stra-
tegic manoeuvring that is truly
amazing. All the lights, even the
ones on the tables, can be syn-
chronised to suit the music. The
entire lighting system can go from red to
blue to green depending on the kind of
sound the DJ is belting out.
Another striking feature is its curvilin-
ear forms. With a name like Mojo, it had to
be young and funky and have minimum
straight lines. This is clearly incorporated in
the curved seating area around the circular
dance fl oor, the arched staircase, and a bar
that has random lines of light refl ecting the
asymmetry of Club Mojo.
It is almost surprising to hear Keer list
the thoughts and little elements that went
into designing – giving us a little insight
into the multi-faceted roles that a design-
er has to play in modulating a project for
his client. Nightlife in Colombo only picks
up after midnight, so Keer thought up a
clever ruse to rake in the revenue in the
wee hours. A performance stage, complete
with a projector for live bands, screening
matches or movies was created. It is placed
for convenient viewing from wherever you
may be seated. There is even the provision
of a small hidden passageway and store
room that could double up as a green
room.
Hotel Taj Samudra is the offi cial hotel
for the ICC, and cricketers frequenting Mojo
created the need for a VIP lounge. A sepa-
rate level with its own bar has been made
that enables celebrities to view the entire
club without mingling with the crowd.
Keer even solves the problem
most women experience when enter-
ing clubs; that of where to park their
evening bags or hand-purses. Special
lockers with individual keys have been
provided for the womenfolk; and this
feature encourages them to enjoy a
carefree evening, dating and dancing.
While it is fairly obvious that the
lights, dance fl oor and split-levels are
the soul of Club Mojo, it is the minute
details that actually transform it into
a wanna-be-in space. The translu-
cent columns, the use of mirrors that
encourage frequent self-appraisals, ,
fabric on the walls and ceiling pan-
els that aid acoustics, laser lights
bouncing off a disco ball, waves on
the wall coupled with blue lighting
that give the upper lounge a sea-
like eff ect, simple fl oors that gleam
oh-so slightly, a deck behind the
curved sofas that accommodates
additional dancers and even the
ample standing space provided
near the bar... draw your atten-
tion to the old maxim – God is in
the details. An impeccable eye for
details and keen sense of light
and colour makes Club Mojo
stand out from a herd of generic
nightclubs and a must-hit on any
partygoer’s list
66 DESIGN MATRIX • MAR-APR 2011
Words: Babita Krishnan Images: courtesy Le Sutra
Dressed in the symbols of beauty, the Shringar room at Le Sutra celebrates the woman.
STYLEADORNED IN
Shringar is the art of adornment, ro-
mance, culture, beauty and enjoy-
ment. Indian culture and philoso-
phy reveals that beauty being skin deep,
it is with shringar that a woman attracts a
man and his aura. Beauty is nothing without
grace and shringar is that delicate union of
beauty and grace.
The Shringar room represents the Ra-
jsic guna, which is the attribute driving one
to action. It is the force that creates desires
for acquiring new things, which leads one
to activity and expansiveness; it represents
vibrancy and passion, being vivacious and
stylish. The room had other design concepts
initially – one of them with the solah shringar
elements of an Indian bride. But the team felt
that they were all getting too literal, hence
moving away from the mood. “Seema Kohli’s
painting with the lady and peacock really
set the compass due north and from it was
born the room,” reveals Mitali Bajaj, Head, Dr.
Art+Design.
The room was done by Dr. Art + Design
under Mitali’s guidance. “We wanted to create
an installation of mirrors and thought it would
be the simplest of things. So we went on a
hunting spree to fi nd the old hand-held mir-
rors to give the classic touch. Surprisingly, we
found only a couple and had to literally recon-
struct them. The fi nal installation is nothing
short of stunning and does not miss evoking
a smile or chuckle from a guest,” she says.
The mirror installation by Pooja Purie in
the bathroom represents the many diff erent
facets and perceptions of a woman. The mir-
rors symbolize self-love, an important aspect
of shringar. Bindi is the symbol of a married
woman and is said to keep away bad omen.
It highlights the ajna chakra (6th chakra), also
known as the third eye. The Bindi installa-
tion is by sculptor Anand Prabhudesai. The
Nathni or nose stud is the most seductive of
all the ornaments worn for shringar. The nose
is said to be closely related to the sexual or-
gans and hence a woman wore a nose ring
to signify it. Product designer Mark Phillip
created a Nathni lamp for this room. The
Painting done by Seema Kohli showcases
the diff erent moods of a woman. It portrays
the idea of self-love. Self beautifi cation adds
to the aura which is the energy that women
use, to become powerful and signifi cant in
the eyes of the opposite sex. Peacock chair
is by product designer Neil Dantas. The pea-
cock is the symbol of beauty and grace. The
Peacock’s feather, in the form of an eye, rep-
resents knowledge. An attractive woman has
all the three qualities – beauty, knowledge
and grace
Artytechture
MAR-APR 2011 • DESIGN MATRIX 67
68 DESIGN MATRIX • MAR-APR 2011
“The various symbols of beauty or forms of adornment are put together and translated as art to adorn this room. A stay here would truly have you surrounded with beauty. It’s the time to enjoy the shringar rasa”
MAR-APR 2011 • DESIGN MATRIX 69
70 DESIGN MATRIX • MAR-APR 2011
MAR-APR 2011 • DESIGN MATRIX 71
72 DESIGN MATRIX • MAR-APR 2011
74 DESIGN MATRIX • MAR-APR 2011
Veteran makeup artiste Ram Tipnis takes us down memory lane with ingenuous insights into the art of makeup; while his humility inhibits his comments on the present scenario in the art…Words & Images: Anuja GhosalkarAnuja Ghosalkar is programme offi cer at India Foundation for the Arts,
Bangalore and Mr. Ram Tipnis’ grand-daughter. To read more on Ram
Tipnis check out Anuja’s blog: www.papaajoba.blogspot.com
MAR-APR 2011 • DESIGN MATRIX 75
GLOSS TO...
Conversations
GLAMOUR
76 DESIGN MATRIX • MAR-APR 2011
Ram Tipnis is a veteran makeup
artiste of the Hindi fi lm industry.
He is also a master story-teller.
Perhaps, a trait inculcated into his persona;
he weaves the story of his sixty years
(1941-2001) in the Bombay fi lm industry
with élan, not realizing that stories often
become history…
Imagine a time when the superstar
of the fi lm industry travelled by the third
class railway compartment with his make-
up man! Picture a fi lm studio that func-
tioned like an extended family… In today’s
uber professional fi lm industry, this seems
unimaginable. But Ram Tipnis, one of the
oldest living make-up artistes of Bolly-
wood witnessed a time that is markedly
diff erent from the current one.
Hailing from an eminent family of the-
atre artistes (his father was the Marathi
stage actor Madhavrao Tipnis, who also
had his own theatre company), Tipnis
spent the fi rst few years of his life travel-
ling across Maharashtra with him. He
would sneak backstage and watch thes-
pians paint their faces with grease before
a performance. Says Tipnis, “Those days
there was no foundation so the actors
used grease and the more accomplished
ones applied loni (homemade white but-
Tipnis is nostalgic of his time spent with Shammi Kapoor and Sadhana and greets them even today on their birthdays
MAR-APR 2011 • DESIGN MATRIX 77
Imported shades of foundation did not match Indian skin tone; so at Rajkamal, we were encouraged to innovate
ter). With the coming of cinema, and the
decline of his father’s fl ourishing thea tre
company, Tipnis, at the age of 19 had to
support his seven siblings and ageing par-
ents. Tipnis, who could perform lines from
his father’s plays better than he could read
school textbooks, decided to fi nd work as
an actor in Pune. He secured a miniscule
role in the 1941 Marathi fi lm Municipality,
where along with acting, he also became
an assistant to the makeup artiste. Thus
began the colourful journey.
A short sojourn in Pune, and Tipnis
was Bombay-bound with his mentor Dada
Paranjpye, another makeup artiste he had
assisted. When Paranjpye joined V. Shan-
taram’s new studio, Rajkamal, Tipnis fol-
lowed. “Working under V. Shantaram was
like attending Art School,” he reminisces.
“Back then, before Max Factor (the leading
cosmetic company) came to India, we had
to make our own foundation and make-
up. At that time there was only a German
company called Leichner that sold founda-
tion. But the shades of foundation did not
match with the Indian skin tone; so at Ra-
jkamal, we were encouraged to innovate.
We used to make our own colours: we fi rst
added coloured powder to water, then
boiled it, strained it, allowed it to dry and
78 DESIGN MATRIX • MAR-APR 2011
then mixed a bit of petroleum jelly in it,”
he explains the painstaking process with
precision, testimony to the fact that this
90-year-old artiste’s memory is fl awless.
Age has also not withered Tipnis’ abil-
ity as a storyteller. He is the triumphant
protagonist in all of them. One such is
of his ingenuity during the making of
V. Shantaram’s fi lm Dr. Kotnis Ki Amar Ka-
hani (1946) where the character of a Chi-
nese priest had to don a beard with pre-
cisely 36 strands of hair in accordance with
his religious stature in the fi lm. This was a
time when wigs and beards were largely
hand-made and not readily available.
While a generic beard could be designed
easily, a specifi c beard for a Chinese priest
was hard to come by. While Shantaram
and the make-up incharge were discuss-
ing the road block, Tipnis suggested us-
ing the hair of a horse for the beard. Tipnis
explains, “Human hair is too fi ne to put
on a beard, but the hair on a horse’s back
is coarser and relatively easy to attach.”
Convinced by his suggestion, Shantaram
instructed Tipnis to construct this beard
and throughout the fi lm he was made re-
sponsible for each strand attached to the
actor’s face.
In 1947, Tipnis joined Filmistan Studio.
In the sixteen years he spent there, he rose
up to the rank of Head of the Makeup De-
partment. He recounts how improvisations
were a part of his working life. Whether it
was discovering innovative ways to make
wigs, or masking unfl attering features of
an actress’ face, or making Indian actors
look Chinese, they had to invent new ways
to make the fi ctional, believable. But the
biggest hurdle that Tipnis faced was the
advent of the colour fi lm. Geva Colour, was
a type of fi lm that when exposed, resulted
in a yellow tinge. Even though Tipnis had
tested Geva Colour many times earlier,
the Studio brought in a British make-up
expert and Tipnis was refused entry into
the dressing room to observe his “inter-
national technique”. Disheartened, Tipnis
left the room and it was only after the in-
tervention of a senior actor that the British
expert apologized to Tipnis. Deeply aware
of the entrenched hierarchies in the fi lm
industry, Tipnis continues his story saying,
“My job was to make the stars look good.”
Looked good they did. Sadhana,
Shammi Kapoor, Asha Parekh, Saira Banu,
were some of the leading stars of the
1960’s who Tipnis worked with after the
decline of the studio system. Tipnis is nos-
talgic of his time spent with Shammi Ka-
poor and Sadhana and doesn’t fail to wish
them on their birthdays even today. He
has witnessed a range of transformations:
from silent fi lm to talkie, black & white
pictures to Technicolour, cinemascope to
television… His latest foray being the suc-
cessful makeup of actor Pankaj Kapur for
Offi ce-Offi ce on SAB TV. He desists com-
menting on the current breed of artistes
and their fare, choosing instead to brood
silently. But his illustrious stories can con-
tinue as long as he has an audience and
as he waves; one cannot help but imagine
how that hand was responsible for the
shimmering faces of many a star, in a time
long gone
He would sneak backstage and watch thespians paint their faces with grease before a performance.
MAR-APR 2011 • DESIGN MATRIX 79
80 DESIGN MATRIX • MAR-APR 2011
FLYRainbow Drive Layout’s efforts
towards water sustainability have
citizens at the centre of Integrated
Urban Water Management.
WHEN PIGS
Words: Savitha HiraImages: Courtesy Biome Environmental Solutions
A citizens’ initiative can work won-
ders for pockets of the country
and ultimately for the masses as a
whole. This is a story of design impact that
struts through the rigmaroles of inconve-
nience and bureaucracy to emerge victori-
ous as a self-suffi cient gated community.
The phenomenal pace of unbridled
growth in almost every sector has led to
widespread urbanization of city and town-
ship suburbs; the eventual development
is assessed and pragmatics fast imple-
mented to make a community settlement
comfortable to the extent possible. Yet,
despite infrastructure and community
services in place, many a time, water sup-
ply seems the last resource to be tackled
as people often rely on the availability of
tankers. With monetary implications rul-
ing the day, it is heartening to see at least
a small percentage of the layman rise up
against the odds of inconvenience, turn-
ing away from tankers and bore wells and
adopting innovative measures to contrib-
ute constructively to the betterment of his
environment and his lifestyle.
One such gated community that
sprung into action in the Rainbow Drive
Layout, South East of Bengaluru, has seen
a commendable citizens’ eff ort in address-
ing its water problems in a sustainable
manner without resorting solely to short-
term coping strategies like buying tanker
water or drilling more bore wells.
Rainbow Drive Layout Plot Owners’
Association (POA) sought the services of
Biome Solutions, a company engaged in
sustainable water management, to help
!
MAR-APR 2011 • DESIGN MATRIX 81
them understand their water situation and
put in place durable and appropriate solu-
tions as they had no provision of Municipal
water. Due to the pioneering nature of the
work that was done, Arghyam, a non-profi t
foundation supported Biome in an inten-
sive monitoring exercise to develop the full
picture of Rainbow Drive’s water manage-
ment regime and derive lessons for similar
urban contexts and communities that did
not have access to Municipal water.
In the absence of any institutional or le-
gal framework to guide it, POA undertook
eff orts towards comprehensive rainwater
harvesting and had several households
implementing the system by constructing
a large number of recharge wells and pits
at the community level to capture most of
the water that falls within the area of the
layout. Desisting the propagation of pri-
vate bore wells; POA also enforced a ban
on them to protect the community bore
well supply. The layout has been exploring
the possibility of enhancing the output of
existing bore wells or sinking new commu-
nity bore wells using scientifi c methods.
Equally important – the sewage manage-
ment system has been looked into care-
fully and alternate technologies like Soil
Bio-technology (SBT) and Decentralized
Wastewater Treatment Systems (DEWATS)
have been considered. These carry out
the requisite maintenance, improving the
Sewage Treatment Plant (STP) and ensur-
ing a higher quality of output water.
The highlight of such commend-
able but routine transformations is that
the community has gone much farther
and implemented an incentive to harvest
rainwater by building it into the water bill
through a discount for those households
who have implemented rainwater har-
vesting. Rationalizing the water pricing
scheme, POA has restructured its water
pricing scheme to recover costs and dis-
courage wastage. This has been accom-
plished by maintaining the base tariff
of water quite high in order to motivate
conservation, while a progressive pricing
regime has been put in place with a higher
cost per litre, for households that consume
more water.
Despite this achievement, POA feels
that more work needs to be done and is
looking to improve the output quality
of waste water that is recharged into the
ground, to the level where it can be used
for various non-drinking purposes. Consid-
ering recycled water as an important sup-
plementary source of water in the overall
water management picture, POA has taken
concrete measures to understand its wa-
ter usage. It has been able to monitor and
get good data on the per-capita and per-
household water consumption. Reverse
Osmosis systems have been studied to
gauge water wastage. Excessive water use
in car washing has thus been identifi ed as
a problem and an awareness drive under-
taken to reduce this. The real per-litre cost
of water has been identifi ed, by measuring
all the various sub-costs like the electric
power consumption in running the bore
wells and the cost of maintaining the STP.
This said, the Rainbow Drive story rep-
resents impressive achievements for an
urban community in managing its water in
a more sustainable and integrated manner
in the absolute absence of the Municipal
water supply. Rainbow Drive has also suc-
ceeded in enhancing the fi nancial viability
of its water management regime by dou-
bling monthly revenues. This is a vast im-
provement over its past pricing scheme. It
has also succeeded in raising water literacy
with the residents, though this has not
necessarily resulted in reduced demand,
and there is still work to be done to sta-
bilize the groundwater extraction and re-
charge balance. BIOME’s strength has been
in adapting the best suited technology for
use in urban scenarios especially on small
plots as well as getting the customer’s buy-
in to treat their waste in their own gardens/
rooftops. This has been implemented in
multiple homes in various layouts. Broadly,
the implementations are of diff erent types
based on the availability of space and the
nature of input water (black or grey).
One looks forward to Biome Solutions’
proposed computations involved in the
data gathered and the footprint to be ap-
plied to similar urban contexts and com-
munities
Greenspot
The layout has been exploring the possibility of enhancing the output of existing bore wells or sinking new community bore wells using scientifi c methods.
82 DESIGN MATRIX • MAR-APR 2011
MAR-APR 2011 • DESIGN MATRIX 83
“Rainbow Drive has also succeeded in enhancing the financial viability of its water management regime by doubling monthly revenues”
84 DESIGN MATRIX • MAR-APR 2011
AdRudra SPA
MAR-APR 2011 • DESIGN MATRIX 85
86 DESIGN MATRIX • MAR-APR 2011
The importance of presentation in food is understood by all the moms of the world, but to turn it into a work of art is done best by a pro-fessional. We got Sameer Chawda to capture some of Svenska’s gour-met design secrets that they shared
with us…
Svenska Design Hotels,F 73/74, Oberoi Complex, Off Link Road, Andheri West, Mumbai 400053, India; T: +91 22 4431 0000; F: +91 22 4431 0011; Email: [email protected]
GOURMET DESIGN
Photofeature
MAR-APR 2011 • DESIGN MATRIX 87
Smoked paprika scented confit chicken wings
Tapas
88 DESIGN MATRIX • MAR-APR 2011
Ghanasingh & Sons
MAR-APR 2011 • DESIGN MATRIX 89
(Opp. page) Maple Sesame grilled peppers with garlic
croute; (this page) pan fried goats cheese and chilly figs
Salad
90 DESIGN MATRIX • MAR-APR 2011
MAR-APR 2011 • DESIGN MATRIX 91
Parmesan and herb crusted pan-fried chicken breast with a white wine glaze,
wilted greens and brava potatoes
Main Course
92 DESIGN MATRIX • MAR-APR 2011
(This page) Citrus crema Catalana finished at your table (cream brulee Spanish style); (opp. page)Churros with hot chocolate
Dessert
MAR-APR 2011 • DESIGN MATRIX 93
94 DESIGN MATRIX • MAR-APR 2011
Water Melon Frappe
Drink
MAR-APR 2011 • DESIGN MATRIX 95
96 DESIGN MATRIX • MAR-APR 2011
SMART
From Donald Trump to the taxi driver, cell phones are a common sight. But ask the
geek within you, have you ever wondered how these little phones do so much more
than the true purpose that they were designed for? The operating system (OS) is
responsible for controlling the hardware and it defi nes the overall look and functionality
of the device.
Earlier, there were only few smartphones available and most were Symbian-based
devices, until Apple completely changed the smartphone market when it announced the
iPhone in January 2007. With its sleek touch screen, friendly interface and the huge Apple
fan base, it was a success from day one. In September 2008, the world got a taste of the fi rst
Android with the HTC Dream (also known as T-Mobile G1). Fast forward to January 2011, and
everybody seems to have a smart phone. As things stand, the Symbian OS running primarily
on NOKIA phones, the iOS running on every iPhone and the Android OS running on a wide
base of handset providers are the dominant players in the smartphone OS market.
Smartphones rule the mobile world. We draw up a low down of the Operating
Systems that have made naught of the humble hand-held mobile phone.
Words: Jatin Hariani & Himanshu Hiranandani Images: HImanshu Hiranandani
S Y S T E M S
Techdiary
MAR-APR 2011 • DESIGN MATRIX 97
SYMBIAN OSThe Symbian OS pioneered by Nokia, the world’s largest cell phone manufacturer, holds the
lion’s share in the market. With an advantageous head start in the smartphone market, the
Symbian is still the alpha of the pack. The recently released Nokia N8 uses the Symbian 3̂,
which is the latest version of the Symbian OS. With Java support a large number of Symbian
applications are available through various sources including the Nokia OVI store. Though
the Symbian interface seems old, the OS continues to sell handsets on its reputation for
reliability.
ANDROIDThe Android OS, developed by Google rose to prominence in the market because its
open source capability caught the eye of a range of manufacturers – tablets, netbooks
and mobile phones combined. The Android 2.3 (Gingerbread) is the latest stable Android
OS. It includes support for multi-touch based interface, video calling, and Wi-Fi hotspot
functionality. The Android comes preloaded with applications such as Google maps and
Gmail with a variety of applications available from the Android market and several others
downloadable from external sources. Some analysts even believe that the Android may
overtake the Symbian by end 2011.
iOSThe Apple iOS has carved a reputation for being fun and secure. Previously known as the
iPhone OS, the iOS is the operating system that runs on the iPhone, iPod touch and the
iPad; its latest version, the iOS 4.2, appears on the latest iPhone 4. It off ers the ability to
synchronize your music with the iTunes. The iTunes store, which lets you buy music online,
is one of the most popular features of the iPhone. In addition to this, the iOS 4 enables
an innovative folder system that automatically recognizes the type of apps concealed.
The iOS 4 has fi nally brought multi-tasking onto the iPhone. The retina display is another
stunning feature of the iPhone 4. Apple keeps its shields up and only allows applications
to be downloaded from the Apple app store, which boasts of over 400,000 applications.
There are various other operating systems but the aforementioned stand tall among the
crowd; each OS with its distinctive set of advantages helps each person select a phone as
per his need. Offi ce-goers who do not need too much still prefer the Symbian, while the iOS
is for the mobile-media-warehouse types; and last but not the least, Android is the wildfi re
spreading among people looking for a balance between business and pleasure
98 DESIGN MATRIX • MAR-APR 2011
MAR-APR 2011 • DESIGN MATRIX 99
NAMDA
Images: Ms. Bela Shanghvi & her team
O F K A S H M I R V A L L E YBela Shanghvi gives us an insight into a
sustainable approach to traditional skills via a personally initiated and monitored
project in the Craft of Embroidery.
Namda Embroidery is a chain
stitch pattern, done with a special
needle inserted through the fabric
and the embroidery thread is picked
up from the back of the fabric with
the help of the needle shaped like a
hook. The craft necessitates that the
needle is inserted at 45 degree angle
for picking up the thread. The tradi-
tional needles used were very thick
and would often make the fabric tear
or would leave a hole in the fabric,
when the needle was pierced at a
wrong angle. To combat this, thicker
fabric was utilized traditionally, mak-
ing the process a laborious eff ort.
Myspace
Ms. Bela Shanghvi is a Design & Business Re-Engineer for Textile & Craft. Her
contribution to the handicraft industry is guided by a practicable approach with
a single-minded focus on the empowerment of the craftspeople and sustainable
solutions to keep alive the traditional crafts of India.
Ms. Bela Shanghvi can be contacted on [email protected] /+919820042350
100 DESIGN MATRIX • MAR-APR 2011
27 years of actively working with
diverse craftspeople of India
have given me tremendous
insights into the ongoing shift in the Indian
and global markets. The pace has been
phenomenal and mutually impacting.
The kaleidoscope of diverse cultures
that India is has even the smallest village
endowed with its individualistic sensibili-
ties, its unique exhilarating ambiance and
its distinctive artistic expressions. Each
era has left behind a legacy of its classical
impressions, evolving inevitably with the
challenging and changing environment.
Embroidery craft, too, has not escaped this
impact; although it has been unable to re-
spond to the evolving scenario at a corre-
sponding pace.
This is where the role of a designer is
recognised. As designers, we can dynami-
cally weld the ‘design baton’ to impact
many lives in a variety of ways. I got the op-
portunity via an assignment by the Jammu
& Kashmir Handloom and Handicrafts Cor-
poration to develop products suited to
a modern outlook. Little did I realize then
that the simple and uneventful Namda Em-
broidery (basically using only a chain stitch)
would actually impact me as a socially
conscious professional as well as socio-
economically foster the lifestyle of the said
craftsmen.
It all began with a simple observation
of the surroundings in which the craftsmen
worked. When I visited them to evaluate the
work and shortly prepare my design brief
for them, I was forced to turn away from
the issue at hand and focus on their basic
working conditions instead. It was appalling
to say the least: beginning with the pos-
ture of the craftsmen – most wore glasses
due to strained eyesight and poor lighting
conditions, sat bent over the fabric, holding
the thick needles; feet cold and the general
work environment dusty. Even the sketches
were done – back bent over, with paper on
the fl oor. The poor posture had manifested
major negative ailments of the spinal cord,
Tennis Elbow and poor eye sight, to name
just a few. While these were among the
apparent problems, there were a host of
related not-so-apparent issues that silently
wailed for attention.
Firstly, considering both, marketing
and production issues, the thick fabric was
replaced by a fi ner more fl exible mate-
rial that could take the needle pricks easily
without making any holes in it; secondly, lo-
cal craftsmen were taught to manufacture
these needles themselves to facilitate self-
dependence; and the most signifi cant part
– the ergonomics – were considered and a
wooden frame was especially designed to
hold the fabric while the craftsmen worked
on it. Special care was taken to fi ne tune
several little details. This facilitated inher-
ent production issues, the prime one being
comfortable working conditions: the fabric
was closer to the craftsmen’s eyes without
the strain of hand-holding it; their elbows
now rested on the frame while working, so
the tension on the spine was considerably
reduced; and overall cleanliness and good
lighting signifi cantly improved the general
working conditions.
MAR-APR 2011 • DESIGN MATRIX 101
My team did tremendous ground work
as far as the economics was concerned: we
tried to comprehend the requirements of
the market by diligently studying the exist-
ing markets, trends and forecasts. Tradition
was studied. Meetings with the Kashmir
Chamber of Commerce were arranged in
order to address their needs.
Designs were developed in accordance
with the aforesaid fi ndings. But we wanted
to ensure the perpetuation of traditions.
Out of respect for this issue, I created a
contemporary collection of products with
a traditional twist, addressing the needs of
contemporary India and the saleability of
the products, both nationally and interna-
tionally. The price range varied so that dif-
ferent ways of making price adjustments
were understood by the craftsmen; and de-
sign and product diversifi cation remained
addressed.
The change experienced was phenom-
enal to say the least! This labour of love cul-
minated in as many as 40 new products with
a focus on better designs and better qual-
ity via a speedy production. The craftsmen
were trained to address various aspects of
their craft viz., proper placement of the de-
sign stencil; fabric and colour combinations;
quality of stitches; tension of the fabric; etc.
The signifi cance of basic manufacturing is-
sues like ensuring cleaner work areas and
the importance of better quality were also
explained to them. Finishing and manufac-
turing of the prototypes were given special
attention. Special packaging was developed.
Enhanced marketing eff orts were com-
menced. A thorough documentation was
done, so that even when I left, these condi-
tions and designs would continue to be per-
petuated.
After all the new learning they went
through, it was indeed a joy to see the pride
in the craftsmen’s eyes when they viewed
their fi nished products.
Looking back, I realize that the income
for the craftsmen increased by at least 3.25
times. The negative health impact of their
profession was minimized. Their sensibili-
ties changed. The speed of manufacturing
improved, resulting in faster production
and better quality, which culminated in bet-
ter per-piece-earning for the craftsmen and
the retailer along with the middle chain.
The craftsmen were happy. The traders, too,
were happy as they got better production
that increased their profi ts. A fresh range
was developed for the tourist markets. It
was a win-win situation for all.
By sharing this experience, I want to
emphasize the need for our generation to
bring about innovation and its own styl-
ization to evolve signatory designs, having
impressions of India’s present era. Conse-
quently, as in the past, India may evolve
with a choice of the adoption of infl uenc-
es of other cultures and may make these
choices of her own. No doubt, the world-
renowned skills that we have in abundance
have evolved over generations, and need to
be preserved and protected; yet, these skill
sets need to be adapted to contemporary
sensibilities in a way that the industry and
all the stakeholders are benefi ted, along
with our nation, in a sustained manner
102 DESIGN MATRIX • MAR-APR 2011
Designaspect
MAR-APR 2011 • DESIGN MATRIX 103
Words: Tanya Siqueira Images: Scripps Institution of Oceanography, UC San Diego
Rediscover what truly makes FLIP the design symbol of the 21st century.
BOTTOM’S
104 DESIGN MATRIX • MAR-APR 2011
If Optimus Prime making a seamless
transformation from truck to
mechanical warrior in the American
sci-fi action fi lm Transformers had you
at the edge of your seat, hold on to your
eyeballs... Try imagining a large ship that
is sunk in the middle of the ocean – on
purpose! This isn’t the fi gment of the
overactive; but a routine mission for the
most unusual marine research vessel in
the world. FLIP or The Floating Instrument
Platform, modelled after the Louiseville
slugger (a baseball bat), was the result of
the combined genius of Dr. Fred Fisher
and Dr. Fred Spiess. Created in 1962,
by The Marine Physical Laboratory of
Scripps Institution of Oceanography in
collaboration with the US Navy, FLIP has
completed close to 300 expeditions over
the past 50 years.
Although it is loosely referred to as a
ship, the vessel is actually a manned fl oat
and needs another ship to tow it out to
the designated research site, where it can
operate either while drifting or anchored.
Although it has no engines, the platform
has a small hydraulically-operated orienta-
tion propeller that rotates the vessel on its
vertical axis to achieve the fl ipping motion.
Once at the designated spot, the cy-
lindrical end equipped with ballast tanks is
fl ooded with over 1,000 tons of sea water
to begin the fl ipping process. The transi-
tion is completed in less than 30 minutes;
beginning slowly and proceeding more
rapidly towards the end. After the bow
(the front of the vessel) has reached its
vertical position, 55 feet – almost as tall as
a fi ve-storey building – it rises above the
water surface while the remaining 300 feet
stretches underwater into a stable water
column. Captain William A Gaines (Retd.),
Marine Physical Laboratory, Scripps Insti-
tution of Oceanography says, “FLIP was
designed to be virtually motionless in the
ocean. This is signifi cantly diff erent from
a conventional research ship that will roll
and pitch in almost any sea state. The de-
sign ensures that FLIP moves less than 1/10
of the wave height when in the vertical ori-
entation.” This is perhaps because some of
the strongest waves dissolve just beneath
the surface leaving FLIP virtually unaff ect-
ed. This unique design of the vessel – slim
at one end, fat at the other – also helps to
stabilize the vessel in choppy seas.
Gaines adds, “When FLIP is going from
horizontal to vertical or vertical to horizon-
tal, the crew is positioned on the engine
room deck, the lowest external deck, oper-
ating the valves on the ballast tank. During
the transition periods, all equipment in the
interior of FLIP is secured, turned off and
the doors leading to the external decks are
closed.”
Made from approximately 700 tons of
Tri-Ten steel, this 355-foot vessel shaped
like a spoon operates both horizontally
and vertically with equal ease. After the
fl ipping process is complete, close to 3/4th
of the vessel remains submerged. If neces-
sary, the platform can remain in this verti-
cal position for extended periods of time.
To return to its original horizontal position,
air compressed into the platform’s eight
ballast tanks pushes seawater out and FLIP
resurfaces.
What is also fascinating besides the
platform’s ability to remain perpendicular
to the ocean fl oor is the interior of the ves-
sel. Much like a submarine, the confi nes
have been built to maximize space and
effi ciency by swinging into a functional
mode irrespective of what position FLIP
is in.
Dining, sleeping and bathing spaces
compete for fl oor space with expensive
equipment and crew. Refrigerators, shelves
and bunks are fi tted on swivels and trun-
dles – pivoted support systems – swing-
ing into operation at short notice. Once
fl ipped, a few fi xed structures like doors,
shower cubicles and sinks sometimes also
make the 90 degree move. While most
equipment works without any manual
intervention, certain fi xtures need some
manual repositioning before use.
The most signifi cant challenge for
those aboard is the limited space. When
FLIP goes to sea for a research cruise, it
carries a crew of fi ve and a science party
of 11, a total of 16 members on-board.
They share four small bunk rooms and
two bathrooms known on-board as
heads. “There is only one usable shower
MAR-APR 2011 • DESIGN MATRIX 105
when FLIP is in the horizontal and one
usable shower when in the vertical. Six-
teen persons sharing one shower can be
challenging. Even so, after a very brief
period at sea, all aboard become ac-
customed to the constrained quarters
and learn to work and live in harmony,”
says Gaines.
Functioning as a micro-community
in the middle of the ocean is helpful as
the crew can stay out at sea for anywhere
between a week to a month without re-
plenishing supplies. Generating enough
power for all the equipment on-board
then becomes essential to the success of
the operation. Acting as the lifeline to the
entire operation are FLIP’s two 150 kilowatt
generators, with an additional 40 kilowatt
backup generator, responsible for power-
ing all the equipment on-board. As FLIP is
a one-of-its-kind research vessel, conform-
ing to a certain set of safety measures can
be trying. However, since 1996, an aggres-
sive inspection and preventative main-
tenance programme has been put into
place, including an annual inspection and
refurbishment of the two ballast tanks.
Awe-inspiring ingenuity aside, the ves-
sel is used principally for acoustics research.
However, this does not limit its application,
and the platform has helped scientists to
gather extremely precise measurements
for a number of projects. Studying things
like how storm waves are formed, depths
to which whales dive and how heat is ex-
changed between the ocean and the at-
mosphere are all part of the plan for FLIP.
During the course of its research activities,
the vessel has spanned both the Atlantic
and Pacifi c Oceans and till date, remains a
versatile platform for oceanography, me-
teorology, geophysics and biology
106 DESIGN MATRIX • MAR-APR 2011106106106106106106106106106106106106106106101061001061006 DESDESDESDESDESDESDESDESDESDESDESDESDESDESDESDESDESDESDESDESDESIGNIGNIGNGNGNIGNIGNIGNIGNIGNIGNIGNGNGNGNIGNGIGNNGNN MAMAMA MA MA MAMAMAMAMA MA MAMAMA MAMAMAMAMA MMATRITRITRITRITRITRITRITRITRITRTRTRITRITRTRITRITRITRTRITRT X •X •X •X •X •X •X •X •X •X •X X •X •X •XX X •X •X •X • MAMMA MAM MAMAMAMA MAMA MAMA MAMAMA M MA MA MAMAR-AR-AR-AR-AR-AR-AR-AR-R-AR-AR-AR AR-AR-AR-AR-AR-AR-ARR-AR PR PPRPR PR PRPR PRPRPR PR PR PR PR PR PRPRPRPRPPR 201201201201201202012012012012012012012012012012012012012010111111111111111111111
MAR-APR 2011 • DESIGN MATRIX 107
PRODUCT
LAUNCHIt’s almost impossible to miss The Charcoal Project. With two levels spread over 14,000 sq. ft., this
impeccable interiors store is Sussanne Roshan’s vision and dream. She has curated from all over
the world, home accessories, dinnerware, table linen, crockery, soft furnishings, installations,
artefacts, and limited edition photo-art and accent pieces. With furniture ranging from French
antique to modern eclectic, exclusive lines designed by Abu Jani-Sandeep Khosla and Andrew
Martin make it to this store.
Contact: 022 61936198
www.thechardalproject.com
The Charcoal Project by Sussane Roshan
Metrika has branched into the retail market and they promise to completely upturn your
kitchen experience. Believers of the ‘god is in the details’ philosophy, Metrika’s designs combine
beautiful design, complete functionality and great quality to bring you the kitchen of your dreams.
With fl agship boutiques opening in Mumbai and Pune, they stock a range of European-styled
kitchens that will cater to all your needs.
www.metrika.in
Metrika
Kitchens from
Experience real quality with the new ultra slim LED range from Akai. With features like natural Light Technology and a dynamic back light, brushed steel or high gloss fi nish, dynamic skin correction and motion compensation, you’re left wanting nothing. Both models have Video USB, which enables you to have a brilliant cinematic experi-ence even without a DVD player. The range also allows you to pack in sports, movies and games with an amazing backlit picture, amplifi ed and enhanced surround sound, and the convenience of sleep timer and picture freeze.
www.akai.com
LED from
Akai
MAR-APR 2011 • DESIGN MATRIX 109
Equipped with the patented Grohe SilkMove technology, these beautiful faucets give precise control over water fl ow and temperature and provide the user with an enhanced ergonomic experience. Exuding modernist appeal, the sensual Velvet Black and pure Moon White fi nishes on this collection of faucets bring with them the opportunity to create bathrooms that are sophisticated and truly individual.
www.grohe.com
The standards for incredible design have just been upped. Eco Corners new range of
kitsch clutches use vibrant colours, intriguing creatives, quirky and un-conventional cuts
and styles. The collection is perfect for someone who wants to break away from the
mould and step into the exciting world of pop culture and bollywood thrills. The Item
Girls appliquéd on the clutches stand will create a bold style statement.
Contact: 022 24813450
Black & White faucets from Grohe
Clutches from
Eco Corner
110 DESIGN MATRIX • MAR-APR 2011
Running Shoes from Reebok Everything about Reebok’s ZigTech technology is designed to conserve and return energy to the
athlete for a soft and springy ride. The one-of-a-kind ZigTech bottom unit features innovative, light-weight foam that is engineered into a dramatic, geometric, zig-zag shape.The sole absorbs the impact
from a heel strike and sends a wave of energy along the length of the shoe propelling the athlete forward with each step. The bottom unit is both light and fl exible.
www.reebok.com
The days when you hauled out the good china for dinner parties and special occasions are
long gone and the time has come for something new and fresh. Play Clan’s zany home interior
products are just what the doctor ordered. Their new range of dinner plates in stark white bone
china, have comical illustrations inked onto them. Eating off tableware like this is an experience
everyone must have.
www.theplayclan.com
Dinner Plates from
Play Clan
MAR-APR 2011 • DESIGN MATRIX 111
Durian Industries has been certifi ed
for compliance with the internation-
ally-recognized Forest Stewardship
Council (FSC). They are among the
very few in India to have won this
certifi cation for their dedication
towards the environment and being
a responsible company. Their entire
line of products, laminates, plywood,
veneers as well as home and offi ce
furniture use environment-friendly
materials and preserve our valuable
wood resources.
www.durian.in
Siemens has introduced a minigard 4 in 1 appliance protector to make sure that all
those electrical gadgets around your house and offi ce aren’t aff ected by sudden power
surges. The device has been designed keeping in mind not only functionality, but also
with the aim of adding an aesthetic touch to the area where it will be installed. The
protector is a combination of a miniature circuit breaker and a DELTA vega socket. It can
support several appliances including air-conditioners, microwaves, geysers, refrigera-
tors and water-coolers.
Contact: [email protected]
Appliance protector by Siemens
gets FSC certifiedDurian
112 DESIGN MATRIX • MAR-APR 2011
House of Raro brings you a collection of barware crystal so brilliant, you’ll want to insure
every glittering facet. Whether you’re a collector or a great host, this new collection is worth
consideration. The crystal barware collection by David Redman, will show off your fi nest wines,
brandy, scotch whisky and gin to their advantage. Choose from a stunning statement piece in
amethyst mounted in sterling silver and fi nished with a clear crystal stopper to elegant cham-
pagne fl utes in opal white.
www.houseofraro.com
Crystal from House of Raro
Jewellery from Orra
Established Jewellery chain Orra,
clearly knows what symbolism is
all about. Nothing says special like
their new, exquisitely designed love
bands. Whether you choose the Bel-
gian diamonds set in highly polished
platinum sheen, or the swirls of metal
curved to form a ring with tiny sprays
of crystals on them, these love bands
are a must have.
www.orra.co.in
MAR-APR 2011 • DESIGN MATRIX 113
etc.
114 DESIGN MATRIX • MAR-APR 2011
FOUNDATIONULTRATECH PAINTS AWARDS
The A3 Foundation Ultratech Paints Awards and Conference on “Contemporary in
Sustainable Architecture” in Chandigarh.
A3
Happenings
MAR-APR 2011 • DESIGN MATRIX 115
Founded in 2004 by Ar Sangeet Sharma,
an architect based in Chandigarh, A3
Foundation promotes sustainable ar-
chitecture and with the combine association
and eff orts of professionals, students, educa-
tional institutions and other professional bod-
ies, it has fl oated an organization devoted to
the promotion of art and architecture.
As a silver jubilee event, they organized
the A3 Foundation Ultratech Paints Awards
and Conference on “Contemporary in
Sustainable Architecture” at Government
Museum & Art Gallery in Chandigarh. Ms.
Geeta Bhukkal, Education Minister Haryana
was Chief Guest and Ms. Meenaxi Anand
Chaudhry, State Information Commissioner,
Govt of Haryana was the Guest of Honour. Ms.
Bhukkal honoured the architects and lauded
the contribution of A3 Foundation in
promoting the profession and congratulated
Ultratech Paints for supporting the endeavour.
Ms. Choudhry, asked the young architects to
realize the importance of depleting resources
on earth and innovate to fi nd environment-
friendly solutions for future needs. The guests
also visited the exhibition put up by A3
foundation.
The father of sustainable bioclimatic
buildings from Malaysia, Dr. Ken Yeang,
and noted veteran architect who had
been engaged with Le Corbusier in
designing the city, Ar. S.D. Sharma,
presented the keynote addresses.
in his address, Dr. Yeang suggested that bio-
integration, restoration of ecosystem, and
integration with infrastructure were essential
components for sustainable architecture. Ar.
Sharma averred that national sustainability
was devoid of technology and sustainable
and green architecture were complimentary
to each others. Ar. Vinod Gupta from Delhi
said that sustainable development calls
for environmental, economical and social
sustainability which is for all people for all
times. Other noted speakers included the
legendary architect Charanjit Shah, who has
been former Chairman of Indian Institute of
Architects and South Asian Association of
Architects, Ar. Ashok Kumar from Lucknow. Ar
K.R. Jaisim, Ar Revathi Kamath, Ar Ranjodh, Ar
Gagan Garg and Ar R.K Kakkar.
“SD Sharma Best Sustainable Design
Award” was conferred upon Anuj Vijay Kale
from Nasik and “Best Innovative Concept
Design Award” was won by Madhur Goyal
from Gwalior. The “Best Architecture
Teacher Award” was conferred on Architect
Sarbjot Singh Behl from Amritsar and Dr.
K.S. Anantha Krishna from Bangalore. The
freelance journalist who earlier also worked
with the ‘Indian Architecture and Builder’
magazine, Suparna Rajguru was awarded
the “Best Architectural Journalism Award”.
Commendation certifi cates for sustainable
design concepts were also given away to
six students – Mohit Vij, Anuj Vijay, Rhythm
Kataria, Harsimran, Gayatri and Vikas Pawar.
Poetry and photography awards were
given to Pallavi Vohra, Harjot Singh, Rishi and
Anchal, Ishaan Pradhan and Sunaina Nargis.
Chairman’s Choice award for photography
was conferred upon Purneesh Dev Nikhanj.
The objective of the conference was to
implement and use sustainable resources
to create environmentally-conscious
architectural designs to minimize impact
on environment, explained celebrated local
architect and Chairman of A3 Foundation, Dr.
Sangeet Sharma. The event was a vision of Mr
Rohit Asthana, President Ultratech Paints Pvt
Ltd., the pioneers of introducing Green Paints
in India. CMD of Ultratech Paints Ms. Sandhya
Asthana also graced the event. The event was
attended by students from 12 architectural
institutes and eminent people from the
architectural fraternity
116 DESIGN MATRIX • MAR-APR 2011
1
MAR-APR 2011 • DESIGN MATRIX 117
118 DESIGN MATRIX • MAR-APR 2011
JALARAMVENEERS & FLOORS
Architects & interior designers discuss exquisite flooring options over wine &
cheese at Jalaram Veeners & Floors showroom in Andheri, Mumbai, with
bruschettas from Svenska Design Hotels.
Happenings
MAR-APR 2011 • DESIGN MATRIX 119
The Jalaram Veneers & Floors show-
room in Andheri, Mumbai, hosted a
wine & cheese evening in associa-
tion with Svenska Design Hotels. The idea
was to introduce the exquisite fl ooring
brands Finfl oor, Faus and Travette to select
architects and designers from Mumbai over
some delectable bruschettas, cheese and
marinated olives courtesy Svenska along
with some exotic white and red wines.
Svenska Design Hotels are a collection
of modern boutique 5-star hotels based on
Swedish design philosophy and contempo-
rary European styling with clean lines and
minimalist interiors. Their trend-setting con-
cepts and chic design elements combined
with signature service and personalized hos-
pitality create memorable experiences for
the guests. Member of the WORLDHOTELS
Deluxe Collection, the highest category of
5-star deluxe hotels, Svenska is a part of a
network of nearly 500 properties across 300
destinations and 70 countries worldwide.
While enjoying the pampering by both
the Jalaram and Svenska staff , the guests
were introduced to the various options of
fl ooring available in India from the parent
companies through JVAF, their sole distribu-
tors in India. The evening was attended by
leading professionals from the city, Khoz-
ema Chitalwala, Kalhan & Santha Mattoo,
Neilesh & Bhavya Kenkare, Parag Pandya,
Rajiv Kasat, Rupesh Baid, Kanchan Fagwani,
to name a few. In close attendance were
Suman Shah, Karan Jhunjhunwala, Pooja
Goswami-Kulkarni, Ashok Goswami and
Manohar Jhunjhunwala along with Babita
Krishnan, Editor-in-Chief, Design Matrix
120 DESIGN MATRIX • MAR-APR 2011
RESONANCE2011
Resonance, the first-ever all-India competition for design students in two
categories -- Cuboid (interior design) & Silhouette (architecture) by LS Raheja School
of Architecture, saw a thumping response.
Happenings
MAR-APR 2011 • DESIGN MATRIX 121
The fi nal of Resonance was held on
4th February in the auditorium of L.
S. Raheja School of Architecture. Mr.
T. Khareghat and Mr. N. Chandra were the
guests of honour while Mr. Prafulla Karkha-
nis, President IIA was a special guest.
The evening had Mujib Ahmed and
Lalita Thadani of Collaborative Architecture
do a presentation on the way cuboids
and iconic structures can be used. This
enabled the students to understand
the way the briefs would be handled by
practicing architects. Attending the event
were members of the jury, architects
Aravind Sathaye and Seema Puri Mullan.
Conspicuous by their absence were
architects Chandrashekhar Kanetkar and
Dhruti Vaidya, who were jurors for both
closed and open jury.
At the all-India level, the jury decided to
give a special commendation in Silhouette
to Sahil Sudon, an interior design student
from INIFT Chandigarh for the eff ort. In
Cuboid only one winner was announced –
Rahul Thakker & Nitant Hirlekar from Rachna
Sansad, Mumbai.
The winners from L. S. Raheja School
of Architecture in both the competition
were: Silhouette – Akshay Kore & Rucha
Kamat (Winners), Meenakshi Jessani & Ishita
Mordani (2nd prize); Cuboid – Meenakshi
Jessani & Ishita Mordani (Winners), Narahari
banvalikar & Tejasvini Nalavade (2nd Prize),
Gargi Karve & Ruchita Chandsarkar (3rd Prize).
The evening ended with Mr. Khareghat
interacting with the students and a vote of
thanks by Mr. Khano;kar, Principal in charge
of L.S. Raheja
122 DESIGN MATRIX • MAR-APR 2011
ODYSSEYAN ORGANIC
Anupam Chakraborty’s Nirupama Academy of Handmade Paper uses organic materials
to publish all of their books.
Words: Varun Godinho; Images: Courtesy Nirupama Academy
BookBinding
MAR-APR 2011 • DESIGN MATRIX 123
I treat paper as a form of expression and
an entity in itself rather than a medium
to print written text on,” says Anupam
Chakraborty, publisher, designer, artist
and content developer – all rolled into
one. Talking about his discovery of the
organic medium of making paper and the
art of book-binding, Chakraborty opines
that organic bookbinding is an art form
that aims for more than mere aesthetics.
It aims at design sensibilities just as
much as it does at paving the way for a
greener future.
Chakraborty went to the Glasgow
School of Art in 2000, where he learnt the art
of using organic materials for bookbinding
as part of the Charles Wallace Art Trust
scholarship. On his return to India, he
identifi ed an ignorance of this specialized
technique, but also realized the potential
of propagating it in a country rich in natural
resources. In 2004, he established the
Nirupama Academy of Handmade Paper
not only to produce paper from organic
materials, but also to publish books and
hold workshops where he could teach
others the nuances of his trade.
Chakraborty and his team have
identifi ed and applied several organic
resources to the art of book-binding.
Of these, he considers cotton fi bres and
pulp as the most superior. Cotton fi bres
make paper that is superior in durability
and strength, as compared to wood pulp-
based paper; also, cotton paper is divest
of the acidic components that its wooden
counterparts often exhibit. Muga silk with
its natural golden hue, obtained from a
silkworm called Antheraea assamensis
found only in Assam, is used as a covering
fabric. The coarse copper-tinged tassar silk,
khadi and cotton fi bres are also used to
make book covers. Flour paste is a handy-
kitchen remedy that can be produced on a
large scale, too, to be used as an adhesive.
Vegetable dyes, especially from soya, are
used as a printing ink. Apart from the choice
of material for paper and binding, there are
several techniques of bookbinding that
Chakraborty employs, and enjoys. These
include: the coded multi-section technique,
the Japanese stab-binding method and the
accordion style as well.
Nevertheless, the process of making
these customized books is tedious and
expensive. Chakraborty’s fi rst book was of
water-marked images of some photographs
that he clicked at Glasgow depicting the
weather cycles during his stay. One of his
favourites also includes Ratul Visits Our
Photo Studio, an 8-page book chronicling
his son’s visit to his printing studio. His latest
project is a book titled Eyes Or Fingers, with
raised printing to assist the blind through
the Braille imprint. “It is mostly the art
houses and art house libraries abroad that
are collectors for such books,” he explains.
His books have found their way into the
collections of the Chicago School of Art
and the John Saltash Artists Book Collection
as well as the Tate Modern collection in
London. Of the four books that Nirupama
has published so far, each of these costs
between Rs. 10,000 to Rs. 25,000 and there
are usually below 25 copies published of
each edition.
From March to August every year,
Chakraborty conducts annual workshops
on organic techniques for bookbinding and
papermaking. “Over the years, a number of
people from Pune, Bengaluru and Mumbai
have attended these workshops. Some of
them are even planning to start a similar
publishing house within their respective
cities,” smiles Chakraborty
124 DESIGN MATRIX • MAR-APR 2011
www.cascadebreweryco.com.au
Cascade Brewery
MAR-APR 2011 • DESIGN MATRIX 125
Websitereview
The new website follows on the footsteps of the campaign
Reviewed by Sharanya S.
Last year, Droga5 launched a new campaign for Cascade
Brewery that they had acquired at the end of 2009. They re-
did the labels on the beer bottles; they made new print ads,
new television commercials and even changed the name of one
of their classic brews. While the campaign was interesting in itself,
repositioning Cascade as a brand that brews by ‘feel’, it was their
newly designed website that grabbed the eyeballs.
Cascade Brewery is a legend in Australia and very often forms
part of a tourist spot for the country. And rightly so, the area is
bubbling with history. The brewery was founded in 1824 and is
situated in the picturesque location of the hills of South Hobart
and Mount Wellington. It boasts of the famous Woodstock gardens
and museums. Cascade brewery still produces its own malt for beer
from locally grown barley.
Giving a new spin to a legacy this rich, is no easy task, but Droga5
has managed it beautifully. The new website follows on the footsteps
of the campaign and lets you brew your own website by feel: On the
homepage, you are greeted by furtive looking dials and buttons. And
under that, a collage of stamps, that link to various pages like the
history of the Cascade, their various products and more…
The dials read products, brewing, homebrew and brewery and
the three on/off buttons read stores and venues, history, and news
and events. You have the freedom to fi ddle with and choose what
you want to see on your website and the stamps will appear or
disappear accordingly.
For example, if you only want to see all their products, you dial
down everything else and switch off all the other buttons. Viola!
Only your chosen product stamps will stay behind. Same goes
for reading tips and information on brewing your beer or reading
up on news and events. While this may seem amazing, it is even
more intriguing to know that this site functions without the use of
fl ash. While there are no fl ashing pictures and texts, managing the
movement of the stamps without fl ash is a fact that only adds a
brilliant technical aspect to its already expert idea and layout.
Arguably, it’s the customization that makes the Cascade
Brewery website interesting and interactive. But all of this is backed
by its cool colour scheme and layout. The website has an old-school
feel. The stamps are brightly coloured and laid out on a background
of brown wood and each page opens like parchment, or on muted-
hued backgrounds.
Click on a product and the page will give you an introduction
on the beer, its taste, ranking and also what kind of food you should
match it with. When you’re done reading, you can pick another
beer from the mini bottles that line the end of the page. Move your
mouse over one and it will quickly jump aside and unfurl a name
plate. Again, to remind you - the page uses no fl ash.
Another cool thing you can fi nd on this website is ‘The Brewer’s
Nose’. It is an iPhone application created for beer lovers. You can use
it to scan the barcode of any beer and instantly get a description
of the beer, meal suggestions, and a video explanation about that
particular beer style.
The app enables you to upload tasting notes on Facebook as
well as geo-tagging the time and place you had the beer. You can
keep track of when you had which beer on an interactive map. A
‘Find a Cascade’ tool is included in the app, helping drinkers to track
down pubs and shops nearby that sell Cascade varieties. Rewards
and prizes to users of the app are also in the offi ng.
There are also fascinating details on the site like the brewers
calculator that will let you determine alcohol content of your home-
brewed beer and the illustrated brewing process is charming.
The website works as it successfully manages to execute a
good idea, while combining a simple and attractive layout with a
complementary colour scheme. Oh, and you can actually use what
you read
126 DESIGN MATRIX • MAR-APR 2011
Bookreview
Collaborative Design
Celebrating
MAR-APR 2011 • DESIGN MATRIX 127
Designers, Authors, Commentary (the good, the bad…)
Publisher: White Flag, Rs 2,995Editor & Introduction: Paul Buckley; Foreword: Chris Ware; Book Design: Christopher BrandPublished by Penguin Group, paperback Penguin original; Pp 254; Price Rs 499/-
Reviewed by Udit Chaudhuri
PENGUIN 75
A book design must draw the reader’s attention amidst a huge stack of choices and
trigger an initial curiosity – often before he gets the chance to read its review.
Here lies the challenge: from spine, cover, font, layout… to the choice of paper.
Celebrating 75 years of the Penguin Group’s legendary success Penguin 75 is a collection of
75 top stories in book design.
In his foreword, the eminent graphic novelist Chris Ware dwells on the fi ne line that
design must tread to preserve a narrative. This means a dust-up – “collaborative design”
to gentlemen. While the author has strong views on depicting his story, if at all; the artist
provides his unique rendition of book and brief; the Art Director worries about style, stan-
dards and reputation of the publishing house; and the Marketing pitches on what look will
sell. Finally, the embattled publisher plays match referee. Million-copy sales, author loyal-
ties extending to 50 years and thereon have hallmarked all Penguin publications that once
included Pelican and Puffi n.
Penguin Books entered the paperbacks business in 1935 with emphasis on elegant de-
sign, quality and low price. Its huge success, selling a million copies over 100 titles by 1936,
showed up a large audience for serious writing. While Penguin Classics carry the work of
immortal writers, other titles on politics, the arts and science went on to fuel public thought
across the English-reading world. Generations of students grew up on reading lists domi-
nated by Penguin.
Paul Buckley, the creative head of Penguin Books holds the narrative of Penguin 75 via
an entertaining and insightful selection, peppered with comments. Cover styles range from
tattoo-like graphics to pure geometry: Caricatures on Little Women; Fashion treatment to
Wuthering Heights; Comic-strips on Lady Chatterley’s Lover; Chinese-style ink-n-brush and
wood-cut-like graphics… Simply amazing!
128 DESIGN MATRIX • MAR-APR 2011
Interior Fit-OutThe Interior Fit-Out Exhibition will be held
for professionals from architectural prac-
tices, department stores, interior design
companies, manufacturers, suppliers, own-
ers, proprietors and partners in commercial
properties, retailers, wholesalers, distributors,
agents and other related professionals as
well as the general public. Everything from
blinds, carpets, rugs, cushions, decorative
accessories, fabrics, fl ooring, furniture, glass
and ceramics, lighting, mirrors, pictures and
prints, table and bed linen, tiles, wall cover-
ings and more will be on display. The exhi-
bition will showcase companies involved in
the manufacture, supply and installation of
interior fi t-out and refurbishment solutions.
The event will be held along with Retail-
London.
Date: April 5th –7th
Venue: Business Design Centre, London,
United Kingdom
Flooring MoscowFlooring Moscow will provide exhibitors and
visitors to learn of new trends, technologies
and development in the fl ooring industry.
Seminars and workshops will be conducted
off ering a chance to enhance your knowl-
edge. The exhibitors profi le includes main-
tenance/cleaning and laying techniques,
carpets, ceiling and wall partitions, ceramic,
cork, linoleum, design and other services,
fi bres and yarns, fl exible fl oor coverings,
industrial fl ooring, rubber, slate and stone,
stairways and glass fl ooring, textile fl oor cov-
erings, tools and maintenance, trade associa-
tions, vinyl, wood fl oors, parquet fl oors and
laminates.
Date: April 5th-8th
Venue: Crocus Expo International Exhibi-
tion Center, Moscow, Russia
Doors & LocksDoors & Locks is for professionals related to
the fi eld of windows and doors manufac-
turing, ventilation equipment, door panels,
materials, construction mounting tools and
equipment etc. While the exhibition is rela-
tively new, the exhibitors are well-known
names. Exhibits will include automatic
doors, aluminum windows & doors, ventila-
tion equipment, revolving doors, gates, door
closer & panels, internal partitions, wooden
windows and doors, interior doors, metal,
fi re-guard & armored doors, windows and
doors manufacturing materials, glass packet
manufacturing equipment, glass-fi bre-
reinforced plastic windows and doors, pvc
windows and doors, light-transparent con-
structions, shutters, windows and doors ac-
cessories and extrusion equipment.
Date: April 5th-8th
Venue: Crocus Expo International Exhibi-
tion Center, Moscow, Russia
Original Sewing & Quilt ExpoThe Original Sewing & Quilt Expo returns just
in time to energize and inspire your sewing
passions. In addition to instructors teach-
ing participants how to advance your skills
and send your imagination soaring, the
exposition will deal with the manufacture
and sale of products for craft, needlework,
and art activities such as decoupage, quilt-
ing, teddy bear and doll making, tapestry,
papercraft, sewing, cross stitch, stencil-
ling, stamping, weaving, embroidery, spin-
ning, painting, and knitting, training and
courses involving craft, art or needlework,
craft kits, magazines or books, you must
have a presence at The Needlework, Craft
& Quilt Fair – the exhibition for companies
targeting people interested in crafts and
textiles.
Date: Mar 17th-19th
Venue: The Lakeland Center, Lakeland,
U.S.A
International Furniture & Craft Fair IndonesiaIFFINA is the answer to today’s challenging
market for furniture business and indus-
tries. It serves as a one-stop buying centre
off ering both quality and uniqueness. IF-
FINA will showcase wide selections of fur-
niture and craft products, household and
accessories. The fair aims to reach Interna-
tional potential buyers directly and gather
a rich source of new sales leads - both
from new and existing customers. The
profi le for exhibits includes furniture for
the living room, dining room, bedroom,
family room, offi ce furniture, garden fur-
MAR-APR 2011 • DESIGN MATRIX 129
niture, kitchen furniture, bathroom, lighting
and accessories, curtains and textiles.
Date: Mar 11th-14th
Venue: Jakarta International Expo, Ja-
karta, Indonesia
The Great Bridal ExpoThe Great Bridal Expo is the ultimate desti-
nation for all things bridal, off ering the latest
in bridal garment style. Professionals from
the fi elds of bridal accessories, jewellery,
beauty and hair services and products, tex-
tiles, sound, light and entertainment, pho-
tography and video production, fl oral and
stage design, wedding stationary, wedding
cakes, confectionary, catering services will
be present at the event in order to discuss
trends and showcase their work. The pro-
fi le of exhibits includes intricately designed
bridal gowns and accessories, henna, dress-
es, evening wear, bridesmaids and groom’s
wear and textiles and fabrics.
Date: Apr 2nd
Venue: Los Angeles Sheraton Gateway,
U.S.A
Visual Merchandising & Display ShowThe Visual Merchandising and Display show
is the trade fair that brings everything un-
der one room. Products and accessories
related to the world of telecommunication,
multimedia, integrator, instrumentation,
audio-visual equipment, education, train-
ing, research, electronics, computer, health,
cosmetics, design, architecture, engineer-
ing, construction, consumer goods, insur-
ance, automotive, aeronautics and others
will be showcased. This exhibition will be
held along with Retail London and Interior
Fit-Out
Date: April 5th-7th
Venue: Business Design Centre, London,
United Kingdom.
Irish Furniture & Home Accessories FairWith over 4000 buyers and 100 Irish and
international suppliers, the Irish Furniture
& Home Accessories Show is a must visit.
The fair is a window to Ireland’s furniture
industry and is packed with new products,
ideas and off ers. It will showcase a range of
products from beds to upholstery, sofas to
soft furnishings, giftw are to occasional fur-
niture, lighting to fl oors. The exhibition will
work as a meeting point for wholesalers,
manufacturers and importers from various
sectors.
Date: April 3rd-6th
Venue: RDS Simmonscourt, Dublin,
Ireland
Dubai International Wood & Wood Product Show
The Dubai International Wood and Wood
Product Show is an exclusive event that
brings together manufacturers, suppli-
ers, traders and contractors working in
the wood industry. From timber process-
ing, molding, beading, fi nishing & fi ttings,
wood & timber fl ooring, wooden crafts &
art to fastening systems, sanding & polish-
ing machines, sawing machines, splinding
& turning machines, surface treatments &
fi nishing tools and spraying equipment will
be showcased. Countries from all over the
world like India, Pakistan, U.K., France, Ger-
many, Spain, Italy, Canada, Brazil, Chile, Unit-
ed States, Switzerland, Holland, Portugal,
Greece, Australia, New Zealand, Thailand,
Malaysia, Singapore, Hong Kong, China,
Thailand, Japan and Taiwan will participate.
Date: April 5th-7th
Venue: Dubai Airport Expo, United Arab
Emirates
Innovative Beads Expo - SeekonkThe Innovative Beads Expo – Seekonk is a
one of a kind event that will showcase vari-
ous types of beads. Diamond, pearl, plati-
num, gold, silver, antique jewelery, pearls,
gemstones - ruby, sapphire, opal, emerald,
crystal and other elements will be available.
The visitor’s profi le will include Jewellery
designers and manufacturers, gemologists
and watch or clock designers.
Date: April 2nd – 3rd
Venue: Johnson & Wales Inn, Seekonk,
USA
130 DESIGN MATRIX • MAR-APR 2011
Inside Front Cover: Ventura MatlamPremium Metallic Laminates
Ventura International Pvt. Ltd.
1/52, W.H.S. Kirti Nagar, New Delhi – 110015.
Tel: 45536715/56
Email: [email protected]
www.venturaindia.com
Pg. 1: Durian Home Furniture.401, The Chambers, Western Express Highway,
Vile Parle (E) Mumbai 400057
Tel : (022) 26269000
Email: [email protected]
www.durian.in
Pg. 3 : The Art LoungeHodiwala Bhatehena & Co.
3, J. Tata Road, HP Petrol Pump, Near Ritz Hotel,
Churchgate, Mumbai 400020
Tel: 22878787
Email: [email protected]
Pg 4: Jalaram
Agar Bazar S. K. Bole Road, Dadar (W), Mumbai
400028. Tel: (022) 24318444/555
9/b, k, Laxmi Ind. Estate, New Link Road, Versova,
Andheri (W), Mumbai – 400053.
Tel : (022) 26327733 / 34
Pg. 6 & 7: Faus Laminated FlooringMRJ Marketing Pvt. Ltd.
201, Shyam Kamal ‘C’ Bldg., Agarwal Market,
Vile Parle (E), Mumbai – 400057.
Tel : (022) 26187132 / 26131442
Email: fl [email protected]
Pg. 10 & 11: Le CdeorMRJ Marketing Pvt. Ltd.
H No 8-2-293/82/A/1261, Road No. 36, Jubilee Hills,
Hyderabad, AP 500033
Tel: (040) 2355 0868
Email: [email protected]
Pg. 12 & 13: Travette EngineeredHardwood Flooring
MRJ Marketing Pvt. Ltd.
201, Shyam Kamal ‘C’ Bldg., Agarwal Market,
Vile Parle (E), Mumbai – 400057.
Tel : (022) 26187132 / 26131442
Email: fl [email protected]
Pg. 22: Room for Every RoomRoomstyle Global Pvt. Ltd.
A/106, Parijat C.H.S.L. L.T.Rd., Behind HSBC Bank,
Borivli (West), Mumbai - 400 092
w roomforeveryroom.com
Pg. 23: Uniply Elementz Decorative VeneersUniply Industrirs Ltd,
#52, Harleys Road, Kilpauk, Chennai – 600010.
Tel : 044 – 26605995.
Pg. 37: Le CdeorMRJ Marketing Pvt. Ltd.
H No 8-2-293/82/A/1261, Road No. 36, Jubilee Hills,
Hyderabad, AP 500033
Tel: (040) 2355 0868
Email: [email protected]
Pg. 46: Heritage Decorative LaminatesDeco Mica Pvt. Ltd.
306, 3rd Floor, Iscon Mall, Star Bazaar Bldg.,
Jodhpur Cross Road, Ahmedabad - 380 015
Pg. 47: Le Sutra14, Union Park, Khar (W), Mumbai – 400052.
Tel : 91 22 32511447, 26492995/7
www.lesutra.in
Pg 48 & 49: Bright Outdoor Media Pvt. Ltd.8th fl oor, Crescent Tower, Near Maurya House,
Opp. VIP Plaza, New Link Road, Andheri (W),
Mumbai 400053
Tel: (022) 67140000
Email: [email protected]
www.brightoutdoor.com
Pg. 50: Leonardo Arts Pvt. Ltd.B/18 A, Ghatkopar Industrial Estate, LBS Marg,
Behind R – City, Ghatkopar (W), Mumbai – 400086.
Tel : 67969078 / 79
Pg. 51: Durian Doors.401, The Chambers, Western Express Highway, Vile
Parle (E) Mumbai 400057
Tel : (022) 26269000
Email: [email protected]
www.durian.in
Pg. 59: Stellar8-2-293/k/308, Main Road, Kamalapuri Colony,
Jubilee Hills, Hyderabad 500073
Tel: (040) 66380007/66480007
Email: [email protected]
www.ptdstellar.com
Pg. 68 & 69: FINfloor Laminated FlooringMRJ Marketing Pvt. Ltd.
201, Shyam Kamal ‘C’ Bldg., Agarwal Market,
Vile Parle (E), Mumbai – 400057.
Tel : (022) 26187132 / 26131442
Email: fl [email protected]
Pg. 70: RMR Marmo
RMR Marmo (P) Ltd.
D – 11, Rajouri Garden, New Delhi – 110027
Ph : +91 11 45131300
Karan Kinger : (M) 9311055003
Pg. 71: Durian Office Furniture.401, The Chambers, Western Express Highway,
Vile Parle (E) Mumbai 400057
Tel : (022) 26269000
Email: [email protected]
www.durian.in
Pg. 77: Uniply Platinum ATS PlywoodUniply Industrirs Ltd,
#52, Harleys Road, Kilpauk, Chennai – 600010.
Tel : 044 – 26605995.
Pg. 82: Rudra Day Spa and SalonKemps Boulevard, 1-3-5 Kwality House,
Kemps Corner, Mumbai – 400036.
Tel : +91 22 23872530 / 2531 / 2363.
Pg. 83: Laminate Gallery1 / 2, Hari Darshan, Opp. Shree Sagar Hotel,
L. T. Road, Borivali (W), Mumbai – 400092
Tel : (022) 28922119 / 28918802.
Inside Back Cover: Durian Veneers401, The Chambers, Western Express Highway,
Vile Parle (E) Mumbai 400057
Tel : (022) 26269000
Email: [email protected]
www.durian.in
Back Cover: Ultratech Paints & TexturesF 213A/1, Lado Sarai, Old M. B. Road,
New Delhi – 110030
Tel: (011) 46061549/50
Email: [email protected]
www.ultratechpaints.com
GLOSSARY
FORM IV
Statement of ownership and other particulars about magazine entitled – Design Matrix to be published in the first issue every year after the last day of February.1. Place of publication: MRJ Creations Pvt. Ltd., 201, Shyam Kamal 'C' Building, Agarwal Market, Vile Parle (E), Mumbai - 4000572. Periodicity of its publication: Bi-Monthly3. Printer’s Name: Mr. Karan Jhunjhunwala, Nationality: Indian, Address: MRJ Creations Pvt. Ltd., 201, Shyam Kamal 'C' Building, Agarwal Market, Vile Parle (E), Mumbai - 4000574. Publisher’s Name: Mr. Karan Jhunjhunwala, Nationality: Indian, Address: MRJ Creations Pvt. Ltd., 201, Shyam Kamal 'C' Building, Agarwal Market, Vile Parle (E), Mumbai - 4000575. Editor-in-Chief’s Name: Ms. Babita Krishnan, Nationality: Indian, Address: MRJ Creations Pvt. Ltd., 201, Shyam Kamal 'C' Building, Agarwal Market, Vile Parle (E), Mumbai - 4000576. Names and addresses of individuals who own the newspaper and partners or shareholders holding more than one per cent of the total capital. a) Karan Jhunjhunwala, MRJ Creations Pvt. Ltd. 201, Shyam Kamal ‘C’ Building, Agarwal Market, Vile Parle (E), Mumbai - 400057 b) Manohar Jhunjhunwala, MRJ Creations Pvt. Ltd. 201, Shyam Kamal ‘C’ Building, Agarwal Market, Vile Parle (E), Mumbai - 400057
I, Karan Jhunjhunwala – Publisher (Design Matrix), hereby declare that the particulars given above are true to the best of my knowledge and belief.Date: 1st March, 2011
Sd/-
Mr. Karan Jhunjhunwala Publisher
MAR-APR 2011 • DESIGN MATRIX 131
132 DESIGN MATRIX • MAR-APR 2011