ifj https://ifj.co.in The Indian review of world furniture, interiors and design Tue, 03 Aug 2021 19:43:05 +0000 en-US hourly 1 https://wordpress.org/?v=5.0.13 https://ifj.co.in/wp-content/uploads/2019/07/IFJ-Favicon.png ifj https://ifj.co.in 32 32 Fluted metal panels for Raipur Home https://ifj.co.in/ifj-likes/fluted-metal-panels-for-raipur-home/ Tue, 03 Aug 2021 19:39:19 +0000 https://ifj.co.in/?p=21101

Raipur-based Azure Interiors have designed the Home, which is a residential project. The glass and metal door remains the focal point in the foyer, along with veneer that camouflages all the doors. An interesting console is made of fluted metal sheet and a tinted glass top, set against the fabric-based metallic wallpaper.

Upon entering, one would find fluted metal panels as the backdrop in the living room. Apart from the wine leather and velvet seating, one sees angular metal panels with fluted glass on the left. Wooden flooring is used, and the centre table comprises multiple smaller tables made from wood, metal and fabric. The double-height living area also has veneer and Italian marble panelling with metal trims, while the sofa features leather fluting and a Statuario marble centre table in brass and satin finish.

The dining wall has Italian marble strips in different sizes and levels, with a PU crockery unit, a dining table with an Italian marble tabletop, a recessed washbasin and a mirror to add depth to the space. The washroom is done in Italian cladding, with angular grooves on the basin and shower walls. A marble wall separates the wet and dry areas, and the bespoke mirror has inbuilt lighting on the metal frame. The powder room features mosaic on the upper half of the wall, which is visually doubled using mirrors. The lower half of the walls and flooring are done in Italian marble, with a PU-finished vanity area and brass hardware.

Non-institutional aesthetic for Jaipur beauty clinic https://ifj.co.in/ifj-likes/non-institutional-aesthetic-for-jaipur-beauty-clinic/ Sun, 01 Aug 2021 18:23:59 +0000 https://ifj.co.in/?p=21090

Photography: Studio BluOra

Jaipur-based Scapesmiths has designed the Lavanya Laser and Plastic Surgery, where the client wanted a warm and open design that encourage client-doctor interactions. The design also optimises the aprents’ experience by creating spaces that are relevant to the evolved generations and workforce. The space is divided into two volumetric halves: the ground floor for the outdoor patients and the first floor where the in-house patients are treated within public and private zones.

Though the clinic is organized in a rectangular planform, the spaces are articulated in a circular manner to the laser room. An arched corridor takes one’s eyes to the green wall with the brand name, marking the entrance into the facility. Cream and orange walls create a contrasting backdrop against the teal furniture, framed openings and antique gold furniture. The changing intensity of light in the common areas, framed by arched doors and windows, evokes openness and lightness. The waiting and reception area create a perpendicular axis to the corridor that leads to the consultancy rooms.

The OPD chambers have wall-to-wall bookcases to store reference and study material, along with antique artefacts that display the doctor’s aesthetic sense. Artwork and paintings adorn the walls, and the monuments of Jaipur are displayed on the walls of the corridors and deluxe rooms for inhouse patients. The waiting and reception area and the OPD rooms are placed in the front to have access to direct sunlight, as compared to the service areas and operation theatres that must be power-lit.

Spread over 3000 sq. ft., the clinic features tangerine, emerald green burgundy, cream and grey – which demarcate the spaces designated for the staff, in-house patients and visiting patients. The material palette includes metal and veneer used in the doors and furniture, to shape a space-efficient, non-institutional and functional space.

Tips on running a successful design business https://ifj.co.in/expert-opinion/tips-on-running-a-successful-design-business/ Thu, 29 Jul 2021 19:33:09 +0000 https://ifj.co.in/?p=21081
Ar. Sumit Dhawan, Founder & Principal Architect at Cityspace’ 82 Architects, Gurugram

Apart from the entrepreneurial spirit, a successful businessperson must always remain motivated and optimistic. Here’s Ar. Sumit Dhawan, Founder & Principal Architect at Cityspace’ 82 Architects, Gurugram, has to emphasize:

  • Increase Visibility

One might be lucky to get referrals and widespread reach through word of mouth, but they must establish themselves in the industry. Approach and build contacts to introduce yourself, as producing quality work isn’t enough. Maintaining public relationships is equally opportunities to create new opportunities and attract new clients to grow your business.

  • Specialise to make oneself indispensable

One must develop a particular area of expertise and market themselves as a specialist, as clients would always prefer over a general company that provides several services and products.

  • Use social media

Social media increases the company’s reputation and reach, so apply effective strategies to multiply the list of potential clients and maintain a strong digital presence.

  • Enjoy themselves

One must remember why they are in the business in the first place, and maintain a healthy mental state to produce high-quality work.

Anglo-Saxon references for British museum https://ifj.co.in/focus-projects/anglo-saxon-references-for-british-museum/ Wed, 28 Jul 2021 04:01:11 +0000 https://ifj.co.in/?p=21069

London-based Nissen Richards Studio has designed the Scheduled Monument of Sutton Hoo, The National Trust, in Suffolk, which was to design one of Europe’s most significant archaeological sites with major exhibition displays, a High Hall, replanned shop and café, former storage building and a 17-m. high viewing tower overlooking the burial site.

The Anglo-Saxon royal burial site dates from around 590-650 AD, located on a ‘hoo’ (meaning ‘hill’) with a valley to either side on the River Deben. Visitors first see a large-scale helmet sculpture by the Visitor Welcome Building, accessed by a patinated steel portal revealing a full-height red and gold graphic on the wall. The graphic diagram, based on archaeological plans, depicts the 17 burial mounds on the site. Visitor greeting pods at the entrance lead to pay stations, while new partitions allow for backend office space.

The visitors now enter The Courtyard area, with additional low-level seating portals. A 27m-long sheet-steel model of the ribs of the ‘Great Ship Burial’, along with the steelwork contractor Shaun Hodgson Engineering (SHE), takes center stage. A concrete plinth shows the etched layout of the burial chamber, discovered in 1939.

The Trammer House, the original residential property, is an Edwardian structure built by architect Ar. Jon Coder in 1910. Furniture chosen by The National Trust sits alongside new bespoke joinery pieces that tell the discovery story through integrated audio-visual technology developed together by Elbow Studios. Original letters from Edith Perry, the owner of Sutton Hoo in the 1930s, are important resources as her excavation changed the understanding of Anglo- Saxon history altogether.

Visitors now see the first real object from the excavation – the ship’s rivets from the burial ship, accompanied by footage of the former estate gardener and local archaeologist Basil Brown. They move on to see an elaborate display housing images of the king’s helmet; other rooms include the dining room, where projections feature photography capturing the 1939 discovery in an audio-visual experience.

They move out to the landscape through the woodlands, leading to the Great Ship Burial mound and The Viewing Tower, which is located on the Top hat Wood to give visitors a bird’s eye view over the burial ground for the first time. The tower is a slender steel structure clad in charred Larch timber, surrounded by a mix of evergreen and deciduous trees. The stairway is formed with a steel projection on every other landing, so that visitors can stand and enjoy the ascending view to the side. A triple-section cantilevered ramp at the entrance is primarily made from timber with steel elements.

The visitors arrive at the High Hall, the main exhibition space. Historical characters and individual stories are portrayed through audio and visual presentations using costumes and backlighting. New polished concrete flooring is used in the main areas, while a slightly rougher finish is used in the trader/audio sections.

An almost-circular display, timber-lined on the inside and externally-clad in dark grey-black material, is the main feature area at the back. The display reminds visitors that all the knowledge portrayed in the High Hall has been learnt from the landscape, i.e., the Royal Burial Ground. A top skylight in the 7m-high space is blacked out, which creates a theatrical backdrop for the presentation.

An ultra-high-quality replica of the helmet is at the heart of the display, which had originally corroded and broken into more than a hundred fragments after the burial chamber collapsed at some time. The British Museum conservation team took several years to reconstruct the original helmet, which is today the face of the Anglo-Saxon period.

The replica features exquisite craftsmanship and detailing in its quality, while the outline of the king in the new display is recreated with chain mail, sword and spectra. A temporary exhibition space beyond this is upgraded for future use, while visitors end their journey at a freestanding café built in 2003. The new design predicts an increased retail replacing the former ticketing area, while part of the new café occupies the former shop space. A new graphic is introduced, which matches the welcoming building and displays a diagram displaying the
Royal Burial Ground.

Natural light and ventilation for Bengaluru home https://ifj.co.in/ifj-likes/natural-light-and-ventilation-for-bengaluru-home/ Wed, 28 Jul 2021 03:40:54 +0000 https://ifj.co.in/?p=21058

Photographer: Shamanth Patil

Bengaluru-based Cane Boutique has designed the Dream Home, which is a villa spread over 4000 sq. ft. in a gated community. The client wanted natural light and ventilation in the space, along with giving the firm complete freedom to design and execute their home.

An open space blends with the distinctive flooring, and the common areas are located on the ground floor. The private areas are located on the first floor, each designed with a purpose. Moving to the living room, it houses fabrics, furniture and a wall display unit that divides it from the dining room. The prayer room door stands out with its gold distressed finish, and remains an eye-catching element in the common area. A step-out balcony is converted into the bar area, with a Mangalorean-tiled roof, wooden blinds and a smart bar.

The master bedroom features a muted colour palette with fabrics and high-gloss Duco finishes, while the son’s room follows a contemporary grey-and-blue palette.

Narrative-led design for British musuem https://ifj.co.in/focus-projects/narrative-led-design-for-british-musuem/ Thu, 22 Jul 2021 19:34:57 +0000 https://ifj.co.in/?p=21047

London-based Nissen Richards Studio has designed The Grade 1 Listed Sir Hoseph Hotung Gallery of China and South Asia, The British Museum, which was to refurbish the longest gallery in the British Museum, which displays a collection of Chinese and South Asian antiquities.

At 115 m. long, the gallery contains over 5,000 antiquities and the firm was commissioned to renovate and upgrade the existing space to meet its environmental needs in the 21st century. As a result, the project was transformed into a reimagined narrative-led exhibition space of imagery and color.

Burgundy painted columns mark Chinese history and culture, while a bright peacock blue represents South Asian life. Each of the 31 bays of the gallery  is demarcated by a title fin and provides a backdrop for an era, culture or theme. A new bespoke pendant lighting fixture in patinated brass and quartz welcomes the audience into each bay, which emphasizes the repetitive rhythm of the architecture.

Patinated brass is repeatedly used to highlight key interpretational devices: gallery introductions, prized antiquities and audiovisual interactives. A green patina developed with a local specialist marks the gateway into the refurbished Selwyn and Ellie Allyne Gallery of Jade, which was also a part of the project.

Metal façade for Noida home https://ifj.co.in/ifj-likes/21025/ Thu, 22 Jul 2021 19:18:17 +0000 https://ifj.co.in/?p=21025

Photography: Avesh Gaur

New Delhi-based Unbox Design has designed The Green House in Noida, a residential project within a densely-populated neighborhood and restricted budget. The site had an existing two-floor building that was to be converted into a new structure, how the existing structural elements were used with retrofitting. Thus, the firm judiciously recycled their resources while maintaining a low budget. To counter the tight and closed plot, limited natural views and scanty light and ventilation, the livable spaces spread over 3500 sq. ft. are located towards the open ends while a central skylight maintains privacy.

Layers of metal screens in the forms of railings, louvers, doors and exteriors are used for the façade. The firm used natural materials that aged well and needed less maintenance such as exposed brick walls, reclaimed natural wood and large aluminum windows. The ground floor has an outdoor verandah with comfortable seating, as an extension to the living space and parents’ bedrooms. The upper floor has private bedrooms and entertainment area, which displays the client’s social life. All the bedrooms have large sliding aluminum windows that allow maximum natural light from the open ends of the site.

A light-colored interior palette of white walls and ceilings with polished marble floors to promote natural light, functional and flexible spaces. The skylight ensures the penetration of daylight in all spaces, by acting as a slit in the roof plane and establishing a visual connection with the sky.

Embroidered panels for Kutch museum https://ifj.co.in/focus-projects/embroidered-panels-for-kutch-museum/ Mon, 19 Jul 2021 03:48:18 +0000 https://ifj.co.in/?p=21012

Mumbai-based Design Collaborative has designed the Shrujan Gallery in the Kutch, which was to develop the first textile gallery and museum for the Living and Learning Design Centre in Bhuj.

The design narrative wove together the life and works of 10 embroidering communities from Kutch, ranging from the Ahirs to the Halepotras. The firm spent six months observing the work of Shrujan and the community, studying the surrounding villages, embroidery clusters and craftswomen to formulate design concepts for the museum and continue their traditions.

Out of the three layers of visual narratives, the main display features a collection of embroidered panels and garments. The uppermost comprises a photo-documentation of the craftspeople hailing from a particular community, while the third layer is a more interactive segment where people learn more about the embroidery style and choose samples. The exhibition also has a display of crafts, lippan kaam (local mud art), household goods and other goods.

The spatial design renders a brutalist feel with metal structures that hold the entire exhibition space together, and the exposed raceways in the ceilings colored in a Mondrian grid. Metal screens made of local embroidery form motifs creating partitions along the first exhibit of the gallery. The Shrujan Gallery comprises embroidery from several communities: the Ahir collection shows an extensive use of red, yellow and orange while the Rabaris use black, grey and silver. Muted colors bring out the richness of these collections.

The display design resembles portrait photography, where the main subject is highlighted by creating complementing environments. The crafts section uses blue to differentiate the photomontage produced by the craftspeople from the rest of the space. Textured art intrinsic to the community, such as lippan kaam is used while Ajrakh prints are used to render a part of the Kutch map at the entrance of the gallery.

Aesthetic functionality for Bengaluru restobar https://ifj.co.in/ifj-likes/aesthetic-functionality-for-bengaluru-restobar/ Mon, 19 Jul 2021 03:37:04 +0000 https://ifj.co.in/?p=20997

Photography: Dark Studio

Bengaluru-based Studio Nine Architects has designed the Drink N Dine, a resto-bar in Bengaluru that entertains people. Spread over 6900 sq. ft., the 220-seater restobar is spread over three levels and designed within three months. Comfortable seating is priority to ensure that the opulent interiors are suited to the target diner, along with maximum efficiency behind the bar station to maintain traffic flow.

Moving up to the second floor, we’re taken to the Wine o’clock. The firm used natural lighting to create a modernist interior using raw pinewood flooring, unfinished concrete walls and an exposed brick wall with greenery. Deep red, peacock green, blue, olive and mirrors add the decoration and functionality of a visually larger space. In the reception area, one finds a photobooth for the millennial generation, which makes the bar for a social media-worthy space. Customised colourful and circular seating on the raised platform is designed using peacock-green soft velvet contrasting with pinewood panelling and herringbone pinewood flooring. A partition at the opening acts as a safety and privacy measure, which also becomes a major highlight.

On the third floor, also known as Whiskypedia, an interactive photobooth with a customised mild steel-fabricated design and selfie kiosk is the focal point. Group seating arrangements catering to different sizes are accommodated, with the kitchen, bar counter and low-height lounge seating. Dark veneer wood panelling with copper strip inlay, customised dark wood furniture with copper legs, faux natural stone vitrified tile flooring and a black ceiling maintain the enigmatic atmosphere. Warm lighting and a brass chandelier set the contemporary mood for dining, pre-dinner drinks and late-night cocktails.

The open terrace floor features a neon photobooth with a backdrop, blue walls and raw pinewood furniture. A clay jaali adds curiosity, and the clay jaali staircase provides addition seating on the upper floor – looking over the central bar and dance floor. The concentric pendant lighting in the seating area maintains a layered composition, with a central bar counter and customised high and low-seating area. The retractable roof offers an outdoor dining ambience with greenery and a panoramic view of the locality, while balancing aestheticism and privacy.

20th-c. modernism for New York museum https://ifj.co.in/focus-projects/20th-c-modernism-for-new-york-museum/ Fri, 16 Jul 2021 03:58:21 +0000 https://ifj.co.in/?p=20978

New York-based Diller Scofidio + Renfro and Gensler has designed the Museum of Modern Art, which was to expand a museum, increase gallery space by 30 per cent, and render a welcoming experience for visitors.

The overall expansion yielded an additional 165,000 sq. ft., which allowed the museum to exhibit more artwork. A minimalist use of materials that correlates with the existing fabric depicts twentieth-century modernism, purity of material, abstraction of space and thinness.

The Studio and the Daylight Gallery share a frameless suspended glass with a black dot frit outer space to bring in light and reflection. The Studio is an additional interior glass wall and a metal mesh interlayer as the inner wall of the box-in-box, which filters daylights, views and outside migration.

The public spaces – the lobby, the suspended blade stair, the Street Level gallery and the retail space below – employs frameless glass panes clamped to function as glass beams to maximize visibility of the street.

One enters through a customized entry canopy that opens up the main lobby into a light-filled double-height space that offers the views of West 53rd and 54th Streets. The canopy consists of steel plates and concealed ribs, suspended on steel rods cantilevering beyond the build’s façade out to the

The flagship museum store was lowered by one level. Spread over 5,950 sq. ft., it was moved to the cellar level open to the lobby above. The 3,900 sq. ft. street-level galleries are free and open to all on the expanded ground floor. The double-height Projects Gallery has integrated roll-up shades for projections and blackout shades to control lighting.

The 1,600 sq. ft. Crown Creativity Lab, designed by Gensler, is an experimental space programmed by the Educated Department on the second floor. The new western expansion is dedicated to art displays, as more than 40,000 sq. ft. of galleries was added to enable the museum to display more of its collections through fluid and interconnected narratives of contemporary art across all mediums.

The 30 per cent increase in gallery space includes the Jerry Speyer and Katherine Farley Building, a stack of vertically interlocking galleries of varying heights. These new galleries accommodate over double the expected load capacity of the existing galleries. The 4-in-wide wooden plank flooring was increased to eight inches, along with the addition of blackened steel portals inspired by the Taniguchi-designed stainless-steel portals. The 2,000-sq.-ft Marie and Josée and Henry Kravis Studio is a dedicated space for dance and music performances and sound work connected to contemporary art centrally integrated within the galleries of a museum.

A 3,600-sq.ft. café provides for casual refreshments and dining, and an opportunity for site-specific art installation on the museum’s highest floor. Completed during Phase I, the Bauhaus staircases were extended to the ground level to restore access to the second and third-floor galleries. The blackened stainless-steel staircase provides direct access to the flagship museum store. Glass balustrades on the seven-ft.-wide risers are cantilevered and held in place with pins to express the intersection of two materials, which echoes the renovated Bauhaus staircase embedded into the terrazzo.