Calling your living spaces a habitat might strike some of us as odd. The truth is, the built environment, from megacities to mansions and down to the smallest bed-sit, all come under the purview of the term. But how do you design an optimal contemporary human habitat? Architect Zafar Masud Chaudhary of Habitat Architects answers, “We aim to design environments that resonate with people’s identities and lifestyles, fostering a deep sense of connection and fulfilment.”
The CEO, founder and principal architect continues, “Habitat Architects stems from our overarching vision of the human habitat, encompassing all aspects of the built environment. It symbolises a sense of belonging and comfort, signifying our commitment to creating spaces where individuals feel genuinely at home.”
If you think the idea of habitation bears a Modernist streak, you would be right. From Le Corbusier to Moshe Safdie, architects from this purist school of thought have relentlessly explored that idea. In India, Chandigarh becomes the perfect case study. Incidentally, it is also where Zafar lived throughout the course of his education.
The designer muses, “My upbringing in Chandigarh set the stage for my journey in architecture and design.” And how can it not? The divisive city is either perceived as a Modernist utopia that stars in many an architect’s dream or as an erratic streak of a designer’s hubris. What escapes most readings of this North-Indian metropolis, and Modernist principles as a whole, is its innate human connection to nature. That is not the case with Zafar. “Chandigarh’s architectural landscape resonated deeply with me and became one of the foundational principles I aligned with,” stresses the designer.
“Le Corbusier’s work helped develop a profound appreciation for the interplay of nature and the built environment,” Zafar states. From Miesian simplicity and structural clarity to Richard Meier’s mastery of geometry, he carries the teachings of his formative years into his work. However, do not mistake him for the old guard. Zafar reinvents these philosophies in his contemporary interpretations. “My design philosophy is characterised by versatility, drawing inspiration from diverse historical schools of thought and contemporary trends to create spaces that are both innovative and responsive to their context,” he adds Praxis undoubtedly differs from theory.
In the early nineties, Zafar joined by his wife Monika and classmate Ranjodh Singh began their design studio. He avers, “We envisioned a firm dedicated to the innovative fusion of Indian and international architectural and design principles. Our vision was to create globally appealing residences by integrating diverse aesthetic concepts, thus transcending traditional boundaries of architecture and design.” Speaking about Monika’s contribution, Zafar elaborates, “Collaborating with Monika, both as my life partner and work partner, has been invaluable.
Her refined eye for colour and design aesthetics, combined with her talent in photography plus her background in design significantly enhance our projects.” He adds, “Her strategic acumen in business growth has been pivotal in driving our company’s success. Together, we form a dynamic team who blend creative vision and business strategy, elevating our work and expanding our reach” While Modernists tackled the conundrums of the industrial age, the pressing issue that drives our times has different contradictions.
“Today, technology can be seen as a catalyst, reshaping approaches to visualisation and creation,” explains the designer. From virtual reality (VR) to augmented reality (AR), these tools empower architects to envision and refine structures in unprecedented ways. These immersive experiences enable real-time modifications and improve decision-making by providing a tangible sense of scale, space and ambience,” notes Zafar. In Delhi’s NCR region, Habitat Architects’ Pharma Research Centre utilises computational design and simulations to mould an optimal form, maximising natural light and ventilation.
“As an architect, I find the creative aspect of my role most enjoyable. Design is where I can fully engage my artistic vision and innovative thinking to craft unique and functional spaces. Conversely, construction administration poses the most significant challenge. This phase demands attention to detail, rigorous coordination of various stakeholders and the adept management of schedules and resources to translate design concepts into tangible realities,” says Zafar, balancing the double act of building and designing.
Between a sense of responsibility for the environment and a reverence for creative expression, Zafar’s oeuvre makes you rethink what makes a Modernist. Derived from the Latin word “modernus” translating to “of present times” and over the decades being synonymous with the famed architectural legacy, perhaps the definition hides in this duality. A forward march towards a new architecture ensues.
The proverb “Necessity is the mother of invention” best describes the culmination of Essentia Home. The newest feather in the cap of Essentia Environments, a design and build company founded in 1999, it aims to prove itself as a one-stop solution built by designers, for designers and design aficionados. The newly unveiled experience centre sprawls over 15,000 sq ft, with over 1,000 items on display. From furniture that appeals to modern aesthetics to soft furnishings, panellings and an imported curation of lights and other essentials — it is a comprehensive yet novel destination helmed by Hridik Chawla. All components made in-house are crafted from locally sourced materials, positioning Essentia Home as a homegrown brand with a global design language.
At the helm of Essentia Environments, Director Hardesh Chawla and Creative Head Monica Chawla trace the steps that led to the birth of Essentia Home. In an illuminating conversation with ELLE DECOR India, hear from the duo about what makes the brand tick and how it all came to life, one creation at a time.
Essentia Home is a culmination of your 25-year journey. Could you tell us more about the pivotal moments or decisions that led you to this point and how they influenced the creation of Essentia Home?
As a design and build company offering exclusive interior solutions, at Essentia Environments, we experienced first-hand the shortcomings in products, both in terms of quality and design sensibility. We also experienced the lack of comprehensiveness of the deliverables, not just from one source, but from all. That’s when we began custom designing and manufacturing every furniture and accessory needed for our projects in-house. This capability completely streamlined the entire process of offering value-oriented interior solutions to our clients.
We were in absolute control of the quality, aesthetics and budget vis-à-vis the furniture, panelings, joinery and accessories that added a distinctive creative edge to our projects. That was the turning point. If we increased the production capacity, we could offer fellow designers, architects and end-users the benefit of great quality and sophisticated design. It would make the task of finding the right kind of products easy for them. We also knew that in a globalised India, our products leaning towards minimalism would find great resonance, just the way our interior solutions have. It is this keen observation that influenced us to launch Essentia Home.
Essentia Home features imported elements like lighting from Melogranoblu and glassware from Ichendorf. What criteria do you use to decide which products to source locally versus internationally?
We are committed to “make in India” and the promotion of local artisans, traditional crafts and techniques – it is evident in the 95 per cent of products by Essentia Home created in-house. However, there are some processes and materials that we do not yet possess. So we are happy to have in our portfolio a select few brands in these areas, whose sensibilities and value propositions align with ours.
Moreover, if you take the example of Melogranoblu, we have been using their lights in our projects for a long time, for this very reason. These are products that we would like to own ourselves. The same is true for Ichendorf. Hopefully, in the future, we will make these products in-house, but until then, we are happy to have them onboard.
How do you see Essentia Home contributing to the promotion and sustainability of local craftsmanship in India?
When we unveiled our products to the media fraternity, designers and end-users, we got a tremendous response. They all thought the collection was phenomenal as they genuinely could not find any difference between our products and those coming from Europe in terms of quality, aesthetics and finishes. Most people even felt that the quality far exceeds that of European offerings. We do agree that some of our products are superior to what you would find abroad.
This means that this pilot study, the initial attempt, has yielded great results. And we have achieved this by employing local artisans and craftsmanship. We have the talent and the techniques readily available, we just need to give it the right direction in order to create products that stand up to global standards. We just have to continue to do the good work to promote local craftsmanship.
What are the measures you’ve taken to ensure environmental responsibility while maintaining luxury standards?
When we talk about sustainability, I’m of the opinion that by using less, you make the biggest impact. This aligns with our design sensibility that celebrates “less is more”. When we design, we introduce as few elements as needed to keep the spaces looking elegant and sophisticated. If we are introducing 30-40 % less products, it’s a step in the right direction.We also lay emphasis on using materials and resources judiciously, cutting down on wastage. Most of the materials we use are locally available, quite a few of them are sustainable too. We take care to filter any production waste before releasing them. Now that the collection is ready, we continue to improve upon our green endeavours.
At Essentia Environments, we strive to maximize the use of generated waste by repurposing it into practical, everyday products. For instance, stone waste from coffee tables and other items is creatively transformed into items like tissue boxes, trays, and coasters. Additionally, we are committed to using materials of Indian origin, with a particular emphasis on Indian stone as a key component in our designs.
How do you envision the brand evolving in the next five years, both in terms of product offerings and geographical presence?
We have always been a value-oriented organisation and one of the key attributes that I see among all our clients is that they are short on time. So, regarding geographical presence, by the end of 2026, we plan to be in all tier 1 and 2 cities, so that people are able to touch, feel and experience the products wherever they are.
Regarding product offerings, we continue to build on the collections. The interior space is a dynamic field, not a static one. You can’t produce something and sit on it for 10 years. So we continue to refresh our collections periodically.We have also tied up with designers from across the world to introduce newer perspectives. So we’re hoping that by the end of 2025, we will have a collection of 2,000 products. We are committed to bringing in an element of freshness and novelty to our clients.
Deborah Fischer’s sources of inspiration can be found aplenty in our surroundings. Discarded waste, bunches of fabric scraps, cracks in a wall — the mixed-medium artist’s creative process involves weaving an extraordinary tale out of the ordinary. Her poignant reinterpretation of these oft-ignored objects raises questions about the environment and society.
What sparked her love for reusing and adapting to create art? Her creative direction first found an echo in the streets of Kochi, Kerala — a call she is now fulfilling at the Villa Swagatham Jodhpur Residency with the Public Arts Trust of India. Learn more about the artist’s unique journey and how India’s streets have shaped and moulded them with ELLE DECOR India.
What has been your association with India?
I was 20 years old when I first travelled to India. Travelling through South India, I fell completely in love with the country. I also visited Kochi in Kerala. While walking around a specific neighbourhood in Kochi, I came across a dilapidated wall, and I experienced a strong emotion that stayed with me for years. It was the first time I truly understood what my practice was about: the aesthetic of erosion, of cracks, of time passing.
Since then, I’ve been completely obsessed with Indian walls. I decided to return a second time a few months later and began taking many photographs of destroyed walls throughout India. This marked the beginning of my deep love for the country, and I would say that my entire art practice originated in India. This is now my fifth visit, as I mentioned earlier. Each time I come back, I spend several months exploring different regions. My connection to India is incredibly strong, and it continues to inspire my work.
And what brings you back? Tell us about what you are developing at this residency in Jodhpur?
I am developing work that I began 12 years ago, which I call The Whisperers. Since Jodhpur is famous for its blue walls, I wanted to create a piece that explores what these walls symbolise for people, how time has affected them and the different histories they hold. My residency is focussed entirely on this research that I began years ago.
Being in Jodhpur now gives me a deeper understanding and allows me to concentrate on these walls and their aesthetic. I’m also collaborating with local craftsmen to achieve this. My aim is to highlight Jodhpur’s history and heritage through its walls, examining what they reveal about the city’s patrimony and cultural significance.
What medium are you working with?
I’m a mixed media artist and my practice is diverse. I work with a lot of different materials and create sculptures using various techniques. I collect small objects from different workshops, like those of woodworkers, stone carvers and bamboo craftsmen. I gather the remnants of their work and use them to create sculptures, aiming to highlight the importance of transmitting this traditional knowledge. I plan to collaborate with different artisans, such as bamboo weavers, charpai weavers and stone carvers. My work is going to be quite diverse, and I want to create a large installation that distils elements from these different practices and materials I’ve collected.
In addition to my sculptural work, I also have a performative practice. I perform in public spaces to interact with people on the street and observe their reactions to the performance. I enjoy engaging in public spaces because it’s a compelling way for me to understand a city’s ecosystem, its cultural fabric and its traditions.
When measuring or gauging a city, what parameters do you consider to understand it? What do you observe to form a connection with a city?
I wander. I enjoy exploring a city to observe its colours, materials, and how people engage with public spaces. My approach is quite global. This is something I worked on a few years ago through weaving. I took a photograph of a city in Japan, specifically Tokyo. From these pictures, I cut and wove them together with textiles and different threads, capturing the city’s colours and textures. To me, each city around the world has its own unique colour, materiality, and even smell.
As a visual artist, I focus on the shapes of objects I find on the street, the colours of the walls, the colour of the fences, and how people interact with their surroundings. This is what inspires me, which is why I love to walk around and sometimes even get lost in a city. It helps me truly understand and encounter a place. It allows me to discover spots that wouldn’t be visible on a map. I like to wander in a city and try to capture its energy.
Three cities across the world that you are particularly fond of?
Tokyo for sure. I lived there for a few months while studying at Tokyo University of the Arts and spent a good amount of time in the city. Tokyo has a really special energy because it’s full of both tradition and modernity. I really like cities that exist between the future and the past, where both coexist. Jodhpur, because I like to form a specific bond with cities where I’ve had the chance to work. Jodhpur is becoming really special to me, especially since I’m focusing on it in my current work. It’s also a city I’ve travelled to often. Jaipur is another city that holds a special place for me. I find it important to connect deeply with the cities I work in as an artist.
The more time you spend in a city, the more you learn from it and the more you can absorb. That’s why art residencies are so interesting to me — they provide the time needed to really connect with the spirit and spirituality of a city. The third city for me would be Marrakech. I had the opportunity to do an art residency there and created a lot of work in the city. The aesthetic of Marrakech is very rich for me. In general, I am drawn to cities that are busy and somewhat chaotic because I find poetry within that chaos. I think cities that are bustling are more complex to understand, but this complexity allows you to find even more poetry.
Deborah Fischer’s Jodhpur residency is part of a collaborative programme by the Public Arts Trust of India and Institute Francais’ Villa Swagatham, hosted by RAAS Jodhpur with thanks to Mr. Nikhilendra Singh. The body of work Deborah developed will be showcased at Jodhpur Arts Week Special Projects Edition from 15-21 October 2024. Visit www.jodhpurartsweek.com for more information.
Peering over their shoulders into Mumbai’s unrelenting spirit is an eternal reminder of what the Maximum City has given team ADND: a beginning, stories worth a lifetime and its entire being. Catapulting into its 22nd year of practice, the twin-founder studio by Anand Menon and Shobhan Kothari inhabits a 5,000 sq ft space, heralding an advent on several fronts. After over 14 years at their previous outpost, the team’s expansion warranted a larger, unified space, housing ADND’s dedicated minds and hands under one roof.
What ensued was a tryst with destiny! In the heart of Mumbai’s Vile Parle, awaiting the flick of a design wand, rested a 100-year-old industrial compound that is home to Parle’s heritage enterprise. Decrepit, mould-ridden and light-deprived, this silo building was rough around the edges yet held immense potential brewing under its skin.
“Our intent was clear, to delve into this adaptive reuse endeavour while celebrating the ingrained architectural elements and to reimagine how materials could convey the essence of evolved luxury within the Indian design landscape,” mentions Shobhan.
A sojourn through the studio reveals a plethora of experiences, a visceral rush of visuals in my opinion. Picture an ebony-shelled lobby, a gallery-esque reception, terracotta-drenched cafeteria, colossal workstation bay with soaring proportions and a conference room populating communal spaces. Meanwhile, a dichotomy is witnessed at its best with Shobhan’s spartan workspace that celebrates his logophilia intersecting with Anand’s art-dotted haven, which is an ode to the artist he is at heart.
“The unfinished canvas, askew walls and elongated girders are like historical remnants, akin to inheritance passed down through generations. The shell holds cast in situ terrazzo-embedded concrete floors, textured walls, colossal metal-frame doors and isolated pools of colour,” illustrates Anand.
Hugging the railway lines along its western edge, the building’s interiors harness a play of morphing internal heights and bear a nostalgic picture window into the city with the hiss and rumble of whizzing trains as the eternal background score.
With this new beginning and countless hours spent at the drawing board (refreshingly for themselves this time), Shobhan and Anand have resolutely honed the dream with banter, grit and a voracious appetite for leaving behind a legacy. “To us, this new abode is a comma, emblematic of an intentional pause that makes room for the new. We strived to chisel something extraordinary from the humble and seemingly ordinary and believe we have scripted a space that feels borrowed yet discernibly ours,” notes the duo in conclusion.
Dr B.V Doshi takes a tour of nostalgia, revealing stories and memories behind four Ahmedabad edifices he’s intimately associated with – three conceptualised by his brilliant mentor Le Corbusier, and one, a testament to his own inspiring vision
Mill Owners’ Association Building
Le Corbusier created modern, exposed brick and concrete edifices for some of Gujarat’s wealthy in the early 1950s, which changed the state’s architectural landscape. One of the most popular is The Mill Owners’ Association Building in Ahmedabad, a “perforated hollow cube with free-standing enclosed masses”, overlooking the Sabarmati River. With its ceremonial ramp, triple-storeyed foyer, rough stone and brick facade it exhibits a raw modern grandeur.
“The structure is strongly disciplined according to prevailing winds,” explains Dr B.V Doshi, about the building’s most striking features. “The East and West sides are sun breakers or brise-soleil, one of Corbusier’s formal inventions, while the North-South facades are virtually blind. The advantage is that there is continuous ventilation and good light, without the harsh sun.” But what makes this structure stand out is the rich, free, natural experiential atmosphere it offers, thanks to Le Corbusier’s innate sense of seeing the world with an unusual perspective. Dr. Doshi also remembers how he reworked the plan of the conference hall many times, but in vain. Until Le Corbusier traced it on yellow paper and explained how people would enter from the staircase or elevator, finally creating a free-flowing curvilinear wall plan.
Villa Shodhan
Built-in 1955, it was originally designed as a residence for Surottam Hutheesing, but when the construction plans were complete, he sold them to fellow mill owner Shyamubhai Shodhan. The three-storeyed villa with the raw concrete and wood framework, marks an important departure in Le Corbusier’s style with the addition of nature into the structure. What makes it truly one of a kind is its structural geometry, countered by a roof parasol with an oval cutout, terrace garden and undulating landscaping of the grounds – a reverse on Le Corbusier’s theory of a city house on pilotis or stilts. The top plays an important role in cooling the rooms during the day and also provides an alternate sleeping area in the summertime, a typical practice in the hotter parts of India.
Dr. Doshi’s keen observation of how in traditional Japanese farmhouses, the slender rectilinear wooden columns were braced with same-sized rafters, brought a crucial change in Le Corbusier’s design. In fact, the latter loved the idea so much, he reworked the plans and sections accordingly. “I planned the Shodhan extension, and Le Corbusier was very pleased. He was gradually getting confident of my ability.”
Sarabhai House
Built for Manorama Sarabhai and her growing family in 1955, it is located inside a 20-acre family-owned park. The Corbusier Foundation describes the Villa de Madame Manorama Sarabhai as, “situated according to the prevailing winds (in order to be traversed by currents of air), and its facades furnished with brise-soleil.” Having understood the tropical climatic conditions, Le Corbusier made brick vaults the defining feature of the home. The structure has cradle vaults of flat tiles set in plaster without formwork and rows of exposed bricks cast roughly in cement. The interior is a unique story too – the areas “simultaneously moving in both directions, constantly revealing its integration with the garden on the ground and roof…and the free-flowing contained space with its large pivoted doors.” The flooring is black Madras stone, laid in a specific way that Corbusier had developed, which minimised wastage and had unobstrusive joints.
Dr. Doshi talks of the half cylinders of the segmental vaulted roof as being a brilliant solution for cross ventilation and cooling. “The vaults were waterproofed, then covered with earth and the upper part became a magnificent garden. Every time I visit, the genius of the architecture strikes me afresh. It is one of the most important buildings of Corbusier’s career and in the world.”
Amdavad ni Gufa
The late legendary artist Maqbool Fida Husain wanted a space to exhibit his art, and requested Dr. Doshi to design a structure that could counter the Ahmedabad heat. The latter recalls that exciting time: “Intense discussions followed, questioning conventions of normal construction. We decided to create an underground space that would offer great climatic benefits. Both of us were looking forward to the challenge….hundreds of sketches and models led to a curvilinear space filled with diffused light from the oculars above. It was impossible to hang a canvas, so Husain created his art after we gave him a model of the ceiling, and made plywood cut-out figures that he placed strategically.”
The domes visible above the surface, are inspired by tortoise shells and are covered with mosaic. The central mound has small black tiles depicting Seshnag, the mythical king cobra. While the sloping, uneven floor is made from wire mesh and mortar, the ferrocement was used to create the undulating walls and roof. The curved tops are supported through irregular inclined columns. According to Dr. Doshi, “The Gufa evokes a sense of wonder and curiosity, which we seem to be losing today.”
What would life be like without the visionaries who imagine and shape our tomorrow? Reshaping the future of home improvement with a strong commitment to sustainability and innovation, Hemant Khurana, Managing Director, Mortars and Homes Business,Saint-Gobain India, is a pivotal force in advancing the company’s end-to-end solutions model for homeowners and developers. At the forefront of developing the MyHome platform, he transforms traditional Saint-Gobain materials into cutting-edge, sustainable B2C solutions. His role encompasses accelerating the end-to-end solutions business, achieving financial targets, pursuing mergers and acquisitions and fostering strategic partnerships.
With over two decades of experience at Saint-Gobain and Akzo Nobel, Hemant has expertise across diverse sectors including paints, glass, and sanitary-ware. He also holds a board position at Saint-Gobain India and advises Livspace, strengthening collaborative ventures. Previously, as Managing Director for Saint-Gobain Malaysia and Singapore, Hemant led a successful turnaround, showcasing his skill in business strategy and M and A. His track record reflects a deep commitment to innovation, digital transformation and strategic growth.
1. What are Saint-Gobain’s goals for the coming year?
Saint-Gobain’s target for the coming year includes expanding its concept brand My Home’s offerings to tap into the vast potential of India’s tier 2 and tier 3 markets. The company aims to align this expansion with its ambitious growth trajectory and is committed to achieving ₹1000 crore in revenue by 2026. Additionally, Saint-Gobain remains focused on delivering a seamless phygital customer experience to solidify its leadership in India’s home solutions market.
2. How do you plan to expand My Home stores in 2024?
In 2024, My Home has expanded both its product offerings and store presence. Key strategic areas include integrating solutions from Saint-Gobain’s group companies such as Gyproc and Weber and expanding the physical footprint across the stores particularly in tier 2 and tier 3 cities.
Our rapid store expansion goes hand-in-hand with the extension of the Saint-Gobain service experience. We are actively building a robust network of certified local installers to ensure a consistent and high-quality experience across our presence. Additionally, Saint-Gobain is enhancing customer experience through innovative retail concepts like the new My Home IDX stores which provides, and offers tailored journeys for diverse consumer personas, combining immersive inspiration with interactive digital experiences to meet varying customer needs effectively.
3. How do Saint-Gobain’s values shape its vision for the future of home improvement retail and influence its products?
Saint-Gobain envisions a future where home improvement retail empowers consumers, architects, and designers to create their ideal spaces. Our strategy focuses on expanding our product range and enhancing the phygital shopping experience at MyHome stores, which provide a broad selection of products and expert guidance.
A prime example is the MyHome IDX store in Chennai, showcasing sustainable solutions and advanced technologies like the upcoming 360° virtual walkthrough. This technology allows for virtual exploration and enriches the in-store experience.
Our values, encapsulated in our mission of Making The World A Better Home, are reflected in our products. For example, our sound control windows reduce noise by up to 50%, and our energy-efficient windows manage temperatures by 70%. Our ETC-coated shower cubicles combine easy maintenance with top safety standards. Rigorous testing and toughening ensure that our glass products meet the highest quality and safety standards for home environments.
4. How does the “phy-gital” experience of MyHome IDX compare to traditional stores?
My Home IDX redefines traditional retail by offering two distinct journeys that caters to diverse consumer needs: an immersive Inspiration Decor experience and an Interactive Digital journey. This phygital approach integrates digital tools and gamified elements to enhance customer engagement and streamline consultations. This allows for interactive exploration of products and services, facilitating an enriching consultation that caters to varying preferences and decision-making styles.
5. Describe the Inspiration Decor and Interactive Digital journey. How do they enhance the customer experience?
Through digital tools and personalised consultations, Saint-Gobain is enhancing the in-store experience, catering not only to homeowners but also to architects and designers seeking inspiration and expert guidance. The store inspires not only Customers but the Designers also.
Customers and Designers seeking creative inspiration can explore beautifully curated decor setups that spark design ideas. Various design styles and themes are showcased to help visualise different aesthetics and concepts for their projects. Of course, they also physically interact with different materials and finishes, aiding the selection process.
In addition, the store provides Interactive Product Displays that help make informed decisions based on specifications and functionality. Interactive tools allow to play with products in different settings, customise configurations, and experiment with design options. Expert consultants offer tailored advice, ensuring customised specific guidance and support for their unique project needs.
How do you define good design? “A good design project is supposed to be explained to your mother over the phone. It is not a question of shapes, forms or finishes. It is a question of what you want to say and what you want to express.” Where it begins. Where it ends. Mathieu Lehanneur questions the serendipitous versus the intended premise of life, rather differently.
That is, what happens in between it all? An irrepressibly composed yet flamboyant sense of being surrounds the 49-year-old French designer, when we meet him for a long conversation, connected across continents, through our screen. With technology so palpably embedded in that moment, I can’t help but draw parallels between his idea of design in entirety.
Can technology be a bridge to emotional spirituality? Can an object mirror real-life experiences? How can scientific discoveries be an ally to human beings? And that’s when the multihyphenate Mathieu reveals that a few years ago, an elderly Indian couple discovered Mathieu’s Liquid Marble at the Victoria and Albert Museum, London. As he was later informed by the staff, they spent nearly the whole day sitting by this vast, polished black marble object — depicting the surreal fluidity of the static sea. “I’m convinced that they were probably living the same experience as my young self sitting in front of the sea.
For me, success is not the question of pieces sold or the money raised, but the experience that people live with an object.”Most recently, Mathieu headlined reports on creating the Paris 2024 Olympics and Paralympics Torch. A momentous time in his book of history perhaps. He was also crowned Maison&Objet’s Designer of the Year 2024. Design, however, wasn’t exactly his plan early in life. “I decided to become a designer very late at 18 or 19-years-old.”
With his works now displayed at top art authorities such as the Museum of Modern Art (MoMA), New York and Musée des Arts Décoratifs, Paris, Mathieu adds, “I am the youngest one in a large family and grew up in the suburbs of Paris. As a teenager, I once wanted to be a doctor, a job that potentially could save a life.”
Soon after, Mathieu discovered another way of creating life. Giving material shape to his thoughts. From 1994 to 2001, he studied at the prestigious Ecole Nationale Supérieure de Création Industrielle. Now a loyal dweller in central Paris, Mathieu recounts spending months of quiet time in Corsica, Southern France, where his father, who used to be a hydraulic engineer, spent his childhood.
Contemplation, clairvoyance go on to become unbending fundamentals of his recent installation at Maison&Objet 2024 titled Outonomy.“This project was to not provide answers but to ask questions.” He adds, “We are ready to live in this type of a house, is the best answer I could get from visitors.”How was the term Outonomy coined? “I wanted this project to work on an autonomous way of living, connected with the outdoors, nature and with being outside of the city. So we combined out and autonomy.”
The installation draped in confident hues of yellow, intertwines function, technology and layers of perspectives. For his other complex yet super-emotional installation ‘Tomorrow is Another Day’ for Palliative Care patients at a hospital in Paris, “I designed a new window in each room with a screen displaying what the sky of tomorrow would look like across geographies and weathers,” which patients during their last moments could see, be connected with…Mathieu, whose design grammar is as technologically informed as his appetite for eccentrically intelligent ideas, moved out of his initial studio recently.
He calls the new whereabouts in the Ivry-sur-Seine neighbourhood the ‘Factory’, “We are in a large, centuries-old historical building, next to Paris. I call it the Factory because we’re producing ideas here and the pieces too. For me, this is also a reminder of Andy Warhol’s The Factory (New York).” With plans to soon reveal his new Pied-à-terre in New York, a universe of his fascinating creations on display, he promptly adds, “In my opinion, even if I define myself as a designer — as a designer, I’m not supposed to make very specific things. Nobody in this world is really able to define what a designer is supposed to do. It is a blur. This allows us to investigate the field of architecture. Sometimes go more into the artistic or the scientific field. Because the question is to not choose a domain, but be more connected with humans and nature itself.”
A sneak peek into Mathieu Lehanneur’s works…
2024 PARIS OLYMPICS TORCH
A once in a lifetime moodboard for the mega quadrennial sports advent, Mathieu Lehanneur envisions the trailblazing torch for the 2024 Paris Olympics and Paralympics, with the material supported by the steel company ArcelorMittal and the frame following equal parts symmetry and curves. As he describes it, “Simple like a hyphen and fluid like a flame.”
HAPPY TO BE HERE
With glass as its primary protagonist, the Happy to Be Here collection of furniture for eccentrically-progressive living spaces, exemplifies the material technique of glass. The console that seems to be floating (but with purpose) against gravity is anchored with hand-blown glass bubble-shaped legs. An oxymoronic display of strength in fragility.
OCEAN MEMORIES
A sea frozen in time and movement, yet as nimble and surreal in its portrayal, Ocean Memories is a part of the Liquid Marble series, also exhibited at the Victoria and Albert Museum, London during the 2016 edition of London Festival. The polished frame wraps the three-dimensional beauty of waves and currents, capturing the physics of solid to liquid transformation.
SAINT-HILAIRE CHURCH
An architectural milestone with a religious identity at its centre, the Saint-Hilaire Church in the old-historical town of Melle, France, highlights the marvels of geology in its geometrical built. The structure, like a box sunk into the sand, is a part of the natural landscape. Lehanneur says, “I imagine that when this ‘box’ was sunk into the ground as if pushed by an invisible, maybe divine hand, it revealed the visible aspect of a mineral and massive form.”
S.M.O.K.E.
Metaphorically and visually, the S.M.O.K.E lamp insinuates a domestic catastrophe, a consequence of fire eruption, gas leaks and suchlike, portrayed through an intriguing shape of explosion with blown glass — shedding light on the environmental impact of substances and their reactions.
ANDREA AIR PURIFIER
NASA’s discovery of high-level toxic compounds embedded in astronaut’s body tissues due to materials of the aircraft like plastic and fibreglass is directly compared with the invisible emissions of manufactured products inside our living spaces. ANDREA is a living air filter, wherein the leaves and roots, purify and absorb the contaminated air released by these products.
Poltrona Frau has marked a niche for itself, one characterised by an illustrious history made richer by constant evolution. With several generations at the group’s helm, their remarkable journey started a century ago — 112 years, to be precise. As a result of their distinctive vision, the world has borne witness to several landmark moments crafted in collaboration with the creme de la creme of the design world. Glean valuable insights and anecdotes from their journey with Nicola Coropulis, the CEO of Poltrona Frau in conversation with Mrudul Pathak Kundu, Editor at ELLE DECOR India.
Mrudul: You have seen design evolve over the years. What are your thoughts on evolution?
Nicola: I’ve been long enough in this industry to see an evolution in the role of designers versus the companies they work with. In the 90s, designers had become archi-stars, some of them extremely powerful and influential. But I’ve seen that over time, the role of companies has changed because they’ve placed much more attention on branding rather than products. When the product was the focus, the designer was the key driver, the key element of the equation. Today, branding and storytelling are much more effective. The weight of brands has grown.
The second thing that I see is that design has taken globalisation into account, moving from West to East. The explosion of the China market, the growth of Asian markets as a whole and the boom of India now have brought greater attention from manufacturers, for brands to add new elements to their design culture. For me, this has greatly enriched the value each brand can bring to the market, especially for Poltrona Frau. We’ve always had a multi-layered culture, so this has been great.
The third element is that the ’90s were the last time when an evolution in shapes and form was seen. Now all research has moved into materials and creating more sustainable products.
The fourth element is that aesthetics are always important, but good aesthetics must live together with comfort and functionality. The fifth element is the fact that we live in a time where digital technology has created a seamless interaction between digital and physical touch points. AI can play a significant role in the evolution of design.
Mrudul: As things are rapidly changing, I wanted to understand the relevance of classics; Poltrona Frau to me is a classic. What is your take on that?
Nicola:We are proud of creating classic products. Classic means timeless, alluding to something that was born in a certain period and responded to the needs of the time. It was contemporary when it was born but simultaneously held attractive elements and some style codes which sustained over the decades, becoming timeless.
I see that some of our products launched 15 or 20 years ago, like the Archibald armchair, have become classics. When it launched, it was seen as a strange product. It was an armchair with no arms and a low back, roundish with metal feet. I think we are repeating the same exercise with the Squash Armchair by Faye Toogood, which in my opinion is a couple of years ahead of its time, but will set into motion the evolution of armchairs for the coming years. Classics are also important because in times of big changes and uncertainty, like the one that we are living in, they play a reassuring role.
Think about the Camaleonda by B&B Italia. They launched it during COVID and it was a shape that resonated with people.
Mrudul: Faye Toogood’s armchair is quite unexpected in terms of shape than your other collaborations, like Jean-Marie Massaud or Sebastian Herkner. What are the qualities that you look for in a collaborator? What is a successful collaboration?
Nicola:They are curious and willing to get out of their comfort zone. They accept that designing a product for a brand like Poltrona Frau is taking a part of our brand’s culture, renouncing some elements of their DNA but bringing most of its added value to create something that is like a baby.
The baby is from both the mother and the father, but it’s different on its own. Products that carry the signs of the mother, which is the brand and the designs of the father, the designers, will be successful. Faye came to us, she had some ideas different from ours but the result was exciting. She won the NYCxDESIGN Award for the Squash Armchair. It also won the best of NeoCon GOLD 2024 in the furniture category under seating.
Mrudul: How would you describe the spirit of Poltrona Frau in three words?
Nicola:Elegant, classic and innovative.
Mrudul: So my country, India, loves colour. Do you love colour?
Nicola:I love colour and so does Poltrona Frau. It was the first to use colour in leather. In the mid-80s, Poltrona Frau selected a chromatologist — an expertise almost non-existent at the time — to create a colour palette. Since the technology then had started allowing colour to be used in leather tanning, they created a palette of 73 colours which grew to 96 within a few years. This palette was called the colour system. It has become a common vocabulary for colours, used by most of the industry.
During COVID, we launched a revised colour system called ColorSphere, where we updated or upgraded the colours. Colour is a history that lives with time. Now we have ColorSphere, thought of as a cloud system with clouds that can interact. It’s much easier for our consultants and architects to choose matching colours today.
Mrudul: Leather has been your trademark material. Are there any new materials that have caught your fancy lately that we might see more?
Nicola:We have been spending some enjoyable time trying out exercises on printed leather. Over the last two years, we’ve done digital laser printing on leather. We embossed leather with the Ozwald Boateng collection launched last year. This year, we did serigraphy on it with the Fornasetti limited-edition Vanity Fair XC armchair.
Another area is textiles, which represents the most popular upholstery material. We want to ensure our textile materials work well with our leathers and their colour palette as well.
Mrudul: I know design copies are a sore topic, but what are your thoughts on them?
Nicola:Being copied is a sign of success. If you’re copied, it means that you’re recognisable. Having said that, design companies should focus on branding to curb this. They must ensure that their product holds more value than simply the craftsmanship and the originality. All Poltrona Frau products are accompanied by an identity card proving their authenticity. We want to evolve this 20-year-old practice with a blockchain system, giving our creations a unique digital passport. Buyers will be able to scan and verify the product’s originality through an app that can be controlled by them as well as the brand.
Guaranteeing authenticity is important. Plenty of fakes exist for luxury labels like Louis Vuitton or Hermes, which are quite easy to find online. Digital platforms must refuse to sell copies. We’d encountered an issue with an American platform which was selling our products in their luxury section and copies under a false name under another. It cannot work like that — either you sell the original or the copy. As a matter of fact, copies shouldn’t be sold at all.
Mrudul: Poltrona Frau has enjoyed great success and recognition. How do you visualise the future of this legacy ahead?
Nicola: I think the best way to keep the tradition alive is to constantly innovate. In my opinion, the secret of a strong brand lies in being contemporary to the times that we live in and being able to respond to the needs of the clients.
A big legacy always creates trouble when deciding what developments should be made. This year we dared a lot with Squash by Faye Toogood and Parka by Draga & Aurel. We are happy to have dared because even if people did not react positively to our changes, they talked about them. In my opinion, we must make people think. That seed of thought is important.
Mrudul: Any collaborations with Indian designers in the future?
Nicola:Currently, we have the Assaya Armchair by Satyendra Pakhale, an Indian designer currently residing in the Netherlands. We will most likely do something again with him, but of course, the Indian scene is quite dynamic. I’m sure that several Indian designers will come up. As you said before, India is about colour and so is Poltrona Frau. Colour should be used as a theme to create something new.
The genius is often in simplicity. This realisation is all that took Jonathan Glatt to pivot his métier from a jeweller to a product designer — renewing and glamorising the innocent influence of the classic Windsor Chair, a fabled objet from the bygone centuries. He first saw an authentic early-period Windsor at Sotheby’s as an intern in the American Furniture Department. “It was love at first sight,” he tells us. Fast forward to now, the founder of O&G Studio, Jonathan has been carving Windsor’s modern interpretations for the last 15 years, recently hosting the largest collection of original, handmade Windsor chairs in production today at NYCXDESIGN.
A carefully choreographed construction that balances the competing interests of function, material, technology and style. In short, a perfect chair. He quotes in his book Anthology: The O&G Collection of Modern Windsor Chairs. But this isn’t a story as much about the chair’s historical past (its true origins unknown even today) as it is about Windsor’s irresistible relevance in the present day.
Oh, body language!
But what makes an authentic Windsor Chair? Vacant of any hidden rhetorics, Windsor Chairs are more literal, less poetic, in their frame and function. A neatly carved seat from a single piece of wood floats confidently to cradle the sitter. To complete form, the seat is fitted with turned legs, steam-bend wood backrest and slender spindles on top. “The seat is the key. All other components are anchored into it with traditional wedged tenon joints, a simple type of joint that requires no additional fasteners,” Jonathan explains.
There exist four major types of Windsor chairs. The key to differentiating is in the backrest: Bow-back, Sack-back, Comb-back and Continuous Arm.
Resilient so, “The look of a Windsor is a result of the structure as much as it is an aesthetic choice. I like to compare it to a suspension bridge: Flexible, strong, beautiful, not overbuilt,” recites the designer, who’s been serendipitously familiar with basic forms of Windsors since childhood, which were common where he grew up in New Jersey.
Made predominantly of types of wood and often painted, the different parts of Windsor chair serve different functions. Hence, a medley of dual or triple kinds of wood remains common in its chairmaking such as maple, ash, pine, oak and yellow birch. At the O&G atelier, Windsor chairs are layered in a spectrum of tones without hiding the grains of wood. “We use water-based stains and topcoats using a proprietary process to achieve a rich colour that highlights details of our joinery and woods.”
Windsor chair may (not) be from Windsor
The earliest origin of Windsor chairs is often sullied in various versions of where and how it came about. Some say, it, for obvious reasons, is an invention from the royal lands of Windsor, England. The story assumes that King George III in the 18th century first came across this stick-framed chair at a countryside cottage while out on a hunt and took a liking to its easy, comfortable ergonomics. Soon after, a bevvy of these chairs were ordered to be made for the Windsor Castle.
Sources on the internet also tell of certain advertisements in the 1730s dubbing these simple classics as Windsor Garden chairs, perhaps befit as an outdoor accoutrement, painted in green or white. By the mid-18th century, reports of the first US President George Washington ordering Windsor chairs to Pennsylvania all the way from England have been recorded, too. But these are only a few of the many historical anecdotes.
As Jonathan observes, “The forebears of the Windsors we make at O&G are often referred to as stick chairs. Simple and primitive, made with minimal tooling that dates at least to the 15th century if not earlier.” Interestingly, back then, parts of the Windsor chairs were grown and not shaped. Legs made of sticks. Spindles made of straight sticks, a result of tree pruning (thinning). “These early stick chairs evolved into ornate English Windsors, later brought to the Americas in the 18th century and evolved into a new style — very light and minimal compared to the English chairs.”
Secrets of carpentry
With years of chairmaking without erasing any clues of Windsor’s vintage predecessor, O&G Studio indeed trusts the finesse of hand work. However “ We save the hand work for where it adds value and where the capabilities of modern machinery end.” Jonathan continues, “ For example, we use a lathe run by a motor that copies a hand-made pattern, in the 18th century that lathe would have spun by footpedal or manual flywheel and a chisel used freehand to create each leg.” Showcased at the NYCXDESIGN recently, the designer revealed the full dining chair collection, one of the largest hand-built curation of modern Windsors in production today, at one venue.
The chairmakers at the studio also occasionally flirt with the idea of the eccentric and the unthinkable. Inspired by universal folk art themes, the one-of-its-kind Windsor chairs are stylised with tiny hand gestures (closed fists or even middle fingers) as handrests. Backrests take the shape of snake contours. “We are also working on a long armrail shaped like a dachshund in tribute to my two dachshunds, Winslow and Turner,” completes Jonathan.
The newly launched anthology too becomes a Windsor encyclopaedia, covering over 40 styles of chairs, settees, stools and benches through O&G studio’s existing years of works. A loose idea for several years and actively into making for the last one year and a half, Jonathan says, with the illustrative book, “We leaned into the academic nerdiness that I love so much. The book is a riff on academic museum catalogues. The photography is beautiful and serene, showcasing the graphic nature and sculptural beauty of each Windsor style.”
Beyond the physicality of its curvy spindles and soft edges of the seat, the philosophy of an unpretentious and solemn Windsor chair is in how it speaks — all so gracefully — with the maker, the material and the user for years that went by and the years that will come.
A relentless search for a home and the joy of seeing his ideas and inspirations turn into real spaces made the PR honcho, Prabhat Choudhary, turn into a closet architect. One of the most influential image makers in the country, he also identifies as a keen student of design and architecture. Here is a glimpse of his 2.5-acre personal oasis Padmasana, in Chattarpur, New Delhi.
There’s something extraordinarily comforting about tucking yourself under a blanket on the bed you’ve outgrown.
The scent of nostalgia. The ache of remembrance.
Familiar laughter in unfamiliar circumstances.
The odd smile at a neighbour you once knew.
The taste of food.
The joy of blending in.
The awkwardness of sticking out.
The warmest hugs. The familiar goodbye
The notion of “home” undergoes a gradual transformation for many of us, encapsulating both familiarity and change. Yet, there exist individuals who embark on a lifelong quest to decipher the true essence of “home.” In the case of Prabhat Choudhary, a prominent figure in the world of Bollywood, his earliest recollections of “home” are tinged with a poignant sense of homelessness. Although he hails from a distinguished family in Bihar, both of his parents entered matrimony at a young age, while still striving to establish their financial stability.
“My earliest memory of home is associated with not having a place of our own. In those times, I often stayed with my grandparents, either on my maternal or paternal side. This early pattern held significant meaning for me because, even though children are not expected to grasp many things, it left a mark,” says Choudhary.
In the beginning
During his childhood, Choudhary found himself frequently moving around due to financial circumstances. “As a child, I may not have comprehended the intricacies of financial dynamics, but I was emotionally attuned to the fact that we lacked a space to truly call our own. This emotional awareness, though a child’s version of it, stayed with me,” he says.
As he grew older and moved to New Delhi with his family, Choudhary began to recognise why the concept of “home” held such immense importance to him. “This need for a stable and permanent space became deeply ingrained in me, shaping my attachment to the idea of “home” as an adult,” he says.
A new chapter
When he moved to Mumbai in the early aughts, Choudhary allowed his work to speak on his behalf as he went about building Spice PR, a preeminent media management company in the country. Notably, he orchestrated one of the most significant campaigns of 2015, exemplified by the memorable tagline, ‘Kattappa ne Bahubali ko kyu mara?’ This catchphrase not only contributed to the enthusiasm surrounding the movie “Baahubali,” which achieved the highest opening weekend box office earnings in India, but also kept audiences captivated until the release of the much-anticipated sequel, “Baahubali 2: The Conclusion,” two years later.
Within Spice PR’s portfolio, one finds some of India’s most prominent talents. 75 per cent of Bollywood’s biggest A-list celebrities and prominent stars pan-India like Shah Rukh Khan, Deepika Padukone, Sanjay Leela Bhansali, Aamir Khan, Kartik Aaryan, Ranveer Singh, Kriti Sanon, Nikhil Kamath, Vikrant Massey, Allu Arjun, Prabhas, Janhvi Kapoor, Rashmika Mandanna and Sara Ali Khan are their clients.
In Mumbai, it became apparent to Choudhary that spaces held a significant meaning, though this understanding was not something he consciously sought.
The discovery
But it was in 2010 that he delved into the making of a home—his home. Choudhary decided to purchase a property in Pali Hill, a substantial investment for him at the time. “This acquisition meant a lot to me, and I became deeply involved in the process, especially with the interior design aspect. But, I encountered some challenges along the way. The interior designer I had engaged with was not as attentive as I had hoped, and eventually, she disappeared without responding to my calls or those of others who reached out on my behalf,” he says.
This experience led Choudhary to the realisation that finding a proficient and reliable creative professional in the field of interior design can be quite elusive, and it often requires an element of luck. “It’s not something one can take for granted, assuming that merely wanting something will ensure its realisation. I decided to take matters into my own hands. I began to immerse myself in reading and learning about spaces, architecture, and materials. What had initially started as a necessity gradually transformed into a source of enjoyment, particularly the reading and exploration of spaces and their design,” he says.
Even after completing the Pali Hill home, which is a two-bedroom house, Choudhary found himself continuing to delve into this realm. He acquired the neighbouring property and expanded his house, which marked the beginning of his enduring interest in this field. “It was not merely accidental; something genuinely organic developed within me, seemingly out of nowhere. I transformed into an avid consumer of literature on this subject, deliberately seeking out knowledge,” he says, adding, “I am particularly enamoured with the historical aspect of architecture and its fundamental purpose. Architecture isn’t just a discipline; it fulfils a fundamental human need. As someone once aptly put it, ‘First, you make a house, and then the house makes you.’”
This notion profoundly resonates with him. The spaces we create, Choudhary believes, initially are, in turn, instrumental in shaping us. “It dictates how we sit, interact, and engage in conversations like the one we are having now. The ambience, tone, and personality of these interactions are a product of the space, the lighting, the interior, and the exterior. It’s intriguing how these elements influence the creation of moments, and it is these moments that ultimately define our lives.”
Personal oasis
It was this new-found interest in architecture and the understanding of the near-impossibility of affording a garden in Mumbai that propelled Choudhary to acquire a 2.5-acre plot of land near New Delhi’s Chhatarpur in 2017. “This land was initially barren, and I embarked on the journey of creating a space of my own. From the outset, my vision for this space was to emphasise the intricate interplay between the house and the garden, where the garden becomes an integral part of the house itself,” he says of his personal oasis, which he has named Padmasana.
In pursuit of this vision, Choudhary delved into the works of the late Sri Lankan Architect Geoffrey Bawa, the father of Tropical Modernism. “It wasn’t a matter of being impressed; rather, I was deeply moved by the concepts I encountered through a study of his design language. I began the process of creation, fully aware that it would always be a work in progress–a constant state of development and evolution,” he says.
Much like how Bawa crafted the design of Number 11 house (his inner sanctum) as a sequence of revelations, starting from the entrance, leading through the sitting area, and culminating in the bedroom, Choudhary transformed this space with additions and subtractions. These transformations as we mature, he says, are akin to the way a relationship evolves between couples. “As one grows, both the space and the individual influence each other, and the dynamics naturally shift. In a house, each element, from its overall structure and elevation to its entrance and various rooms, plays a unique role in this evolving relationship,” he says.
Choudhary makes it a point to visit Padmasana once a month, to unwind and break free from the routine of everyday life. “Professionally, I primarily deal with intangibles, particularly in the realm of brand creation, where ideas take centre stage. However, I realised that I also needed a tangible and concrete outlet, something genuinely real. This realisation led me to appreciate the term “real estate.” When I work on these physical spaces, I derive immense satisfaction, knowing that what I create is not merely an idea but something tangible that can be seen and touched, and that will endure,” he says.
Choudhary reveals that his pursuit of the concept of “home” remains ongoing. He shares, “Lately, I’ve been passionately involved in a spree of creating new homes. I recently constructed a space in Alibaug and am currently in the process of transforming a 125-year-old villa in Goa.” He further expresses, “Perhaps, these spaces will serve as mirrors of various chapters of my life. It’s comforting to contemplate that they will encapsulate different versions of myself,” he concludes.