The client wanted us to design a show flat of a small 1 BHK apartment situated in Mulund.
Being a small flat, we had to change our style from modern to neoclassical to give a spacious look to this small flat of 440 sqft area. While changing the style we did not compromise on our colour palette and the results are amazing as what we expected. All loose furniture from the sofa, t.v. unit to the dining table and everything was customized by us and got made on site.
We selected a colour palette of yellow, dark brown and wine shade to give a warm look which gives energy within the room itself.
Tiny pockets were created for displaying the artefacts in the bedroom, thus nullifying the offsets of structural elements.
Wardrobe shutters are made in glass and bed back is designed incorporating a mirror panelling, hence, its reflection gives the bedroom a more spacious feeling
Project name: 1BHK Show flat at Mulund
Size (area): 440 sqft
Location/ Place: Mumbai, India
Cost: Approx. Rs. 18 Lakhs
Historically, the Braj region (the biggest tourist’s attraction place), is synonymous with the legend of Lord Krishna, has been home to a wide range of art and crafts. Although many of them have their origin rooted in religious rites and Cater to needs of devotees of Lord Krishna producing items such as Poshak and Tulsi mala. According to the Brief Industrial Profile of Mathura, there are 150 units of artificial jewellery (Kanthi mala) in the district alone. According to research, it is estimated the number of artisans in this cluster is around 1300-1500, who eke out a meagre livelihood.
The Project aims to bring the benefits of tourism to the communities that live around the assets by a platform that promoting local enterprises that improves the social and economic conditions of artisans while protecting the state’s unique heritage.
The project comprises of Seven blocks: Haat to exposed artisan’s craft and talent, Museum to reflect and glorify the culture, tradition and heritage of Braj, Workshops 3 where visitors will be able to learn and interact with artisans to understand the nature of their craft, Amphitheatre 4 to organising the cultural programs and performances, Guesthouse 5, Canteen 6 and Admin block 7.
The concept is inspired by the historic references to design the spaces and to evoke out the elements of Narration through it.
A large domical roof structure, of the museum, reinterpret the feature of the architectural vocabulary of temple dome which allowing light to pour in and; punctures of courtyards and jaali between the thematic galleries providing sufficient lighting, ventilation; finishes with brick, red and dholpur stone i.e common material in the area.
Workshop emulate the form of an Indian village. Use of north light skylights to avoid direct sunlight into the studio.
Amphitheatre is placed as the heart of the place giving strong position in the plan yet keeping it shuttle due to orientation relative to craft court.
Formal, informal craft court is created gives a feeling of markets and bazaars. Clusters are connected with green patches completing the village scenes, having large overhangs of canopies shades the craft shops against harsh sun.
The flight of stairs reminiscent of ghats directs the view of kund; emphasizing the sacred nature; located at the lowest slope of the site to collect whole rainwater of the site is another ecosensitive feature.
La Victoria comes to fruition given the need of creating a new area adjacent to a weekend home for a big family, located on the outskirts of the city of Quito, Ecuador. With the idea of generating spaces for leisure as well as family gatherings, the project includes two wide-open areas connected amongst each other which function as a family and game room, the other space serves as a lounge-dining area, with an integrated kitchen. This project is complemented with servant spaces such as bathrooms and storage, wrapped around a big green patio area that serves as a garden for the main house.
The project mimics the natural landscape of the site due to the strategy of adapting the architectural volume to the terrain. From behind, the building is almost lost and it does not show its real magnitude, nor does it interfere with the view from the site to the nearby valleys and mountains. The visual pattern is a determinant factor on the placement of the building, thus the volumes are positioned to frame the view as well as possible. Also, the placement corresponds to an east-west axis line to try to take in the natural light as much as possible, but more than anything the previously mentioned view from the site.
Although from certain spots on the surrounding land, the project practically disappears, the architectural volume has a height of 4m tall, and the project creates open areas of 8m wide and 20m in length. Because of this, a constructive strategy had to be planned to allow these spaces to come to fruition while trying to avoid the placement of columns inside the space that might have divided the open areas or interfere with the view. The height of the spaces comes from the strategy of dealing with the specific microclimate of the area, which tends to be quite hotter than the weather in Quito city. The placement of the openings in the volumes corresponds to the idea of creating cross ventilation inside the spaces, especially in the lounge-dining area.
Besides the engineering difficulties, the project proposes slanted walls on the ends of the architectural volumes, which are an essential element of the esthetic of the project and it corresponds to the idea of wanting to bring the mountain shapes near the site to the terrain itself.
The project is thought in such a way that the articulation of the spaces does not interfere with the view from the site, which is why the architectural volumes are plain white with pronounced edges and some walls made of exposed concrete to contrast the white. The interior design also follows this program with plain white walls and ceiling that contrasts with grey flooring.
It is worth mentioning that the spaces created can also function as a place for events reception since the project presents open areas as well as staff areas for that complimentary use of the space.
Located in an uber dense Delhi locale, JK House forms a distinct urban landmark. The building design is both functional and expressive in nature, its lively sculptural facade is rich in simplicity and proportions. The backlit geometrical surfaces transform a mundane building corner on a busy street into a point of interest and heighten the excitement of the onlooker.
Built on an urban infill site and situated within four-minute walking distance from a transit hub, the project is appropriately sited to benefit from the city’s growing mass public transit system. The building design takes advantage of the proximity to the available alternative transportation system by minimizing the onsite area dedicated to parking. For a building accommodating about 350 employees, the project provides for code minimum parking of 25 stalls only.
The structure comprises of six full storeys; floor plates are combinations of open-plan offices, individual offices, conference and meeting rooms. The stilt and basement floors have service areas, break out spaces and parking. On the floors above are the office units with meeting areas and open-space workplaces. The roof area is greened and partly designed as a roof terrace.
Based on the interactions with the client, Sh. J.C. Chaudhry, the primary goal was to create a positive, comfortable and productive work environment. Characteristic of Delhi’s urban area, the site is a long narrow rectangle with existing built properties on three sides, with front, rear and side setbacks. Long narrow rectangular sites pose a challenge to naturally light workspaces at lower levels and areas away from exterior walls. Given the critical role daylight plays in occupant mental and physical health, a generously sized atrium was introduced in the middle to light the building from within. Low height desk partitions, light material finishes and full height glass partitions help daylight penetration in deeper areas of the floor plate. The building emphasizes occupant comfort with ample daylighting, natural materials, breakout spaces and a large landscaped terrace.
The interior workspaces are crafted with dramatic angles in the subdued contrasting colour palette to create a sleek, uncluttered and striking experience. The custom lighting, built-in furniture, ceiling and wall design come together as a singular cohesive space to exude warmth required for the ease of business discussions. The muted colour palette and the quiet aesthetic of the straight lines vitalizes the participants and enables effective and precise communication. It is here the company’s deals are sealed, ideas are formed, and plans are put into action.
Innovative architectural solutions come with a set of equally complex and demanding building construction processes. Transforming a building design into physical reality is a challenge no less. Throughout the construction of the project, we collaborated with RP Realtech Pvt Ltd, who was responsible for construction execution and providing all of the material, labour, equipment and services necessary for building completion.
The workspace for studio InVoid has been designed as a zingy space in tones of white, wood and grey with splashes of blue. The workspace enjoys ample north light throughout the day through large windows.
The entire studio has been divided longitudinally with a multi utility partition cum screen. It visually separates the common workstation area from the meeting room and the workspace of principal architects. The space is designed to facilitate ease of interaction between the principle architects and the team while working. The accent wall behind the principal architect’s workstation and daybed wall has been created with sharp intersecting lines in shades of blue and pearl white self textured wallpaper. The intersecting lines represent the continuously storming ideas in an architect’s mind. A large triangular patch bound by these lines has been used to insert a laquered glass to sketch the ideas. At one place, a small triangular patch is used to insert a pin board.
The zig-zag pattern of the black and white tiles gives a dynamic look to the studio. Flooring pattern has been used as an interesting element to weave the entire workspace. Inserts of the same tile have been used in the fixed furniture at a few spots and in the office entry door to add an element of interest.
Ceiling is left bare and exposed with grey paint to give a rugged feel to the studio. Lighting above workstations is done in combination of suspended light panels and ceiling mounted panels. A minimal false ceiling is done in the meeting room in contrast to the rest of the space. The meeting room is separated from the rest of the space through a glass door to maintain privacy. Rest of the spaces are free flowing into each other.
Studio inVOID is a young multi- disciplinary design practice founded in 2015 in Ghaziabad. They specialize in architecture as well as interiors and have been doing a variety of projects, be it residential, apartments, commercial, industrial or related to hospitality. The founder architects, a young couple who did their graduation from Aayojan School of Architecture, Jaipur believes in the idea that buildings can serve as a bridge between nature, culture and people and that inspiring surroundings have a positive impact on people’s lives.
“Our work is an expression of our beliefs.”
We react instinctively to any design problem. There is no formula or guideline to it. The idea is to design each building to meet specific needs and conditions to create an exclusive, yet relevant product.
Spread over an area of 5000 sqft, located in Jalandhar, Punjab, the project attempts to “stand apart” from the existing neighbourhood. An initiative to do something new which also seeks to capture the eye of a passerby. The design is unconventional. It is fluidic, providing a sense of flow and continuity of form, which is not usually seen in the precincts of Punjab.
The client’s brief was to design a house which maximizes space efficiency, has an affair with nature and also is minimal, not overdone. He also wanted the house to be in compliance with the norms of Vaastu.
Dressed in a colour palette of whites and greys, the façade symbolizes purity and fluidity in form. Elements and materials are juxtaposed to create a perfect balance. The entrance boundary wall is ushered by greens, adding to the aesthetics. The main gate is simple yet graceful, linear patterned in grey. The interplay of light and materials is evident in the design.
It was a requirement as per Vaastu to leave a free space in the north side. The designers have intelligently catered to the requirement by providing a passage which acts as a double advantage. One, it acts as an appealing water fountain feature, the other, it acts as a service passage connecting to the service staircase. The use of mirrors on the side walls of the passage uplifts the overall experience of the space.
The informal sitting area showcases beige furniture with wooden paneling on the wall. The dining area exudes a sense of sophistication with comfortable chairs and a shining black marble table. The “looking up” experience is enhanced by adding chandeliers with wooden paneling. The living-dining space can also be used as a small gathering area as it also houses a buffet counter; a wise choice the designer.
The designers’ keen eye on detail is evident from the design of the formal living area specifically. The serene white sofas, in contrast to the grey stone mosaic on the backdrop wall show a bold design choice. The wall showcases artwork too. One can enjoy the beauty of the greens outside, adjacent to the staircase, while sitting in this area. The pooja room is also near these spaces. It is a glass enclosed space, deliberately to prevent noise.
The master bedroom interiors are kept simple yet elegant. The white walls with grooves, beige colour palette, a stylish side seating, adds to the charm of the room. The highlight is the metal artwork in the form of a flower. It also has a spacious walk-in-closet and a bathroom.
As you climb up the stairs, you see lights dropping at various lengths, it takes you to the bar area. It shows artistic use of metal rods to firm a bottle rack, the gold design counter, wooden flooring and an arched wall design.
The house with its minimalistic façade, functional and spacious planning, and sophisticated interiors achieves a balanced design. It makes a long lasting impression in the minds of people.
Architecture Firm: Space Race Architects
Project Status: Completed
Covered Area: 5000 sq ft.
Project Category: Interior Design
Principal Architect: Ar. Thakur Udayveer Singh
Specialist Design Team: Ritika Singh
Specialist manufacturers: Schuco, Grohe, Schneider, Osram, Sirca, D décor
The solitary sign of the omnipotent existence of nature, the rich green canopy of the surviving champa tree stands in stark contrast to the simple and austere appearance of the pure pristine façade of the dwelling called HouSkinS.It uses the metaphor of human skin as the thin layering of tissue forming the natural covering of the body of an individual, inherent with the ability to shield yet remain in contact with the external world as the genesis of design thought. HouSkins is conceptualized as a minimal, light and humane interface.
HouSkinS creates a multi-layered protective shell for the family to enhance their sense of belonging and togetherness, as it creates a multi-layered spatial experience for the insider as well as the outsider. This experience originates with the moment of pause actuated by the gesture of reverence demarcating the champa tree and thefragrance of the champaflowers that invites within. Conceptually connecting to this tree is the core of the dwelling, a voluminous interactive space for the family that ties all the various levels and offers access to the temple that appears to stay afloat.
These three elements- the tree, the core and the temple, and their relationship,give clues to define the first design strategy- the sacred axis. This north-south axis connects the existing object of reference in the vicinity (the tree) signifying the natural centre, the created spatial core being the heart of the house (the family interactive centre) and the spiritual centre (the mandir) at the far end of the site. The sacred axis become the prime principle for further organization of other spaces according to user requirements.
The second design strategy is in vertical segregation of spaces.The ground being entirely dedicated to public interface, the first level being semi – public and the top floor being completely private. The ground floor comprises of large gathering hall with a spacious covered verandah with a surrounding water body and edge plantation along with an office space. The first floor has the living, dining, kitchen, two bedrooms and the mandir.The second floor has two bedrooms and a pantry.
The third design strategy is a system of paths that allow for preferred directions of movement through the building. The three paths – the direct entry path in the public congregation space on the ground floor, the diagonal path from the family living space to the contemplative zone (the mandir) on the first floor and on the second floor, the parallel path linking the private spaces horizontally and provides a vertical connect to the family space below. The staircase serves as the perpendicular path that links all the levels to form an integrated whole.
The path from the entry goes through the porch into a lobby space connecting the formal gathering functions at ground level and the staircase to the upper levels. The ground level is maintained as the most public, with a formal leisure space to entertain guests. This space opens up into a semi-covered vernadah defined by solid piers with integrated light features that illuminates this level attributing to it a sense of ephemerality during the night. The heaviness of structure dissipates in this luminosity concluding the experience with a streak of water lined with palm trees and a shallow water pool. The temple (mandir) with its inclined columns, emerging from this waterbody resides in this silent quarters of the rear court culminating the north-south sacred axis.
As one transcends to upper levels using the stairs within, the visual link to the outside is contiguously maintained. Externally, the staircase volume curves and vanishes into the realms of the unknown yet fundamentally serving as the bracket for the known and the familiar within the home, the cycle of life itself. The first floor level expands into the curved voluminous interactive space forming the heart of the house. This central core creates an optimal connection between all the levels of the house internally, making it a critical shared zone amidst the public and the private. The kitchen adjoins, symbolically placing the hearth within the core and embuing it with the quintessential quality in every home- warmth! At this level, there is a bedroom that overlooks the polygonal temple floating atop the water much like diyas in a river during festive rituals. The disjunctive form of the temple supports in maintaining the special status as the spiritual centre and is accessed through a bridge. The other bedroom overlooks the champa tree and the street beyond.
The curved form displaces space as it brings in desirable natural light, contains the internal volumes of the built and moves away from the immediate neighbours respecting their space and privacy. The curve fades away reaching out to the sky. The presence of the volume dissipates due to the curvilinear form, the floating structure and perforated screens, the otherwise solid statement gently transforming into ethereality.The other living spaces fit within and are raised at second floor level, to disconnect from the street and to enjoy the view of the horizon. The topmost level consists of service functions and provides access to the terrace. The intermingling forms lay disclosed when viewed at the top. The juxtaposition of volumes, as two curved metal forms enclosing the cuboidal concrete and glass clarifies the interior experience. The major curved form contains the primordial hearth and the living areas, becoming the pivotal space internally around which the house functions.
The landscape design scheme celebrates and magnifies the only feature, the champa tree by repeating it within the balconies of upper levels thus forming a pattern of greens integrated with the subtle façade. Towards the front of the house, as the foliage of the existing champa tree is a source of joy for people residing at upper levels, the newly planted ones turn into a emblematic reminder of veneration towards nature. While the water features and verticality of the reiterating palms lend a calming quality to the rear court at ground level, the upper levels sense the bursting of the palm leaves, swaying with the slightest breeze. The green layer repeats within the three punctures in the curved interactive core serving as one more screen between the inside and the outside.
The building skin is especially designed in layers to allow for an appropriate response to climate. As it is on a south west facing plot, an environmentally responsive secondary skin aligns with the south sun and veils the front built form. This screen in the front façade floats and aligns to the south shading the bedrooms for the summer days and the balconies project out to enjoy the winter sun. The entire skin is designed to be breathable having an air gap between a solid inner and a louvered outer layer. Glass is tactfully provided to give a spacious feel in the interiors, either in the recesses of the forms next to stairs and the living rooms. It is generously used in the north and is shaded by perforated screens when used in the southwest. During the day, the white louvered outer skin with wooden apertures (the balconies) lend itself to form the white austere immaculate appearance exuding a stillness and serenity in the middle of the visually busy built landscape. As night approaches the placidity of the façade transforms into a living image infused with the dynamism of life processes, the transparency of this layer is revealed as the interiors light up. The building that seemed solid in the day takes on a renewed dimension by night, transmuting into a stunning sheer of sublime existence.
Design Team – Sandeep Singh Sagoo, Bhavuk Jain, Ankur Jain
Clients Name – Mr. Gulati
We are sure no one is loving this trend of wearing masks and doesn’t like themselves with these looks but this has become imperative for our survival and to perform daily activities. First the pollution in Delhi and now Covid 19 around the world. The masks have been with us from quite some time now and are becoming an integral part of our lifestyle. We need to change this; we need to get back to mask free lives. We desperately need to fight this situation for current as well as future generations.
We did this shoot for one of our salon projects to spread the awareness as to how this thing would become a part of our daily schedules if things are not made right. We really need to tackle this situation. For sure it doesn’t enhance our looks.
Stay Safe, Stay Home. We are all together in this. Let’s rise and shine post this. Let’s come out strong.
The speedily growing Jawed Habib salon chainsports a uniquely designed concept and to brew up something interesting for their 1000 sq ft Mukherjee nagar, branch in Delhi.
We decided to fashion up the place in a smart, Neo-retro mood, considering it is all the rage recently. The design is ruled by shades of grey with well-decided bursts of natural pine wood. This scheme is then bathed in a soft yellow light giving the ambience a crisp yet bouncy quality. The space is topped by a ceiling where the exposed services are in a calm bentonite grey, dictate a sincere industrial charm.
The pinewood reception desk is a stately welcome which is elegantly contrasted by the metal divider screen; the wood and metal together instil the rustic modern vibe that was intended. Retro graphics that went along with themes of salon and grooming were employed to amplify the undertone.Pine wood is used extensively over the ceiling and furniture. The wooden ceiling rafters are placed linearly at a uniform distances aligned with the shorter span of the layout. These primary rafters are bisected perpendicularly with secondary rafters, which begin above the ‘Make-up Section’ and terminate right above the staircase in gradual lengths. This partly grid ceiling adds an extra dynamics to the design.
Starting from the most popular hair-cutting section that is placed in open sight to the pedicure, manicure and hair spa zones that are semi private, are housed next to windows. The windows open to the outside and a conscious attempt has been made to bring in a lot of greenery into the salon. The indoor planters are placed at random levels over the shelves, this essence the space towards warm and cosy environment. Also corroborating the continuity of space, the private rooms have been placed separately to provide a tranquil and serene environment- relaxed and aloof from the world. The washroom is centrally placed in the layout; it’s in between the three approaching doors of the private rooms. This positioning is ideally accessible for all the users in salon.
The manicure/pedicure sections are separated through the metal screen from the styling section to maintain a certain degree of bifurcation of the space and to generate a sense of privacy and comfort for the user. These metal screens and metal railingsare tailor made as per the desired ribbon-fluidic flow design pattern. The fabrication process was precisely hand crafted according to the details.
An angular juxtaposition of complex flooring pattern in grey and white flooring imparts a movement to the otherwise still elements that face each other covertly. The set up almost reminds one of the urban-retro moods of the design.
The rawness of the built space is utilised by leaving the pine wood natural. The flatness of the wall is skilfully articulated by projecting 5” wooden bands between which the mirror consoles appear to be nestled. The mirror consoles that are not set against the wall are suspended from the battens, and hence help eliminate the visual weight from the central circulation spaces. These mirrors have also been positioned so that they reflect with each other, creating a seemingly endless repetition of volume.
The ‘Make-up Section’ has unique mirror setting for the user, the central mirror has wing mirrors on either sides which are pivoted to be adjustable. This lets the user to view themselves from various angles. Another feature is the traditional series of bulbs that are used over the wall mirrors which also have a dimmer to adjust its light intensity. Although this is used as an elemental feature, it also has a functional advantage for the focused working of the ‘stylist’.
The overall space is enhanced on the concept of rephrasing the retro and the result is an unswerving and weightless setting for the modern glamour regimens.Every space has been treated individually to create a visually appealing experience incorporating elements that are soothing to the eyes has been crafted. The core values have been incorporated through an honest use of materials and rigorous attention to detail that enhances visual appeal. The concept has been developed to make a leisure yet essential outing experience worthwhile in a busy space and private space alike, “Just like the artistic behaviour of the hairstylist, you can see the conversation between textures, perception and space,” .
The Design Chapel is a young Mumbai based multidisciplinary studio founded and headed by Interior Architect Preshita Shah Gupta (B.ID) with a bachelor’s degree from the School of Design (SID) C.E.P.T, Ahmedabad. The studio specializes in commercial, residential and hospitality interiors with an experience of over 7 years in the field.
Vrnda Pharma is a pharmaceutical company which deals with clients and vendors all over the world. When the clients approached our studio, to design their newly bought office space, their brief was simple. They wanted a cool and quirky new space, which does not take itself too seriously. Their staff includes young people in the age bracket of 22 to 35 and they did not want the office to have a formal, more serious ambience. With this brief, they gave us a free hand to design the space albeit within a tight budget. The idea behind the office here was to create a variety of spaces that will enable people to work in a way they want to work.
As one enters the office, he is greeted with a small reception and waiting area, which is secluded from the rest of the office with our signature rope partitions. These rope partitions allow a visual flow while still maintaining a level of privacy. A small meeting room has been made in this big alcove that the site provided which can be accessed from the waiting and reception area. This is where clients, vendors and other visitors can be entertained without them actually entering and disturbing the rest of office.
A cabin space for the Director has been carved out with glass and aluminum black powder coated partitions boosting visual transparency with the rest of the office. Long central workstation devoid of any partitions inspire flexibility in workspaces where employees need not have a fixed work station for everyday use. We really wanted to create a space shared and enjoyed equally by all the occupants of the office.
We have designed some chill out spaces with high tables and bar stools for the employees to take breaks, have some Chai pe Charcha and enjoy the view of the lush green Vikhroli hills. These high tables also provide a different work setup where people can work while standing up and thus encourage movement and a change of work desk. With offices becoming second homes, this fluidity and lack of rigidness is what we try to incorporate while designing commercial spaces. Agile working environments are truly the future.
The thing we had noticed when we first entered the bare site were the huge windows and ample amount of natural light coming in through them. This made us lean towards a more monochromatic aesthetic where we could use black without the fear of the space turning dark. We used black and light pine wood as the primary elements. Whereas the black and white houndstooth fabric, the teal chairs and sofa bring in the much needed dose of pattern and color respectively. Making the most of the beautiful 11’5”ceiling height that the space provided, we decided to do away with the false ceiling and kept the ceiling exposed along with all the wiring. This gave us the freedom to use hanging light fixtures designed and customized to our spatial needs.
As the company deals internationally, the New York skyline makes its presence felt in the meeting room and director’s cabin wallpaper. The vibe of the entire office is informal and playful, a place where the employees can feel at ease and work through the long hours without a frown.
Designing Torani Flagship store was one of the best design journeys we’ve had. It was exciting to have a client not interested in the modern or the luxury or the eclectic or any style that is usually seen.
Torani draws deep inspiration from Sindhi culture and its design elements and incorporated them beautifully in their clothes. The brief, hence, was simple – Sindhi Architecture.
The brief was to create the space clean, void of any clutter in terms of planning the displays so as to hi-light the product mirroring the very heritage it draws inspiration from the 16th century buildings comprising of magnificent domes and beautiful curvilinear arches.
The brief also required everything unfinished and antique from floor to walls to ceiling. The space had to look bare yet reflection of the rich Sindh cultural heritage.
The store is a small compact space with ample ceiling height in contrast. It was a challenge to incorporate enough, financially viable number of products in the space for display and also create an experience of openness and bareness. The brief wanted it to look like a story unwinding while one is walking around.
The wide glass door at the main entry takes one inside and is flanked by dressed mannequins on either sides only visible once inside. Then begin the displays.
The hanging displays are separated at intervals with accessories’ displays and looking mirrors. This has also allowed the brand to segregate their collection by colours, styles and gender. The trial room is planned right next to the staircase that looms in the store and render some part of it useless. The remaining space next to it is used at storage for housekeeping and is seamless outside. The trial room is large set with full height mirrors and a curtain.
At the far end of the store lies the other entry though smaller than the main one but connects the back alley and draws the customers from that side as well.
The displays here also alternate between hanging and accessories.
The store is compact yet defines its own spaces as one walks around.
The concept was simple where the design team had to work on the classical design elements reminiscing the Sindhi Architecture while the whole was to be bare. The basic theme revolves around the earthy colours and rawness of materials. The entire store is painted in a grey hue with a rough grainy texture. The fixtures are left in the raw state for implying the very theme. The whole store resonates the idea of simple clean design without the obvious ornamentation. Any element only reflects the very soul of the product and their inspiration.
The walls play a canvas, rather a large expansive canvas for the beautiful, earthy and grainy textured paint. It covers every inch up and down over the beams and ceiling to bind the store in whole. The rugged feel takes one back to the lost architecture of the Sindh Region.
The tree very central part of the store stands tall a bare tree from which are hung bells of various style in brass. The thread is also of Indian cultural identity. The saffron thread suspends each bell from the tree and also spiral around it to remind one of the rituals that are deeply rooted in the Indian culture. This central attraction is the first thing you see when you approach the face of the store. Right ahead of it lies the Nandi, the mount for Lord Shiva. It greets one sitting grandly on the wooden pedestal. It is cast in brass and gives the store a touch of royal essence.
The flooring only ceases to match and flow onto the walls. The grey micro topping lends the required cement rugged feel to the space only to enhance the feel of antiquity and minimalism. It cuts out the very scope of a fine finished floor that may drive away from the very purpose of rawness.
Looking Mirrors are set inside arched shaped frames that draw a strong inspiration from the Persian architecture which also was a major influencer for the Sindhi Architecture. The arches embolden the very theme in the most subtle way.
Lighting is very practical and in tune to the needs of the modern day. The focus lights have been planned accordingly to create the spotlight effect yet without hindering the sight for details in the products displayed. They highlight the product as well also create the right ambience to experience the journey of the very products to the modern world.
The whole store is yes bare and stares wildly at one with deep Indian cultural weariness. The display stands are bare metal with a hint of paint trying their best to stay true to the plaintiff, the drama called upon by clothes.
The accessory displays are made in the same metal along with white marble stone. The knobs used for hanging scarves, bags and so on are casted in the shape of the logo of the brand.
Facade: First impression is the last impression. Hence it is a great stress to plan and design the facade of any space. It must justify from the exterior while equally be in sync with the interiors in terms of layout and design.The facade at one glance will take one directly to the Sindh Architectural experience. It has the arches and the levels to create an experience where one is stepping into the era. It is finished in the same paint finish as that in the interiors. The huge glass doors are gateway for glimpse of the store and ample daylight. The branding stands proud on the facade in brass and is backlit at night. The unique facade set amidst the neighbouring modernist stores is sure to surprise people walking by and from far, equally.
Royal Enfield has a mandate of bringing richer and a more comprehensive experience of their iconic global brand to their customers. As the next level of Brand Immersion, the brand is set to launch highly-curated, larger experiences in key motorcycling destinations. These go beyond selling motorcycles and gear, into offering a space for the motorcycling community to congregate in and experience the Royal Enfield brand and its commitment to “Pure Motorcycling”.
In continuation of the highly successful roll out of the Retail stores, Royal Enfield’s retail design and architectural agency Studio Lotus took the brief forward and converted a much loved, quaint Goan eatery called J&A at Baga creek into the multi-dimensional Royal Enfield Garage Café.
The exciting new space is a seamless amalgamation of retail space, a bar &restaurant, a gallery space, a bike-customization area and a service center.The design approach to the Architecture and Interior Design builds around the core values of the Royal Enfield brand: Timelessness, Craftsmanship and an unadulterated love for motorcycling.
The buildings are planned on a half-acre plot of land as a series of independent yet interconnected structures, each of which tells its own story. The industrially-crafted retail building with its zinc roof, laterite infill walls and the now distinctive “Royal Enfield” charcoal grey metal and glass facade effortlessly bridges its Goan setting with Industrial craftsmanship.
The central traditional Portuguese style structure where the old J&A kitchen used to be,manifests as the anchor of the space.Converted into a multifunctional gallery, the space currently houses and tells the story of the legacy motorcycles of Royal Enfield – from the 1939 flying flea to the original 1963 café racer and other engines and replicas that form the brand’s rich history.
The facade of this building has been treated with specially-commissioned, locally-executed artworks inspired by a Royal Enfield iconography based Azulejos-inspiredinstallation that is created by Codesign and is hand-painted on tiles byGoan artisans.
Attached to this heritage structure is an exciting double-height space formed by a steel framework and a traditional Goan roof. These form the bar area and the first floor dining space, that has incredible views of the Baga creek. The double-height bar volume has a hand-painted backdrop by Monde Art, which takes the viewer through a meandering Goan road trip. Highlighted by customized brass headlight pendants, the bespoke sandblasted timber Bar top brings alive Royal Enfield’s presence across the world. A slowly moving, High-Volume, Low Velocity rotor mounted of the 20-ft high ceiling ensures a gentle breeze in the space at all times. The first floor lounge wall has an exciting installation byHanif Qureshi of St+Art.Flanking this structure at the rear is a state-of-the-art Service center with a bike customization zone, encouraging customers who don’t have the resources or space to turn their imagination into reality. Here, one can find all the essentials – a tool kit, for instance – required to customize a motorcycle.
The entire cluster of buildings have been set around a charming courtyard and coconut trees to deliver an experience that is Timeless, Contemporary, charmingly ‘Goan’ and unabashedly “Royal Enfield” at its core!
Name of the project : Royal Enfield Garage Café
Typology: Mixed-Use (Branded Environment)
Name of the architectural firm: Studio Lotus, Delhi
Design Principal: Pankhuri Goel
Design Team: Ambrish Arora, Shalini Satish Kumar, Raman Vig, Laura Robin
Client: Royal Enfield
Project area : 9,600 sq.ft
Year of completion : 2018
Photographer : Andre J Fanthome
Art / Artefacts : Monde Art, Hanif Kureshi (St+Art Foundation)
A chic restaurant in the young city of Hyderabad, Masala Republic is designed as a celebration of the quirks, vibrance and liveliness of the youth and their aspirations. Conceptualized by Dhruva Kalra of RMDK as a rich sensory experience with the playfulness of modern aesthetics, this restaurant is the perfect balance of elegance, comfort and contemporariness.
Embracing the client’s proclivity for innovation, luxury, freshness and simplicity, this space is cozy, young and dynamic with an ingenious overlay of materials, lines, colours and textures. The space is treated as an elaborate art palette, combining various details together, representing the extensive multi-cultural and inclusive and innovative menu of the restaurant. Spread over two levels, this restaurant builds a distinctive visual narrative with individualistic spatial treatments for the ground floor, the upper floor and the outdoor ice-cream section.
The highly minimal and modern entrance with grey toned, arched, French doors with huge glazing, create a striking impression and a visual fluidity, drawing visitors in. The interiors are a mix of rustic warmth, sleek modernity, and classical sophistication, with a base color palette of earthy neutrals and warm greys. The Herringbone flooring and accent walls, along with the exposed wooden in rough cut wood, emphasize on the versatility and beauty of natural wooden tones and textures, giving the space a balanced contrast and a welcoming ambiance.
The plaster and patina textured walls make for a unique art feature, further highlighted with the delicate copper arch panels, and dull gold spoked wheel lighting installations. The arched high chair seating area is designed as a stand-alone art exhibit in contemporary grey, with engraved wooden blocks and patchwork floor tiles. Artistic lights, relaxed furniture along with the fusion of rough-cut wood and patchwork tiles for the food service counter, ties the entire space together, creating a refreshing experience.
The formal dining on the upper floor is an indulgent space with luxurious flooring in black granite with white streaks, black and white Herringbone patterned tiles with monochrome patchwork tile detailing, and wooden flooring. The suspended wooden and linear lighting rafters create an interesting play of the ceiling inside the main dining area. The mono-striped walls and tables, along with monochrome furniture, wooden accent wall, indoor planters and minimal lantern lighting create mutedly lavish and graceful gastronomic experience.
The copper pendant light installations, sandwiched between the huge, minimal glass glazing, and the geometric, wooden wall divider in the semi outdoor seating, act as an artistic ceiling panel, thus creating a stunning experience. The hanging metal frames, and the blue and yellow furniture further add a vivacity to the entire space.
Masala Republic, thus, plays with different volumes, materials and functions to create an Avant Garde expression of contemporary art and luxury, integrating the whole space into a nonchalant, bold and scintillating sensory experience.
An earthy material palette, inviting persona & an unconventional demeanour ground this dermatologist’s clinic venue designed by Ar. Mounika Kodali in the prime neighborhood of HITEC City, Hyderabad.
When the founder of NAVA Clinics approached Ar. Mounika, he had in mind an elevated vision for the first branch of his medical franchise – something that derailed the stereotypical notion of what a medical services venue would look like. The design journey of the clinic was a creative collaborative process between the client’s aspirations & the Architect’s penchant to work towards creating something anew. Nestled in the HITEC City district of Hyderabad, this 1800 sqft clinic was erected into existence over a 4-month period spanning February to June 2018.
The approach utilized was simple in its essence but used some interventions to give the spread of spaces a nuanced character. Various materials ranging from cement-plastered Kalai work walls to wooden ceiling rafters & cement floors came together to form a neutral stated base which was punctuated with pops of colours in sections. The different hues in controlled doses, patterns, textures & shifts in spatial volumes are what give the space a more tangible quality. “The client’s brief from the get-go was focused on creating an ambience that was calming to the senses, functioned efficiently & redefined the design norms in a clinic’s design.”, shares the Architect.
The clinic was laid out in an axial layout, with a doubly-loaded central circulation corridor. Wooden ceiling rafters & spine lighting give the corridor a more defined character. The element curated for this area was a custom partition system that collated a variety of materials like cement boards, fabric panels for patients to pin testimonials on, tinted glass & wooden panels in varied sizes to create an intriguing ensemble.
This metal frame partition feature fulfills the dual functions of area segregation while keeping intact a sense of visual transparency – thus giving the space a larger sense of expanse.
In terms of its distinct functional zones, the clinic opens into a reception area which bears highlights like the raw wood and metal tall desk with a planter insert created from unused marble from the client’s previous site & a statement red upholstered bench. The recreational zone & reading nook have solid center tables created by using raw wooden log slices with metal legs and hues in the form of red & blue lounge chairs. Lighting played a pivotal role across the space as it had to be a measured balance between task, ambient & lots of mood lighting to create the desired atmosphere.
The procedure rooms & consultation rooms also carry through a similar ambience. The overall cool colour palette of greys, blues and cameos of warmer tones of reds & browns keeps the look cohesive & tied-in together. “We tried to bring in the omnipresent earthy feel into each of the separate zones as well & made sure to layer it with pragmatic function, hues as accents, neoteric art & area rugs.”, expresses Mounika.
The NAVA Clinic’s construct has been able to encapsulate the grounded essence the design is representative of. It truly poses as an example of the fact that the way spaces are designed can have a significant impact on an end-user’s mind. The clinic’s design is meant to truly strike a chord with the visitors at an experiential level.
Project Name – NAVA Clinics
Architect – Ar. Mounika Kodali
Design Studio – Beyond Spaces Design Studio
Text Credit – Lavanya Chopra
Photography Credit – Raisen Majhi
The workplace as we know it today is the result of explosive creativity stretching the traditional rules of the workplace in the past, where hierarchies, social politics, and a general sense of rigidity prevailed. In today’s world, an office has the possibility of looking so many different ways.
This design for Kabadiwalla Connect, a young promising waste-management company in the city began with a need for achieving high levels of productivity in the workplace and had to accommodate the client’s need for diverse working patterns. Flexible workspaces are the future of offices, promoting productivity and happiness by encouraging the organic exchange of ideas between employees.
We had a compact space of 600 SFT. to work with and had to accomodate a multitude of programs within it. Our brief was to design a space that would be a workplace, an art hub and a stage for performing events, as the need arose. We chose to custom design the furniture in such a way so as to enable the clients to clear the space completely whenever needed and have an open floorplate; and also such that art shows could be held with the same set of furniture pieces. The space now enables both social, collaborative spaces and activities, as well as private heads-down work. Writable surfaces, pin-up surfaces, mobile discussion units and mobile work tables with plug n play options are some of the elements we’ve included within our design to facilitate ease of work for the team. Our colour palate is a vibrant yellow paired with a deep rich indigo, that would draw the visitors into the space.
Area : 600 SFT.
Typology : Interiors, Workspace
Status : Completed
Year : 2019
Design Team : Shruti Omprakash, Dinesh Kumar
Execution : Studio Context Architects
Location : Chennai, India
Photography : Phosart Studio
Located on Golf Course Road, Gurgaon, myPaperclip was conceived as an experiential flagship store, a space to experience the products and explore the opportunities of their corporate clients with an office. The biggest challenge with the project was 22ft X 16ft X 30ft site, to tackle which the planning of the space has been done volumetrically to create an extraordinary experience.
It consists of retail space on the ground floor and a design studio on the mezzanine level. Both the spaces are connected with a mid-level transition bridge which acts like a discussion cum display area. From a compact 300 sq ft space, the levelled planning was able to extract approximately 850 sqft area spread across 2.5 levels. The double-height entrance and the visual interaction between the mid mezzanine and retail area add to the unique experience of the space.
Ground Floor Plan
The brand identity echoes throughout the design language of the experience centre, where each speck and corner reflects chic and minimalism. The fresh and vibrant colours of the stationery products enjoy more than just a glance as they sit against the muted backdrop of white, beige and grey furnishings and furniture. Exposed metal structure, staircase and railing with a solid wood flooring cohesively bring the space together to create a mindful experience, one that shuts off the mindless noise, the auto-pilot of the routine.
The aim was to create a young and friendly semblance to customers and creating an identity that lingers on. Attribute it to the unusual proportions and design geometry or the warmth of material palette and muted tones, the store commands more than just a glimpse.
Location – Phase 1 Rapid Metro Station, Golf Course Road, Gurgaon
Completion Date – 30-12-2018
Category – Retail
Site Area – 352 Sqft
Built up Area – 850 sqft
Design Team – Bhavuk Jain, Sandeep Singh Sagoo, Neha Singhal, Aman Lamba
Clients Name – Mr. Ajay Batra
Photographer – Mr. Rohan Dayal