A marriage of design has ensued — and this is one bridal party we’ll participate in wholeheartedly. Bridging the gap between the altar and the atelier, Seema Gujral’s flagship store in Dhan Mill, Delhi, stays true to the label’s contemporary design language. Vaulted arches, gleaming metal and earthy textures have been meticulously stitched together by Sanchit Arora, principal architect at Renesā Architecture Design Interiors Studio. The expansive store spans over 9,000 sq ft, accompanied by a 1,500 sq ft mezzanine harbouring private offices upstairs.
Arches loom over the store, imbuing it with grandeur illuminated by White Lighting Solutions; Photography by Avesh Gaur
The first step is often the most difficult part of any creative endeavour, yet the most fulfilling one. Sanchit agrees, “The store needed to be designed on an industrial parking lot site, a covered structure that made for an atypical canvas for us to reimagine head-on!” As one ventures within, the space unfolds in a rich array of textures and variety that mirrors an extravagant Indian wedding. A contemporary take on age-old traditions and ceremonies inspired by the couture on display ensues.
The walkway near the foyer leads up to the mezzanine, the space’s design offering a hint of what lays within; Photography by Avesh Gaur
A match made in the atelier
The store’s intention was not to match the grandeur of Seema’s creations — it was to let them shine, occupying centre stage. It has been divided into multiple sections adhering to Seema Gujral’s varied offerings. A slow revelation betrayed by hints of what awaits within in small doses ensues, followed by a complete onslaught of colour, texture and couture.
Alongside lighting by White Lighting Solutions, plenty of natural light permeates the space; Photography by Avesh Gaur
A white, expansive courtyard leads towards five alleys that split into multiple directions. Battered metal sheets twist and fold across sections of the interconnected space, functioning as an unconventional, sculptural addition that is striking in its appeal. Sanchit expounds on the brief further, saying “ The leitmotifs of arches, sweeping and intersecting vaults, and the play of light within areas lend the store the mien of a museum — an experience that unfolds as one meanders from one interconnected space to the next.” Seema Gujral’s philosophy of transitional design that transcends time materialises itself in an interplay of elements that go hand-in-hand.
Within the store emerges a cocoon of extravagance, finery and craftsmanship; Photography by Avesh Gaur
Walking down the aisle
Traversing the store feels akin to stepping inside an immersive bubble. A white foyer greets visitors at the very beginning, sporting an onyx-hued spiral staircase that swirls upwards. The vaulted walkway is interspersed with conical, golden structures that proffer a hint of what awaits within.
A sheet of metal twists within the foyer, standing in contrast to the minimal palette; Photography by Avesh Gaur
The courtyard leads one to different sub-sections within the store, designed akin to a holy altar; Photography by Avesh Gaur
As one ventures inwards, a pearl-hued courtyard emerges, supported by long columns dotted along the way. Natural light peeks through the ceiling, lighting up the pristine sanctum designed akin to a holy altar. Eventually, the polarising black-and-white scheme falls away to expose bursts of colour. Earthy terracotta-hued walls ensconce the saree section, awash with light from a lavish display of stacked chandeliers at varying heights. The cocktail section, on the contrary, is decorated with shades of black that glisten, alluding to the glamourous curation within.
Chandeliers drape the ceiling with extravagance, mirroring the opulent couture pieces within; Photography by Avesh Gaur
Understated yet regal
If one had any misgivings about neutrals being boring, the rich textural tonality of this space offers compelling reasons to believe otherwise. Structures constructed from metals like brass and stainless steel are used across the store in various shapes and forms. Battered and textured, they possess a gleam that mirrors the elaborately crafted couture pieces themselves. Brick walls have been added in certain sections that hark back to the label’s roots — a memorable journey that spans over 25 years.
The cocktail section is a striking antithesis to the store’s overarching palette; Photography by Avesh Gaur
Dressing the atelier
A clear winner emerges when one asks Sanchit what space he cherishes the most within the store’s novel confines designed by Renesā Architecture Studio. “The Cocktail apparel display area hands-down! The space’s unconventional geometry allowed us to play with angles galore.” He further adds “To up the ante, we worked with a dark and reflective moody palette that employed beaten stainless-steel panels, mirroring the grandeur of Seema’s pieces for which she is renowned.”
Battered sheets of metal gleam, holding light and one’s attention captive; Photography by Avesh Gaur
The external facade hints at what lies within, arches galore across its expanse; Photography by Avesh Gaur
Seema Gujral’s store hinges between the old and the new, much like her creations themselves. The space stays true to the muse within, emerging as a memorable experience sure to spark the imagination of anyone who steps in. If you love a good wedding, you’ll adore this marriage of the old and the new.
A visual feast straight out of dystopian fantasies? This prodigious sphere embodies eclecticism with a touch of ethereal maximalism. Lionel Ohayon, Founder and CEO of ICRAVE and Co-Founder and CCO of Journey envisioned the largest spherical structure ever built for Sphere Entertainment, translating their vision of reinventing live performance and immersive experiences in Las Vegas, with Signify as their lighting partner. Lionel reveals anecdotes and thoughts that shaped the lighting and design process for this one of its kind marvel across the world.
Lionel Ohayon, Founder and CEO of ICRAVE and Co-Founder and CCO of Journey
Sphere Las Vegas; Photography by Rich Fury
What was the idea behind the design? What was the most difficult technical aspect of this project?
The project first began in 2019 and it launched in September 2023. We were commissioned by Sphere Entertainment to design the interiors and lighting for Sphere Las Vegas and create a visitor experience unlike any other. In solving this challenge, we developed a design approach that engages one in an ethereal world and brings a sense of limitlessness as soon as one enters the building. Three main components were implemented to achieve this goal: the use of continuous curved lines, layers of indirect lighting and an all-encompassing reflective floor that removes the horizon, reinforcing the sense of limitlessness.
A closer look at Sphere Las Vegas; Image courtesy Sphere Entertainment
The scale was the biggest challenge. It is the largest spherical structure ever built. We had to really trust the science and the research behind it. Because of the scale of the spaces, we needed to design in 3D and were heavily reliant on 3D modelling. We had to trust that our digital twin was giving us an accurate simulation of how the design, materiality and lighting would perform.
Sphere Las Vegas; Photograph by Rich Fury
Sphere Las Vegas; Photograph by Rich Fury
What lighting tech went into creating a project like this? What ushered you to choose Signify?
Sphere’s interiors create a unique and unfamiliar setting, with lighting playing a central role. The mood and energy of Sphere’s interiors are manipulated through a layered series of continuous and directional lighting that is juxtaposed by expansive indirect washes of light with deliberate strikes of light. Uninterrupted columns soaring through the breathtaking Atrium space are outfitted with custom and programmable lighting that can transform the space for different events or shows.
Sphere Las Vegas; Photograph by Rich Fury
Because the Atrium, bridges and galleries have the potential to be event and conference spaces themselves, we implemented an architectural lighting system that is designed to transform from a show setting to an event setting. Every light is controllable and it can be reinvented every time a guest visits. We honed in on Signify for a few reasons, but primarily due to our ongoing relationship with them and the reliability of the brand. Signify has been a pioneer in LED technology since its inception, continuously innovating its products.
Sphere Las Vegas; Photograph courtesy ICRAVE
This long-standing expertise gave us confidence in utilising them for some of the main features in the space. It was crucial for the light fixtures to accommodate a wide range of white LEDs alongside a diverse colour spectrum, given the multifunctional nature of the atrium. Signify’s offerings met all these requirements, making them the ideal choice for this versatile space.
Sphere Las Vegas; Photograph by Rich Fury
What is the kind of lighting used in the space?
A layered series of continuous lights and directional lighting allows the mood and energy of the venue to be manipulated by juxtaposing expansive indirect washes of light with deliberate strikes of light. The long spaces are metered by repetition and the use of color lights versus white lighting builds up the story as one makes their way towards their seat in the performance bowl.
Sphere Las Vegas; Photograph by Rich Fury
Sphere Las Vegas; Photograph courtesy ICRAVE
In a project like this what is the sort of teamwork required?
A project like this requires a truly collaborative and flexible team. The majority of the design phase for this project was done during Covid. Coordinating collaboration between our internal design and lighting teams posed a significant challenge, prompting us to deploy new tools for communication and process tracking.
Sphere Las Vegas; Photograph by Rich Fury
Sphere, Las Vegas; Photograph courtesy ICRAVE
Why do you consider this project to be iconic? What are you most proud of?
This project is iconic because of its scale and magnitude. I have been completely blown away by the experience and the entirety of what it takes to pull something like this off. I see this as a truly heroic, extraordinary project. It took a lot of courage and there were so many components that had never been done before. The reaction of visitors when they enter the space is something that we are extremely proud of.
Sphere Las Vegas; Photograph courtesy ICRAVE
How has this project impacted the city?
Sphere Las Vegas is reinventing live performance and immersive experience. It is a wholly new type of entertainment venue.
Sphere Las Vegas; Photograph courtesy ICRAVE
What are the learnings from Sphere Las Vegas? What are the other big projects you have worked on?
There were a lot of learnings from this project, but something specific was learning how to not blow budgets across really expansive spaces; we had to be really tactical about how we used design thinking. Other recent projects we’ve worked on include TSX Entertainment’s groundbreaking stage in the centre of Times Square, St. Jude Children’s Research Hospital’s ‘Family Commons,’ JMPC’s new Sapphire Lounges at Boston Logan and LaGuardia international airports, a new restaurant and member’s only club at The Moore in Miami.
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.
Mathieu Lehanneur; Photographs courtesy Felipe Ribon
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.”
Outonomy, displayed at Maison&Objet 2024 by Mathieu Lehanneur; Photographs courtesy Felipe Ribon
Outonomy, displayed at Maison&Objet 2024 by Mathieu Lehanneur; Photographs courtesy Felipe Ribon
Liquid Marble is a visual extension of Petite Loire, a freeze-frame of the subtle movement of France’s longest river, Loire; Photographs courtesy Felipe Ribon
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.”
Outonomy, displayed at Maison&Objet 2024 by Mathieu Lehanneur; Photographs courtesy Felipe Ribon
Outonomy, displayed at Maison&Objet 2024 by Mathieu Lehanneur; Photographs courtesy Felipe Ribon
Outonomy, displayed at Maison&Objet 2024 by Mathieu Lehanneur; Photographs courtesy Felipe Ribon
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.”
2024 Paris Olympics and Paralympics torch designed by Mathieu Lehanneur, with the material supported by the steel company ArcelorMittal; Photograph courtesy Felipe Ribon
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.
Happy to Be Here collection of furniture for eccentrically-progressive living spaces, exemplifies the material technique of glass; Photographs courtesy Felipe Ribon
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.
A sea frozen in time and movement, yet as nimble and surreal in its portrayal, Ocean Memories the three-dimensional beauty of waves and currents, capturing the physics of solid to-liquid transformation; Photographs courtesy Felipe Ribon
A sea frozen in time and movement, yet as nimble and surreal in its portrayal, Ocean Memories the three-dimensional beauty of waves and currents, capturing the physics of solid to-liquid transformation; Photographs courtesy Felipe Ribon
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.”
Saint-Hilaire Church in the old-historical town of Melle, France, highlights the marvels of geology in its geometrical built; Photographs courtesy Felipe Ribon
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.
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; Photographs courtesy Felipe Ribon
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.
ANDREA is a living air filter, wherein the leaves and roots, purify and absorb the contaminated air released by these products; Photographs courtesy Felipe Ribon
Livspace announced the launch of Vinciago on 26 June 2024 in Bengaluru. It is a premium interior design brand which aims to meet the growing demand for uniqueness and personalisation by crafting homes that blend scientific design with passionate artistry, creating spaces that tell unique stories.
One of the largest and fastest-growing home interiors and renovation companies, Livspace brings together designers, brands, manufacturers and contractors to enable a trusted experience. The brand currently serves the Middle East and Singapore, as well as more than 50 metro and non-metro areas in India. They have showcased phenomenal growth since their launch, having delivered over 1,20,000 rooms and selling over 5 million SKUs through their platform.
The dining hall combines minimalist elements with luxurious touches; Photography courtesy Livspace
As per recent real estate trends, while overall sales of residential homes have grown by 31% in 2023 over 2022, luxury homes have grown by 96% during the same period, increasing the share of luxury homes from 6% to 9% of overall units. This trend, driven by premiumisation, creates the perfect opportunity for Vinciago to transform premium home experiences nationwide.
Showcased at Livspace Experience Centres, Vinciago will be available in major metro cities, including Delhi NCR, Mumbai, Bangalore, Pune, Kolkata, Chennai, Hyderabad, and Ahmedabad and additionally in key non-metro cities including Surat, Vadodara, Jaipur, Lucknow, Goa, Kochi, Nashik, Coimbatore, Nagpur, Bhopal and Indore.
Incorporating hints of colour, the dining area creates a diverse sense of space; Photography courtesy Livspace
Commenting on the launch of Vinciago, Saurabh Jain, Co-founder & CEO – India Operations, Livspace said, “The launch of Vinciago comes at a perfect time to tap into India’s surging premium housing market. We’re not just building premium homes; we’re redefining interior design for those seeking a personalised experience.
The hall blends minimalism with neutral tones; Photography courtesy Livspace
The opportunity that lies ahead is immense in growth and size and we are excited to be able to broaden our spectrum of offerings and cater to the premium homes segment. Vinciago stands out with its meticulous attention to detail and commitment to customisable designs.
Vibrant blues and sunny yellows illuminate the kitchen, setting the stage for a perfect home-cooked meal; Photography courtesy Livspace
Our belief that homes should reflect individual tastes drives our team to collaborate closely with buyers, transforming their visions into personalised masterpieces. Each Vinciago home is a unique blend of our expertise and the homeowner’s personality, perfectly aligning with the growing demand for bespoke living spaces.”
The bathroom features carved tiles that enhance the space with a fresh and elegant appearance; Photography courtesy Livspace
Livspace is on an upward journey to redefine home interiors and renovations in India. Consolidating its leadership in the organised home interiors sector, Livspace plans to establish over 100 Design Experience Centres (ECs) while strengthening its presence in existing markets.
A variety of green textures combine to create an eye-catching visual appeal; Photography courtesy LivspaceThe office blends modernity with richness, adding a chic and sophisticated ambiance; Photography courtesy Livspace
With a diverse range of home interior and renovation solutions, Livspace has become the go-to destination for residents seeking top-notch designs, quality products, and expert guidance. Positioned to capture the demand for modular solutions in tier 2 and tier 3 markets, Livspace currently boasts a network of over 52 stores in metros and non-metros, including Delhi-NCR, Bengaluru, Mumbai, Ahmedabad, Jaipur, and Kochi.
No, I cannot picture Harvey Specter in polka dots. Although, after taking a look at this lawyer’s chambers in colonial Mumbai, designed and styled by Architecture & Beyond, I cannot get the image out of my head. “Anything but typical,” was the brief given to principal architect Sonia Gehlot.
Call her approach cheeky or call it subversive, she brings a visual language into the 1,000 sq ft workspace that you would not associate with the sombre cabins of law offices. She turns to Yayoi Kusama for inspiration. “YK’s art and its nonconformist energy are what I wanted to tap into for the conference room.”
An ode to Yayoi Kusama’s non-conformist art, the conference room takes the polka dots a step further with an installation of floating balloons; Photographs courtesy Khush Khandelwal
The bright green shelf in the library with red and white stripes amplifies the eclectic personality of the space; Photographs courtesy Khush Khandelwal
The aquatint sceneries on the wall of the main cabin are by English landscape painter Thomas Daniell. Sourced from the neighbouring Jehangir Art Gallery, the tranquil illustrations lend an artistic flair that resonates with the heritage art district outside; Photographs courtesy Khush Khandelwal
Glance outside and you might be left in disbelief. The dome of Chhatrapati Shivaji Maharaj Vastu Sangrahalaya is framed by black and white polka dots that seemingly descend from all around. The practice of law is infamously intense.
“I think the balance was to know where to stop designing,” confides Sonia. She continues, “I had to be very careful of watching the line of not overdoing the polka as it can become very overwhelming for people to work with daily.”
Framed by playful polka dots, the dome of the sombre Chhatrapati Shivaji Maharaj Vastu Sangrahalaya stands out in vivid contrast; Photographs courtesy Khush Khandelwal
Photographs courtesy Khush Khandelwal
Photographs courtesy Khush Khandelwal
Breaking away from the norm, Sonia incorporates unexpected elements, bold patterns and audacious colours, turning the experience of an office into an immersive feerie. Situated in the art district of Mumbai, the location of Kalaghoda also played a muse in the design process.
In the main cabin, Thomas Daniell’s Indian watercolour landscapes sourced from the neighbouring Jehangir Art Gallery stand out in their serene simplicity. “I wanted something which would resonate well with the local artistic and historical ambience,” she states. The brilliant green and candy cane library, on the other hand, looks straight out of an illustrated children’s book. Although rooted in creative expression, the space maximises natural light and even offers verdant views of the mango trees outside! “That is what keeps the interest going when one walks through from one space to the other, eyes keep wandering to explore more,” concludes Sonia.
As cities grow and environmental concerns intensify, architects are increasingly turning to sustainable design principles to create spaces that harmonise with both nature and human needs. Everest Industries stands at the forefront of the building materials sector as a premier manufacturer of fibre cement boards, dedicated to sustainability and environmental stewardship. Their cutting-edge products are renowned for their superior functionality, offering unparalleled durability, strength and versatility across various building applications.
Committed to reducing their carbon footprint, Everest Industries’ fibre cement boards not only meet rigorous performance standards but also adhere to green building norms, promoting healthier and more sustainable construction practices. By exemplifying how industrial excellence can align with environmental responsibility, they pave the way for a sustainable future in the building industry.
Amrutha Kishor
“Climate change is undeniable, with rising global temperatures and more extreme weather events underscoring the urgent need for sustainable decision-making,” avers Amrutha Kishor of Elemental. Reports identify the building construction and operations industry as the largest contributor to the global carbon footprint, emphasising architects’ pivotal role in addressing this critical issue.
Amrutha Kishor’s EcoHouse in Kottayam, Kerala, a 14,375 sq ft residence, recently earned the Everest NextGen Award in the Residential category. Designed in response to Kerala’s challenging summers, the EcoHouse integrates passive cooling technologies, aiming to eliminate the need for air conditioning and ensure comfort for its occupants.
Amrutha Kishore of Elemental receives the Everest NextGen Award in the Residential category; Photography courtesy Everest Industries
The EcoHouse design by Amrutha Kishor of Elemental; Photography courtesy Everest Industries
The living room with Natural materials keep the interiors cool; Photography courtesy Everest Industries
Elemental specialises in climate-responsive architecture tailored for tropical regions, prioritising building materials with natural heat insulation properties. Kishor’s exposure to energy consumption simulation software during her master’s studies has informed Elemental’s approach, integrating factors like material selection, solar shading, ventilation and daylighting to optimise each structure sustainably.
This holistic approach forms the cornerstone of Elemental’s design philosophy, guiding their commitment to environmental stewardship.
Dining area with open ventilated doors to keep the indoors cool during summers; Photography courtesy Everest Industries
Earthy space with pops of colours; Photography courtesy Everest Industries
The warm interior space sports a palette of natural materials; Photography courtesy Everest Industries
The brickwork in the house adds a vernacular flair to the space while being undeniably modern; Photography courtesy Everest Industries
Sriram Ramakrishnan
Sriram Ramakrishnan from FHD India, winner of the Everest NextGen Award in the Commercial category for the Polycab Experience Centre in Gujarat, emphasises that sustainability is no longer a luxury but a necessity in the face of climate change and growing social consciousness. He states that “sustainability must go beyond mere numbers, embodying a deeper ethos that transforms commercial typology.”
Sriram Ramakrishnan of FHD India receives an award for the Everest NextGen Award in the Commercial category; Photography courtesy Everest Industries
The entrance lobby has a harmonious blend of luxury and sustainability; Photography courtesy Everest Industries
A glimpse inside the conference room; Photography courtesy Everest Industries
The employee dining area offers a few of the outdoors; Photography courtesy Everest Industries
Sustainable yet stylish this ecologically mindful space brims with modern opulence; Photography courtesy Everest Industries
Sustainable yet stylish this ecologically mindful space brims with modern opulence; Photography courtesy Everest Industries
Collaborating closely with a client who shared their vision, FHD India focused on key aspects such as reducing direct sunlight, maximising views and daylight, integrating renewable energy sources and sourcing local materials.
This approach not only enhances working environments but also aligns with contemporary construction practices, with 70% of materials procured within a 100 km radius of the project site.
The net-zero building houses a commercial hub for India’s largest cable manufacturer; Photography courtesy Everest Industries
Udit Mittal
“Sustainability as a tag is used everywhere more than any other concept to gain visibility and credibility. But often its practical application is still a fad, something that we call greenwashing”, says Udit Mittal of QX Design, the winner of Everest NextGen Award in the Hospitality category for a Bamboo guest house.
Udit Mittal of QX Design receives the Everest NextGen Award in the Hospitality category; Photography courtesy Everest Industries
The Bamboo Guest house in NGO campus, Sundarbans, West Bengal; Photography courtesy Everest Industries
The Bamboo Guest House located in the NGO campus, Sunderbans is a cyclone resilient public building of such a scale which is mostly built with bamboo and thatch. This guest house was being made to welcome the rich donors implying that the interiors were supposed to be luxurious enough while maximising the use of natural local materials, which made the overall experience even more escalated.
Structure made up of bamboo, thatches and bricks showcasing usage of sustainable materials; Photography courtesy Everest Industries
In an unconventional approach to architecture, the project encountered hurdles due to its innovative construction methods. To circumvent delays, Architect Udit took the initiative, deviating from the NGO’s standard approval and procurement processes. At personal expense, he sourced the required materials and assembled a skilled team from a different location, ensuring the project progressed smoothly despite the obstacles.
The back end of the guest house was meticulously crafted with sustainability as a primary consideration; Photography courtesy Everest Industries
The structure was predominantly built using bamboo sticks, lending a cohesive and culminating feel to the place; Photography courtesy Everest Industries
The interior spaces are defined by the choice of material and the geometry of the form; Photography courtesy Everest Industries
The project invites the people of the village to experience a sustainable approach to architecture inspired by traditional building practices; Photography courtesy Everest Industries
The main consensus of presenting the awards was to take the next step to build a secure, sustainable future. Promoting innovative products that are renowned for their superior functionality, offering unparalleled durability, strength and versatility across various building applications.
Committed to reducing their carbon footprint, Everest Industries’ fibre cement boards not only meet rigorous performance standards but also adhere to green building norms, promoting healthier and more sustainable construction practices. Sustainability in architecture is not just a trend but a fundamental responsibility, shaping designs that harmonise with nature and promote resilience in our communities.
The prevailing notion of a political party’s headquarters is that of power and persuasion. Rarely do they ever embody approachability with an innate sense of culture. For Studio Lotus, this was their biggest hurdle when envisioning Biju Janata Dal Party’s headquarters in Bhubaneswar, Odisha where they have reigned responsibility for two long decades. This 1,22,546 sq ft space was originally meant to be a five-storey structure but was reduced to three storeys to enrich connection with the people and surroundings. It stands out distinctly, but also blends in just enough.
The verdant courtyard is flooded with light during the day, lush greens occupying pride of place within; Photography by studio suryan//dang
Elements from local crafts and customs were curated to ensure that the laterite best represented the legacy of the land; Photography by studio suryan//dang
The external facade was designed with Siddhartha Das Studio, with intricate detailing of Sambalpuri and Ikat weaving styles along with other traditional elements denoting the intention behind this office — to represent that it is the people and the culture that drives change. “Contemporising these elements was a careful balancing act. We wanted to celebrate the crafts without simply replicating them,” emphasises Sidhartha Talwar, principal designer of Studio Lotus.
The space offers expansive views of the green outside, enabling relaxation and calm; Photography by studio suryan//dang
The headquarters sports a rich array of tactile materials; Photography by studio suryan//dang
The double-height auditorium creates a space for cultural and political creations. The second floor is distinct in the sense that it has cabins for party leadership and also video and conference rooms, embodying the modern but rooted approach the space has been built around.
Internal courtyards flood the floorplates with natural light; Photography by studio suryan//dang
The space seeks to further enrich the connection between people and their surroundings; Photography by studio suryan//dang
A microcosm of sustainability has been born in this three-storey space. Windows that let natural light in. Terraces for limited heat gain. Internal courtyards for comfort. Thoughtful landscaping, accompanied by solar panels and rainwater harvesting measures. “Our collective experience of government buildings is that of an outsider, even though the government is elected by the people and for the people. This building is designed to bridge the gap between bureaucracy and the populace by incorporating welcoming public amenities, creating a vibrant community hub that instils a sense of collective ownership amongst ordinary citizens,” concludes Sidhartha.
The airy cafeteria sports a green colour palette; Photography by studio suryan//dang
The raised campus ground establishes a connection with the community and the passersby. Inside, the space is equipped with a cafe, library and a 360-degree audiovisual gallery; Photography by studio suryan//dang
The BJD headquarters were designed to be open and inviting. The facade is intricately endowed with patterns from traditional Odia textiles and customs; Photography by studio suryan//dang
As India surfs the wave of rapid urbanisation, the concept of cafés in India has undergone an evident revamp. How we experience these spaces, solo or in company, alongside the crucial flavour of caffeine and good food has become a thing of routine and an equal intrigue.
The cafes have always been the most sought-after pockets of escape without disconnecting you from the magnetism of real life itself. This is exactly what Greenr-Strangr, a cafe nestled in the bustling market of New Delhi’s Greater Kailash I does.
A rustic exposed brick wall complimented by vintage elements instils an aura of comfort to the space. The wall finishes were attained through the hacking of old material with IPS flooring, custom table and pendant lamps by White Lighting Solutions; Photography by Avesh Gaur; Styling by Devika Bhalla
Inside a heritage bungalow
When every health enthusiast’s favourite community-restaurant Greenr collaborated with the visual storytelling collective Studiio Dangg, the goal was singular — to foster communities in a space that’s meticulously pieced together to feel like home.
Set in an idyllic heritage bungalow and dubbed Greenr-Strangr, the cafe is transformed into an artistic neighbourhood collective, spanning two floors and a stunning terrace, while astutely preserving its cosy charm. “A liaison with co-founder of Greenr Mohit Yadav, the idea was to magnify what the cafe already stood for. The space had to be designed to feel like a home. From familiar faces and community gatherings to vertically sprawling masses that overlay a blanket of comfort and conversation,” explains principal architect Manav Dangg.
The second-floor lounge area creates the perfect cosy nook to curl up with a good book and have an intimate conversation with an old friend, custom furniture and a wooden wine cabinet crafted by Studio Dangg on-site add to the space’s old-world charm; Photography by Avesh Gaur
A metal flat bar balustrade with wooden handrails featuring black stone treads wraps around the staircase, crafted on-site by Studio Dangg; Photography by Avesh Gaur
Levels and layers
As you enter the sleek metal and glass door, a tone of intricate quirks is persistent throughout as a homage to the nostalgic home that once housed different generations. On the first floor, a live kitchen window tiled with pink mosaic rests atop an unveiled, blemished counter. The seating area is snug between walls that either retain their vintage flaws or are freshly painted, standing in contrast to the brick-and-mortar. The juxtaposition of the new and the old emulates the design dialogue of a rustic home being run as a family-esque café. “The indoor material palette is purposely made to be neutral slate, to draw out the red of the bricks sporadically spanning across various walls,” says Manav.
The concrete counter adds further texture to the interiors, a custom lamp by White Lighting Solutions illuminating the space; Photography by Avesh Gaur
Hues of brown reign supreme, from the hardwood flooring to the custom furniture ensconced in the earthy colour; Photography by Avesh Gaur
As one ascends the staggered staircase, the second floor carries the textural conversation forward with an added twist. A massive floor cut-out in the centre overlooks the counter downstairs, while a wrap-around library offers an intimate setting reminiscent of a living room. Through the two levels, a sense of visual interaction emerges.
Bar but better
The terrace harbours Strangr, an unconventional bar best characterised by its terracotta bricks from roof to floor that create a cohesive material sandwich. The continual concrete benches lined with a splatter of cushions and thrifted peg tables clubbed with an old-school bar, insinuate the spirit of many mini groups becoming one, much like a soiree. The eclectic mix of vintage and contemporary elements draws out the “just moved in” essence of the space.
The textured walls were achieved by hacking away at old material with IPS flooring, adding further character to the space; Photography by Avesh Gaur
The indoor bar at the terrace brims with warmth emanating from the ambient lighting by White Lighting Solutions, the earthy colour palette adds to its cohesive appearance; Photography by Avesh Gaur
The terrace area is ideal for lounging, with brick tiles and built-in benches constructed by Studio Dangg; Photography by Avesh Gaur
An outstanding example of an adaptive reuse project, Greenr-Strangr was team Studiio Dangg’s vision to allow the context to speak for itself and engage with people. “The site upon our arrival, we observed, felt akin to a relinquished residence where a lot of families lived through the ages, and spun their own stories,” reveals Manav. He wanted the additions to be minimal and compliment the space, rather than overpower it.
The decision to retain Greenr’s blemished characteristics is wittily navigated to retain the feeling of an erstwhile home now occupied by its lively new residents — honouring its past in the present under the ethos of simplicity and comfort.
From hosting the dot-com boom to housing co-working spaces and high-rises packed to the brim with multinational corporations, Bengaluru has seen it all. However, in this city of entrepreneurs, how does a company stand out and tell its story through design? In a brick-clad Koramangala office, the architects at PR Design Group turn inwards in search of a solution. The five-storey workspace houses landscaped decks and courtyards, channelling ventilation and offering necessary pockets of verdure.
Designed around the idea of a luxurious human experience, partners R Ramraj and Pritvi Rao explain the approach behind the design of the lower levels, “There are large double height spaces and landscaped courtyards with the workstations having access to them visually and physically. All workstations were adjustable in height. So, if a person wants to stand and use it for an hour, they can do so. Or sit on a high stool. They have all these options!”
Daylight filters into the lounge through the plants. The plush B&B Italia sofa is flanked by two Chandigarh chairs and x+l centre tables from Phantom Hands. The flooring is by Marble Italia. The space is illuminated by Flos; Photography by Gokul Raoo Kadam; Styling by Kunal Prathap
A Baccarat chandelier illuminates the director’s cabin. The bookshelf is from Poltrona Frau while the centre table is from Hessentia. The carpet is a Jaipur Rugs find. In the backdrop, the blinds are from Forest and the flooring and cladding material is from Marble Italia. The track lights are from Flos; Photography by Gokul Raoo Kadam
Seating in the courtyard is crafted out of black granite from Prathiba Marbles while the flooring is by Nexion. The cushions are from IKEA. The grey and green carpet is from Plaunche and the window system is from Alkom. The lush plants are sourced from a nursery in neighbouring Mysore; Photography by Gokul Raoo Kadam
A glance into the tropical courtyard transports you from an office in the city to a forest retreat; Photography by Gokul Raoo Kadam
In this space, the Chester sofa and centre table are both from Poltrona Frau and placed over a Jaipur Rugs carpet. The artworks are from the owner’s private collection; Photography by Gokul Raoo Kadam
The facade reinterprets vernacular brick masonry through Nuvocotto’s brick cladding; Photography by Gokul Raoo Kadam
On the upper levels, the idea of luxury morphs, heightening aesthetics and adopting a more indulgent material palette. Adding layers of material interest, marble, onyx and quartzite grace the surfaces. The space boasts multiple works of art from the owner’s private collection. When it comes to furniture, the language is just as eclectic, varying from sleek modern silhouettes to period collectables. Crowned by exquisite chandeliers, the workspace could fit right into a fantasy novel!
“The upper levels resonate with the image of the company and the lower levels focus more on user sustainability,” state the designers. However, the loftiest form of indulgence in a cacophonous metropolis is the central double-height tropical landscaped courtyard with its own rain and mist feature. The visuals would take any seasoned resident to a saccharine slogan from the early 2000s plastered across Bengaluru, “City of gardens, lakes, opportunities, empowerment & champions.” Perhaps it is nostalgia and romanticism, but who could have guessed that in the next two decades, these two distinct identities of tech-city and garden-city could converge under one roof?
Scroll below to tour the office…
The workspace houses furniture from Featherlite and the window system is from Alkom; Photography by Gokul Raoo Kadam
A Murano glass chandelier illuminates the armchairs and centre table by Poltrona Frau. The blinds are from Forest and the rug underpinning the setting is from Jaipur Rugs. The art and the floor lamp are from the owner’s private collection; Photography by Gokul Raoo Kadam
The bespoke console was constructed on-site. The Marble Centre International white Satvario marble contrasts against the Brown Onyx cladding from Marble Italia. The artwork is from the owner’s collection; Photography by Gokul Raoo Kadam
The dining table from Baxter surrounds the chair from the personal collection of the owner along with the striking artwork; Photography by Gokul Raoo Kadam
The Molteni pantry unit complements the glowing Onyx cladding from Marble Italia. The leather fabric flooring is from Marble Italia as well. The spotlight is from Flos; Photography by Gokul Raoo Kadam
The Poltrona Frau chair in the owner’s cabin overlooks the courtyard, drawing a parallel between the indoors and outdoors. The drapes are from Forest; Photography by Gokul Raoo Kadam
The wooden furniture from Phantom Hands provides a textural opposite to the Marble Italia cladding; Photography by Gokul Raoo Kadam
In the lounge, the owner’s collected works of art occupy the walls; The Chester sofa and Roberto Lazzeroni’s Fiorile coffee table are from Poltrona Frau; Photography by Gokul Raoo Kadam
In the washroom, the table lamp is from Prism INC while the sink and faucet are Gessi finds. The mirror is from the owner’s collection; Photography by Gokul Raoo Kadam
In the same space, the Red Onyx cladding material from Marble Italia arrests your attention; Photography by Gokul Raoo Kadam
In the bathroom, the bathroom fittings are from Gessi while the sink is from Inbani. The glass partition is from WALTZ by JB Glass. The flooring is from Marble Italia; Photography by Gokul Raoo Kadam
A Flos chandelier brightens the stairwell clad in white Statuario marble; Photography by Gokul Raoo Kadam
In the conference room, a bespoke ceiling adds visual interest against the cement textured wall finish by Asian Paints; Photography by Gokul Raoo Kadam
As the doors close with a gentle woosh, the bustle of Churchgate and Mumbai’s thunderous monsoon ceases to exist beyond the glass doors of Gaylord. Beyond the al fresco dining area, the grandeur of the dining space resembles something straight out of The Great Gatsby. The space’s universal appeal is starkly apparent. An elderly couple sits in the dining space, video-calling their relatives. The shaky, handheld phone pans the lower dining space, emanating gasps of disbelief over the restaurant’s new look from the other end. If your company is not the most exciting, all one has to do is look outwards through the latticework and watch the bustling area at a comfortable distance.
The lower dining space is decked with warm wood, fitted with luxurious chandeliers and lights by Imamuddin Siddique, furniture by Sattar Ahmed, execution by Vedraj, Images curated by Mandira Lamba decorate the walls; Styled by Manu Mansheet, Photography by Vinayak Grover
Within the restaurant’s plush mezzanine, a mocktail christened Mohabat Sharbat inspired by a popular drink sold in Delhi’s Chandni Chowk on the menu comes as a refreshing interlude. It is lively, even during the odd, sluggish hours after lunch that precede teatime. The restaurant sprawls across 3,750 sq ft, designed by Rohit Sharma and Siddhartha Srivastava of Headlight Design Studio. Its new avatar has been crafted under the aegis of the restaurant’s third-generation owners Dhruv and Divij Lamba.
The mezzanine is ideal for more intimate gatherings, plush with red couches and seating nooks, with lights by Imamuddin Siddique and furniture by Sattar Ahmed; Photography by Vinayak Grover
All that Jazz and more
In its heyday, the restaurant used to be a buzzing spot for music lovers hosting endless jazz nights and candlelit ballroom dances. Noel D’Souza, the general manager, reminisces about the olden days with a chuckle, stating “They used to say marriages were made in heaven and blessed at Gaylord. That was my favourite line.” He confesses to spending many years watching families meet across the table, the bride’s and the groom’s side bashfully sitting on opposite ends. But it’s not just real stories that took life at Gaylord Mumbai, the space also has its fair share of the reel life ( and no, we’re not talking about the social media frenzy).
The ceiling sports ebony-hued lines wrapping across its expanse, distinctively Art Deco in its appeal; Photography by Sakshi Shrivastava
Old black-and-white photographs dating back to the 1950s of its illustrious visitors line the walls, ranging from Bollywood stalwarts like Rajesh Khanna to fashion icons like Christian Louboutin. One can spot groups of onlookers circling the pictures at any point of the day, engaging in a gripping game of guess-who-that-is trivia.
Black-and-white pictures curated by Mandira Lamba document famous dignitaries and celebrities who’ve visited Gaylord over the years, lining its walls; Photography by Vinayak Grover
And the way you look tonight
Housing a bakehouse eternally teeming with people to the left, the al-fresco dining area comprises big, beige chairs stationed around wooden tables, with plush, striped couches to the side. A touch of Parisienne chic in Mumbai, a la Churchgate ensues.
The alfresco area is distinctly Parisienne in its appeal, separated from the bustle or Churchgate by intricate latticework; Photography by Vinayak Grover
One can catch a glimpse of the dining space from the semi-circular windows, the dining space within emanating a warm glow; Photography by Vinayak Grover
Gigantic, semi-circular windows provide a peek of the warm dining space within as red opera-style curtains line the sides. The lower dining area brims with warmth, well-lit and accompanied by live music reverberating across its expanse. As one climbs upwards into the mezzanine, the lights grow dimmer, the space becomes cosier and a plethora of reds and blacks replace the beiges found downstairs.
The mezzanine features dim, ambient lighting, with darker hues reigning supreme within the decadent space; Photography by Vinayak Grover
Mirrors and stained glass windows have been affixed to the ceiling, drawing eyes upwards. The bar is a plush, glossy addition that is distinctly Art Deco in its appeal. Black and white cabinets sport hints of gold, lit aglow by tiny lamps positioned in between. As one walks through the space, it is clear — the roaring twenties are roaring again, indeed.
The bar features rattan-backed chairs and a black-and-white bar, metallic accents elevating its appeal further, lights by Imamuddin Siddique, furniture by Sattar Ahmed; Photography by Vinayak Grover
Out of the box
Within the menu, Mahesh Solanki, head mixologist at Gaylord, has chosen Indian spices and delicacies to infuse your poison of choice with a desi twist. From turmeric and sandalwood syrup to your favourite Banarasi paan, indulge in cocktails and mocktails that derive inspiration from India’s famous (and incredibly sought-after, as history would prove) spices and flavours.
Presentation reigns supreme with the Cinnamon Old Fashioned drink, accompanied with cinnamon flavoured smoke; Photography by Vinayak Grover
The Mohabat Sharbat mocktail is a fizzy rendition of the original drink popular amongst the bylanes of Chandni Chowk in Delhi; Photography by Vinayak Grover
As for the food, Gaylord retains its place as a purveyor of the classics once again, armed with a few new additions to seal the deal. A British classic, their Fish and Chips are a mouthwatering duo, accompanied by a plethora of English staples such as Vegetarian club sandwiches and a mammoth-sized portion of juicy roast chicken and bacon.
The sumptuous breakfast options are tailored to deliver an invigorating (and filling) start to the day; Photography by Vinayak Grover
However, the Masala lamb chops hailing from the Indian menu came packing a flavourful punch that even our ancestors would be proud of. A new addition making the rounds is the “Lobster Thermidor, bathed in a decadent mushroom cream sauce,” as the founding duo Dhruv and Divij describe — a suggestion we will certainly be circling back to.
The menu sports a wide array of dishes, its classic selection now including newer delicacies like the Lobster Thermidor; Photography by Vinayak Grover
Keeping with the times, these changes seek to usher in a new era that is certainly one for the books. Or as the younger crowd would say — the chefs are cooking, the mixologists are mixing, and Gaylord is well, ehm, Gaylording like never before.