Ar. Bhakti Pote, Ar. Gaurav Sanghavi, Ar. Pragya Sanghavi, Ar. Harsh Pote Pentaspace Design Studio
A series of questions, various surveys and a detailed study of the brief sets our design process. The resultant data sets the program for the project. The planning process once initiated takes into account all micro and macro factors of the site with respect to environment, orientation, neighborhood study etc. The elevation is simultaneously visualized incorporating the necessary details in the plan, so it works like the left and right hand on a piano setting the right tone.
In Aroha, one of our residential projects in Mumbai, we have got in cave architecture and features from the Buddhist caves in the neighborhood, which became the driving force behind the design philosophy. For Rainforest, another residential housing project in Mumbai, our design was influenced by the rainforest trees surrounding the sites. These manifest into the elevation and the entire micro-environment from the lobbies and the landscape to the drop-off canopies. In another commercial project in Hyderabad, we have retained a granite boulder inside the building and designed spaces around the stone, making it a central feature. Moreover, only locally available granite was used in the design material palette of the project.
For us, every design is a new challenge to push the envelope and to add more lens to refine the designing process all over again. Change is the only constant in our design inspiration and process.
Ar. Maithili Raut, Ar. Rajiv Parekh, Ar. Ekta Parekh, Ar. Apoorva Shroff, reD
Style is defined as a particular way of doing something, which makes it identifiable. While we do agree that it is characteristic to have a defined style, which helps identify a person, or, in this case, a practice or a studio, but we at reD prefer to work against that mindset. We believe that each project is unique. So, whether designing a hinge for a door to enhance its operation or planning an urban layout for an educational campus, equal attention is given in decoding the client brief and analyzing the various parameters that need to be considered, while being creative with such varied scales. Sometimes, a project needs a top down approach, while others need a bottom up, and some just need thought to flow rhizomatically.
Confucius once said: ‘Choose a job you love, and you will never have to work a day in your life.’ This is clearly our motto. Given that we are a practice of 4 individuals, each bringing their own skill set to the table, it is simply our recipe for a successful and healthy collaboration, which is, most importantly, a ton of fun! We would like to think of ourselves as ever evolving, dynamic and pushing boundaries to stay relevant. Maybe that in itself is our architectural style!
Ar. Sanjay Arora & Ar. Sanchit Arora Renesa Architects
Renesa as a firm strives to enhance the sense of perception and experience to the physical spaces we inhabit through our work. Our architectural style is to combine traditional aesthetics with modern design which is done through creating and editing a selective and reflective thought process. From the initial stages, itself, we aim to strip away all that is unnecessary; from our first sketch we are already on our way to defining the structure once complete. A holistic approach in each design stage, is what gives depth to our approach.
The process of design development is not about defining the black or white spaces, but rather making the grey area stand out and highlighting the evolution of the design in its simplest form. Depending on the typology of design required and the client’s vision, we try to employ indigenous materials every step of the way. This involves developing sufficient research into the context and surroundings for the team´s work to respond to its social, economic and natural context. We want architecture to be a conscious extension of where it is placed; establishing a clear dialogue with users, and allow us to innovate spaces that remain useful and valuable in the future.
Ar. Lakshmi Chand Singh & Ar. Rahoul B. Singh RLDA Studio
When an architect becomes a prisoner to a particular signature style, he/she may fall into an abyss where adhering to style takes supremacy over what the project needs to be. It may end up like a highly stylised K Jo movie without a gripping storyline. It may appeal for a fleeting moment but will certainly not stand the test of time.
At RLDA, we don’t have an official style for this reason. This doesn’t mean that we don’t believe in stylisation, but that we do not subscribe to a one size (or in this case one style) fits all theory. When approaching a new design project, we try not to judge; and we try not to bring my own predispositions to the project. We don’t believe in what’s in and what’s not.
It’s more important for us to understand the essence of the project; what the space really needs to be. After we have asked ourselves that question, it allows for an easy translation into the built space without resorting to individual whims or current trends. The style required for a hill resort nestled in a virgin mountain-scape has to be very different from a hip city hotel. A home library should be stylistically nuanced quite differently from a trendy salon.
We believe architecture is a spatial art which constantly engages with its inhabitants. In this engagement, moments get created - moments, whether they are Spatial, Material or Visual - dictate a project’s style.
We strive for an honesty – a directness with which our spaces communicate with their inhabitants. In that directness should lie an honesty towards one’s engagement with both the materials of construction and the manifestation of their expression. That for us is our ‘House Style’
Ar. Sheila Sri Prakash Shilpa Architects
When you believe in this philosophy of design, you automatically weave the intricacies of the design with culture and ethos that is predominant in that specific location where the design has to be executed. It is the location and community that we are building for, that delineate the design. The timing of the design, however, governs the priorities and choices with respect to materials used, technology, budget allocations, and resource availability – which influence the detailing of the design. So, my architectural designs have been a continuation of a theme, which is Reciprocity.
Club Lobby Art Installation
Ar. Brinda Somaya Somaya & Kalappa Consultants
In a country like India, which is complex, not at all homogenous, and so disparate, with a multiplicity of everything, be it religion, ethnicity, languages, culture or the arts. I don’t think I can separate India and the “Indianess” from within me. With over four decades of practice in a country like India my buildings speak for themselves about my beliefs and ideas of sustainable practice - I am an Indian, and all what I am comes from my heritage. It is an intrinsic part of my being and will naturally reflect in my work in many ways.
Multipurpose Block TCS Indore
The diversity of my work is what I have enjoyed the most. I have built from the Himalayas to the south of India, from Bengal to Kutch and through the central plains and heart of our country, from Jharkhand to Indore and from Uttaranchal to Kodagu. The building types have included reconstruction of villages to hi-tech campuses, from orphanages and animal hospitals to state-of-the-art corporate headquarters, from the village school to the most elite schools in Mumbai, and from conserving iconic heritage buildings to converting garbage dumps into parks. Moreover, our involvement has ranged from the upgradation of slums to large corporate and public buildings, from low income housing to the restoration of magnificent vernacular and colonial buildings. Exciting and fulfilling tasks that span our careers take us from being hi-tech professionals, catering to the needs of modern-day world, to barefoot architects.
In order to achieve this, we need designers who can plan, design and implement new developments, working interactively with the community at large. If we follow the role of the traditional architects, we cannot meet this need. I believe this can be done without compromising on creativity, innovation, or quality of design.
Goa Institute of management campus
Looking at architecture from the Indian context, I feel that India is rapidly changing. The scale of projects is changing with more ambitious and bigger projects. Lifestyles are changing, people have higher and unique aspirations. Educational campuses are coming up, IT campuses, institutional buildings, recreational buildings, shopping, hospitals and an enormous need of low-cost housing. Therefore, I see huge opportunity for young architects. Sensitivity to the environment, availability of materials, effective land use, urban issues, and, of course, architectural vocabulary are all important determinants of good architecture and design.
Ar. Sanjay Prakash Studio For Habitat Futures (SHiFt)
BRTC
We always try to challenge ourselves and explore this particular type of architectural practice from various perspectives. For the Mati Ghar project built for IGNCA, we tried to show the timeless quality of earth, to represent the concept of the exhibit entitled ‘Kaal’ which means time. During its construction, we shattered the myths around mud being a weak material and established that it can be used successfully and practically. Whereas with our upcoming project the Bamboo Research and Training Centre in Maharashtra, we are trying to empower the tribal communities, by modifying their traditional skills set to a professional craft and its manufacture.
While we tested low embodied energy materials in the above large-scale projects, we have put our energy conscious sensibility, in use for Residential Architecture as well. HKS (Hari ki Sarai) is a contemporary house in Gurgaon, where we have modified vernacular techniques, which are considered slow and costly, with our engineering processes.
BRTC Maharashtra
It is satisfying as designers; to observe how symbolism, harmony and expression can emerge from an Integrated Design Process. Thus, we believe in creating lifestyles rather than just styling buildings. So, we don’t categorize ourselves as ‘Green Architects’ or even ‘Architects’, but as sustainable community lifestyle visualizers!
Ar Pallavi & Ar. Sabyasachi Sen SSA Architects
At SSA Architects, we create spaces and buildings that are both beautiful and functional. And simplicity underpins all our work. Strip things down to their essential, core purpose and one gets the most fundamental and simplified version. The more ‘essential’ we make a product, the ‘less designed’ we make it appear — and simpler it is for people to experience. The office building in Assam is a simple yet striking example where we came up with an idea of two simple rectangular blocks juxtaposed at 90 degrees to each another. The projecting upper floor protects the wide glass expanse of the entrance lobby from heavy rains during monsoons while generating two open terraces on the first floor.
Colour
As Charles Correa would say, ‘throughout human history, the sky has earned a profound and sacred meaning.’ In dry and hot North India, ‘open to sky space’ with interlocking built form has always been an integral element in the expression of architecture. All our projects are built around one or multiple open spaces with habitable spaces around, enabling the important link between inside and outside and encouraging varied activities during different part of the day and seasons. For instance, our design of the Skill Development Centre in rural Uttar Pradesh has evolved around a ‘open to sky space’ a popular hang-out for the students. At the North-Cap University in Gurgaon and at a corporate office in Haryana, the ‘open to sky’ spaces take a different form with a sky-lit atrium that remains at the core of the buildings.
Craft & Texture
Richness of local materials, method of construction and craft is evident in each of our projects. An essential element of ‘Sustainable Design’ the beauty of using local material is complemented by the benefit of generating employment opportunities for the local artisans, brick layers, skilled stone masons, weavers etc. giving the much-needed visual reliefs in an otherwise harsh landscape.
Use of colour is an essential part of our design style, be it the exterior or the interior. Our choice of palette is bold and uninhibited, calming large planes of reds and brown to windowsills and jambs of purples and azure blues – colours that evoke an emotional response.
Ar. Sabeena Khanna & Ar. Rajeev Khanna Studio K.I.A
Creativity has no bounds and technology further gives wings to ideas. In present times, we are seeing a surge of technologies, materials, techniques which are supplementing our thought processes and approach to design. Creativity, to offer experiential environments, is challenging the senses to engage beyond and imagine art, science and technology to design out-of-the-box solutions. We are currently in an era of flirtatious experimentation, if I may call it, where architects are creating designs that behold the future of our visual world, yet in a sustainable mode.
TDI Tuscan Heights, Delhi
K.I.A is always work in progress. We conform to no particular architectural style, though designing contextually aesthetic and functional environments is what we believe in. Principles of design vary for each project in our studio, and we continue to seek inspiration and innovate. Each project is uniquely different and reflective of its siting and location, function and purpose. Thereafter, the ideation is a cumulative effort of the experience, expertise and excellence of the studio team which has been built through inspiration, vision and leadership.
The Grand, Gurgaon
Emaar housing
Ar. Pavitra Sri Prakash Shilpa Architects
There are many questions I had to answer to myself during my architectural education and early practise that helped clarify the thinking of my design direction. After spending almost a decade away from India, the rediscovery of what makes Indian architecture truly unique became an obsession for me. The value of Indian-ness and all things that are culturally rooted in our daily lives became more apparent. Preserving and incorporating crafts as part of our contemporary architectural experiences made sense from a cultural sustainability point of view. Coming back with International sensibilities gave me the ability to adopt unique ideas that were culturally relevant. Things that worked for projects in Chicago, would not work for projects in Chennai – even though technically they were possible in both places. The unique geography and culture of people ensured that planning and detailing of architecture too would be unique.
Then began the quest to try and marry these two aspects of my experience. The question became – how do you change the approach to ‘traditional Indian design’ – find a way to work with tradition while being world-class and relevant? While this challenged the architectural landscape in India, which was driven solely by a ‘maximize site potential’ type of approach, the application of the sustainability filter helped shift the focus of the typical Indian project.
As we’ve seen in recent years, the focus on profits (above all else) has led to the destruction of natural resources and has had devastating effects across the world on vulnerable populations and wildlife. Climate change is the single largest demonstration of how much can go wrong when the pursuit of profits takes precedence. In most cases, clients are not willingly causing harm to people or the planet; while most of them generally care about the earth they seem stuck within a broken system. They are only trying within their constraints to minimize their negative environmental impacts and optimize their positive social impacts.
The focus on a triple bottom-line instead of the conventional bottom-line can help reshape this thinking. With sustainability being the over-arching element of my architecture style, I work to shift the focus onto People, Planet and Profits through every design decision that we are posed with. And through an integrated design approach it is possible to deliver projects at a lower capital expenditure and at lower lifecycle costs – making Indo-centric sustainability a holistically profitable solution!
Ar Sangeet Sharma SD Sharma & Associates
Design and architecture are all about meaningful expression of fine art that works - meaning that though aesthetics may dominate the design intent, but it should revolve around human comfort and convenience. Therefore, all elements of a building should be derived from the climatic conditions of the region. I use passive architecture and incorporate elements in my building component so that there is less dependence on technology. I ensure minimum extravagance on materials and focus on creating valuable spaces that will enhance human existence in the built spaces.
The expression of my buildings is never opulent, as I prefer bare concrete and bricks in their exposed quality. I believe in adopting sustainability in the order of purity of form, un-wasteful spaces, and essential living. My style surely incorporates green areas inside and outside as I have learnt that Nature should be a part and parcel of a building’s architecture. My approach towards sustainability and eco-friendliness are project-oriented and reflect in the buildings I design. The form is dominant and, as the aesthetic appeal is creatively vital, the form expresses it all.
Ar. Sanjay Udamale Sanjay Udamale Architects
Each layer contributes varyingly, weaving complex yet a united whole, forming its unique character that expresses local or universal ideas. So, my architectural design solution of every project is custom designed and distinct, based on systematic process, research, analysis, interesting ideas and exploration of genius loci of the place. Architecture gives me an incredible opportunity to address various contemporary issues like habitat in urban and non-urban contexts, sustainability, cultural continuity, diversity, etc. and produces new ideas, interpretations, futures and expressions.
Architecture is very place and people specific and my architectural design responds to this aspect. Unlike other art forms like music, sculpture, literature, fine arts or motion pictures, it is distinct in its expression and physical form which is inseparable from its locale, context and landscape.
Ar. Kunal Khandelwal & Ar. Khushboo Studio Design Inc
Function, place, aspirations, stories and people are the most important and simplest tenets to define the style of a building and what separates it from another. These define the core idea of the design, which then translates into the various elements of design: form, space, construction and material, to evolve into its own style. The aesthetics of a project are never defined at the beginning but grow within this core idea with a larger picture in mind and the style evolves to have its own strong characteristics which will give the space its identity.
As Buckminister Fuller once said: “When I’m working on a problem, I never think about beauty. But when I’ve finished, if the solution is not beautiful, I know it’s wrong.” We feel that this process is very important as it lends each space, each person, and each building its own distinct character, its peculiarities, its culture and style thereby telling the story of the project, evolving and being able to withstand the test of time.
Ar. Shweta Kaw Studio Meraki
Alongside, it would be very apt to mention my tryst with the concept of genius loci by acclaimed educator and architect Norberg Schulz during my research and my subsequent lifelong love affair with it. In Roman mythology, Genius loci was the protective spirit of a place. In contemporary usage, it usually refers to a location’s distinctive atmosphere, or the spirit of the place. The concept has been discussed in modern architecture, but still is much underestimated. It states that ‘a house needs to be protective; a church needs to be solemn’. This has been the guiding wave in my approach and philosophy wherein I try to establish the same spirit/soul in the spaces that I create or recreate.
According to the latest studies in Neuroscience and Psychiatry, there is a tremendous psychological cost attached to buildings and health and well-being of the occupants, who are scientifically proven to be affected by the quality of the inhabited spaces. So more than building a marvel, it is imperative to study the wiring of the human brain, its instincts and responses to spaces to be able to design for the average human and its mindfulness in an already stressed-out society.
Garnering clues from studies on Cognitive Architecture and Biophilic design, we step into the picture and try to usher our way through the project. The word ‘Meraki’ is derived from the Greek word that means doing something with soul, creativity, or love; when you put ‘something of yourself’ into whatever you’re doing.
Ar. Neel Jain Studio Saransh
Creating new forms having relevant associations with client’s spirit and respecting the local context, not to be self-referential within themselves. In markets like India, where material and labour contribute almost evenly to building-economy, the idea is to serve an approach, instead of creating a display of new materials or to serve the craft. To be able to reinterpret it, continually renewing it to be able to personalise and adapt it. These developments in form and techniques are an endeavour to societally empower us to have new possibilities, extend collective wisdom and associations of society and not to create shocks and stirs. It progresses slowly step by step, strongly relying on itself to work with current skills and know-how of workers.
Within our domain of developing space and drawing boundaries for materials to reside, the intent is to integrate and overlap the three systems: spatial, structural and climatic all within the same limits. To be able to work competently to serve architecture with interests of comfort, environment sensitivity, and economy, to achieve balance and, thereby, beauty.
Ar. Sundeep Gwash THE FIRM architecture
Value for money is important. Value of resources is important. Wastefulness in any form today is to be reviewed and discouraged. Good architecture is creativity in using the right resources in the best manner. Quality and low-maintenance are the most essential and on-top-of-the-list ingredients of our style quotient. Great designs fare pathetically if they are high-maintenance and not maintained in the long run. Same goes for good designs on paper that are executed with poor quality. ‘Doing less is more’ is really the most suitable where maintenance is a challenge in the best of projects. Since budgets are always defined for any project, where to spend and how to spend is an important part of the architectural design process. Improvement on quality and specifications is far more important than to add some unnecessary elements that would just add unnecessary cost.
‘Beauty is subject to choice but virtuous design is impartially beautiful’. Going by this belief, we try to be true to the context of design. Windows without any shading devices may look great and work great on a facade in a particular climate, but they would fail miserably in a sunny climate where shading is critical.
We would like each project of ours to be different than the other, so having an architectural style, so to say, one that deprives us of thriving on variety and having a fresh perspective for each project, is no agenda for us. We prefer well-balanced designs. Having too many elements vying for attention is chaotic design for us, wherein a well-balanced design with rightful focal points is pleasing to our design sensibilities. We also love to use colour for its charm. In today’s times, most of our private clients are very well-read on design trends, thanks to pinterest, instagram etc; they know what they are looking for in terms of aesthetic expression of their personal style. If they let us surprise them with some new and fresh design ideas, we consider ourselves fortunate!
Ar. Tripath The Design Studio
I feel architecture has always distinguished itself from other art forms because it plays a functional as well as an aesthetic role, offering shelter, of course, but also shaping our daily experiences. I believe that ‘simple is always sophisticated and the greatest adornment of art’. Be it attire, personality or building, one can never be bored of simplicity. This is what Modern Architecture emphasizes.
I find that ‘less is more’ and very relatable as this refers to the minimalistic approach to a building, with no excessive ornamentation or excessive use of elements, and the design driven by function and aesthetics. Modern design ethics say that minimal, cluster free buildings, help in igniting the feeling of simplicity, peace, and a stress-free environment.
Creating a design that clients will approve is a bit tricky. Factors like material, form of building, style of building, culture, etc. come into play. I believe in catering to human behaviour in such a way that the intention of design is almost invisible to the client because the architecture falls naturally to one’s experience and almost becomes a backdrop. Structure, material, and surroundings play a vital role while designing a building facade. I try to use the most distinctive, and innovative architectural phenomena around to create spaces that manipulate forms and surfaces.
Ar. V. Vishwanath Vishwannath Associates
Every project has a main protagonist who takes the lead in shaping the form for that built space. Our ongoing museum project situated in Bijapur, experiences torrid weather conditions, where dust rises up to a great height. Conscious about the climatic conditions, we have designed an envelope wall around the main building with slits in the wall and roof to create a comfortable habitat and maintain a pronounced identity for the museum.
In IIM Bangalore library revitalization project, user experience was given prime importance by designing a technologically competent library responding to the current needs entwined with the existing library fabric facilitating flexible functions and catalysing interactions.
Ar. Krupa Zubin & Ar. Zubin Zainuddin ZZ Architects
As designers, we understand that design has the inherent power to transform our behaviours and to shape our culture. We make sure that the structures that are built today are well designed assets for the city. Also, space is an essential commodity and is probably ‘always never enough’.
Pushkar Resort, Rajasthan
Contemporary Architecture is something that we really connect with, inspirations can be from all relevant times, styles and periods, but our approach has always been to be true and relevant to the current scenario. Technology and efficiencies of building construction are always being pushed in all the projects that we build.
It is necessary to be conscious of energy-efficient design during the initial ideation of a project, including lighting, facade systems and fenestrations. It is key for projects to harness as much of natural light as possible and the correct rating of the glass specified. The typology of the system is key to make the project work as desired. One needs to rationalize choice driven by the absolute essential and also be open to the ever-changing complexities in projects both as a functional aspect and an aesthetic one.
Pushkar Resort, Rajasthan
Our expertise in the use of materials, attention to detail, and interpretation of contemporary trends translate into spaces that are essentially timeless. Permanence is easily attributed to stone and we love using stone extensively both as an architectural and interior element in all our projects. The range and diversity of the material also is very exciting. This spirit not only guides the firm but enables it to maintain its position in a highly competitive and fast-changing industry.
Exotic Luxury
What is the USP of Mint Homez?
Mint Homez was started in 2016 in Pune. The brand is an extension of Furnitech, the largest manufacturer of upholstered furniture in India. It offers an amalgamation of art, quirkiness and off-beat designs that can be seen in our couches, armchairs, recliners, consoles, and in our furnishing of bedrooms, cafes, entertainment centers, and home theatres. We also undertake space planning using exotic wallpapers and select furniture pieces.
The collection at Mint Homez includes beautifully designed and exclusive furniture and home decor concepts from the most sophisticated items to designer Turkish furniture. What sets us apart is our exotic prints, colors, and textures, along with an eclectic mix of solid wood and metal works. Apart from furniture, the studio has a variety of offbeat items, decorative lights, planters, rugs, wallpapers, etc.
We have executed works in Pune, Mumbai, Goa, Bangalore, and other cities. These include residences, apartments, cafes, hotels, home theatre rooms and office seating.
What makes Turkish designs popular in India?
Turkish designs are an eclectic blend of modern and traditional decor. With their elements of vibrancy and bold colors, Turkish interiors are molded to bring out elegance and harmony and the designs are away from the ordinaries of life.
Home décor can be a tricky task as there are a lot of steps that require imagination, style and balance
Jinal Shah
The luxury Turkish collection by Mint Homez includes couches, dining sets, consoles, mirrors and coffee tables. Made using pinewood frame and the highest quality foam for the seat, the couches use soft velvets for upholstery. Fine detailing with metal inserts, electroplated to high gloss and chrome finishes add a touch of glamour. The cushions are of exotic fabrics, jacquards, suede and fur. The dining tables are made from solid wood with high gloss metallic finishes. Black, rich magenta and mustards, teamed with the neutrals of beige, greys and whites gives a modern classic twist to the pieces. The furniture is produced by skilled craftsmen and conceptualized by talented and well-qualified designers.
What design trends do you envisage for this season?
Adding lots of greens and indoor plants in your living rooms and bedrooms refreshes the mind as they bring the feel of nature indoors. The colour green is known for growth, progress, and nourishment.
Embodying Natural Elements
Spread across four acres and circumventing the Shivalik mountain range, Club Montana Vista in Siliguri is conceptualised as a clubhouse. Amalgamating hospitality and landscape design, the resort is sited in a humid, sub-tropical climate zone in the picturesque mountain ranges. The client brief was to create a Vaastu-compliant building consisting of 25 clubrooms not exceeding 50,000 square feet in area.
Set in the backdrop of the Shivalik ranges, the clubhouse is set amidst a lush green landscape. A gorge in the middle had divided the land into two distinct levels with six metres of altitude difference. A cluster of six distinct building blocks house the various spaces, analogous to the hospitality sector.To maintain the natural terrain of the site and retain an organic pattern in the zoning, the building blocks have been placed in the front, and the landscaped lawns and gardens at the rear.
The first block contains the reception area along with recreational facilities, a multipurpose hall, a board room, spa, a juice bar and a gymnasium, all planned in a two-floor volume of the complex. Adjacent to this is the block which hosts indoor games and the club office. To the back, another block houses children’s indoor games.
Central to the concept of biophilia, the design highlights the human connection with nature – reinforcing the studio’s ideology of creating spaces inspired by nature; the brief also laid emphasis on reducing operational energy and minimising construction costs
Vivek Singh Rathore, Design Principal, Salient
A circular block with a concentric spatial layout, and housing a bar lounge has been designed with a poolside pavilion and dining hall. Transitional spaces in-between connect with decks overlooking the scenic landscape. The building block that defines the clubhouse offers all-day-dining, a reception, the back office and a business centre along with ancillary functions on the ground level. Two lifts and a spiral stairway from the rear end lead to the upper levels, which have been delineated with clubrooms and suites.The adjacent block in this sequence encompasses the common kitchen, a banquet hall and a restaurant, connected through a passage to the pavilion, dining, pool, and clubhouse.
The structural components embody the natural elemental forms, shapes and lines of symmetry right from the façade to the interiors. Large rectangular, hemispherical and elliptical windows puncture the facade, crafting an organic and flexible environment, which extends beyond rigid lines. Light and shadow animate the spaces, thereby developing spatial variability. A white colour palette accentuates the design of the structure and the built form.
The lawns and other green spaces have been extended with the objective of bringing in a biophilic design approach. Set amidst natural shades of the trees and shrubs, and natural finishing materials like local stone, concrete and pebbles, the clubhouse reflects an affinity towards the ecology and environment. The sculptural and artistic elements in and around the greenscape imbibe the essence of bio-morphism, reflected by the skilful implementation of bio mimiscry.
Ar. Jabeen L Zacharias - A multi-faceted artist
As Chief Architect of Jabeen Zacharias Architects, she has steered the firm to award winning practices with over 300 projects ranging from 5-star hotels, malls, apartments, offices and luxury residences in India, USA and Middle East. The firm has offices in Cochin, Bangalore, USA and Dubai with two separate wings: The Inside for interior design projects and Studio J for architectural projects. Her clientele includes World Bank, Le Meridien, Taj, KTDC, Samsung, HDFC and ICICI, among others.
Today, Jabeen is a well-recognized face in the architecture community of India both for her practice and her social involvement. She has received many awards and recognitions for her design excellence and leadership. She also serves as a juror in numerous architecture and design award programs and lectures at various institutes in Kerala and is a much sought-after speaker at events and at panel discussions.
She is passionate about teaching, theatre, music, dance and drama; which she says give her a unique insight and creative edge when approaching design in a holistic manner. However, it is interior design that drives her as it allows her to dream and visualize beautiful spaces. She dedicates time both to her practice and to organizations like IIID and is keen to take design to the masses.
Architect by Accident - Interior Designer by Choice
Ar. Jabeen believes that it was Providence that led her to the field of architecture and interior design as she was more interested in studying electronics engineering. Her first job as an architect was with Cyriac Vellappally & Associates, one of Kerala’s oldest and best-known architecture practices. Later, she was appointed as Assistant Architect at the Greater Cochin Development Authority. And the next three years saw her teaching at her alma mater. In a freewheeling interview with MGS on the side lines of IIID’s celebration of Vision2020 Summit at Kochi, Jabeen shares her deep passion for design, education and learning. Excerpts from the discussion also reveal her strong belief in the intrinsic simplicity and honesty in architecture – in creating buildings and homes that bring relaxation and contentment. Design for her is magical and is not meant only for the elite to enjoy, but also for the common people.
I believe that it is important to incorporate design into the cultural context of a region
I started as a junior architect with Cyriac Vellappally &Associates, a firm based in Kottayam – 75 km from Kochi and also my hometown. As a very well-established firm, it was dealing largely with affluent villas. This was my first encounter with the elite class. Architect Cyriac brought in the concept of using concrete and a new approach to the existing design vocabulary of our traditional architecture. And he created beautiful villas, as a result of his initiatives.
In Kerala, as in many parts of India when glass, steel and reinforced steel came into play in the year 1985, architects and developers were very excited to experiment with the new materials as opposed to the traditional use of wood etc. But the architecture of the land that had evolved and had reached a certain level of maturity did not get enough time to digest the changing phase of architecture and to incorporate it as a comprehensive architectural style. It is very important to incorporate design into the cultural context of a region.
Cyriac’s buildings, for example, were a juxtapose of culture and modernity and exuded relevance which were considered very contemporary in those times (1985).
The Leela Kovalam
I set up the IIA Cochin center in a record 90 days
I studied architecture but even then, I had a strong affinity towards interior design. While my husband has the upper hand in architecture, I liked to visualize spaces and move around them. In fact, interior design was my passion. When I met the president of IIA he suggested that I should consider starting a center in Cochin. I set it up in a record 90 days! I was the Honorary Secretary and the best IIA center award was taken by Cochin in the same year.
IIA and IIID are two very strong associations. Today, I am extremely passionate about the Associations, even more than my practice. It’s a paradox that while I love solitude and do not like to be in the public glare, I am a natural people’s person when it comes to forums where I enjoy meeting people, contrary to my basically reserved nature.
Design can nurture life or destroy it completely
I got the opportunity to practice with Cochin Development Authority as an assistant architect. This assignment was in complete contrast with my experience with Cyriac. From affluent villas, I was exposed to housing schemes for the high, mid-low and the economic weaker section. It brought me in close connect with real life and the need for housing of different strata of people. The lower section would have more occupants than a high-income dweller, so their need would be more. The challenge was to give them a decent environment while catering to their living requirements with a good and practical design.
I was exposed to different sects of people and to the real dynamics of design. This insight can only come from practical experience. I realized that design can destroy life or it can really nurture life. And designs is not only meant for the elite, but for the masses too who need good design as a basic solution to their needs.
The Kadavu
A home is an idea that one finds satisfying
I don’t think a good design is possible only within a good budget. A small hut can be a better home than a luxury villa. An unplastered house with the bare necessities (as in a chalet or a resort) attracts you because it appeals to your basic nature. It exposes your inner self and the masks can come off.
Each and every element that we add has a direct say on how the space will be used and how it will be enjoyed. Costing comes into play also. For example, we would like to place the toilet at the back but this would mean having to extend the pipe by 3-4 meters more. This amount when multiplied by 500 units is a huge amount in a project for the economically weak.
So, every extra centimeter entails a cost that must be accounted for. Just by placing a door in a different way, maybe we can accommodate an additional bed or one more table. Coir, for example, can be used for partitions; It will be almost 50 percent cheaper than materials like brick and laterite. It can be used for walls, roofing, flooring, furniture, etc. In fact, we have urged the Government of Kerala to lend support for research into coir composites for construction and to encourage innovation and development of coir products.
Tendulkar Villa
I have enjoyed teaching and nurturing young talent
My husband Lalichan Zacharias and I were classmates and after we got married we had plans to set up an architecture firm together so that we could be competitively at our best. But it didn’t happen that way! He started his own firm, and as I was holding a first rank under the PSC selection as a professor in Architecture at an engineering college, my entire family of bureaucrats were very keen that I take up the gazette post. So, I became a Professor in the department of architecture at the College of Engineering, Trivandrum, where i taught for 3-4 years.
People are not thinking out of the box when it comes to education
I believe that the way architecture and design is being taught in colleges today may not be the ideal way at all. People are not thinking out of the box when it comes to education. We learn history of architecture during our first and second years. We learn and draw from history textbooks, but we go for tours to see the architecture only in our final year, and are surprised by what we see in realty. Why don’t we start with a tour of the land and people in the first years of college for a better and a more realistic understanding of the context before we begin?
As a student of architecture for 5 years, I have not placed a single brick; nor constructed a one-meter high wall. We have labs, we learn carpentry, but are not involved in actual construction of a space or a room. Understanding and actually following the processes involved can come only with practical experience and exposure.
IIID has collaborations with 55 to 60 colleges. It has its own syllabus and we encourage colleges to go for nothing less than3 or 4 years of curriculum as we believe that these many years are necessary for students to get good insights on the subject matter. We also help the colleges with their existing syllabus and suggest changes where necessary. We also impart training to the faculty for interior design teaching and also help in setting up new colleges. So, we do a lot of handholding.
Tendulkar Villa
I am very radical in my thinking
My idea of a curriculum would start with a tour of the land with students sketching, meeting the locals, sharing thoughts and ideas. You cannot go wrong when you translate the intangible into the tangible. We are working under a conventional set-up. Our greatest architects like Le Corbusier, BV Doshi and others who worked at the ground level; they travelled, visited villages, sketched buildings and imbibed the spirit of good design that showed up in their work.
Today, we are in the age of automated learning methods with computers and technology, and are becoming more and more stereotyped – much like making an assembly of designs without really delving into life or having any deep insights into the living experience.
Why complicate design?
Interior designing has different realms - from simple to complex. Today, we have to think of very complex spaces. For example, designing buildings for senior citizens who have become increasingly active now. A small design mistake can lead them to a fall and make them bedridden. So deep research must go into the materials and into the design to make the spaces friendly. For example, every material has a temperature: warm and cold. Materials can be fire retardant, or they may spread fire. High ceilings can make a person feel lost. So in-depth knowledge comes in handy.
We are now trying to influence the government to regulate interior design practices and bring in a professional license for interior designers. A client will also know that they can trust a licensed practitioner, who will know the necessary rules and regulations.
People want to do good when they come together
IIID has 32 chapters across the country. It offers a platform for designers to come together and discuss how and what the practice can do for them and to solve issues and take the profession ahead. Issues can pertain to the low stipend given to interns, and help designers who are not getting enough assignments, and how to spread awareness, clients do not understand the intricacies and complexities involved in interior design and are unwilling to pay the price for it. Such issues are affecting the profession and are of common interest and concern to all. The forum gives them the opportunity to share knowledge and experiences and become more socially connected.
Our greatest architects like Le Corbusier and BV Doshi trained themselves at the ground level; they visited villages, sketched buildings, places and people and imbibed the spirit of the region, which showed up in their work
Society, architecture and design go hand in hand
The outlook of the society towards housing types, be they farmhouses or affordable housing, or sizes of buildings, are trends that are also shaping and influencing architecture and design, and vice versa. Forums give us the opportunity to correct us or to reorient us in different ways and directions, and this when debated across the country in IIID’s 32 chapters and centers, then naturally, a collective policy is formed.
We are in touch with corporations and councils and we help them with their projects also. We get aligned with government authorities and help them with beautification of the city, tree-scaping etc. So, the collective vision is taken forward at a national level. Bodies like IIID bring professionals on one platform to discuss and solve issues and challenges confronting all sectors.
Architects and designers are working towards a common good design. No doubt, architects have more credibility and more visibility so to say, while interior designers are getting prominence only now. The concept of interior design is picking up as the client is no longer satisfied with a shell; he wants to complete it with interior design to get a wholesome experience.
While architecture has led the way by filling people’s basic need for a shelter, interior design has been a little late in coming into play. However, architecture and interior design must happen hand in hand so that they can mature into a comprehensive space and show the way ahead. Though I am an architect, my passion is interior design as it helps me dream and visualize beautiful spaces. However, there is no denying that it was my knowledge of architecture that has added weight to my prowess as an interior designer – a job that requires time and attention for visualizing, conceptualizing, and for detailing.
We want to bring crafts into design
While IIID’s flagship Design Yatra will be an ongoing activity, we are also planning a Design Yagna across all IIID chapters. For instance, our vision for 2020 will be fanned across all the chapters to keep the fire of knowledge perpetually burning. We will have a series of knowledge sharing. During the yagna, 32 speakers from 32 chapters will talk on 30 different topics at our 32 chapters. So, when we document all this, we will get a lot of insights where design stands today and the way ahead.
We want to bring crafts into design where the 3H – Head, Hand and Heart will be involved in the creation
We are also talking to the government to have an Indian institute for craft. We want designers and the craftsmen to learn and work together as their joint creativity will give Indian design an edge over other countries. We also need to empower workers in the unorganized sector and bring design standards up, because 70% of the design is happening through housewives, masons, weavers, etc. We are also collaborating with companies on carpentry, plumbing etc. Craft should be used for the sake of craft. It should be curated and integrated into the design of a space as an integral part of the design conceptualization right from the beginning.
It is unfortunate that we are using the computer even for the creative part.
We need to keep alive the emotions that go into design Designers are now simply playing with their computers to design projects. It is prophesized that by 2050 design will come to an end because computers will take over. This is because the world is becoming a very commercial place. In fact, there is an inner designer in every person and software is making it possible even for the layperson to design a space that suits her/him.
Robots, AI and technology is going into every field of work but there is some hope for designing as it involves creativity. But with software hastening the process, how much creativity will we be able to bring into our spaces? Creativity happens only if we have the time and the inclination to come up with fresh ideas and visualize with our inner eye. I believe in being personally involved in very project that comes my way, so I don’t take on too many at the same time. But most firms cannot survive if they do not have many projects; so, they compromise.
It is a good thing that most colleges do not allow students to use the computer for the first two years. When they use hand and head on paper, a lot of coordinated and passionate slow thinking happens. Designers are great storytellers. not robots, and we need to keep alive the emotions that go into a design
Mascot Hotel
Globally, a lot of necessity driven design is happening
The global population is nearing 8 billion now and we have to look at standardization and mass designing over individual touches of creativity – but with an angle. Solutions to reduce water and energy consumption, usage of the fast depleting natural resources, etc are being pursued This is the general approach being taken by most countries who are also doing a lot of research to come up with alternatives.
Standardizing design using brick, glass and concrete is an easy way to design without taking the land of the context into consideration. I believe that architects can influence clients to look at good design and not just the completion timeline or the budget of a project.
Developers should know that a property is built for generations and the impact it has on the city. So, they must make a very conscientious decision, as must the architect. After all, creativity must be given its due! I believe that a little bit of ego is necessary for every architect and designer!
Mascot Hotel
Buildings should merge into the environs
Precast buildings have a huge scope for design as the design elements are ready to use and may be used again and again. Each and every inch every joint will have to be designed carefully. The responsibility behind the design is multifold, so the designer and the architect must put their heart into their work. Rather than creating buildings that stand out due to their design, I believe buildings should merge into the surrounding buildings or the environs. We should design within the context of the region to carry forward the legacy of the place and not design to simply impress. I believe that it’s good to belong rather than choosing to stand out for the sake of being ‘different’. A policy to sustain and maintain the region’s identity is also needed.
Keep design simple
As regards individual creativity, there are two trends: extreme egoistic expressions like a bubble of happiness that is all superficial. At the other side there is an aware group of people trying to come up with new responsible concepts such as the trend of minimalism, green design, sustainability, affordability etc, all of which are holistically practiced.
Oceana Appartment
Thus, we are seeing good, conscious designing based on real life values and situations happening on one side, and designing to meet the needs of the planet on the other. I believe that one must always look at the truth, and balance the actual need of a family with the assets they have, so that we get honest spaces to live in with joy and contentment, which are two big words that can sustain life and transcend us into a plane where we find the meaning behind – “Satyam Sivam Sundaram”
Pool House: 42MM Architecture creates an environment for well-being
The design inspiration of the pool house by 42MM Architecture lies in creating meaningful environments that enhance the feeling of well-being
The unique and quirky pool house breaks many conventional architectural ideas with a bold design and an unusual execution. Conceived as a standalone structure, it complements the existing house, without replicating it. It accommodates a consolidated entertainment zone with a home theater, lounge, pool, changing room, a gym, and two suites with dressers and toilets.
Its design blends seamlessly with the site it sits on, and sports a refreshing look. The architects have visualized a ‘pebble in the grass’ structure, with the form developed out of a concrete shell, contextually complementing the 20-year-old exposed concrete old house, with its avant-garde design. So here stands a pool house with a bold sculptural identity with a minimalist approach. Asserting its presence with a singular, bold and robust frame, this house sits impressively within its surroundings with softened edges and a slight tilt. The pool house is overlooking the green, it’s perched on, so cantilevering the block was not a challenge. Imagine the unit to be like a sliced section of a pipe, it’s so strong in itself due to pre-stress that, minor stresses and strains are inconsequential.
The design is influenced by a seamless integration of spatial organization with the structure, finishing and lighting. Sustainability plays a major role with passive and active solar design, enabling us to create clean, energy efficient and ‘low burden’ environments.
Ar. Priyanka Khanna & Ar. Rudraksh Charan
Space Craftt Architects build a cottage atop a steep slope
Space Craftt Architects build a cottage atop a steep slope with panoramic views of the valley and mountains
Fact File
Project Name: Hill House
Client: Yallappa A. Patil
Site Area: 10000 sq.ft
Built Up Area: 3500 Sq Ft.
Location: Fort Panhala, Dist, Kolhapur
Architect: Space Craftt Architects
Project Team: Ar. Umaesh Raje, Ar. Sachin Pande
Interior Designer: Space Craftt Architects
Landscape Designers: Space Craftt Architects
Structural Consultant: Sunil Desai
MEP Consultant: Space Craftt Architects
HVAC Consultant: Space Craftt Architects
Civil Contractor: Shriram Builders
Photo Credits: Sanjay Chougule
Material Palette
Paints: Asian Paints
Sanitaryware: Hindware, Parryware
Windows: Custom Made GI Powdercoated
Flooring: Johnson
Lighting: Hybec
Bath Fittings: Jaquar
Kitchen: Grass
Furniture: Custom Made
Furnishings: Custom made
Natural materials: Teak Wood, Kotah Stone, Black Basale Stone
This week-end cottage on the foothills of the historical Panhala Fort is 22 km from Kolhapur City. Built on a 1000 sqm plot, there are two approach roads leading to the cottage located on a steep, sloping area with an almost 12m level difference between the top approach road and the main road below, which was very challenging. So, it was proposed to have an approach from the upper level internal road and build a hall for private parties below the main structure, with stepped lawn and garden, and a separate car porch.
Because of the steepness, it was decided that a man-made level would be constructed at the uppermost level of the internal road. 450mm thick Plum Concrete Wall was proposed for retaining the voluminous earth filling, and rubble stones were used for filling the concrete wall. The raised structure gives a view of the Fort and the surrounding Sahyadri ranges from the living and bedrooms.
Building materials were chosen keeping in mind the location and less maintenance. The external walls are clad with black stone tiles and rough cut Kudapah stone inserts, running horizontally and creating an interesting combination of textures, which complement the local Basalt Rock Mountain. Terracota brick cladding at the entrance side walls are complemented by the red earthen terrain.
The Roofscapes are in organic vaulted shape at various heights, and the roofing is done in MS fabricated sections and grey black bitumen shingles.
The overall structure merges very well with the landscape and complements the colours, textures and ruggedness of the surrounding with a panoramic view of the Sahyadri mountains
Ar. Umaesh Raje