In Delhi, the city’s past and present weave into each other. Built upon a conglomerate of memories that manifest themselves through arts, crafts and architecture, the city is a thriving groundwith a lineage of habitation that stretches to the 6th century BCE. Within this context, the Kiran Nadar Museum of Art (KNMA) unveiled an architectural model of its new building on 18th May 2023.
It is set to become one of the largest cultural centres in India when it opens in New Delhi in 2026. The model is currently the centrepiece of an exhibit by the museum.
First established by the eminent art collector Kiran Nadar, KNMA exhibits over 10,000 modern and contemporary works that draw from the rich heritage of the Indian subcontinent. Designed by renowned Ghanaian-British Architect Sir David Adjaye in collaboration with S. Ghosh and Associates, the new KNMA building is a testament to the persistence of the arts that continue to be relevant and tie the past with the present even as the world is well within the age of technology.
“At the heart of KNMA is the notion of preserving the cultural past and nurturing a young generation of creative practitioners and thinkers, while bridging the gap between the art and the public,” says Kiran Nadar, founder and chairperson of KNMA.
Where art, architecture and life intersect
These ideas resonate in the architecture of the new building, which frames contemporary consciousness within the regional history of the museum’s site. The building combines rectangular forms of modern architecture with intricately carved balconies that allude to the Mughal architectural styles of the city, creating a structure that interacts with the space it is situated in.
“KNMA emboldens the rise of contemporary Indian art, releasing a new cultural offering for the people of India as well as for the global arts landscape. Its location in Delhi directly influences the new building’s form, rhythm and landscape,” explains Sir David Adjaye.
The architecture of the new building also directly engages with the museum’s extensive collection, depicting the inseparability of life and art. The relationship is showcased in an exhibition titled Mnemonic, where the model is placed alongside other forms of media including image, text, architecture and the moving image. These include works from the museum’s collection by Tyeb Mehta, Zarina and Nasreen Mohamedi, along with Touch AIR (2023), a film by contemporary filmmaker Amit Dutta.
“With the new architecture in place, we address how the question of memory and history in the post-Partition Indian subcontinent presented the crucial sites for artistic inquiry, unravelling the mechanics and structures of remembrance along the fault lines of time and space,” explains Roobina Karode, Director and Chief Curator, KNMA.
The model will be on view for the public at KNMA Saket from 19th May 2023 to 28th May 2023. The new building will be made on NH8 in New Delhi, near the Indira Gandhi international airport.
The thing about piloting a business is that it is not all so complex as you might think. Laborious, though, it is. Before all the fancies of the human world such as passion, drive, excitement, ROI (of course) come to play, what’s undeniably crucial is the intent behind setting up a business. Thus, intent is the heart and the other factors are the brains.
For over 45 years, an equilibrium between these two (heart and brains) has been kindling an unprecedented narrative of business at Jaipur Rugs. Since 1978, the brand founded by Nand Kishore Chaudhary has been doing more than just selling rugs. It has been fostering a community of weavers from the many uncharted villages, where despite all conditions, the intentions of crafts and arts continue to thrive.
“The vision that my father has is so timeless. He believes that the weaver or the person who is making the business has been commoditised so much that he has no idea why he’s making it — for money or otherwise. The customers are also buying it only as a commodity. Our vision is to be able to change that and make it into an experience for both of them,” says Yogesh Chaudhary, the second-generation director of Jaipur Rugs.
A skilled woman artisan weaving a rug; Photograph courtesy Jaipur Rugs
What’s reassuring at Jaipur Rugs is that the end product is never as much about nailing the expected standard of ‘aesthetic’, as much it’s about giving a shape to artisan’s voice in the form of yarn and loom. The brand’s leap beyond commerce that taps the raw, artistic side of its employees — the weavers — was witnessed when ELLE DECOR India’s editor Mrudul Pathak Kundu visited the Jaipur Central Jail and the village of Manpura Mancheri near the Pink city in Rajasthan.
“Entering and wading through the prison was a reality check of sorts. Jaipur Rugs’ basis of creating Manchaha collection has been about giving the inmates a platform to express their emotions and skills.” A lot of them keenly participate in weaving the rugs, imbuing their thoughts, perceptions, realisations about their life and surroundings on it. “For some the process of weaving has been a way of cleansing from their past into something positive. Most often this brings a change not just within you but also towards society,” states Mrudul.
An artisan weaving the rug at the Jaipur Rugs factory; Photograph courtesy Jaipur Rugs
A day with Shanti Devi and the weaving community
Similarly, in the villages, where the buzz of the progressive city life hardly touches the rural habitats, a new lease of life finds way here, thanks to Jaipur Rugs transforming the untapped knowledge of the natives into an empowerming milestone. At Manpura alone, a cluster of weavers is led by Shanti Devi, who is a promising representation of a skilled artisan turned entrepreneur.
This enlightening exercise of employing artisans and extending them a consistent source of income indicates a convincing balance between sustaining a commerce-led business and expressions of the weaver’s innermost creativity.
Throughout the conversation with Mrudul, each of Shanti Devi’s words sounded like a testament to the pure camaraderie and joy the weavers share with one another, slipping in and out of their house chores seamlessly. “Shanti devi fed us daal baati churma, which she cooked in the morning to be able to spend time with us,” tells Mrudul, for whom a big takeaway was the wavering spirit amongst the ladies of Manpura. “With each Manchaha, you are part of their lives and they to yours,” she sums up.
Shanti Devi heads the cluster of the weavers in Manpura village making carpets for Jaipur Rugs; Photograph courtesy Jaipur Rugs
The process of washing the carpet; Photograph courtesy Jaipur Rugs
“We’ve had so many cases where we encourage the customers to visit the weavers who made their carpet. Once, a family from London travelled to India and met the weavers in-person, loved a carpet and decided to buy it for their daughter. The whole family sat together with the three-generation weavers and the kids on the carpet, shared food and enjoyed their conversations,” recalls Yogesh.
The transition of the carpets from a commodity to collectible is a heartening change the brand is gradually observing. As Yogesh informs, a fraction of the customers are buying Manchaha rugs as pieces of art, rather than as mere furnishing for floors. “For a year or so, we had a couple from Delhi interested in owning a Manchaha rug. But it wasn’t in their budget, so they promised to come back and buy it soon. And every 3 to 6 months they used to visit and finally bought one. They expressed it was a dream to get a Manchaha and how much joy it brought in their family and home.”
He adds, “There are people who are collecting Manchahas. Some people have over 50 rugs, some have bought more than 20-30 rugs. They are collecting it as art pieces, while some are going to museums as well. So I feel that the percentage may be a little small but it’s happening.”
Photograph courtesy Jaipur Rugs
Pavitra Rajaram x Jaipur Rugs
Founder and Creative Director of her eponymous firm Pavitra Rajaram in cahorts with Jaipur Rugs presented a brand new collection dubbed Manjun on the grounds of Salone del Mobile Milano 2023. The carpets in essence and in visuals so Indian, were accorded a contemporary lens at the European design week, proving how pertinent the impact of the exchange between the country’s heritage artistry and global consumer base can have at once.
Pavitra Rajaram with Yogesh Chaudhary; Photograph courtesy Jaipur Rugs
Jaipur Rugs at Salone del Mobile Milano 2023; Photograph courtesy Jaipur Rugs
Designed internationally but made in India, Sunday Design has brought a fresh and stylish change to the industry.Sunday Design in a conversation with ELLE DECOR India reveals how their products compete with the ever changing needs of the industry and how they constantly strive to provide better living to their customers.
Photographs courtesy Sunday Design
How did it all start? What is the brand’s visual identity/style that sets it apart?
It all started when our founder, Gautam Baid, who is a veteran in the interiors’ industry, discovered there was a growing need for contemporary furniture at attainable price points. All the products are designed internationally to make modern, design-conscious pieces for customers and proudly made in India. Thoroughly in sync with the well-travelled customer, pieces can be purchased online or in person. The look is fresh, stylish, yet speaks the language of leisure, that is literally incorporated into the brand name, Sunday Design. The brand has a feel-at-home experience centre in Delhi and is soon opening in Mumbai and Bangalore as well
Photographs courtesy Sunday Design
How has your perspective on design evolved or changed over the years? Especially how luxury is perceived in the current scenario.
The luxury market, initially aimed toward and for the consumption of only the privileged, has undergone an incredible shift over the years, driving positive change in a holistic fashion, and is increasingly oriented toward norms and values. There is significantly more conscious consumer behaviour than earlier, although the superb craftsmanship, quality and standards that have been adhered to by the industry remain the same, despite the widespread conscious attitude of making luxurious items accessible. Moreover, at Sunday Design, we have strived hard in ensuring that our flagship store provides an experiential store walk-through which helps customers visualise spaces in their homes.
Photographs courtesy Sunday Design
How does the brand constantly strive to reinvent and remain at the top of the decor game?
We are constantly collaborating with multiple new international designers globally, ensuring that our collections are contemporary and unique in design, yet very Indian in how our pieces feel, with regard to our country’s overall aesthetic. With a fresh, modern, and international take on design, yet suited to our indigenous climes, along with our game-changing delivery model aforementioned, is what is, and what will keep us at the forefront of the industry. We launched an e-commerce website last year alongside a brand-new home décor collection for our customers.
Photographs courtesy Sunday Design
What are the current trends in the design space?
Minimalism, which adheres to the principle of ‘less is more’ , and focuses on the practicality and functionality of furniture. This design approach features smooth surfaces, flat and clean lines mainly emphasising on the essential nature of the piece. In contrast, warm earthy colours like ochre and rust are becoming increasingly popular in interior design, creating a cozy and inviting atmosphere while complementing natural materials. Sustainability and eco-friendliness have become crucial considerations in furniture design, with designers opting for recycled or upcycled materials and selecting furnishings that are sustainably sourced and manufactured to reduce environmental impact. Keeping in mind all this, we at Sunday offer Eco-leather upholstery options.
Photographs courtesy Sunday Design
How do you perceive the foreseeable future for the brand?
We keep our pieces very relevant, yet designed with a global perspective to provide long lasting comfort and ergonomics at attainable price points. As style and decor preferences evolve, the quality that we provide in our products, experiences, and delivery-model ensure long term relationships with the customers. Moreover, whether it’s our stunning terrazzo side table or our completely varied ranges, such as the Fifties Collection range, or our Nelson Collection, which beautifully captures minimalistic Danish aesthetic. At Sunday, there is something to suit everyone’s sensibilities. We strive to make every day better for living.
Dialogues by Nirmals, a home furnishing space that has motifs for every individual in the most visually appealing manner. Director of the brand— Sachin Chauhan in a tête-à-tête with ELLE DECOR India takes us through this homegrown brand, fabric trends of the industry and more.
Sachin Chauhan, Director of Dialogue by Nirmals; Photographs courtesy Dialogues by Nirmals
Please take us through the inception of Dialogues by Nirmals. What motivated you to start a homegrown brand?
For almost four decades, we have been well-known in the home furnishings space with our brand Nirmals Furnishings. Dialogues by Nirmals was created to address the unique and peculiar needs and sensibilities of our elite clients – both individuals and professionals in the luxury interior space – for whom the highest quality, the finest aesthetics and an individualistic style are not merely a privilege, but a way of life.
Photographs courtesy Dialogues by Nirmals
How do fabrics dictate the tone of an interior space?
Fabrics are like the skin of an interior space as they dictate its beauty and aesthetics by adding colours, patterns, textures and a tactile feeling. Two similar spaces with different fabric treatments have two totally different stories to tell. They could both be exceptionally beautiful, but never the same!
Photographs courtesy Dialogues by Nirmals
How do you initiate an exchange of ideas between the customer and your products?
At Dialogues, we let our products and our customers interact and react with each other with our team as the catalyst. We believe in serving the exact requirements of our customers rather than overwhelming them with tonnes of options, which we do have, and do present them if asked for! This preserves their creative energies and helps them in having a meaningful and fruitful selection.
Photographs courtesy Dialogues by Nirmals
According to you, what are some of the fabric trends for interior design that will make a mark this year?
All kinds of textures, especially boucle fabrics and woven fabrics with natural yarns like linen are going to be a big trend this year, followed by that we believe rich velvet jacquards are going to be a hit as they exude warmth and luxury, and are perfect for heavy drapes as well as upholstery. A lot less polyester and a lot more viscose and natural yarns are going to trend for sure.
Photographs courtesy Dialogues by Nirmals
Photographs courtesy Dialogues by Nirmals
What are the right questions that a homeowner should ask when looking for fabrics?
The right questions while selecting fabrics could be— The composition of the fabric, if you are a mindful buyer ensure that you get fabrics which have a lot of natural content or recycled content in them as compared to polyester or any such synthetic yarns. Look for the Martindale or the rubs that the fabric can withstand whenever you are selecting fabrics for upholstery, any fabric above 15,000 rubs is suited for domestic upholstery. When selecting drapes, ask for the fabric weight, ideally go for fabrics below 350-400 gsm as they fall much better, but that’s not the only guideline, if you like a heavier fabric for the drapes, ask your consultant, there are some heavy fabrics which are simply magical when used as drapes as they look wondrous and fall beautifully too.
Last, but not the least, ask about the usage directions for each fabric you select. No matter how much you like it, there might be a scenario that it can’t work at all for your requirement, in such cases an experienced consultant can suggest a good solution for using the very same fabric or offer you an alternative that suits your usage.
Greenlam industries, one of the leading laminate manufacturers in India takes pride in beautifying every piece of their work with innovative technologies and creative solutions. Parul Mittal, Director of Greenlam Industries has propelled the brand to grow exponentially in India as well as globally. Parul Mittal in conversation with ELLE DECOR India discloses their sustainable approach towards manufacturing and how she constantly stays on top of her game.
Parul Mittal, Director of Greenlam Industries; Photograph courtesy Greenlam Industries
Greenlam Industries has been the pioneer in introducing laminate innovations in India. Can you tell us what goes behind the first step in the manufacturing process to the final product?
For us, innovation is not just about introducing different products and variants, but also about creating a culture that fosters growth and development. To achieve this, our first and foremost priority when introducing or improving existing processes is an honest and committed focus on customer benefit. We strive to provide products that meet the end-user’s needs, ensuring that the products satisfy the required functionality and performance.
At Greenlam Industries, every step or move in the manufacturing process is carefully planned and executed to ensure that our products meet one or all the above goals. We take great care to ensure that our products are eco-friendly and do not harm the environment in any way. Our commitment to delivering sustainable growth and fostering a culture of innovation has helped us become a leader in the industry. We achieve this by prioritising customer benefit, end-use functionality, health and hygiene, environmental sustainability, and delivering greener products. Every step of our manufacturing process reflects this commitment, ensuring that our products are of the highest quality and meet the needs of our customers.
A space embellished with AFX laminates; Photographs courtesy Greenlam Industries
With respect to sustainability, what are your views about natural resources that are nearing depletion? Are there any alternatives or ways to use them responsibly?
As a brand that values sustainability, we believe that conserving natural resources is a critical step towards ensuring a sustainable future for both the industry and the planet. It is no secret that many natural resources, such as water and trees, are rapidly depleting, and we must take action to minimize their usage. We have taken several steps towards achieving this goal. For example, we have switched over to alternative and environment-friendly actions such as using renewable energy sources like solar to generate electricity. Additionally, we have also started using biofuels in place of coal and wood, recycled and agri-based inputs, and have implemented zero discharge manufacturing plants to ensure that we do not place an undue burden on the environment.
One of our primary goals is to source most of our raw materials from closer vicinities, which not only helps us reduce our carbon footprint but also contributes to the reduction of greenhouse gas emissions. We are also committed to using alternative and environment-friendly actions, minimizing our carbon footprint, and sourcing our raw materials responsibly. We must all play our part in ensuring a better future for ourselves and for the planet.
Decowood veneers from Rainbow collection; Photographs courtesy Greenlam Industries
What material innovations have become an integral part of your offerings?
We take pride in offering material innovations that not only cater to a specific purpose but also provide sustainable alternatives to natural products like wood and stone in various applications. Our products have become an integral part of our offerings due to their numerous benefits.
For instance, we have developed sustainable options for façade applications that can replace traditional materials like wood and stone. Our solutions are not only environmentally friendly but also cost-effective, providing our customers with an affordable and sustainable choice.
Furthermore, we have replaced metals with compact laminates in several industries like shipbuilding, rail coaches, and passenger vehicles. This has significantly reduced structural costs and maintenance requirements, making our laminates a preferred choice for these applications.
We are also proud to be the first in the organized sector to offer sustainable solutions in the form of Engineered Doors & Frames and Engineered Flooring, complementing interior utility products. Our sustainable solutions are designed to provide customers with a wide range of choices that are both functional and environmentally friendly. Our material innovations have become an integral part of our offerings, providing customers with high-quality products that are environmentally friendly and cost-effective.
Oak Fossil from Mikasa Arte Collection by Greenlam Industries; Photographs courtesy Greenlam Industries
How does the brand constantly strive to reinvent and remain at the top of the game?
Greenlam Industries constantly strives to remain at the top of the game by adopting various strategies. One of them is having a dedicated team that works on different aspects such as product innovation, responsible sourcing, and environmental, social, and governance (ESG) and greenhouse gas (GHG) inventorisation and improvements. The team sets objectives and actions that are reviewed for progress over the previous year.
Another strategy that Greenlam Industries employs is increasing product usage awareness and imparting a feeling of pride to consumers in using their products. The company believes in delivering high-quality and sustainable products that not only benefit the customers but also the environment. By constantly reinventing and improving their offerings, we aim to remain at the forefront of the industry and lead the way towards a more sustainable future.
Tell us about your most cherished product from the brand’s repertoire.
As a responsible brand committed to sustainable growth, all the products in our portfolio are cherished by us. We take great pride in offering a wide range of innovative and sustainable products, including decorative, laminates, compacts, interior and exterior clads, restroom cubicles and locker solutions, decorative veneers, engineered wooden flooring, engineered doors and frames, and more. Each of our products is designed to meet the highest quality and performance standards while also ensuring a positive impact on the environment. We continuously strive to improve our offerings and introduce new and innovative products to meet the evolving needs of our customers.
What started as a marble business in 2001 became a luxury lifestyle company and the driving force behind it— Gaurav Agarwal, Co-founder of Stonex, India. With high-quality marble products and a philosophy of constant innovation; Stonex has used technology to its greatest advantage. It is the only marble processing facility in the country to utilise the state-of-the-art SRS (Stone Reinforcement System) technology. In a conversation with ELLE DECOR India, the Co-founder opens up on his perspective about the industry, his brand’s identity and a new experience centre in Delhi.
Gaurav Agarwal, Co-founder of Stonex India; Photographs courtesy Stonex
What is the brand’s visual identity/style that sets it apart?
Our brand identity that is defined by three key factors— minimalism, rarity, and timelessness. Minimalism is a design philosophy that advocates for simplicity and functionality. Stonex’s brand identity reflects this philosophy, as products are characterised by clean lines sheer simplicity. The use of minimalism in Stonex’s brand identity helps to communicate a sense of clarity and efficiency, which is particularly important in the manufacturing industry where precision and attention to detail are critical.
Another key factor that defines Stonex’s brand identity is a rarity. We offer exquisite stones sourced from around the world. Rarity creates a sense of exclusivity, particularly to discerning customers who value luxury and quality. Our stones are refined to be enduring, and the use of high-quality materials and technology ensures that they will last for many years to come. The timelessness creates a sense of permanence and stability, in the sphere of design that is constantly changing and evolving.
Administrative and Industrial Complex of Stonex; Photographs courtesy Stonex
How has your perspective on design evolved or changed over the years? Especially how luxury is perceived in the current scenario.
Luxury design has come a long way since its inception, especially when it comes to homes. What was once considered luxurious decades ago may not hold the same appeal for today’s customers. As time has passed, the concept of luxury design has evolved, and customers now have a more refined taste when it comes to their homes. Customers today are no longer content with just a superficial display of luxury. They are meaning seekers and want to understand the authenticity of their purchases. They are interested in understanding the story behind the products they buy, and whether they align with their personal values. This is why authenticity has become a cornerstone of luxury design in recent years.
Luxury design has evolved to become more than just a display of wealth; it’s about creating spaces that reflect a customer’s unique identity and values. Another significant change in luxury design has been the emphasis on creativity. Customers now have access to a wide range of design inspiration and are more willing to experiment with their home décor. They are no longer content with cookie-cutter designs and instead seek to personalise their homes. This has resulted in a surge of unique and creative design ideas that have redefined the concept of luxury design.
Moreover, design appreciation has also evolved to the finer taste. Customers today are more discerning when it comes to design and are willing to invest in pieces that are not only aesthetically pleasing but also have exceptional craftsmanship. They appreciate design elements that may not be immediately obvious to others but reflect the designer’s attention to detail. Luxury design has become more nuanced and sophisticated, catering to customers with a discerning eye for quality.
Black box gallery; Photographs courtesy Stonex
What are the current marble trends for every lifestyle? What sorts of marble are available, and how may they be used for decoration?
Marble has been a symbol of luxury and elegance for centuries. From the magnificent Taj Mahal in India to the iconic Parthenon in Greece, marble has been used to create some of the most breathtaking structures in history. But with the advent of new technology and design trends, the use of marble has evolved into new forms and styles. One trend that has emerged in recent years is the popularity of white marble. White marble has always been synonymous with luxury and sophistication. It has been used in architecture and design for centuries, from the ancient Greeks to the Renaissance masters. Its timeless beauty and elegance have made it a popular choice for everything from sculptures and monuments to kitchen countertops and bathroom tiles.
Today, white marble is experiencing a resurgence in popularity, with designers and architects incorporating it into their projects in new and innovative ways. This trend is not just limited to traditional homes and buildings, but also in modern and minimalist designs. White marble’s natural beauty is unparalleled. With its unique veining and patterns, no two slabs of marble are exactly alike. This makes it a truly unique and one-of-a-kind material, which adds value to any project it’s used in.
Administrative and Industrial complex of Stonex; Photographs courtesy Stonex
What will the new experience centre in Delhi entail? What was the inspiration behind it?
We are all set to create a new benchmark with the launch of its new experience centre in Delhi. The experience centre is designed to challenge the imagination of visitors with its innovative design and use of raw materials, and it promises to transport visitors to a different world. Stonex has always been committed to sourcing materials that are unique, rare and beautiful, and the experience centre is no exception. The designers have created a space that celebrates the beauty of stone, and showcases the many possibilities that it offers in terms of design.
From the moment visitors enter the experience centre, they will be transported to a different world. Each aspect of the design has strong sensory cues, creating a multi-sensory experience that engages visitors on many levels. The use of texture, color, and lighting creates an atmosphere that is both immersive and enchanting. The experience centre is a testament to Stonex’s commitment to innovation and creativity.
It redefines the possibilities of stone, showcasing its versatility and beauty in new and exciting ways. Visitors to the experience centre will leave with a newfound appreciation for the possibilities of stone in design and architecture, and the impact it can have on the spaces we inhabit. Our new experience centre in Delhi will be an exciting new addition to the stone industry, and a must-visit for anyone interested in design and architecture.
Administrative and Industrial Complex for Stonex; Photographs courtesy Stonex
With respect to sustainability, what are your views about natural resources that are nearing depletion? Are there any alternatives or ways to use them responsibly?
One of the most remarkable characteristics of marble is its abundance worldwide. Marble is found in various countries around the world, including Italy, Greece, Turkey, Spain, India, and Brazil, among others. At Stonex, we understand the importance of natural resources, and we take great care to ensure that we use them responsibly.
Our commitment to sustainability is reflected in our operations, where we prioritise renewable energy, water conservation, and eco-friendly practices. More than 50% of our energy needs are met through renewable sources such as solar and wind power. This not only reduces our carbon footprint but also helps us save on energy costs in the long run. We also recycle more than 95% of the water we use in our factory, minimising our impact on local water sources and reducing the amount of wastewater we release into the environment. In addition, our factory is designed to maximise the use of natural light, reducing our dependence on artificial lighting and lowering our energy consumption. We also promote tree plantation drives and other initiatives that help us give back to the environment and reduce our overall impact on natural resources.
At Stonex, we believe that our commitment to sustainability is not just about doing the right thing; it is also a business imperative. By utilizing natural resources responsibly and minimizing waste and pollution, we can create a more sustainable and resilient business that can thrive for years to come.
Titled Geoffrey Bawa: It is Essential to be There, this exhibit is the first retrospective of Bawa’s works internationally since 2004. Exploring relationships between ideas, drawings, buildings and places, this exhibit explores the different ways in which images were used in Bawa’s practices and showcases over 120 documents from the Bawa archives, including a section on unbuilt work and his own photographs from his travels.
De Saram House; Photographs courtesy Geoffrey Bawa Trust
De Saram House; Photographs courtesy Geoffrey Bawa Trust
Curated by Chief Curator of the Geoffrey Bawa Trust and the show Ms. Shayari de Silva, the exhibition divided in four sections takes you through Bawa’s distinct practice as an architect that began with the purchase of an abandoned rubber and cinnamon estate that he transformed into the garden that is now called Lunaganga, in 1948. From this very project, his practice is marked by architecture that seeks to understand the notion of place. The architect quotes, “The site gives the most powerful push to a design along with the brief. Without seeing the site I cannot work. It is essential to be there. After two hours on the site, I have a mental picture of what will be there and how the site will change and the picture does not change.”
Ena de Silva house; Photographs courtesy Geoffrey Bawa Trust
Ena de Silva house; Photographs courtesy Geoffrey Bawa Trust
As you traverse the exhibition, one thing that is sure to blow your minds are the drawings by Geoffrey Bawa. Look closely at the precision and you’ll be convinced they are not just drafts of buildings but a work of art, masterpieces all of them! Bawa, who is heralded as the father of Sri Lankan architecture, is also credited with crafting a new vernacular style of architecture that was suited to the hot, humid climate of most Asian countries. The exhibition also marks the 75th Anniversary of Indo-Lanka Diplomatic Relations, commemorating the Cultural Exchange Programme between India and Sri Lanka.
Number 11; Photographs courtesy Geoffrey Bawa Trust
Although Bawa’s work has been exhibited at multiple venues in Sri Lanka, The United Kingdom, North America, Australia, India, Brazil, Singapore, and Germany, this is the first exhibition to focus on the archive, and the first retrospective exhibition of his work to be shown internationally since 2004.
The Geoffrey Bawa Trust received generous financial support from the Initiating partner Kohler India, together with Airline Partner / National Carrier of Sri Lanka, SriLankan Airlines and Logistics Partner, CF Global for the India-edition of Geoffrey Bawa: It Is Essential to be There.
From the inception of his own practice to advocating the importance of places and sites, the Bawa archives hold a small collection of letters, photographs, and personal artefacts that shed light on how the legendary architect worked and lived. Visit the exhibition to witness poetry in motion as it teaches you several lessons in cultural sensitivity!
A design that stands the test of time is synonymous with quality. The ability of providing longevity while maintaining their own identity over the years is an essential hallmark of the products created by Andreu World. The company works to create innovative products in collaboration with the best designers, to provide inspiration to all architects and interior designers around the world. With their commitment to create a positive impact on the planet, the company is a world leader in the manufacturing of bespoke furniture, made with passion for a healthy, sustainable lifestyle.
In conversation with ELLE DECOR India, Andreu World’s Design manager Sergio Chismol, discusses the need for people centric design in an ever changing work environment and how the company has adapted to the need for clean energy and sustainable living. Read on to find out more about Andreu Worlds’ design language, material exploration, sustainable ventures and latest offerings.
How have workplaces transformed post pandemic? What is the role of designers in delineating the future of workplaces?
It is true that the world has suffered big changes over the last few years. Work spaces are different now and people can work out of any place they like, not just their offices. So now, spaces need to become more flexible and boundaries for the use of specific areas need to disappear. Hence we create hybrid spaces, which means that the space needs to be moulded around the individual rather than the other way round. We believe that work spaces like the office should be more integrated to promote collaboration, to be comfortable and to inspire healthy thinking. They also need to be made with a democratic approach, keeping open hierarchy and transparency as the design principles but at the same time, capable of managing privacy and providing people with individual space.
We believe that designers are key for the conceptualisation of new spaces; placing people at the heart of their designs and creating intelligent and healthy spaces to promote interaction and the creativity of new ideas.
While collaborating with other practices or designers, what are some values that are necessary to ensure a successful association?
The key is discussion. It is not only a discussion about design but also about life, about society and about people. The conversation needs to be congruent and both sides need to have similar objectives to proceed. Our designers need to be passionate about design, about the product, about the materials. The mutual commitment is something important to engage with the designers. As the saying goes, adversity breeds innovation and only with a new challenge can we create something that does not still exist. Trust and the right ethical values are extremely important for us to create a long lasting and very good relation with designers.
The In Out Office collection by Alfredo Haberli; Photograph courtesy Andreu World
What characteristics do you hope the latest collection of Andreu World will add to a space?
Here at Andreu World, we have one primary concern—the promotion of the complete individual well being achieved by basing our designs on individual and collective needs. The shape of our products define a space and we need to create elegant pieces of furniture that not only prove to be a visual stimulus but are also comfortable to help maintain personal well-being and productivity. In addition, functionality and versatility of design is what we strive for. We are living in an uncertain era where products should serve more than one function. The new products will hope to promote connectivity, to adapt to individual needs and to create a pragmatic working environment.
Sergio Chismol, Design Manager at Andreu World; Photograph courtesy Andreu World
What are your thoughts on the correlation between modularity and colours? And how do these play a crucial role in your latest designs?
We think that modularity is an intelligent way of creating versatile solutions and combining different models. We can create new combinations, to enhance the power of design and broaden the possibilities of our design. So it is true that modularity is an advantage, and it is a very intelligent solution to many design problems.
Colour is important because it is a statement. Every colour has its own connotation, so it’s good because if we play with the colours, we can transmit a message, we can connect with the user and it is a very powerful tool for engagement.
Giro Soft modular sofa system by Alfredo Haberli; Photograph courtesy Andreu World
Dado sofa by Alfredo Haberli; Photograph courtesy Andreu World
With respect to sustainability, what are your views about natural resources that are nearly depleting? Are there any alternative ways where we can use them responsibly?
I believe that natural resources and sustainability is something of a major concern for us, not only now, but since the advent of the company. This is why we use wood. Wood is the most sustainable material you can find in nature because it comes from nature and will go back to it at the end of the lifetime of the product. So it is compostable, it is very reliable and in our case, the wood is 100% certified by the FSC.
Circular economy is a very important aspect of our plan for conservation of material. We have been taking steps to repair and to restore our products. When the fabric is damaged because of wear and tear, we restore it to prevent over consumption. We have also developed a new range of innovative and sustainable materials—a new thermo-polymer that is 100% recycled from industrial waste.
Andreu World supports other green initiatives as well like the use of clean energy in all of our factories. A zero waste policy, which means the continual management of waste generated in our production. All the plastic and aluminium is recycled and the leftovers of fabrics and leather is donated to schools and is used by other companies to create smaller pieces of art or furniture.
We can announce that we are the first company in the sector that has 100% of its collections with the C2C seal Certified ®. We have succeeded in making the theories that William McDonough and Michael Braungart developed in “Cradle to Cradle: Remaking the Way We Make Things”, one of the most important books to understand philosophy and the practice of environmentalism within industrial production. They wrote it twenty years ago and it became an Ecodesign mantra that we take very seriously. In order to put it into practice, we have needed the collaboration of more than 100 suppliers, to achieve that all the materials and finishes of our products are free of restricted substances (BLS). There are a total of 6,830 audited and certified references.
Tisva, a premium decorative and architectural lighting brand from the house of Usha International, has a philosophy of possessing beauty behind every single piece designed. Combining this philosophy with cutting edge technology, Tisva showcases inspirational lighting allowing consumers to indulge in their emotions and get creative with their choices. It recently opened its doors to a brand-new store in Laxmi Industrial Estate, Andheri West, Mumbai. In conversation with ELLE DECOR India, Vikas Gandhi, President and Business Head of Lighting (Tisva), Premium Fans, and Water Solutions Business, Usha International, talks about all things lighting, consumer mindsets and future expansions.
Tisva’s Glicina is a handcrafted crystal chandelier with a delicate curves that adds to the light’s luxe quotient. Made using high quality handcrafted Bohemia crystal with a gloss-like finish, this luminaire combines the best of aesthetics and luxury. To further enhance the interior design language, the Glicina also has a sleek wall light, which can be used to adorn the walls of the room where the chandelier is, adding to the luxuriousness of the space
1. Please share with us your inspiration while coming up with Tisva. How would you define its growth since 2014 to the present day?
Inspired by the concept of Tvisa (light) and Tattva (essence), Tisva was launched as the premium range of lighting products by Usha. True to its name, Tisva goes beyond ordinary lighting concepts to offer aesthetic luminaires designed with love to illuminate contemporary homes. We initially started as a premium home decorative lighting brand, but over a period of time we have evolved into an end-to-end lighting solutions brand. Today, Tisva is a one-stop shop for all things lighting – from architectural to decorative and from minimalistic to opulent.
We have grown manifold since 2014 and have serviced over 10,000 households with complete lighting solutions across India. We currently have a large number of products in the pipeline, probably more than any other brand in the industry. From architectural to general and decorative lighting, Tisva has something to offer every Indian home. We attribute our growth in equal parts to quality and aesthetics of our offerings as well as the immense support and acceptance we have received from the industry and our customers, all of which has enabled us witness a 10X increase in our ticket size in the past five to six years.
Aesthetic luminaires designed with love to illuminate contemporary homes
2. What are your thoughts on the Indian consumer profile’s mindset? What are the popular trends encompassing the premium decorative and architectural lighting segment?
Indian consumers have evolved with time and today are at par with global peers. They follow the latest trends and offerings across international markets and make informed choices. In fact, today’s consumers are embracing their own uniqueness choosing designs that reflect their personalities, whether at home or work. While many prefer styles that are opulent and larger than life, an increasing number of consumers are to moving minimalist modern lighting. Customers in the luxury segment are increasingly preferring ornate lights from Europe i.e. the exquisite and meticulously hand-crafted luminaires in Murano glass, where the design language falls somewhere between minimalist modernism of Scandinavian design and conventional design. Additionally, consumers today are looking for versatile, and technology-driven lighting solutions that are convenient and adjustable to any mood and occasion.
Our customers, in particular, love the simplicity and versatility of dimmability and tunability – the technology we offer, which is easy-to use and comfortable for everyone across generations.
Versatile and technology-driven lighting solutions that are convenient and adjustable to any mood and occasion
3. How is Tisva integrating technology with design to stay ahead of the curve in this competitive market?
We understand that technology is fast evolving and in order to stay ahead of the curve, we absolutely must launch products that are technologically and aesthetically innovative on a regular basis. We embrace the philosophy ‘beauty behind every piece’ and our focus is on combining cutting-edge technology with impeccable designs. We pride ourselves in bringing numerous world-class, industry-first lighting technologies to India, some of which include liquid lighting with micro-fluid technology, human-centric lighting as well as ultra-low glare ratio technology.
Our latest products are made of Mitsubishi acrylic with microfluidic technology, which transmits more than 90% of the light through the surface, and its malleability allows for innovative and aesthetic designs. Our latest collection features designs that are inspired by gliding birds, and by the hat.
At Tisva, we believe that it is imperative that technology and design go hand in hand. Further, with features such as dimmability and tunability, we give our consumers ease of use with technology that is accessible. This allows them to control the dimmability so they can change colors as the sun moves from morning to evening from warm yellow, to cool white natural light and then again warm yellow as the day ends. This helps them maintain a healthy circadian rhythm and lowers the strain on the eyes as well.
We have recently also launched a range of anti-glare products, where the output of light is not compromised, but through innovative optics, the glare can be reduced – and our products have reduced this by almost 50% with a glare ratio of less than 10. Our new launches under Tisva’s signature series are products that reflect the latest innovations in the lighting industry.
Vikas Gandhi, President and Business Head – Lighting (Tisva), Premium Fans, and Water Solutions Business, Usha International
4. Ms Gauri Khan inaugurated the new Tisva brand store in Andheri West, Mumbai. Tell us about the brand’s association with her. What were her thoughts about the new Tisva lights?
Mrs Gauri Khan has been associated with Tisva since 2016. She has also been instrumental in the curation of some of Tisva’s exclusive limited edition lighting collections.
Unveiling the new Tisva lights, Mrs Gauri Khan said, “Tisva’s collections are a peek into the future of architectural and decorative lighting – the lights are magnificent and offer a range that’s a true lighting connoisseur’s dream. Each of these designer lights are as aesthetically pleasing as they are functional, their dimmability and tunability allowing for an instant mood makeover. The latest collection of lights by Tisva introduce further technological advancement – anti-glare human-centric lighting, and liquid lighting.”
Mrs Gauri Khan at the inauguration of the new Tisva store
5. Any plans for further expansion? What’s next in store for you?
Our vision for the coming years is to continue expanding and enhancing the experiences of our customers. We also aim to further strengthen our longstanding relationships with architects, interior designers, and lighting consultants who have valued our offerings over the years. With the industry evolving from 2D to 3D, we are also working on AR and VR technology to offer and support both our customers as well as the stakeholders who work with us.
At present, we have 14 stores with experiential zones that offer a 360-degree experience to our customers. We have a strong presence across the key markets in India and will expand wherever we see the potential.
In the North, we have stores in Chandigarh, Ludhiana, Jalandhar, Dehradun, and Delhi. In the West and South, we are present in Mumbai, Ahmedabad, Baroda, Bengaluru, and Hyderabad. We will soon make a debut in the East with a store in Kolkata.
We also have some shop-in-shops which are present in the majority of tier-two cities and have a strong channel partner network.
Inspired by gliding birds, the 9-headed Fugl’s curved edges, and its carefully leveled lighting provides just the perfect ambience and illumination. Made using the new-age high tech Mitshubishi Acrylic, that showcases liquid lighting at its best with the entire surface emitting soft light along the edges, the Fugl creates a slow-motion impression of gliding birds, spelling ultra-luxe
The Late Dr Balkrishna Vithaldas Doshi 26 August 1927 – 24 January 2023
He was a man who personified a strong stand towards design. A man who resonated with the Indian identity rather than the design motifs that had intrigued the British back in his younger days as he shaped the architecture of modern India.
The Pritzker laureate ascended one more stepping stone on 15 June 2022 as he was awarded UK’s highest honour for architecture, the 2022 RIBA Royal Gold Medal, by Britain’s Queen Elizabeth II. But, in the realm of modernism and development where high rise buildings or glass facades are markers of urban success, the architectural works of Dr. B.V Doshi have always been grounded in context, exhibiting a localised approach.
Realigning contemporary design to the needs of India, Doshi’s proactive stance towards the discourse of Indian architecture poses a question—where does this approach stand in between a world obsessed with touching skies?
Doshi overseeing the construction of Mill Owners’ Association Building in 1954; Photographs by Studio Sangath
Commencing his architectural journey with education at Sir J. J. School of Architecture in Mumbai, Doshi proceeded to London in 1950 and worked with Le Corbusier—the pioneer of modern architecture. It was the Post-independence era, when an aspiration for modern India marked a wave to acquire influential and international architecture. With a newfangled aesthetic of greys and whites and concrete houses, the Bauhaus movement stepped foot in the country.
B.V Doshi working with Le Corbusier at Shodhan house site; Photographs by Studio Sangath
Returning back to the country and working in Le Corbusier’ atelier for the city of Chandigarh, Doshi adopted his formal vocabulary and attempted to incorporate it into his early works. With a focus on India’s past, spatial experiences and their significance for the built environment, his projects resonated with the Indian identity rather than the design motifs that had intrigued the British.
Doshi with Jawaharlal Nehru for a project in Ahmedabad; Photographs by Studio Sangath
Today, with sustainability being the talk of town, every other architect or designer is set out with an aim to incorporate it into their projects. Trading the international for local, B.V Doshi commenced this notion long back. Developing an approach that oscillates between industrialism and primitivism, modern architecture and traditional form, his practice is based on ideas of sustainability with an endeavour to root in social, ethical and religious beliefs.
Though there’s no denying that the soaring steel-glass towers leaves us wide-eyed at the first glance, the structures reflecting culture and local materials unfailingly render a sense of warmth and devotion. This fondness to the rich material palette and the cultural galore is what made Doshi’ building stand out for me. Even though he valued modernist architecture, the adaptation to an Indian way of life marked his approach. Will his triumphs embark India towards a more definite concept of sustainability? This is an answer I leave on time, though I do hope it enhances the appetite of upcoming practitioners to follow their heart, take risks and set the trajectory for next generations.
“Follow your heart and do what you think is appropriate for the welfare of the society and profession.” Balkrishna Doshi
Scroll down to see a few more important glimpses of Dr. B.V Doshi’s life:
Doshi with his wife Kamala in Ahmedabad in 1955; Photographs by Studio Sangath
Doshi with Louis Kahn for National Institute of Design in Ahmedabad; Photographs by Studio Sangath
B.V Doshi and M.F. Hussain; Photographs by Studio Sangath
Doshi meets Buckminster Fuller at Ahmedabad’s Calico Mills Office; Photographs by Studio Sangath
