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JULY-AUGUST 2011 DESIGN MATRIX 1

DESIGNMATRIXMARCH-APRIL2012

APaprikaMediapresentation

PEOPLE L I FESTYLE DES IGN INTER IORSMarch - April 2012

VOL. 2 ISSUE 3 `100

A presentation

JULIA

LUNDSTEN

SWATI

MEHROTRA

EDWIN

PINTO DESIGNS FORHAPPY FEET...

Design Matrix_Mar-April 12.indb 1 2/29/2012 3:56:05 PM


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4 DESIGN MATRIX JULY-AUGUST 2011

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MARCH-APRIL 2012 DESIGN MATRIX 9

N O T E

EDITORS

Now ollow us on www.acebook.com/DesignMatrixMagazine

We asked the Design Matrix Group members on Facebook to guess the

connection between Design Matrix and Lady Gaga. While Naresh Mistry

elt that both are vibrant, Devesh Jaisinghani elt that both have a daring

and out-o-the-box attitude. We like these simply because that is what we strive to

do with each issue and love the appreciation.

But there is one more connection Julia Lundsten, Gagas shoe designer. She

is part o our cover story along with Edwin Pinto and Swati Mehrotra. Three shoe

designers drawing inspirations rom diverse and totally unrelated things while

Julias shoes are architectural, Edwin creates shoes inspired by Elves and Pixies and

Swati looks at the Zodiac Signs to create shoes or you! Conversing with them we see

how design goes beyond the apparent, down to what inspires and drives a creative

person.

There is a similar compulsion, again across continents, to do something or our

eathered riends as designers create habitats or birds. This entire issue is about

people, driven by passions beyond the usual, rom diverse design felds ashion,

cinema, architecture, technology and products it is always about pushing the

envelope just a little bit more. Im reminded o these lines I read somewhere Life is

occupied in both perpetuating itself and in surpassing itself. If all it does is maintain itself,

then living is only not dying.

I would like to congratulate all the participants o Design Matrix-Ultratech Paints

Excellence Awards whose projects have been shortlisted or the fnal jury to be held

in New Delhi in mid-March. All o you will be inormed individually by mail soon a ter

the jury is done.

Do keep those mails, messages, posts and calls pouring in. They help us improve

and give you what you want to read.

Until next time, ciao!

Babita Krishnan



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12 DESIGN MATRIX MARCH-APRIL 2012



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CON

TEN

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COVER STORYA ascinating insight into the lesser known

genre o ootwear design with Edwin Pinto,

Swati Mehrotra and Julia Lundsten. Pg 22

AR. AAMCHERAr. Aamcher is excited about the Esplanade

project in Mumbai initiated by Ar. Brinda So-

maiya and Shivjit Sidhu. Pg 32

LEISURE DESIGNAr. Khozema Chitalwala draws inuences

rom Gujarat to create a vibrant decor or

The Fern in Ahmedabad. Pg 36

RESIDENTIAL DESIGNAn elegant and high on impact residential

space by Ar. Asit Karekar in Mumbai. Pg 44

CREATIVE IDEASMore than a sneak-peak into the world o our

eathered riends a world created by de-

signers as Bird Houses rom across the world.

Pg 50

Cover featuring: Edwin Pinto, Swati Mehrotra & Julia Lundsten

Shoe designedby Julia Lundsten

Photographs by: Tushar Rao (Edwin Pinto), Indrajit Sathe

(Swati Mehrotra), courtesy FINSK (Julia Lundsten)

40

60

92

CONVERSATIONSTurquoise Mountains initiates a task to re-

store and revive Aghani art and culture.

Pg 66

EXHIBITION DESIGNAr. Jaydeep Ghag highlights the impor-

tance o designing stalls to represent the

clients identity. Pg 74

DESIGN PROMOLe Cdeor a store that stands as a meta-

phor or contemporary liestyle. Pg 80

DESIGN DIMENSIONAn insightul understanding o the world o

changing ashion or should we say revolu-

tion o ashion! Pg 84

PHOTO FEATUREGoa an experience, a personal project o

photographer Tanvi Madkaiker, giving in-

sights o the lovely State in a novel way.

Pg 88

ARTY-TECHTUREReection a light-based interactive instal-

lation by Ivan Depena or a public space in

USA. Pg 96

MUSINGSArt Cinema a genre that is here to stay! Pg

100

TECH DIARYThe controversies, strengths and weakness-

es o the recently introduced Aakash a low

cost tablet. Pg 106

PRODUCT LAUNCHInteresting products to atter your design

senses Pg 109

ETCETRAInormation and news rom the design

world happenings, product review, events

etc. Pg 115

92 92



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Each issue, you have the chance to win a special gift courtesy

We would love to have your views, comments and/or suggestions

on what you would like to see or read in our pages. Please email to:[email protected] or write to Design Matrix, MRJ Creations

Pvt. Ltd., C-201 Shyam Kamal Agarwal Market, Vile Parle (E), Mumbai-400

057 or Call on 022-26187132.

JULY-AUGUST 2011 DESIGN MATRIX 1

PEOPLE L IFESTYLE DES IGN INTER IORS January - February 2012VOL. 2 ISSUE 2 `100

I believe in doing thing betterrather than different.

AshishGupta

A presentation

Thank you readers for liking us on www.facebook/DesignMatrixMagazine.



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One o the best magazines I have come across.

All the best and keep it up.

Prashant Goel

via facebook

It was amazing to go through your last issue,

especially the cover story. It was just chance

that I had met someone dealing in yachts and

the very next day I received my copy oDesign

Matrix. Ashish Guptas success story was really

interesting as it tells us that i you are creative,

sky is the limit, though in this case it should

be the sea! The rest o the magazine also, as

always, made or a very good read. My compli-

ments to the entire team.

Pradeep Amberkar,

Academy of Architecture, Mumbai

I have had the privilege to receive all copies

o Design Matrix and have seen it go rom

strength to strength. Congratulations or this

antastic achievement. While there is no end

to where the magazine can go, there was a

hiccup I noticed in the last issue, which I eel

needs to be pointed out. Pages 120 and 121 o

the issue, though connected to the previous

two pages, somehow seem to stand apart in

the absence o any text on these pages. Some-

how the required impact and notice ability o

this Page-3 kind o editorial seems to be lessdue to a lack o connectivity with the previous

pages. I hope this can be conveyed to the cre-

ative team so that it can be looked into.

Praveen Pasricha,

Mumbai

I have been receiving Design Matrix regularly

since its inception. I really appreciate the con-

tent that it carries. It has defnitely broadened

my knowledge as a layman and novice in the

feld o design. One o the things that I have

always thought should be covered is Mod-

ern as well as Heritage hotels in India. Also, I

would love to read something about ancient

architectural practices/marvels o the world. I

would like to thank you or sharing the maga-

zine with me regularly.

Ketan Singhania,

Mumbai

I have been ollowing the progress o your

magazine or the past one year and I must

congratulate the team on the contents put to-

gether in every issue. Not only the reshness o

the design stories but their presentation is also

very commendable. As a design proessional, Ican saely say that fnally India has a true and

complete design magazine.

Chirashree Thakkar,

Ahmedabad

I loved the toy design and logo design sto-

ries as they showed me a dimension that I

had really no clue about. I have randomly

picked up a ew o your issues in the past

and ound each one o them dierent in

their approach and presentation. This, I eel,

keeps the reader guessing and hence main-tains the curiosity about what would come

next. Even the photo spreads are very di-

erent and highlight the art o photography

in itsel. Since I am a photographer as well,

I can really appreciate the eort, especially

rom a design magazine.

Saurav Chakraborty,

Kolkata IN

BOX



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Coverstory

A shoe was just an accessory

until some time back and the

only time one really paid heed

to it was at your own wedding!

Guided more by functionality

and comfort, you owned a

couple and waited for them to

serve their life till the next trip to

a shoe store. Well not anymore!

Meet Julia Lundsten, Swati

Mehrotra and Edwin Pinto, who

have taken footwear design to

a dif ferent level.

BESTFOOTFORWARDWords: Babita Krishnan;

Images: Courtesy FINSK (Julia): Indrajeet Sathe

(Swati): Tushar Rao (Edwin)



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For the longest o time, buying shoes was a chore that one

simply had to get over with. But slowly, over the years, the

humble shoe has travelled a hard journey to becoming the

most important ashion accessory. Just as we have proessionals

who are specialists in dierent genres o design shoe, too, has

its own set o creative geniuses. We discovered that not only is

ootwear design an independent industry but a ourishing one

at that where each one draws inspirations rom dierent sources

and what comes o that is nothing less than a showstopper com-

plete with the wow element.

We met up with three such creative people all in the busi-

ness o designing shoes but with as dierent creative ideas as

any. While Edwin Pinto o Janota in Goa brings the Elves and Pix-

ies rom the Fairy Tales to lie, Swati Mehrotra o Swatimodo rom

New Delhi might just design shoes according to your kundaliand

then there is Julia Lundsten o the UK-based FINSK or whom

designing a shoe is no less than architecture and has Lady Gaga

in her list o prominent clients. Lets fnd out what drives themto create these beauties without which, the best o ensembles

would be incomplete.

Babita Krishnan:Let us start with the obvious, why shoe

designing?

Edwin Pinto: I was born and brought up in East Arica and

Im araid, was never very academically inclined. But rom the ver y

beginning I knew that I did not want to do something run-o-

the-mill. I loved to do things with my hands, carve, cut, etc. and

then when we moved to our ancestral home in Goa, I decided to

help my wie, who was working with Wendell Rodricks and her

own dressmaking business. I started with just making shoes tocomplement some dress that she had made or a client and then

Wendell noticed some o my shoes and encouraged me to get

into designing shoes seriously.

Swati Mehrotra: My story is not as romantic, Im araid it

is pretty straightorward. Even as a little girl I was interested in

ashion and would draw clothes and make dresses. But when I

grew up, I realized that I wanted to do something more than just

becoming a darzi; I wanted to create something without which a

dress is incomplete and the natural answer to that is shoes!

Julia Lundsten: Like most teenagers, I did not want to ol-

low the same proession as my parents, so I decided to travel

to London and study ashion, rather than stay in Finland. Ater

completing my BA (Hons) at the London College o Fashion, I

did a Masters at the Royal College o Art specializing in ootwear

design. I wanted to be unique and individual and it wasnt until

later I realized that my main interest within ashion was the more

structural, architectural shapes and elements.

BK: So Julia, your parents are architects, how much did

that infuence your work?

JL: I had learned and listened to my parents who are so pas-



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sionate about their work that most dinner table conversations

were about design and architecture, so it was quite natural that

some o it would flter through to my work. I then specialized in

ootwear or my MA as that seemed to be the perect combi-

nation between architecture and ashion. I cant really say about

the inuence bit but yes, they did shape me and my thoughts

towards design in general.

BK:Where do you draw your inspirations rom? It is a bold

step, especially in India, to be experimental.

EP: For me it was really a very simple choice. I wanted to cre-

ate something chic, which is what Janota is incidentally derived

rom. Also, I just wanted to do something dierent without hav-

ing to answer anybody. Everyone loves a Fairy Tale and most o us

have grown up either listening to or reading them. So I decided

to create a place where the Elves could come or their shoes

(laughs).

SM: You will be surprised how ready the Indian market is or

experiment, in any feld or that matter. I your idea is dierent

and appealing there will be a line o buyers at your doorstep.While growing up, I was very ascinated by the Zodiac Signs and

their dierent characteristics. What makes every one dierent

rom each other, even i you are born under the same sign! Then

we have our ownjanam kund aliwhich rules most o the decisions

and events o your lie. I started studying that and came up with

my collection which was an instant hit. Then I designed shoes or

my dog, just or un, and someone heard about it, I got orders and

voila, I had my pet collection ready. So, it is more about ollowing

your instincts and believing in yourse l.

BK:Coming rom someone so young, it is really amazing.

What is your design approach, i I may call it so? Are there cer

tain guidelines that you ollow?

JL: You cant have a guide or instruction book and I com-

pletely agree with Swati. Always try something dierent, take

risks and dont be araid even i it doesnt work out. Its only by

taking risks that we can push design orward and create some-

thing truly new and unique.

SM: Thank you. It is a constant evolution and I try to keep

up with the mood o the customers, really pay attention to what

they are saying and more importantly how they are saying it.

For us, the kind of material and leatherthat we use, the silhouettes that we giveto the footwear means luxury; but theclients feel that bling is luxury. So wemarry the two and create somethingdifferent.

Swati & Simar



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Sometimes, we have to read between the lines to create a cus-

tomized ootwear or a client because not everyone can explain

what they want. I believe in looking or ward but moving one step

at a time (no pun intended!).

EP: I think I am more conventional when it comes to my

design approach. I know that the USP o Janota is its design and

durability. I work with some very senior cratsmen who have avast experience in the skill o shoemaking. For all o us, it is the

love o the crat more than it being a business that is important.

We concentrate on what we are known or and work towards

improving that.

BK: All your creations are so ancy and as an Indian, I have

this xation or durability, how do you ensure that?

EP: My shoes are extremely durable you will be surprise d at

their lie span. I have been wearing the same pair o shoes every-

day or the past three years and they have also weathered the

Goa Monsoon.

SM: You have to give the client value or money, i I am charg-ing a client I have to ensure that she gets the moneys worth. I

guess that is the reason why my Swarovski Collection is such a

big success.

JL: Yes, its true. The client knows and is aware o the value

and worth o what he or she is buying. They could be paying or

the design, material, comort, exclusivity, whatever.

BK:Julia, tell us something about your journey since you

launched FINSK?

JL: I launched FINSK or Spring/Summer 2005. The frst collec-

tion was very small but already had all the graphic architectural

elements that defne the FINSK style in it. In the beginning it

was considered a bit too dierent and perhaps too graphic. We

had comments rom buyers saying they look like small urniture,

not very shoe like. This is exactly how I intended it, I did not want

to just design more normal shoes, as I thought there were plenty

o beautiul ones already in the market. I wanted to do something

dierent, but in the beginning it was probably too dierent so

it took us a while to get buyers to appreciate the dierent style.

And as the main shoe ashion became more and more dierent

it worked in our avour, suddenly FINSK was acceptable. (Smiles)

Through Janota, I have managed toglorify and bring dignity to the artisansand craftsmen in this profession. Iremember when I was growing up, thesepeople would not be allowed inside thehouse but today we are a part of the elitecreative group.

Edwin Pinto



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BK: And how diicult was it or you guys, in India?

EP: Doing something new is never easy, especially when it is

dierent rom the conventional. But I had people who believed

in me and encouraged me to stick to what I really wanted to

do till things got better. And since we do not advertise, word

got around and I now have customers who come not only or

their own shoes but brings riends and relatives along and rec-

ommend us to all who come to Goa. Now I even have you, Babita

on my list ojanot clients. (Laughs. Incidentally, janot is a Konkani

word that means dapper.)

SM: I agree with Edwin, it is never easy in the beginning.

Thankully, I ha d my amily s un linching sup por t and my ianceto encourage me to ollow my dreams. Now o course, I a lso have

my partner Simar Kaur as a big support.

BK: Which has been your hallmark collection and the one

you had most un creating and why?

JL: I dont have a speciic collection that I love above all the

rest, I have some styles in each collection that are usually a bit

more challenging technically so they become almost like a love/

hate thing, very challenging but i they work out its a triumph.

For example, the trademark FINSK wooden two part wedge took

several seasons to develop, the actory simply did not have the

right machines to make it technically, so when we inally got itinto production it elt extra special.

EP: For me each one o my shoes is special. When you pains-

takingly develop something, it tends to be close to your heart.

SM: I think my Pet Collection is the one that gives me the

most kick simply because you know that the pet is not going to

wear it and walk around, its just that there is such an indulgent

eel to the concept. Also, when someone comes to me and says

that things are going right or him or her since they s tarted wear-

ing the shoe that I designed or them, it is very satisying. I have

a special aection or the shoes that we had designed or kids

suering rom polio. But I love all my creations and the best part

is that I enjoy the exchange o ideas between me and Simar as

that usually leads to a dierent level o creativity altogether.

BK: What do you keep in mind when designing or a spe

ciic client?

JL: It depends on the client, some clients come to us because

they want something really dierent rom beore, some come to

us or other reasons. I think its always imp ortant to have a proper

discussion and throw some ideas in the air so that its very clear

what the client wants. Then I get on with the actual designing,

the detail, colour, materials, shape, mood, but the client is the

starting point and a very important actor.

EP: I dont really design or any particular client. I someone

has a speciication then we incorporate it in the design.

SM: I love to innovate and oer that to my clients like

my latest oering is the shoe laundry which is all about taking

care o your shoes. The customer plays a very important role by

expressing what he or she wants in their shoes and we ensure

that proper justice is given to their eelings and emotions by cre-

ating the shoe ater a well-set process that guarantees its aes-

thetic value along with quality.

BK: Julia, tell us something about Project three. How was

it working with Lady Gaga? She has a huge an ollowing in

India.

JL: Yes Im well aware o that. Project three was based on tri-

angles and pyramids, the whole shoe is made rom these shapes.

It was initially just an experimental art project that I did or FINSK

without a client in mind, but Lady Gagas stylist saw it and it

went on rom there.

BK: So what does the uture hold or all o you? Do share

some o your plans with us.

EP: Now that my son Aaron is helping ater college andwould soon be joining me, we want to expand and market our

brand. We eel there is a vast and appreciative clientele abroad

which is what we are going to look at. A year rom now Janota

would deinitely be a strong international brand.

SM: I am looking to e xpand in this year. We are already retail-

ing in New York and have had very positive response. Now we

want to open our own stores in India.

JL: India!

BK: Do you think India is ready or the change?

JL: India is an amazing country, very colourul and ull o

passion and creativity. We would love India to be ready or the

change. We have been very well supported here, and indeed I

eel, yes, India is ready.

EP: O course. We have evolved as a design appreciating

country. People are now aware and it is up to us to deliver.

SM: You will be surprised at how ready India is. The design-

ers have had to pull up their socks simply because the aware

client knows exactly what he wants. And that is a good thing.

When the designers feel that the country ready to welcome

change with open armsmaybe it is time to invest in a new pair of

shoes drawn from our inspiration!

Always try something different, take risks and dont be afraid even if it doesntwork out. Its only by taking risks that we can push design forward and createsomething truly new and unique.

Julia Lundsten



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The Mumbai Esplanade is a signifcant civic improve-

ment project connecting the citys open spaces with

train stations and business/cultural districts; it will

create a single contiguous landscaped area o over 160 acres and

will have exibility to transorm itsel or cultural and recreational

events. It is a peoples space or those who accesses the city centre

and is a sae and convenient environment or the pedestrians; espe-

cially connecting commuters alighting at Churchgate and Chhatra-

pati Shivaji Terminus.

Under this project, the citizen will step out into an open space

thoughtully landscaped with walking paths, gardens, bio-diversity,waterbodies, open grounds, recreational areas, toilet acilities, ven-

dor acilities and a bicycle track. The landscaping will be synchro-

nized with the heritage structures and plan o Mumbais central

business district. It also addresses pedestrian tra c as well as vehic-

ular tra c that will be directed under the plaza through a mod-

ern system o underpasses. Since it will only be used by cars and

ast-moving tra c, it will be devoid o encroachments. The project

designers have identifed alternate routes through which vehicular

tra c can have smooth egress and ingress during construction o

the project.

The Mumbai Esplanade Plaza is the outcome o many months

o creative research by, and interaction between, urban planners,architects, civic authorities and citizens groups who are well aware

o the citys needs and issues. The lead design architects are Brinda

Somaya and Shivjit Sidhu. The project has the potential to be one

o the most important developments in improving the availability

o open space in Mumbai city, and also be an example or citizen-

riendly spaces in other densely-populated cities o the world.

When completed, the Mumbai Esplanade will have connected not

only the 102 acres o existing maidans, but will have added on 51

acres new public open space to the city by linking the maidans o

the district to plazas, train stations and the central business district.

To share more such designs or experiences, positive or

negative, contact Ar. Aamcher at [email protected]

The project can be implemented in our phases within a span o 2.5

years. The project phases allow or ef cient restructuring o traf c and

utilities during and ater construction. The phases are:

Phase 1: Churchgate - Veer Nariman Rd

Phase 2: Regal Chowk - Cooperage Ground

Phase 3: Hutatma Chowk / Flora Fountain

Phase 4: CST - BMC / Azad Maidan Area

MUMBAI

ESPLANADE



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Ar. Aamcher

51 areas o landscaped pedestrian plaza, comprising o gardens, waterbodies, etc.

Saer or pedestrians and automobiles without possibility o jaywalkin g

Boon or disabled and elderly commuters who cannot climb subway steps

Adheres to new anti-terrorism norms against crowds in conned public spaces

8 numbers o new toilet acilities

Maidans connected by landscaped plazas or sae pedestrian mobility

Provision or amphitheatre and cultural shows

2.5 lakh sq.t. o cultural space or sport and olk and ne art museums

Short underpasses or vehicular traf c eliminate traf c lights at major crossings

Smoother and aster traf c movement rom Marine Drive to Fort

640 new parking spaces spread around Fort and Marine Lines CBD

Reduction in noise and exhaust pollution

Estimated total cost: Rs. 492 crores

Estimated und generation via public-private partnership or various projects within the

completed Esplanade: Rs. 1,239 crores

Value o Open Space to City-Pricele ss

Estimated timeline: 18 months (traf c rerouting: 3 months only)

Architects and Planners: Brinda Somaya (Somaya and Kalappa Consultants Pvt. Ltd.) and

Shivjit Sidhu (Apostrophe Architecture & Urban Design Pvt. Ltd.)

Ar. Aamcher was invited byAr. Brinda Somaya to

understand the Mumbai

Esplanade Project and comes

back looking forward to a

peoples space in the city.

SALIENT FEATURES OF THE ESPLANADE PROJECT



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Leisuredesign



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Drawing from local nuances, Khozema

Chitalwala gives The Fern a decor that

celebrates its location in the vibrant heart

of Gujarat Ahmedabad.

Words: Babita Krishnan; Images: Prashant Bhat

ETHNICFLAVOURS



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That it is an ecotel hotel which

endeavours to protect and preserve

the environment through certifcation

on ecological parameters goes without saying;

but what is the most striking eature o The

Fern, in Ahmedabad are the local avours that

are reected in practically every turn o the

property. This hotel was conceptualized as

a very modern and contemporary one with

the accentuation on Ahmedabad avours and

culture, says Khozema Chitalwala, the Mumbai-

based architect, as he prepares to take us

through the design journey o The Fern.

To anyone even remotely aware o Gujarat,

the State is synonymous with the Navratri &

the Kite estivals, heritage architecture, jewel-

lery, beautiul tourist destinations and a vibrant

culture and people. The public corridor and litlobby reect just that! The lit lobby o every

oor has mural and collages narrating stories

to reect the rich culture and heritage that one

associates with Gujarat.

But the reerences begin much beore that!

The back o the reception wall is inspired rom

the architectural tree o lie beautiully etched

on back-painted glass. One fnds traces o the

amous Ahmedabadjaalis and details as screens

or glass windows in the guest corridors, and

also on the room number plates, lit lobby, etc.,

The lobby o this property was very narrowand looked more like a corridor due to its width

and certain architectural restrictions o the

building, Khozema reveals. In order to achieve

some volume, we proposed two arches with the

view to impart a space profle in the lobby.

Since The Fern was designed to be an eco-

tel, most o the materials used in interior are

green in nature. As the design unolded, we

realized that the only way to be true to the basic

design ethos here was to celebrate vibrancy

in every old o the property and thats exactly

what we did in each space, smiles the architect.

And that is what you would ind rom the

moment you enter the property and through-

out your stay, each area rom the most

mundane to the most signiicant is pulsat-

ing with colours and design motis that the

design team has included in the decor high-

lighting the soaring celebratory note that one

has come to expect rom anything rom, o or

in Gujarat



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Designed by Asit Karekar, this

residence in Thane mirrors a sense of

eclectic chic with a touch of class

resulting in an elegant space.

Words: Natasha Bohra;

Images: Rahul Pawar, courtesy the architectPerfect

Picture



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Residentialdesign



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The very essence o the word de-

sign implies planning, organization

and aesthetics. And a designers

most important skill is the ability to listen

and execute the expectations o the client.

Designed by Ar. Asit Karekar, this residence

in the central surburbs o Mumbai is many

things simple, elegant, modern and prett y.

But most importantly it suggests more than

what it shows. The picture perect areas o

the 3-BHK apartment are a refection o the

clients lavish liestyle and the designers

tasteul choices.

My mentor Ar. Ajit Shilpi, with whom

I worked or over our years and am grati-

fed or everything I know today, trained

me to not ape the work o others but rather

emerge with originality. This is what I ollowand I love it this way, shares Asit or whom

this residence stands out as a avourite proj-

ect at the start o his independent career.

Together with the keen and active

involvement o the client, Asit bestowed

a home ater being absolutely certain o

what he wanted to deliver. With a common

thread running through the design in the

orm o materials, colours and lighting, each

area blends in with the other yet stands out

individually.

Some element o drama has beenadded in almost every area either with the

use o a certain material or with the applica-

tion o a strong colour giving it a distinctive

identity. For e.g., the common bathroom is

highlighted with a backlit artwork covering

almost the whole wall, while the passage

is dominated by a strong olive green wall

highlighted by black and white artwork

as well as a collage o photographs o the

daughter. The guest bedroom witnesses

extensive use o black and white with a

touch o red while the daughters room is

done up in shades o lilac. The master bed-

room is dominated by the use o veneer

wherein the headboard o the bed made

o a barcode-style print, adds an interesting

element to the design o the room.

A strong design element in the dining

area is the jaali that behaves as a separator

rom the kitchen. The pattern o the jaali

continues in dierent areas you fnd it as



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ABOUT THE FIRM:

Auk Design Studio established in 2010,

by Ar. Asit Karekar, a graduate rom GICED,

Mumbai, designs and creates spaces with

aesthetics and unctionality put together

providing inspiration and delight to its

users. As a company philosophy the stu-

dio consciously does not ollow any single

motto thus allowing exploration and exper-

iment in every aspect o design.

the dining table top as well as the light, all

o which have been customized.

Talking about the colours used in the

home, Asit comments, I have always want-

ed to use a dark and bold colour palate.

A right balance was required in between

the bold appeal o veneer and sotness o

abrics. The colours compliment the use o

materials perectly well.

Design is a highly subjective matter;

however, this projects intrinsic power lies

in its simplicity and right combinations. Asit

adds, Like any successul implementation

o a good idea, the credit or this beauti-

ully turned out home has to be shared as

it was a coming together o many things

and people the client or believing in our

concept and letting us go ahead with it,and the entire contracting team o Mandar

Adivarekar along with the carving interiors

contractor, who gave orm to my design.

With its bold palette and use o opulent

materials the decor o this home ourishes

with understated elegance and proves to

be a mystic circle that surrounds comort

and virtues

Website: www.aukdesignstudio.com;

Email: [email protected]



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Creativeideas




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Ibelieved I could y i I tried really hard

till I ell and got a ew stitches on my

chin! This was a long time ago when

our house had a backyard and a garden

with various trees that were teeming with

birds o dierent kinds and every evening

was a cacophony beore they all retired a ter

sunset. Now all that has been replaced by

high-rises with negligible green spaces and

trees are more grey than green, covered as

they are with the soot and pollution grime.

I dont have anything against urbanization,

but my problem is with its sad eect on our

eathered riends. Im talking about the ones

that visit our back yards, porches, balconies

and neighbourhoods.

Birds have three major requirements

ood, water and shelter or their eggs andchicks. Most birds build nests that are used

as cradles, and are placed in locations such

as trees, eaves o a house, phone poles etc.,

in an attempt to protect them rom preda-

tors. Some birds nest on the ground and try

to conceal their nests by camouage. With

a change in residential architecture and

urban planning, the birds have lost their

habitat and we have been deprived o their

company.

So the question here is do we need to

put houses out or birds to survive whenthey have been surviving or millions o

years without our help? Bird houses attract

birds as do bird eeders and bird baths and

we try to attract birds by ulflling their three

major requirements, because birds are a

source o pleasure, they are interesting and

un to watch, they fll our hearts with joy

with their songs and chirping.

There is a whole lot o designers who

ollow their heart and have over the years

done their bit or our eathered riends,

designing sae houses and eeders that

have resulted in their increased number

over the years. We bring you insights rom

some o them who have endeavoured to

make an eort.



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Born in Lisbon, Portugal and raised in the green valley

o Alenquer, the village that saw him all in love with things

rom the multicoloured river pebbles, to the abandonedmills that rest on top o the mountains, to the roads painted

in autumnal colours by the leaves blown away by the wind,

to the sweet music o the night, Luis Porem has a strong

attachment to all that nature has to oer. Ater fnishing the

fve-year degree in industrial and interior design at Univer-

sidade Lusona de Humanidades e Tecnologias in Lisbon,

Portugal, he was granted the Leonardo da Vinci scholar-

ship. Ater his internship at Estudio Mariscal, in November

2008, Luis collaborated in the studio o Martn Aza.

I started developing this project, ater I received the

unexpected visit rom a small sparrow outside my window.

At that moment I was able to admire it careully. He showed

his white chest while peeking inside the house. I wanted

to open the window but he probably wouldnt accept my

invitation. So I thought to mysel at the next visit Ill have

a place to receive you! reveals Luis Porem about his bird

house that is called Abrigo Para Aves (APA). APA welcomes

small birds that are passing through and want a shelter or a

while. APA can be established in various ways and ser ve di-

erent situations. Made in ceramic, it is available in various

colours while the branch is in metal.

ABRIGO PARA AVES Luis Porem



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A city or a mixed bird community, Bird City has 33 nest-

ing boxes, catering or the housing needs o 33 dierent

species o birds, to orm a breeding ground or the winged

inhabitants o the city. The design requires a delicate touch:

since dierent species have dierent needs. While one type

o bird wants a squat and wide little house, another may

preer a tall and narrow one. Vogelstad oers something

or everyone. Every city is a big nest. Every nest is a small

city. The diversity o birds in urban areas is oten large and

they specifcally come to the city or its warmth, garbage/

ood and shelter. A par t o all the birds that live and breed in

the city, only breed in holes (voids, cracks, nest boxes) and

not in an open nest, explains Eveline Visser. In June 2010,Eveline graduated with her project Bird City at the Design

Academy Eindhoven (The Netherlands). Ater positive reac-

tions during the Dutch Design Week, the project has been

exhibited in London (Selridges), Milan (Salone del Mobile),

Amsterdam (Woonbeurs) and at the Architecture Biennale

Tallinn (Estonia). Ater graduation, she started (together

with Lucas Zoutendijk) Studio 1:1 that ocuses on design

and research in public space.

The concept was o one rame with 33 dierent nest box-

es, as a small city, or all types o birds that live in urban areas

and breed in nest boxes. By putting all urban nest-box breed-

ers in one rame, birds get a more urban adapted accommo-dation. Hereby you can look at this object as a Demo-City,

where every dierent resident has a or him/her adjusted envi-

ronment. The diversity o the urban environment is not only

visible in the variety o cultures or architectural styles present,

but can also be witnessed in the range o auna that inhabits

the city. But urban auna is a ar rom recognized city eature.

Although the city as constructed human habitat

seems to oppose the concept o wild nature and animals,

these two are more interrelated than expected: the urban

environment is still expanding, leading to greater and more

important maniestations o wildlie in the city. Since we

humans conduct spatial planning, we should be inormed

about our urban neighbours, Eveline believes. As bio-

diversity is an important measuring stick to indicate the

health o an ecosystem with clear advantages or man, the

role that urban auna plays in increasing and guarantee-

ing the biodiversity o the city oers a clear message to be

communicated to the general public. Increasing the visibil-

ity o urban auna in a manner that does not inhibit their

natural behaviour can allow people to acknowledge their

presence and recognize their value.

BIRD CITY Eveline Visser



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Gathering inspiration rom shoefti or shoe tossing, three

pairs o shoe-shaped birdhouses became a public art instal-

lation in Lillehammer, Norway. The main goal behind this art

project was to oer a temporary housing solution or the

Pied Flycatcher (Ficedula hypoleuca) a migrant bird that win-

ters in West Arica, while at the same time create a debate

about the human relationship with nature in an urban con-

text. As an ar tist I use vernacular urban elements to address

issues such as belonging and immigration. The Birdhouse

Project gathers inspiration rom shoe tossing onto power

lines, a common sign in America and Europe. This is an urban

element that usually bears negative connotations. I was

interested in giving it a new interpretation by using its place-

ment and aesthetics to open a discussion about what kind ocity one wants to live in, and at the same time to present the

issue o migration in a subtle way, says Christian Bermudez.

As a Costa Rican who is an immigrant and has been living in

Norway or almost 10 years, it was important to him to cre-

ate a metaphor o the migratory birds and human immigra-

tion. Everybody loves (migratory) birds, but the same does

not necessarily apply to (human) immigrants, he eels. With

The Birdhouse Project my intention was to design and build

a temporary house solution to a specifc bird that comes

every year to Scandinavia and Russia all the way rom Arica. I

wanted the city to welcome them and oer some hospitality

ater a long journey.The shoe-shaped birdhouses hung rom the power lines

and street lamps at dierent spots in Lillehammer rom the

last week o April 2011, until the frst week o September 2011.

There were a series o requirements or the birdhouses in

order to be produced and used by the birds. These included

materials, dimensions, porosity, permeability, as well as the

specifc week when they have to be hung, height rom the

ground, weight, etc. The shoes were entirely produced in

certifed wood, using glue to join the 28 laser cut plywood

layers that make every birdhouse.

The sole can be detached in order to clean the bird-

house ater the breeding season. An additional compart-

ment was also created to place a webcam or uture use. This

was a rewarding experience where design, science, technol-

ogy and contemporary art came together to create a new

concept o street art, that became a practical object or the

birds while at the same time giving some local colour to the

urban landscape. When a pair o birds decided to make a

nest in one o the shoes, the project was o cially success-

ul, he says proudly. The Birdhouse Project received support

rom Arts Council Norway and Kunstnersenteret i Oppland.

BIRDHOUSE PROJECT- Christian Bermudez



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Frederik Roij is an international design agency which

designs diverse products or brands and or market as orprivate clients. The o ce is renowned or its creativity and

innovative designs and its approach is to reach a new level

in product or space. Frederick Roije graduated in 2001 rom

the renowned Design Academy in Eindhoven where his

preerence or interior products was already visible. Dur-

ing his studies Frederik did his internships at prestigious

design studios as Piero Lissoni, Milan and Marcel Wanders,

Amsterdam. In 2003, he started his own design studio

based in Amsterdam a studio that specializes in interior

and product design, where concept and renewal are the

main points.

The latest design (2011) rom the design studio is Dish oDesire a series o bird eeders inspired by beautiul table-

ware and delicious ood. As the summer has come to an

end and the cold winter days will arrive, we must not orget

the birds, says Fredrick Roije, who eels that birds need a

varied menu which is hard to fnd during wintertime. With

Dish o Desire you can provide the birds a varied dinner

in your tree or on your balcony. Based on the number o

courses, our dierent models are designed, a one course,

two course, three course and fve course bird eeder.

Each model is assembled out o aluminium parts com-

bined with the fnest bone china and red cedar wood. All

materials are weather resistant or outdoor use, so we can

make a east or our eathered riends! But Fredericks

concern or nature and especially birds could be seen even

earlier when he designed a bird house called Holy Homes

in 2007. It is my belie that there will be peace, says the

designer. Fascinated by the value we attach to symbolism

and love o nature, these sacred houses were designed to

be made rom the fnest porcelain ceramics by local crats-

men. The branch is made o blown glass and gold and the

house is available in white and gray.

DISH OF DESIRE-Frederick Roije



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Living Typography, which was nominated or the

Cannes Festival in 2010, was a sel-promotion activity or

Water Design Studio. I grew up around nature and always

had a special place in my heart or birds. When I moved

to Mumbai, I was both shocked and saddened to realize

that sparrows, the birds which live around and with us

are gradually reducing in number. The ew which are let

always seem araway, almost nonexistent, reveals Nishant

Jethi. With an inclination towards creating art installations

which interacted with people, let them have un but still

manage to leave behind a message in their minds, he

envisioned this project. He ound that the main reasonbehind the decline in the number o sparrows is the lack

o nesting and breeding spaces. With high-rise buildings

and malls coming up everywhere, the birds have been dis-

placed rom what they once called home. This lead to the

Living Typography idea hollow wooden 3D alphabets,

which also act as bird houses, were created. Appropriate

alphabets were sent to riends and amily members to be

kept outside homes as nameplates or house numbers . Thus

Living Typography had a dual unction becoming a well-

designed name plate and providing shelter to sparrows.

Working with local painters and sign board artists as

a childhood hobby taught Nishant a lot about design andtypography which led him to M S University o Fine Arts.

Later he continued experimenting with typography in art

installations and design. As the Living Typography idea

grew in my head, I began sketching it frst on a notepad

then the computer. I built 3D typeaces o each character

and later analyzed it; got a ew samples made by a manu-

acturer in wood and ater our months o grueling work,

a complete set o alphabets was ready to be installed, he

beams. The project was sponsored and immensely sup-

ported by both Mudra (Nishants employers) and Water

Design Studio and he started with installations in and

around the Mudra building. As the project grew, they were

sent to clients and interested riends and members o am-

ily. Then with the help o an NGO which worked towards

providing shelter to sparrows, areas in Mumbai with the

least number o sparrows were identifed and these type-

aces were installed. Living Typography gained tremen-

dous attention and there have been numerous inquiries on

the availability o these typeaces. Nishant plans to collabo-

rate with a ew international design studios and production

houses to run this project on a larger scale and platorm.

LIVING TYPOGRAPHY-Nishant Jethi



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Nature Forever Society is a conservation organiza-

tion that has been working or the conservation o house

sparrows or the past our years as well as the common

birds o India and their habitats. To involve the commonman in the conservation movement, it initiated adop-

tions o nest boxes and eeders which has been very

successul. The aim is to create wildlie-riendly habi-

tats and involve the common man in the conservation

movement to save Indias rich biodiversity. The society

has initiated nationwide projects like Adopt nest box

and bird eeders, Help the birds in Summer Campaign,

Ban the Catapult, etc. to name a ew. World Sparrow Day,

which is an international celebration, is also initiated by

Nature Forever Society.

NFS Nest boxes and eeders provide a sae and

comortable place or birds to roost and nest. These aremade rom sustainable, recycled wood so theyre sae or

birds and have good insulation properties, making them

warm in winter and cool in summer. We careully design

our nest boxes to have the correct dimensio ns and venti-

lation that birds need. Our nest boxes dont have decora-

tions that predators could cling to and threaten the birds

inside, says Mohammad Dilawar.

Mounting bird houses around the yard can provide

hours o enjoyment or bird watchers and aviary enthu-

siasts, while oering beneits to the eathered creatures

themselves. Houses provide nesting birds sae shelter to

lay eggs and raise ledglings. Houses are also a means

o sheltering birds rom harsh weather conditions when

they are not raising young birds. As human popula-

tion grows and new developments are built, birds are

orced away rom their natural habitats. Bird houses are a

replacement or trees and other natural structures where

birds once nested. You can mount bird houses with an

eye toward keeping predators away.

So i you love birds and want to do your bit or

nature, adopt a bird house and eeder today

NATURE FOREVERSOCIETY-Mohammed Dilawar



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Conversations

MOMOVI



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In war-torn Afghanistan, Turquoise Mountain aims to do what seems

to be the impossible to revive and restore the countrys lost art and

culture through its numerous initiatives.

Words: Priyanka Mathur; Images: Jason P. Howe for Turquoise Mountain

NTAING



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Aghanistan, Circa 2001 the Taliban

carries out the destruction o two

monumental statues o Buddha,

carved into the side o a cli in the Bamiyan

valley, deeming them to be idols and

thereore, unIslamic. As the international

community cried out in protest, the art

community could do nothing but watch

helplessly as thousands o years o ancient

history got reduced to rubble. In a country

that has known little else than war, it is

di cult to imagine how an ar ts and culture

scene could have ever existed, let alone

survived. It is di cult to imagine that cities

like Herat, Kabul, and Bamiyan were, at

one point, centres o cultural learning; a

place where men and women alike were

encouraged to learn about art, history,culture and poetry!

Today, the Aghanistan shown on tele-

vision channels is a ar cry rom the coun-

try which once boasted o art inuences

owing in rom regions like Greece, Iran,

Mongolia and the Far East, to name a ew.

A nation that once produced fne carpets,

dierent art and music orms, magnifcent

architectural wonders, now seems to exist

only in the minds o those who lived in a

pre-war era. Iconic works o art, such as the

Buddha statues o Bamiyan, which reected

a vibrant and airly liberal art scenario, have

allen prey to Talibans anatical regime.

Today, though the grip o the Taliban is

slowly weakening, evidence o their regime

is still widespread. Their intolerance towards

music, arts, and culture has orced thou-

sands o artists to either practice their trade

in secret or give it up altogether.

However, as the world grows increas-

ingly aware o the problems in Aghanistan,

eorts are on to revive its lost glory. One

such organization that strives to do so is

Turquoise Mountain. Established in 2006 by

British politician and writer Rory Stewart at

the behest o Englands Prince Charles and

Aghan President Hamid Karzai, in Kabul,Turquoise Mountain is a non-proft organi-

zation that aims to rebuild the nations art

and culture through various development

activities. The name Turquoise Mountain

reers to the great indigenous Aghan capi-

tal o the Middle Ages Firuzkuh, which

was eventually destroyed by Gengis Khan in

1216 and lost to history. The only evidence

to prove that a city did once exist there is

the magnifcent Minaret o Jam, known or

its intricate calligraphy, geometric patterns,

and verses rom the Quran.

The organization, through its numerous

initiatives, aims at restoring the erstwhile

glory o the historic old city community o

Murad Khane, which was once the hub o

artists and poets, by educating the youth in

both the traditional Aghan orms o art and

architecture, as well as the contemporary

orms. Through its eorts, the organization

hopes to promote and develop contem-

porary art as an emerging movement in

Aghanistan and beyond.

In 2006, Turquoise Mountain estab-

lished the Institute or Aghan Arts and

Architecture in Kabul. The institute compris-

es o our schools: The School o Calligraphy

and Painting, The School o Woodwork,The School o Jewellery and Gem Cutting,

and The School o Ceramics. At present, the

school has a total student population o

200, who are taught by master artisans.

Adul Wahab, the cultural director o Tur-

quoise Mountain, talks about the schools

current curriculum, The Institute or Aghan

Arts and Architecture oers a three-year

education programme, in which students

can specialize in one particular school o



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art and eventually graduate with both an

Aghan and International certifcation. Thekey ocus o the institutes programmes is

the arts o Aghanistan, both traditional and

contemporary. In traditional art, subjects

like calligraphy and painting, woodcutting

(both classical and Nuristani), ceramics (Ista-

li style) and jewellery making are taught.

In contemporary art, the Turquoise Moun-

tain Aghan Contemporary Art Prize (which

has been running successully or the last

three years) has been set up to encour-

age a national interest in contemporary art

and draw out artistic talent rom across the

country. The institute also provides theo-

retical and practical workshops in contem-

porary arts, and works to create opportuni-

ties or Aghan artists to engage with the

international art world, and contribute to

the development o contemporary arts o

Aghanistan.

Wahab describes a time in his country

when traditional art ourished. He explains

how the country was home to countless

arteacts o Mongol art, miniature paintingsrom the once-renowned Bahzad School

and the art o wood carving. Due to Aghan-

istans strategic location on the ancient Silk

Route, Gandhara art or Buddhist art, was

introduced by Buddhist monks who passed

through the area. He also speaks o a time

when classical music was practiced reely.

But everything changed when the

war began, he says. Practicing art reely

became di cult, and this only worsened

with the invasion o the Taliban. Everything

architecture, art, as well as our historical

heritage, was adversely aected. The Tal-

iban imposed bans on anything related

to the arts and culture, deeming them as

unIslamic. They destroyed the Buddha stat-

ues in Bamiyan, the National Gallery, and

the National Museum o Aghanistan.

With the destruction o the National

Gallery and the National Museum, great

works o art have been lost orever, some

dating as ar back as the 1st century AD.

Today, with the Taliban orces graduallybeing driven out o Aghanistan, there is

hope once again o reviving and rebuilding

the countrys rich cultural heritage. How-

ever, the road to recovery seems to be ull

o obstacles.

Wahab explains, Right rom 2000

till now, we have plans o rebuilding and

restoring the National Gallery and National

Museum. However, it is not an easy task at

all. So ar, on the war ront, we have not seen

any changes at all. Security continues to be

a major problem in many o the provinces,

and due to this, we have not been able to

realize any o our restoration plans.

However, Wahab continues to remain

optimistic. He believes that it is the youth

who can make a dierence in his country.

By introducing high quality education, art

and cultural activities, he strongly eels that

there is hope or Aghanistan and we say

amen to that



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SHORTLIVEDATTRACTIONS

Though a temporary, stalls need to be well-

thought out creations that reflect the brands

at their best, reveals Jaydeep Ghag.

Information & Images: courtesy Sain Konzepte



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Exhibitiondesign



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The word stall does not usually

have a very positive connotation

or marketing a product, as it is

usually known to be small enclosure or

the display and sale o product. But with

the passage o time, exhibitions and their

stalls have become bigger and better. For

the participating companies or brands, the

stall becomes its ace value which means

that in the presence o so many other

contenders rom the same industry, one

needs the right design to underline their

presence. Exhibitions are a major platorm

or the brand-client interace and attract

thousands o prospective customers whose

interest needs to be generated; hence the

stall should speak or itsel.

That designing and building a stall is

an art goes without saying, and Sain Konz-

epte with six years o in-depth knowledge,

is now nearly an expert in making optimal

use o available space or creating maxi-

mum visual impact. Along with the print

display, it is essential to communicate the

visual representation associated with a

brand and organization, which Jaydeep

Ghag, who heads Sain Konzepte, has been

doing with ease or prestigious clients like

Man Inra, Muktistar and many other inra

structure giants.

The biggest challenge in an exhibi-

tion is not only delivering an extraordi-

nary design but to build it in a very short

span, Jaydeep explains, Timed delivery is



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the most crucial aspect o a trade air stall

design and the maximum one gets is our

to fve days. A eat Sain Konzepte seems to

be achieving i its reputation in this niche

is any indicator. Constantly climbing up

the charts, winning design awards at MCHI

(Maharashtra Chamber o Housing Indus-

try), getting associated with bigger brands

and being present at nearly all the impor-

tant exhibitions across the country or stall

design and construction.

In 2011, at the REIFBS Exhibition (Real

Estate Investment Forum & Business Spaces)

organized by The Economics Times, Sain

Konzepte got the opportunity to design one

o the biggest stalls at the property exhibi-

tion measuring around 3,600 sq.t. or

Muktistar, which was participating in exhibi-

tion with the concept o developing Char-

kop (a western Mumbai suburb) into city like

London. Participating or the frst time, the

client wanted maximum impact on the visi-

tors to the stall. Jaydeep along with his 3D

visualizer Siddhart Shirodkar designed and

build an ultra modern stall with an element

o London i.e. the London Eye-concept and

other organic orms in fve days. The material

used in building these stalls are eco-riendly

and re-useable hence harmless to nature.

The next time you visit an exhibition,

dont be surprised i you gravitate towards

the most outstanding stall and when you

do, look around to see what has gone into

making it



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Exhibitions are a major

platform for the brand-

client interface and attract

thousands of prospective

customers; hence the stall

should speak for itself.



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Designpromo



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A

dding a touch o class to the interiors is indeed an ongoing

endeavour. Located in the heart o suburban Mumbai, the

Le Cdeor store is a metaphor or contemporary liestylecombining new age eervescence with a sophisticated intricacy o

style and design.

The latest addition to its immaculate and aesthetic collection

o arteacts is the stunning metal series, conceptualized and pro-

duced by Philippines-based Miguel Jr. A. Prado. Human fgurines,

vases and interesting arteacts made out o recycled metal are only

some products rom the fne-line collection at the store. Available

or the very frst time in India, they have the potential to beautiy

any space with their queer quaintness, with a raw yet stylish look.

The collection is a part o enchanting works o ar t that constantly

reect a global trend with its perect blend o colour and its har-

monious marriage o diverse materials cratily executed in its fneline o gitware, accessories, home and garden decor. And the most

astounding part is that you have the option o enhancing your

space big or small; personal, commercial or public all by being

completely eco-riendly!

The Le Cdeor store in essence oers basic, limited edition prod-

ucts that enjoy eternal style. The collection available at the store

seamlessly blends beautiul looks to create a contemporary living

experience. The rustic, earthy mediums are put together in unusual

chic with classic appeal. Beautiul lamps, attractive crockery, exotic

candle stands, wall hangings, and more present a beautiul array o

home decor options sourced rom all over the world.

The design store Le Cdeor, is undoubtedly the new bid o home

decor, introducing a sophisticated collection o products that are sure

to enhance the decor o your living spaces at very aordable prices.

ATYPICAL

CREATIONSIntroducing Le Cdeor a store

that enhances living experiences.



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Designpromo



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For bulk & trade

enquiries contact:

[email protected]

Le Cdeor, 8/H, Laxmi

Industrial Estate,

New Link Road,

Versova, Andheri (W)

Mumbai 400053;

Tel: 26327733/34;

Mobile: 09867675556

Email: [email protected]



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Designinsight



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BEASTOF

GLITZIt is the age of the bold and, well, not so

beautiful. Fashion designers across the globe

today are willing to experiment with new

trends in ways never thought of before. Like it or

not, it is very much here to stay, as we find out.

Words: Gaauri Shah; Images: courtesy www.fashion.about.com

M

ost call it ashion; some reer to it as style, glam, vogue or glitz; but how many

o us really understand what ashion really means? What are the parameters that

defne it? What are the actors that inuence new ashion trends? Most o what

we know about ashion is rom what we see, observe and note. Oten, even sel-proclaimed

experts dont really understand the fne intricacies o the word; it has become a mainstay in

our lives; dress-up has stolen the limelight and today, its gotten bigger, maybe better and

defnitely bolder!

Over the centuries, ashion has gone through its evolution, but the turn o the cur-

rent decade has borne witness to an entirely dierent revolution. With designers becoming

increasingly experimental, there is a steady shit rom the known into the unknown. Now,

ashion ramps world over showcase styles that exude distinct vibes be it demure, peek-a-

boo, wicked, louder-than-lie or plain eye-widening!



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Accessories undoubtedly clinch the fnale. Hats are back with a bang; so whether the

edora, the delicate beret or even a sporty one; inculcate these on combinations. Let your

hair speak volumes, literally. Big hair is back; throw out the blow-dried straight-up look

and go all out. Nails are dominating the scene with unky colours and nail art. Diamonds

have been deserted by women as their best riend, and have been replaced by shoes!

The bigger, higher and spunkier the bet ter its the no limit era.

Lets let ashion take its highest trip yet, shall we?

THE WILD, WILD WESTThe 2010 MTV Music Awards was rewarded with a sight so bizarre

by designer Franc Fernandez that the world went into renzy when Lady

Gaga unveiled her much publicized meat dressan ensemble made

up o bee! Every animal rights group protested as a reex, but this dress

goes down as one o the boldest ashion statements in the history o

global ashion!

Alexander McQueen let behind a bang, even in death. His last

collection (incomplete some protested) created a wave that could not

be ignored eather-bottomed underwear or the male population and a

sprinkling o X-ray pyjamas or the ladies; he breathed his last in complete

style. His quirky unk lives on through this bedroom collection.

TINSEL TOWNCloser home, we arent lagging too ar behind either. The ashion capital o the

country has had a taste o the wild pie, deliberately so in some cases.

Akshay Kumar, the (sel-proclaimed) good boy o the flm raternity, revealed

his wild side grappling eye balls when he strutted down the ramp or Tarun Tahiliani

and lovingly asked wie Twinkle (in the audience) to unzip him, which she obliged

willingly with a grateul blush! The collec tion shot into spotlight in an instant!

Sherlyn Chopra got her fteen minutes o ame when she was ortunate

enough to donne on 30-carat diamond bikini or an item number!

WILD CHILD

ACESSO-SPEAK

It would be presumptuous though to contain the wild defnition o ashion

to only a ew meat diamante stick-ons. Style, i asked to be described in one word,

would have to be individualistic; but thats the biggest contradiction actually. Simple

because even so-called designers play copycat ever so oten; ater all imitation is

the best orm o attery they deend. The best element o ashion is its mystery; the

more layers you unearth to understand that many more appear. So its sae to say that

nobody will ever be able to grasp the very core; however each one o us creates our

own connotation o it.

Is psychedelic legging with balloon shorts and an orange shirt with yellow boots

your look? I you have the ability, confdence and carriage to carry it o thats exactly

what you should do! Wrapping a saree? Tie that drape around your waist instead. Make

style all about being the odd one out; standing out has suddenly become dapper!



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Experience!An

Socegado (meaning calm, tranquil, serene in Spanish), is a

series o photographs o Goa by Mumbai-based Fashion and

Advertising photographer Tanvi Madkaiker. A mixture o

landscapes and abstract imagery, Socegado aims to evoke

a eeling o tranquility and calm by capturing quiet little

moments that reect Goas relaxed attitude towards lie.

To view more of Tanvis work visit www.tanvim.com

Photofeature



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Ivan Depena creates a

light-based interactive

installation that will

respond to your

movements and will

even remember it later

to share with others.

REFLECTIVEI N T E R A C T I O N

Words: Babita K; Images: courtesy Ivan Toth Depena

Artytechture



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The Stephen Clark Government

Center Lobby in Miami, USA saw the

unveiling o Ivan Toth Depeas light-

based permanent installation Reection

in November 2011. Commissioned by the

Miami-Dade Art in Public Places initiative,

the work illuminates the dynamism o thelobby space and encourages a sense o

discovery in the visitors. This dynamic art

work is designed with the idea o welcoming

visitors and employees to Government

Center in a un and interactive way, said

Michael Spring, Director o the Department

o Cultural Aairs. It will energize the lobby

and symbolize the Countys commitment

to be inormative and responsive to our

citizens.

Miami-Dade Art in Public Places is a

programme o the Miami-Dade CountyDepartment o Cultural Aairs that is

responsible or the commission and pur-

chase o artworks by contemporary art-

ists in all media. It is one o the fst public

art programmes in the country that was

established in 1973. Depea is an artist and

designer whose studio practice is based on

his multi-disciplinary approach to envision-

ing work. With a Masters Degree in Archi-

tecture rom Harvard Universitys Graduate

School o Design, Depeas output as an

artist is inormed by his experience in art,

architecture, technology and design. Com-

bining many sources o media, technology,

orm and materials, he seeks to blur bound-

aries and create work that exists within a

new and amorphous hybrid o various cre-ative disciplines.

As a main stop in Miamis MetroRail

system, the space serves as a hub or com-

muters; so incorporating the notion o daily

circulation into his piece Depea uses sen-

sors and light to ocus on the communal

nature and circulatory qualities o the lobby.

The project engages the buildings visi-

tors and reerences the idea o community

through various means o reection, group

interactivity and high-tech playulness. The

basis o the project are custom-designedLED light boxes placed at specifc locations

throughout the lobby space. These light

boxes interact and respond to the commut-

ers movements and gestures via camera

tracking, creating an energetic and vibrant

artwork.

Custom sotware has been developed

to complete Depeas vision and the LED

nodes have been individually programmed

to anchor the works responsiveness and

interactivity. Passers-by will have their imag-

es captured by several inrared cameras; the

installations sotware will then abstract that

image in real time, displaying this abstrac-

tion on the light covered columns. The

resulting image will create an ethereal mir-

ror that testifes participation o the audi-ence and the activity o the space. Colour-

ul lights o the installation engage those

beyond the lobby as some columns ace

th

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