Why did Jotun Paints choose the Brutalist backdrop of Le Corbusier’s Atma House in Ahmedabad to present their CANVAS collection? Walking up the iconic ramp and witnessing the subtle shades stand out against the austere walls, their bold intention is clear as day. The Norwegian brand unveils a 23-colour palette inspired by the global shift towards tranquillity in the aftermath of pandemic-fuelled standstill. In ELLE DECOR India’s tete-e-tete with Rana Khadra, Regional Colour and Communications Manager of the Middle East, India and Africa, she maps the journey of the collection.
“In order to trend forecast, whether fashion, design and in turn colour, they all apply the same rule and it’s to watch human behaviour and to understand human beings and the way they live,” states Rana, before continuing, “Currently, if you notice, you will be seeing a lot more vibrant colours, a lot more happy colours and a lot more colours together. And I think it has a lot to do with the fact that we went through a pandemic. We went from muted, monochromatic, to bright, vibrant, expressionist, pattern-on-pattern, fun stuff. People wanted to let loose, release and express a lot more.”
How does this translate into their curation of the serene shades? Rana breaks down the process, “We don’t just adopt trends as they are, because we are after all a paint company. So what works for fashion or what works for furniture, doesn’t necessarily apply to a wall. You have to imagine a home where the walls are the largest surface area in any space. You can have vibrant colours, but not all colours are vibrant. So you have colours that are more calming, for example, in the bedroom if you want to sleep.”
Behind the creativity, is an intense scientific exploration, touching on subjects from psychology to colour theory to chemistry. Mr Ashish Nimbark Sales & Marketing Director – Decorative, Jotun said, “Colours play a pivotal role in shaping the ambiance and mood of one’s personal space. At Jotun, we understand this significance and strive to offer a palette of hues that resonate with individual preferences and nuances. Through our extensive research and development, we aim to not only influence but also enhance the choices individuals make in colour selection, enabling them to create environments that truly reflect their unique personalities and lifestyles.”
Taking cues from the country’s culture, the set design by Oslo creative studio Kråkvik & D’Orazio fuses Scandinavian minimalism with elements from the Indian subcontinent: their Indi Pink finding its echo in a garland procured by Rana on her morning bazaar visit and the Pistachio shade matching a fresh Tender coconut.
But what does the idea of luxury mean to the Lebanese creative? “Luxury is comfort,” she answers in an instant. And how does she conceptualise colours for a dwelling? “In general, I consider light entering a space. I always think of a human being living in that space.” What a Corbusian thought! At the heart of the European brand are their “Penguin values” – loyalty, care, respect and boldness. Outside, as the sun sets, the once avant-garde brises-soleil, glow from the inside with Jotun’s vivacious colours, contrasted against the purity of the primary shades and the sombre béton brut.
It is through the power of great design and engineering that a furniture brand spells distinct styles and provides unique retail experiences. There are only a few players that stand out in this arena and Hettich, a German lifestyle brand is undoubtedly one of them. It swiftly rose to become a leader in Indian furniture fittings and hardware solutions with the advent of 13 flagship stores strategically termed as application centres.
The opening of their new flagship store in Mumbai marks the era of new-age innovation and practicality in interior design. This next-level application centre marks the debut of the new look and format of their Hettich Application Centres in India. Designed with a keen eye on the latest trends, it serves a dynamic immersive experience showcasing Hettich’s diverse product range, live cooking demos for consumers to witness the functionality of the built-in appliances, trend-setting furniture designs and fitting products recognized for their optimal functionality.
The launch event, attended by Hettich’s team in the presence of Dr. Andreas Hettich, Chairman of the Hettich Group Advisory Board andAndre Eckholt, Managing Director of Hettich India, Middle East, Africa & SAARC, provided us with an exclusive opportunity to interview them and learn some secrets behind Hettich’s success, its futuristic vision and of course the new store experience.
Could you provide us your insights into what Hettich stands for in terms of its beliefs and design ethos?
Hettich isn’t just a company, it’s a family legacy. For 136 years, across generations, its foundation has remained steadfast, originating from the visionary ambition of my great-grandfather. And today, it is focused on ensuring that this legacy continues for generations to come. The dream is simple yet profound: to build a business that will ideally last forever.
Our interior solutions play a very crucial role in enhancing people’s lives and workspaces. By constantly evolving and adapting to market demands, we strive to make everyday living more efficient and sustainable. One of our core strengths lies in maximising space utilisation. This means that a modest 50 sq mt apartment can feel as spacious and functional as an 80 sq ft one, saving the customer money and resources. While providing a unique brand experience is important, collaboration is key to our success. We work closely with the design and architecture community to address real-world needs. Through these fruitful collaborations, we take pride in maintaining high engineering standards in the development of all in-house products.
As Hettich unveils its next-level Application Centre in Mumbai, what emerging trends do you observe in the Indian market? How do you cater to them?
One big trend in India is re-urbanisation. With more and more people flocking to major cities like Mumbai, Delhi, Hyderabad and Meghalaya, space scarcity becomes a pressing concern. Concurrently, the post-COVID digitalisation wave has catalysed a transition towards remote work and lifestyle adjustments.
A discernible trend emerged as people increasingly started gravitating towards rural areas, where spatial constraints pose less of a hindrance. Looking at this multifaceted phenomenon, we recognise the diverse needs that emerge from different regions and demographics. What’s particularly interesting about India is that there is not just one trend dominating the scene. It’s a big country and there are varied design preferences among people residing in bustling cities and serene countryside. Our design solutions are tailored to resonate with them.
What sets the Mumbai store apart from the rest of the stores across the country?
At Hettich, we often refer to our robust network of stores as application centres, which are strategically located in all major cities across the country. But I wouldn’t label the Mumbai store as an application centre, rather it is more of an experience centre, designed to immerse visitors in innovative interior solutions.
Beyond showcasing products, it has ample space intentionally designed for events and gatherings. From live cooking demonstrations, interactive workshops, or lively celebrations with our clients, business partners, architects and interior designers, each visit is an opportunity to forge meaningful connections. The space is characterised by sleek red lines adorning the floor that guide visitors through its dynamic layout. This unique blend of functionality and hospitality sets the Mumbai store apart.
Over the years, how have consumer preferences in India changed? And how has Hettich navigated through these changes in the market?
India’s growth trajectory is undeniable, it is fueled by the growing middle class and strong GDP growth. This economic upswing has led to a shift in consumer behaviour, with an increased willingness and ability to invest in quality products and living standards. Reflecting on the past two decades, the transformation is extreme. What was once a landscape of chaos and limited infrastructure has now rapidly evolved into a modern, organised nation.
In parallel, industries like furniture and kitchens have undergone a revolution too. I would say 95% of the unorganised sector was dominated by small-scale artisans who followed subpar installation practices. Hettich has played a role in this journey, not only by providing wondrous furniture solutions but also in the skill development of over 50,000 carpenters over the years. Our efforts and commitment to driving positive change highlight our dedication to supporting India’s journey towards prosperity and progress.
And the last question is, what’s your vision and where do you see Hettich in the next five years? Globally and in India.
Beginning with a global perspective, we find ourselves fortunate to operate in an industry experiencing natural growth in terms of people having more household incomes and demand for quality solutions. In regions like Europe, where income levels are stagnant, Hettich’s growth relies on innovation. Here we continually introduce new functionality, enhance designs and improve economics to drive the company’s growth.
By prioritising innovation, we maintain our competitive edge and expand our market presence effectively. Fortunately, 90% of the world’s population is outside Europe and that is good for us. We can capitalise on both natural growth and innovation to ensure consistent expansion for not just 5 years but over the next 20 years, targeting double-digit growth annually. Our focus increasingly shifts towards emerging markets, and India is at the top of this list. We aim to strengthen our position by doubling or tripling our turnover while investing in initiatives that contribute to India’s development. In essence, we have aligned with India’s Make in India concept.
Hettich deeply understands and addresses global trends and continually introduces novel ideas in furniture lights, cargo wire products, drawer systems, door hardware, shelving solutions and a lot more. The brand has already made a valuable contribution to every furniture environment and will continue working on intelligent multifunctional solutions for the most futuristic consumer experiences.
The roads of Blocher Partners India lead back to Ahmedabad, the headquarter city of the firm that engages in everything from architecture and interior design to communication design. Hartmut Wurster is the principal architect at Blocher Partners India.
He believes that the diverse range of contemporary architectural wonders seen across the city are the most suited canvas for creating inspiring designs that commemorate and enhance the unique native identity of India. By incorporating Indian influences in his designs, Wurster continues to contribute to the rich architectural legacy of the city, and India significantly.
ELLE Decor India delved into a conversation with architect Hartmut Wurster on sustainability, new architecture trends and how he brings India and its native narratives in his designs. Excerpts below…
How do you perceive modern architecture in philosophy and function?
Modern architecture frequently tries to adopt innovative styles and in this process often overlooks the significance of integrating nature into the space, which is a fundamental aspect essential for human well-being. Moreover, there is an urgent need for designers to reassess their approach, ensuring that their projects prioritise nature and blend them into their respective designs. Modern designs must align with the environment, fostering human-centric spaces that prioritise the health, comfort and happiness of individuals.
Which architectural trends have recently made you curious or caught your attention to explore it further? And how do you weigh the use of AI in the field of design and architecture?
While biophilia and sustainability are important concepts, my interest gravitates more towards user-centricity in design, which extends beyond basic functionality and visual appeal. This approach is a great way to understand how people interact with their surroundings and how design can contribute to their overall well-being.
I feel Artificial Intelligence is bringing a shift in our field. AI proves to be incredibly beneficial, notably in enabling the creation of thoughtful designs. It provides designers with additional time and flexibility, allowing for more considered and deliberate design processes.
What are some recent challenges in architecture and design that you have come across?
In my perspective, one of the primary challenges we face today in architecture is designing multifunctional spaces, as it is focused on adapting to the changing ways individuals utilise the environments. There is a constant increase in demand for spaces that can adapt to various uses without sacrificing aesthetic value, comfort or functionality.
Another significant challenge is embedding sustainability into the core of multifunctional designs, ensuring that these spaces are versatile and are decreasing impact on the environment because this involves choosing sustainable materials, integrating green technologies and designing energy-efficient spaces.
There is also an emphasis on cultural preservation within the country. Future developments are expected to intertwine India’s rich heritage with contemporary designs, fostering spaces that reflect local traditions and histories while catering to the needs of the present. This balance between preservation and innovation will elevate the uniqueness of Indian architecture and strengthen societal connections to our built environments.
In the next five years, how do you see design and architectural trends in India unfold?
In the coming years, we stand at the threshold of a renaissance where sustainability becomes the cornerstone in every sector, particularly in architecture. This paradigm shift is driven by an imperative to protect nature and employ minimal resources, ensuring developments leave the smallest carbon footprint possible. Overall, sustainability in architecture and spatial design is about considering the long-term impacts of buildings and spaces on the environment, society and the economy.
At Blocher, we perceive sustainability in architecture and spatial design as an essential, integrated approach that encompasses not just the environmental aspect but also the economic and social dimensions. It’s about creating spaces that are energy-efficient, environmentally friendly and harmonious with their surroundings, while also being economically viable and beneficial to the communities they serve. It also means designing buildings and spaces that are adaptable and resilient to changing climates and conditions. But beyond the physical structures, in our assessment, sustainable architecture aims to enhance the quality of life for its inhabitants and the wider community.
Whereas in spatial design, sustainability translates into creating spaces that are flexible, designed to meet the needs of diverse users over time. This involves considering the lifecycle of buildings and interiors, choosing durable materials and designing for future adaptability. It also means designing with a sense of place in mind, respecting and integrating local cultures, traditions and landscapes and ensuring that developments contribute positively to their communities.
Which cities in India and across the world are you currently operating out of and what kind of projects are in the pipeline?
We are actively involved in pragmatic projects that include residential villas to 400 ft high residential towers in the heart of GIFT City. Along with this, we also have Institutional projects which are nearing completion. From Delhi to Coimbatore and Bhuj to Kolkata there are projects of diverse typology that are in progress.
“What would you be, if not a designer?” “Lost,” replies Tom Dixon in a poignant indication of the relentless mind of a maverick thinker. He is the founder and creative director of his eponymous brand, but is a man of few words, choosing instead to speak volumes in between lines and through his work.
Starting his career as a performer and by way of accidental discovery landing in the business of crafting, the laurelled innovator with numerous international EDIDA wins in his bag, never received a traditional education in design. And, perhaps it is this unconventionality from which arises an oeuvre that is polyfocal and multifaceted in its identity and refuses to conform.
Some know him as the household name behind the ‘S’ chair he imagined for Cappellini, others as the force behind the reconception of the Habitat brand. But at his core, Tom is an individual invigorated by the idea of invention. “Being a designer means you never have to get bored – always a new challenge to confront a new idea to be created, a new territory to be explored,” he explains. As evidenced by the trajectory of his career, boredom would be a far cry. However, along with this quest to escape monotony, there is an erratic streak of rebellion and a rejection of fitting into a single box.
Where there is passion, there is always a strong sentiment of wrangling the limits of possibility. In the early 80s, you would find him playing bass guitar or working at a nightclub. Come the 90s, the experimentation on salvaged scraps gave way to formal furniture design. In 2002, he established his brand that thrives today in over 90 countries but at its heart is still rooted in London, a city where he spent most of his youth. However, it is a common misconception that the designer is of British descent. Tom clarifies, “I am actually French.” He started Design Research Studio, an interior and architectural design practice in 2007, adding projects including the Restaurant at The Royal Academy in London and The Manzoni in Milan to his already exceptional portfolio. Marking a monumental step, the brand relocated its headquarters, Coal Office, to London’s King’s Cross in 2018.
Last December, the prolific creative graced EDIDA India, engaging in a fascinating conversation with his friend, the chairman of the Fashion Design Council of India, Sunil Sethi. It was here that he remarked upon his connection to the country which has been instrumental in shaping his work over the years. He explains, “India has been fundamental in developing my own label. It’s been some of the best surprises in the trenches I’ve had.” Tom has been actively involved in initiatives to preserve ancient craftsmanship being rapidly lost to time. From this reverence sprang the Beat light, a hand-spun brass reverie crafted by Rajasthani artisans, its form echoing the traditional cooking pots and vessels used to carry water. The interior of the lamp is painstakingly hammer-beaten to refract light, carrying an intrinsic memory of the human hand that shaped the object. But if these lamps could talk, what would they say about their avant-garde creator?
While we can only imagine the answer to this question, a better look into his personality comes through what he is currently reading, The Electric Kool-Aid Acid Test by Tom Wolfe. “Art is not eternal” writes the author while the protagonist, Ken Kesey, spends the majority of the pages convincing his peers to join his new religion. But much like the designer himself, there is always more than what meets the eye. The book captures the zeitgeist of the ‘60s counterculture, questioning authority, proposing alternate lifestyles and challenging established norms of society. It circles the pursuit of transcendence and the theme of “intersubjectivity,” a condition beyond an individual’s ego. It makes you question if for Tom, the act of designing, in its purest form, is any different, simultaneously singular in conception and collective in existence.
Throughout his work, sustainability has been a running thread, almost an exercise in resisting vacuous impermanence as a dogma. “Longevity is the most important characteristic in the furnishing world,” declares Tom, “Innovation is the most important attitude to have.” However, it would be amiss not to contemplate the meaning of the two words and speculate if it could veer into a conversation on legacy. What does Tom Dixon stand for, what are the principles that govern his work? “I really don’t have any principles — each project or job has its own dynamic,” says the Promethean innovator, humbly evading the poetry behind his profound praxis.
In a deliberate repudiation of tabula rasa, Architecture BRIO instead chooses to occupy a half-century-old garment mill in Worli, overlaying their distinct imaginations onto the memories of Mumbai’s industrial past. Led by principal architects and founders Robert Verrijt and Shefali Balwani along with associate partner Rohit Mankar, the contemporary practice retrofitted the 4,000 sq ft slice of time to suit their needs, inhabiting a delightful concoction of the old and new.
BRIO moulds the rigid framework of the factory into a visually and physically connected workplace, knocking down all but essential walls and creating an open plan split into two storeys. “My sanctuary is the upstairs studio,” claims Robert. With the workstations thoughtfully zoned on the first floor, the place allows you to immerse deep into work.
“During our few weeks every other month with the Bombay team, engaging in discussions amidst the desks while they’re in the throes of detailing or developing designs is invigorating. The bustling atmosphere and high volume upstairs stand in stark contrast to the more intimate scale of the spaces on the lower level.”
Housing the conference rooms and a pantry, the ground floor becomes an enabler of conversation. Puncturing the slabs to create a seamless vertical circulation, not only do the architects bring in essential light and ventilation but also make their mark on the history of the structure.
Connecting the two floors is what Rohit describes as the “amphitheatre-like staircase”. He explains further, “This dynamic element is not just a connection to the upper-level studio but also a highly flexible space serving as an amphitheatre during presentations, a quiet reading zone next to our double height library as well as an informal lunch space encouraging interactions at multiple levels.”
Speaking about her favourite corners, Shefali notes, “Our workspace courtyard is adorned with chairs crafted from fishtail palm and stainless steel. These gems, created in the Workshop Bentota by Rico Taravella and Tilak Seethawaka, echo the design legacy of Bawa’s projects. A fusion of natural allure and industrial chic.” Evocative of Robert and her time in Sri Lanka, the Frangipani tree and the Ena de Silva tapestry, imbue an air of nostalgia and the sillage of faraway shores.
The natural and unfinished surfaces invite a patina of age to provide a backdrop for activity, interspersed with greenery and pops of colour offering moments of curiosity and reflection. For the designers, their workplace is a ground of uninhibited experimentation, a place to question established views and challenge perceptions. Strewn with scribbles, scale models, drawings and books, the space does not just stand sentry but becomes a vital character in the story, revelling in the ebbs and flows of order and the charming chaos, characteristic of life in a studio.
Your workplace is called your second home for a reason. This is a space where you spend the better part of the day not just working but also spending time interacting with colleagues and fostering creative collaborations. And who better to share their insights on the philosophy behind conjuring an inviting yet functional workplace than Awdhesh Verma, AVP – Commercial, South Asia, Southeast Asia, Middle East and Africa of MillerKnoll. The furniture behemoth has been setting the trends in office furniture for over a century and continues to evolve with time yet never losing focus on the human aspect of design at the core of their work.
What psychological factors does your team consider when crafting furniture for workspaces to enhance user experience and productivity?
Our approach goes beyond crafting furniture to focus on space planning. There are three key factors we take into consideration here: connection, change and well-being. Our workspace products are specifically designed for easy movement and daily or hourly modification so that employees can take control of their environment amidst change. Planning for inclusivity, neurodiversity, connection to nature and ergonomics in the workspace through furniture and space planning has a positive psychological impact on the employees.
How do the design and choice of materials for furniture vary between workspaces and homes and what impact does this have on overall work efficiency?
Design and materials can uplift the entire mood of a workspace, heightening productivity and making the space more inviting. While designing furniture for residential spaces, our compass is always to create a sense of comfort, the same consideration as an office but with a different approach where the nature of the team and the type of work becomes an influential factor. Muuto, one of the brands in our collective, takes these considerations to a new level by focusing on neuroaesthetics and how the sensory, perceptual and motor systems engage with the central nervous system.
A workspace has to be human-centric, supporting the natural flow of moving from entering the space to having your morning coffee. Your office should have enough spaces where you can do collaborative work and others where you can do head-down work and ease of movement between them.
In what ways does MillerKnoll’s furniture contribute to fostering community relations within workspaces and are there specific features designed to encourage collaboration and connection?
A workplace culture is built when people come together and interact in person and furniture is a vital part of this. At MillerKnoll, our furniture makes interaction and collaboration easy. Let’s take Herman Miller’s OE1 Workspace Collection, for example. It includes tables, dividers, shelving, trolleys and more and it’s all designed for agility. NaughtOne, a British brand that is part of our collective designs furniture specifically to support collaboration, like Hue, a sofa and table set that’s designed to make use of awkward and compact spaces.
How does MillerKnoll address the need for a flexible work environment through its furniture design and what elements are integrated to support adaptability and versatility?
Flexibility is an important consideration for us. Herman Miller’s ergonomic office chairs are designed to adapt to the human body, so different users with different body types can sit in the same chair. One of our new chairs, Zeph, features a kinematic shell seat that moves with bodies of different sizes with no levers needed.
As for me, I’m working from home today and I’m using Herman Miller’s Mirra Chair and a Ratio height-adjustable workstation, which can be raised and lowered depending on who’s using it. My 12-year-old son can comfortably sit in the same chair, at the same desk and do his homework.
Over the past decade, how has the landscape of furniture design evolved in India? Additionally, what anticipated changes do you foresee in the coming years regarding design trends and preferences?
The biggest change we’ve seen is the move away from walls and fixed-height desks to zoned, activity-based spaces, height-adjustable workstations and furniture anyone can use. As well as open layouts that foster collaboration.
We’re seeing an interest in reducing carbon footprint and sustainable practices. Our clients often ask how much recycled content our products contain and how much fuel we’re using to ship our products to India. To cater to our clients who prefer to source responsibly, we established a manufacturing plant in Bidadi in Bengaluru.
Tip-toeing through the web of conscious utopia and dystopia, the world has become a delicate cradle of consequences that look straight in the eye of our actions — good and otherwise. With the reality of climate escalations becoming an everyday occurrence in our forgettable conversations, dialogues and bulletin headlines, what could be the next step to awareness, one that stays and impacts?
Perhaps, art, or indeed. With the environment and perception at its crux, artists Sumir Tagra and Jiten Thukral, also colloquially known as Thukral & Tagra envision Sustaina India, instituting climate awareness and sustainability with Council on Energy, Environment and Water (CEEW).
On view until 15th February at Bikaner House, New Delhi, Sustaina India along with Aditya Srinivas Mopidevi sculpts a critical connection between artworks, artists and everyday materials to realign our relationship with the planet. With “eyes to the ground, heart to the horizon” at its nexus, a cohort of artists, including three Sustaina India fellows Debasmita Ghosh, Manjot Kaur and Rachna Toshniwal celebrate and reignite awareness for the climate through sensorially elevated intel of touch, smell, sound and vision across their works of art. Thukral & Tagra dwell on it all with ELLE DECOR India, excerpts below…
What was the starting point and initial ideas that gave way to Sustaina India’s first edition?
We have been working on climate change and its effects on farming as an ongoing project.For both of us the climate urgencies are at the forefront of many conversations we have been having through our games. CEEW showed interest in our 2030, ten years of climate action and asked us to think of something that can be done as a joint venture. Working with a think tank which has a very strong base of research was just the right kind of partnership. After taking some time to plan our further steps, Sustaina India was born.
How do you aim to weave the idea of climate awareness and sustainability through artworks and installations?
Artistic practices have a compelling narrative. Through their art, they help us to understand both emotionally and physically. With Sustaina India – ears on the ground and heart on the horizon, we attempt to amplify the urges as a response to the environmental changes we face today.
Why do you think now is a critical time for art and artists in India? What are some artworks that you would like to highlight from Sustaina?
Art reflects the time. Throughout history the art is seen as a “litmus test” to society. The impact of rising temperatures on our daily lives is becoming increasingly evident. A notable example is highlighted in Debasmita Ghosh’s research within the Kondh community. As an architect, she explores the shift to cement homes which trap heat and discourage indoor activities. Debasmita’s findings reveal a significant consequence: families struggle to spend quality time together, straining relationships. Her work showcased in the exhibition vividly illustrates this material transformation and its profound effects on community dynamics.
What was the aim behind involving artists with varied disciplines in Sustaina India?
For the inaugural exhibition, we wanted to touch upon diverse practices which included, textile, photography, film, field research, music, community engagement, food and performance. We wanted to highlight certain practices which compels the audiences to think with the idea of recording changes. As our curatorial note says – At the heart of Sustaina India is learning that sustainability is a gradual and decentralised process of adapting to climate change. It cannot be imported and transposed, but needs to be built from the ground up across disciplines and demographics.
What are some notable excerpts you would like to share about the conceptualising and execution of the exhibition?
No plastic is used. The exhibition design is done with Agri bio panels, the food served was from second meals by Le Meridien. The travel for the exhibition was done in Blu cabs (BluSmart EV Cars).
For Arthur Mamou-Mani, studying architecture was perhaps the democratic choice, early on in his life, as voted by his classmates in kindergarten. He vividly remembers, “There was this competition at kindergarten that said, ‘draw the actual building’, and we all went around a circle. All the children, we were three or four years old, voted on the best drawing. And everyone, like every single one, voted for my drawing!”
And cut to the present day, he believes good work and human betterment is always defined by democratic choices. “Because if something is good, it’s usually universally appreciated as good,” he says, with an infectious smile and an affable quality that makes him immensely likeable. And that’s exactly how I locate his practice — at the locus of universal advancement — where art, technology sustainability and education intersect.
An alumni of the Architectural Association School of Architecture, London (AA London), he leads his namesake practice in the very city where he received his education. But the decision to study architecture arrived from a combination of internships and being influenced by parents who were aspirational in their own accord. His father immigrated from Djerba, a Tunisian island, to France.
He taught maths at first, then studied computer science and set up a business that dealt with supply chain of the fashion industry. His mother, an environmentalist, would take him to exhibitions where he redrew what they observed. Combined with extremely high grades in geometry-related sciences, architecture would become the clear choice over time. “I think architecture ultimately was a union of maths and the art world,” he reasons.
It was an internship that led him to finally pursue architecture as his calling. “My friend’s father had an amazing workshop in the heart of Paris, near the river with really high glazed windows and drawings on the walls. It was this idea that, someone can draw what they think, and influence. the physical world, was extremely romantic,” laughs Arthur. During his nascent years of studying, at the École nationale supérieure d’architecture Paris-Malaquais, he realised that architecture or the idea of creation and creativity was perceived as an intrinsic quality, believed to be inherent rather than easily cultivated.
According to him, “The architect was expected to be a visionary creator, with wisdom to conceive every aspect, like a singular creative force bringing forth ideas solely from their own mind.” Like Leonardo Da Vinci? I ask him. “Well at least Da Vinci was experimenting and iterating. But here it was almost like ‘Here is your site, here is your program and do the needful.’ I sought a process that leads to creativity rather than creativity being a given,” he explains.
It was during his diploma at the AA School in London that newer ways of understanding design and problem solving emerged. His first assignment was to document the workings of a game. “I chose baseball as it’s very spatial. I documented a whole inning of baseball, drawing the movements of the players. I remember thinking that’s amazing because architecture is just like that, it’s a series of people that flow through space, a set of relationships.It first comes from the systems you’re dealing with,” he articulates.
His education was furthered by working at numerous studios, and at one of them he was introduced to parametricism. The internship at Zaha Hadid definitely made an impact. Arthur then went on to practise with Jean Nouvel, working on the Philharmonie de Paris before graduating in 2008.
Arthur secured a position at Proctor and Matthews Architects who had won a competition to build a giant biodome in Chester, and simultaneously he was asked to teach Grasshopper at London Metropolitan University on the weekends. “I was teaching a class of 30 students, and I had just started using Grasshopper myself. So I would prepare myself all night on Fridays, to be credible,” he reminisces.
In the current timeline, there isn’t much that is not known about him or his work. From TED Talks to Fab.Pub to a highly active LinkedIn page, his work is immensely approachable and even comprehensible. Next on the radar is the first Fab.Pub retail store with 3D printers and crushers on display which will produce a range of accessible products from homeware to furniture 3D printed using biomaterials. They will be crushed and recycled at the end of their lifecycle. He’s calling it the Mandala range. “In Buddhist and Hindu cultures, there’s this idea of renewal, of circularity. I find it really beautiful when you think of a circular approach to design,” he iterates.
And comes back to the point where we discussed the idea of the single master creator, where everything comes from the top. “Nature doesn’t work this way. It’s circular, iterative, there’s trial and error. With the retail space we want to create this idea that you’re not just a passive buyer, you are a part of the process,” he continues. Thereby, the user also becomes part of the solution. And in the end, that’s probably what design is about, finding solutions!
With every corner depicting a canvas, designing spaces for kids may not be as easy as it seems. The space needs to resonate with the kids, be designed in a child centred way, while also helping them get out of their comfort zone. But the interiors and decor for each kid will vary. Within this context, ELLE DECOR India jumps into a conversation with Garima Agarwal, founder of Peekaboo Interiors,decoding the importance of colour psychology and child-centred designs, in everyday life.
How did Peekaboo come into being?
Peekaboo is my very essence; it mirrors my deep love for aesthetics, my devotion to children, and my belief in infusing value, meaning, and a dash of pop! Rewinding 18 years to 2005, I embarked on the Peekaboo journey. It all began in the cosy corners of my home with just one machine, scarce resources, and a surplus of enthusiasm and ideas. Back then, my focus was on designing enchanting curtains for kids rooms. What started off as a one-product brand, has now grown into one of the leading kid’s brands in the city, with two brick-and-mortar stores, a sprawling workshop, and a nationwide online presence with a loving client base across the country! This journey is purely driven by passion, skill, innovation, quality control, and hard work.
What made you specifically focus on kids spaces?
This endeavour sprang from my sincere longing to turn my children’s environment into a vibrant dream. Identifying a gap in the market, I eagerly embraced the opportunity to be a trailblazer in this niche. With a clear vision of connecting with clients across India, I extended Peekaboo’s presence, presenting my creations nationwide. To my delight, Peekaboo resonated with people, becoming an instant hit.
What is the key element one needs to be careful about while designing a kids space?
Colour is a power that influences the soul and one of the main aspects to designing a child’s room consciously is colour. Using a mindful melody of colours can help create an energy field that will nourish and feed your child’s soul. At Peekaboo Interiors, we work with colours that resonate with the vibrations of the child’s energy to craft intimate and supportive environments.
How does colour psychology influence the design of the space?
Colour has energy. For example Green is the colour for healing . Refreshes any space while bringing in a feeling of nature. Blue is the colour of wisdom, it is also cooling, helps in calming down and hence great for a bedroom. Red is hot and powerful, energising – making it a good option for recreational spaces.
The psychology of colour is rich, complex, layered and has a direct effect on the quality of your life and emotional wellbeing on a subconscious level. When used in the right way, colour can transform into an intelligent & impactful tool that is bound to bring out the best in your child. Colours are powerful psychological triggers that can help jog the brain, evoke emotions or stir the pot of creativity. For example, if a child is shy then the room should be an amalgamation of bright shades of red to stimulate his quiet nature with some calming blues that resonate with his true nature, without which he would not feel comfortable in his own space.
How do you determine the best-suited design and colour palette while designing a room for a particular child?
The design sensibilities have to resonate with the child. Colour selection plays a big role. If the child is hyper usually, calming colours would be a good pick. Choice of Material like wooden or painted, upholstered furniture. Everything is considered based on individuality. For children moving into their own bed from their parents, a cosy cushy bed is pacifying. Besides accessories like wallpaper, furnishings etc defines the child’s preferences. There are so many options available these days. Anything with Motifs is an easy give away for his or her personality.
Design is about evolution. It is also about being rooted. Yet it also about stories. The idea of art and artisanship permeate the boundaries of design, hence, lending a language of unparalleled vigour and vivacity to the canvas of one’s creation. On similar lines treads the collaboration between OBEETEE Carpets and Tissage — a rather joyous yet mystifying collection of carpets dubbed Chroma, inspired by the Chroma tribe, channelling the traditional history, its modern resurgence and curiosity for the vibrance of colours.
In a conversation with ELLE DECOR India, Angelique Dhama, CEO, OBEETEE Carpets-Retail, along with Nikhil Kapoor, Creative Director, Tissage, narrate the tale of Chroma and how it took shape in the world of design…
1. What led to the collaboration between Obeetee Carpets and Tissage?
Angelique: The collaboration between Obeetee Carpets and Tissage was a harmonious union of two distinct design sensibilities. Obeetee, with its rich heritage and craftsmanship, brought a timeless elegance to the table, while Tissage contributed its innovative and contemporary design approach. The intersection of these two design philosophies was the catalyst for the Chroma Collection, where traditional craftsmanship seamlessly merged with modern creativity to create a collection that transcends boundaries.
2. Do you have any favourites from the Chroma Collection?
Nikhil: Each rug in the Chroma Collection holds a unique significance, but the blue rug resonates with me personally. It encapsulates a journey of cleansing and purity, washing away negativity to reveal a vibrant canvas of endless possibilities. The symbolism and the visual narrative of the blue rug exemplify the transformative potential of colour in our lives.
Angelique: Each rug in the Chroma Collection holds a unique significance, but if I were to choose, the red rug resonates with me personally as red to me is a colour of love, prosperity, and happiness. This is exactly what chroma aims at, making people feel different things through different colours.
3. How was this collaboration different from others with, say, a fashion designer or an architect?
Angelique: Unlike collaborations with fashion designers or architects, the Chroma Collection delved into the spiritual and cultural dimensions of colour. It wasn’t merely about aesthetics; it was a harmonious blend of ancient traditions and contemporary design. Working with Tissage Rugs allowed us to explore the intersection of heritage and modernity, creating a collection that tells a rich story of the human experience through the lens of colour.
4. Any specific learnings or moments you’d like to share from this collaboration?
Nikhil: This collaboration offered us a unique opportunity to shift the narrative of color, drawing inspiration from the fictional Chroma concept. The journey from adhering to sober, monochrome tones to embracing the entire spectrum of colors was a significant turning point. It taught us that color is not just a visual element but a storyteller, capable of transforming perceptions and weaving a new cultural narrative. The Chroma Collection became a testament to the power of color in shaping our understanding of space and spirituality.
5. How do you fathom a world without colour?
Angelique: Imagining a world without colour is akin to envisioning a life without emotions and vibrancy. Colour is an integral part of our existence—it represents our emotions, cultures, and the very essence of life. A colourless world would lack the richness and depth that make our human experience truly beautiful.
Nikhil: Imagining a world without colour is akin to envisioning a life without expression and emotion. colour is the language of our surroundings, and a world devoid of it would lack the richness that defines the human experience. It would be a monochromatic existence, devoid of the vibrancy that colours bring to our emotions, cultures, and the very fabric of life itself.
Scroll to see the glimpses of the OBEETEE Carpets X Tissage Chroma collection: