gid june 2015

30 GID FOCUS THE STORIES THAT CITIES TELL GID chats with Caroline Bos,

co-founder of and Principal Urban Planner at the Dutch firm UNStudio, about building on internal knowledge and how good urban designs can bring people together as well as tell a unified story.

56 OUR HOME A SCRAPBOOK OF CURIOSITIES Leland Hill, a collector by interest,

has created a space to keep stories, experiences and inspiration close to his heart through his authentic and quirky interiors.

50 REGIONAL FOCUS FOR THE LOVE OF OBJECTS Regional designer Nayef Francis

does not fashion stunning and unique pieces of furniture; rather, he paints beauty through minimalism, comfort, performance and purpose.

42 GID PULSE AN AURA OF ENGLISH LUXURY Sally Chamley creates the perfect

backdrop for statement furniture in Qatar with Black Orchid Interiors.

JUNE 25, 2015

Leland Hill’s apartmentPAGE 56

The power of collaboration PAGE 36

COVER IMAGECOURTESY OF BLACK ORCHID INTERIORS

6 GLAM INTERIORS + DESIGN

46 GID INSPIRATION ART, DESIGN AND INNOVATION With over 2,000 exhibitors

showcasing their designs and thousands of products and exhibits making their debut, this year’s Salone del Mobile Milano opened its doors to a visual array of quality and innovation. And we bring you some of the best designs displayed.

62 GID ARCHITECTURE FORM FOLLOWS NATURE An architecture firm in India defies

the architecture of masses and takes a unique stand: giving the environment its due, designing around the natural elements present on site. A look at their most enticing projects.

16 GID MASTERMIND FROM EYESORE TO

ARCHITECTURAL PRODIGY We seem to have a Renzo Piano

affliction, but this is one that stirred the Parisian thoroughbreds with its revolutionary design of having the service pipes as the faÇade of this huge cultural house. The Pompidou Centre and its design is worth a look.

22 GID MIX RAMADAN TREATS Decorate your home with these

decorative discoveries around Doha.

CLOCKWISE FROM TOP LEFT:The Pompidou, Paris; The House on a Stream by Architecture Brio; Doha Metro stations designed by UNStudio; Spinning Library by Nayef Francis; Sally Chamley, CEO and owner of Black Orchid Interiors; Art Basel;

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MANAGING EDITOR SINDHU NAIR

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PHOTOGRAPHER ROBERT ALTAMIRANO

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GLAM INTERIORS + DESIGN IS NOW A MEANS TO FULFILLING MY INNATE DESIRE TO COMPREHEND BUILDINGS AND PRODUCTS THAT STIMULATE MY SENSES. EARLIER IT WAS A PASSION WITHOUT AN OUTLET AND NOW I AM HAPPY TO SHARE OUR FINDINGS IN GID, A MAGAZINE THAT CELEBRATES INNOVATIVE DESIGNS.

But even without the inclination to gawk at beautiful buildings, one would be aware of arguably the greatest Indian architect, Charles Correa. If you have lived in Mumbai you are sure to have been inspired by his work, the simplicity of his creations. The initial planning of Navi Mumbai, a satellite city conceived by Charles Correa, shows the brilliance of the architect. Though the way the city, which was initially meant to decongest Mumbai, has shaped up convinces me that it is anything but what Correa intended it to be. Navi Mumbai was built by CIDCO and Correa was its chief architect for five years. Later, reportedly, other forces made a mess of city planning and it is now an unforeseen mess of buildings and increasing population. We have been discussing the emphasis design has in everyday life and Correa’s buildings and his urban planning have all shown just how important planned structures are in the landscape of a city and how this inadvertently affects the quality of life.The same facet that our main story in this issue of GID discuses at length. Caroline Bos, co-founder of and Principal Urban Planner at the Dutch firm UNStudio believes that if urbanisation is not planned and controlled, the benefits around standard of living will start to lose out to the downsides. She is also concerned about social cohesion in cities. A factor that the firm keeps in mind as they design in Doha around 35 metro stations for the new Doha Metro Network in phase 1 and around 60 in phase 2.While this design firm contemplates on human connections, another architectural firm in India goes deep within nature to find design solutions. Our world architecture mix within GID brings in a firm that uses landscape as a main feature while Renzo Piano, our current favourite uses utility pipes as the façade in the beautifully ornate city of Paris. Our expat house is a mix of all things beautiful while our Ramadan spread is an eclectic mix of Arab inspired decorations. Read the pages of this issue of GID and be amazed by design.

SINDHU NAIR

FROM THE DRAWING BOARD

GLAM INTERIORS + DESIGN 11

RIP INDIA’SARCHITECT CHARLES CORREA

Charles Correa, described as “India’s greatest architect”, died recently following a short illness.

The founder of Mumbai-based Charles Correa Associates – whose work includes the Mahatma Gandhi memorial in Ahmedabad and the Champalimaud Centre for the Unknown in Portugal – died on 16 June in India. He was 84. The distinctiveness and excellence of his work made him India’s premier architect, and his vast range of interests and eloquence marked him out as a leading figure in the field internationally.

The first building to bring him attention from outside India was the Gandhi Ashram (1958-63) in Ahmedabad, Gujarat, a brick and concrete, stone-floored grouping of square, pitched-roof pavilions that enshrines the values of its hero, Mahatma Gandhi, whose ideas on civil action and community service Correa wholeheartedly shared. It demonstrated an authentic Indian modernity that superseded the condescending orientalism and stale imports of

colonialism.The slatted panels that stand for

windows in the Ashram were a first essay in the use of natural ventilation and passive energy that Correa advocated, and which was also enshrined in his early “tube house” in Ahmedabad (1961-62, but since demolished). He applied it in other houses where internal courtyards and the pitch of the roofs contribute to effective ventilation, so removing the need for artificial air-conditioning; an example is the National Crafts Museum in New Delhi (1975). It is from this that he developed his characteristic use of courtyards, “rooms open to the sky”.

In the words of India’s prominent architect Gautum Bhatia, “Like other

architects, Correa wrote extensively on architecture and urbanity. But unlike others, his writing was not as a detached or as a theoretical observer. Cities, he understood, were a messy, gut-wrenching, tiresome, illiterate and contaminating experience. As the founder of Mumbai’s Urban Design Research Institute, he spoke with a tireless eloquence on the need to confer value to urban life. His early book, The New Landscape and, later, A Place in the Shade, drew on his experience of urban design and connected in an unerringly Correa way to his own buildings, his ideas for low-cost housing, the open life of the Indian slum, even the design idea of “Open to Sky” space.

Dubai is set to launch a new design event called Dubai Design Week which will run from October 26 to 31 this year, alongside the design fair, Downtown Design.

In partnership with Dubai Design District (d3) and in collaboration with the Dubai Design and Fashion Council (DDFC), this event will enliven the city with innovative installations from local and international designers. It will also include an innovative show from the world’s foremost design universities; exhibitions by UAE-based designers and brands; and educational programmes, talk shows and workshops by local designers who will be showcasing their work.

d3TO HOST INAUGURALDUBAI DESIGN WEEK


GID GRAPEVINE

British designer, Gavin Munro, has created a simple and eco-friendly way to manufacture wooden furniture from his forest of chairs and tables.

Rows of trees are being grown into upside-down chairs around blue corrugated plastic frames from a 2.5-acre field in Derbyshire in the British countryside which slowly takes shape over years of careful nurturing. Around 150 armchairs, 100 lampshades and other items including mirror frames are being grown out of the ground. The brainchild of the designer, his company Full Grown has produced some early prototypes of each item with one jointless piece of wood. “It is not simply the case of planting trees and leaving them to take shape. You cannot force them to do anything they do not want to. It takes years of pruning, coppicing and grafting”, said Munro to AFP. AFP RELAX NEWS

FROM TREETO TABLE

Liu Dejian, CEO of Chinese software firm NetDragon, has taken design to where no man has gone before with his distinctive Star Trek-style office space.

China’s online gaming operator had its headquarters modelled after the Starship Enterprise. With a total investment of 600 million yuan, this six-floor building near Changle in southeast China was built in agreement with US media company, CBS. Being a major fan of the Star Trek series, Liu Dejian has also installed other cool features inside this giant spaceship, such as a replica of a T-Rex dinosaur, 30-foot metal slides to get to the ground floor from the third floor, and automatic sliding gates between each work area.

A STAR-TREK ENTERPRISE


AN ARTISTIC TRANSFORMATIONAn international design competition has been set up to transform a series of huge flour mills alongside Doha’s waterfront into new art galleries.Qatar Museums along with Malcolm Reading Consultants have launched a global search for the designer of what will be one of the world’s leading art galleries, the Art Mill. This gallery is expected to be one of the largest and most forward-looking in the world, with the waterfront site serving as a link between the Museum of Islamic Art and the National Museum. The three-stage Art Mill competition will be narrowed down to five architects who will provide detailed concept designs. The winning design will be announced in Spring 2016 and construction is expected to begin by 2017.

A classic in Danish industrial design, the internationally famed PH-Lamp by Poul Henningson turned 90.

Presented for the very fist time at the Universal Exposition of Decorative Arts in Paris in 1925, this lamp continues its success in providing harmonious and glare-free illumination. The design’s geometric form places it somewhere between a sculpture and a lamp and is the result of ten years of scientific study. The goal was to create a lamp with soft and warm lighting and this was subsequently achieved by stacking several reflective lampshades one on top of another. One of Henningson’s most notable works was the PH 3½-2½ table lamp which was produced in 1929. For its anniversary, this lamp was re-released as a limited-edition model made of copper. AFP RELAX NEWS

ICONIC SUCCESS


GID GRAPEVINE

German architect Frei Otto was named winner of the prestigious Pritzker Architecture Prize, a day after his death at the age of 89.

Otto, a distinguished teacher and author, pioneered the use of modern lightweight structures. His most notable work includes the distinct tented roof above Munich’s Olympic Stadium, which hosted the 1972 Summer Games and the 1974 World Cup final. He believed in making efficient, responsible use of materials and that architecture should make a minimal impact on the environment. World-renowned architects joined other dignitaries in Miami for the black-tie gala to celebrate the award. The central stage was placed close to a tent based on the 1953 design by Otto. “Frei Otto’s career is a model for generations of architects and his influence will continue to be felt,” says Tom Pritzker, chairman of the Hyatt Foundation which sponsors the prestigious prize.

Art Basel, the world’s leading modern and contemporary art show, opened on June 18 with elements to wow all art lovers.

Around 300 galleries from North America, Latin America, Europe and Asia and tens of thousands of visitors from around the globe will participate in this massive event. A special focus on art from 1900-1970, from classic modern to postwar contemporary, will be showcased. Highlights include “Horse and Cows” by Max Ernst (circa 1919), René Magritte’s “Renée Cordier” (circa 1936) and Egon Schiele’s “Woman Hiding Her Face” (1912). The fair’s pioneering “Unlimited” section will feature outsized, site-specific and non-traditional works by artists including Ai Weiwei, Olafur Eliasson and David Shrigley, and a screening of “Jellyfish Eyes”, the first feature film by Takashi Murakami.

ART IN FOCUS

CELEBRATINGTHE MASTER OF

TENSILE STRUCTURES


From his floating studio, a paddle board, artist Sean Yoro (aka Hula) transforms dilapidated constructions into spectacular works of art.

All his murals have a super-realistic quality showing women partially submerged in water. This NYC-based artist paddles out to paint the murals, balancing his acrylic paints and brushes on his board. Hula grew up on the island of Oahu, where he spent most of his days in the ocean. Although he grew up dabbling in graffiti, water colour, and tattoo art, he didn’t take his work seriously until he began to paint the human body when he was 21. The artist has also created a time lapse of his paintings to show how he contours and adds layers of colour to bring a woman’s face to life. IMAGES COURTESY AARON AUSTIN

STREET ART SEASIDE

As a result of a project started in 2011 by the European Union, the “Glass is Tomorrow” exhibition will set up shop at the National Design Museum in Stockholm from June 17 to August 23.

The event will highlight the potential of glass with 200 glass items and prototypes created in numerous European studios. This is also a great platform for networking for designers and artisans of this age-old craft. The varied pieces created by around 50 European designers will be presented along with their fabrication methods at the exhibition. After Sweden, the exhibit will travel to the London Design Festival. AFP RELAX NEWS

THE FUTURE OF GLASS


Ethan Allen Interiors recently opened their new store in Medina Centrale at The Pearl-Qatar.

Known for its uncompromising craftsmanship and classic style, the new centre has been designed to display several options of livable luxury furniture and all elements of home furnishing and accessories. All pieces are customised and tailored by hand in the Ethan Allen workshops. The store will feature interactive touch screens to help shoppers explore the world of Ethan Allen. Professional designers will also be there to offer design solutions to clients when purchasing.

THE NEWCLASSIC

The 2015 awards for Creative Achievement and Potential and Design Excellence organised by the Arab Engineering Bureau were presented to two junior and senior students of graphic and interior design from Virginia Commonwealth Universityin Qatar.

Graduating seniors Noor Al Thani and Noha Fahmy received the award for Design Excellence in Graphic Design and Design Excellence in Interior Design respectively from AEB’s CEO and Chief architect, Ibrahim Jaidah. Their winning projects included people’s perception of the Islamic way of life and healing in pediatrics. “It is an honour to be recognised as the recipient of the AEB Award for the second time. As it did previously, this will be an incentive to set and achieve even higher expectations for myself,” said Noha Fahmy. Instituted eight years ago, these awards encourage and assist graduating students as they start their careers as designers in Qatar and the region. “I am very excited to start my career with such a special recognition. As a sophomore, I couldn’t even use Illustrator to create a poster but today, being able to use an array of tools, techniques, and strategies to create projects of varying complexity and depth, I owe it all to AEB’s enduring support”, says Noor Al Thani, who wants to become a teacher of design in the future.

WINNERS OF 2015 AEB AWARDS

GID GRAPEVINE


NEW SPACEA new destination for home interiors in Qatar, Habitat makes beauty affordable with its fine range of classic and contemporary furniture and home accessories. It is located on Airport Road, next to Crowne Plaza.

SKY-HIGH VISIONVancouver-based Michael Green, an expert in building high-rises out of wood timbers, has proposed a plan to construct the world’s tallest skyscraper made of wood.

At 35 storeys, the tower his team is proposing would have to be approved as an exception to Paris’s existing height limits for wood structures, but he hopes winning the bid could be the “Eiffel-Tower moment” for the acceptance of tall timber buildings he has been advocating. Green’s firm, MGA (Michael Green Architecture), unveiled the proposal as an entry into the Reinvent Paris competition, a project by local authorities to search for innovations in urban design and sustainability capable of revitalising Parisian architecture.


GID MASTERMIND

THE EYESORE OF


THE POMPIDOU IS SURE TO STARTLE YOU; ESPECIALLY SINCE IT IS SET IN A CULTURALLY PERFECT CITY LIKE PARIS. THE SERVICE PIPES, WHICH YOU WOULD NORMALLY EXPECT TO BE CAMOUFLAGED, ARE THE HIGHLIGHT OF THE BUILDING.

TODAY CONSIDERED ONE OF THE EMBLEMATIC BUILDINGS OF THE 20TH CENTURY AND TAKEN TO THEIR HEARTS BY PARISIANS, THE BUILDING, OFTEN COMPARED BY CRITICS TO AN OIL REFINERY, WAS THE SUBJECT OF HUGE CONTROVERSY THROUGHOUT THE 1970’s.

PARIS

THAT BECAME AN

ARCHITECTURAL

PRODIGY


GID MASTERMIND


An immediate architectural icon of Paris, the Centre national d’art et de culture Georges-Pompidou (Centre Pompidou, or Beaubourg) is a vast multidisciplinary structure, a culture factory that preserves and exhibits important modern art collections. It is a place where the many strands of contemporary culture intertwine: art, design, literature, music and cinema. The centre is like a huge spaceship made of glass, steel and coloured tubing that landed unexpectedly in the heart of Paris, and where it would very quickly set deep roots.

The project was commissioned in 1969 by then President Georges Pompidou. An international competition was launched by the French Ministry of Culture in 1971, which Renzo Piano and Richard Rogers entered and won. The two-hectare site, the “Plateau Beaubourg”, lies on the edge of the Marais right in the dense urban fabric of old Paris. Half of the area is taken up by the building, with the other half following a radical design strategy devoted to the creation of a

“On the Piazza and outside the usable volume, all public movement facilities have been centrifuged. On the opposite side, all the technical equipment and pipelines have been centrifuged. Each floor is thus completely free and it can be used for all forms of cultural activities – both known and yet to be discovered.”

Renzo PianoArchitect, Centre Pompidou


public space – the piazza, or parvis, that gently slopes down to the lower-ground-floor entrance hall.

The entire structure of the 10-floor building (seven above ground, three below) is made of steel. Huge 48-metre warren trusses span the full width of the building. They are connected to columns at each end by a die-cast steel “gerberette”. This massive, visible set of structural components removes the requirement for internal support and thus enables the creation of huge open spaces. The resulting 50 x 170m plateaus can be arranged and equipped for any activity. To achieve maximum flexibility within these vast internal spaces, the services and circulation have been placed outside them. Lifts and escalators are contained

within the support structure on the piazza facade. Escalators zig-zagging through transparent tubes up the front of the building afford increasingly extraordinary views out over Paris. The colour-coded utilities (blue for air, green for water, yellow for electricity and red for vertical circulation) are positioned along the Rue Beaubourg, street-side facade. Deliberately leaving behind the tradition of the austere, impenetrable monument, the Pompidou Centre is totally transparent in both face and function. It is inviting and understandable.

As well as the big entrance forum, the main, upper-level gallery spaces and the vast library – the Bibliothèque publique d’information, found on the first, second and third levels of the main building –

The builders created a major pioneering building back in the 70s, in a country more used at the time to visions in concrete.

GID MASTERMIND


the site also houses other departments, including the Atelier Brancusi and the IRCAM – the institute for music/acoustic research and coordination.

The Centre Pompidou houses the Musèe National d’Art Moderne, which is Europe’s largest museum for modern art. The flat open site upon which it is located is a constant exterior stage for urban events. The centre was officially opened on January 31, 1977 and has since then integrated high-tech architecture and urbanism as a movement and spectacle for the city to experience every day.

The ArchitectureDesigned as an “evolving spatial diagram” by architects Renzo Piano and Richard Rogers, the architecture

of the Centre Pompidou boasts a series of technical characteristics that make it unique. Its originality comes first from the flexible use of large interior plateaux of 7,500 m2 , each completely free, with an easily modifiable layout. Using steel (15,000 tons) and glass (11,000 m≤ of glass surface), the builders created a major pioneering building back in the 70s, in a country more used at the time to visions in concrete. The building of the Centre Pompidou, in its use of glass and steel, is also heir to the great iron constructions of the Industrial Revolution, such as Paxton’s Crystal Palace, but also futuristic in many ways. A prototype in all respects, it lines up with the architectural utopias of Archigram and Superstudio in the 60s.


GID MIX

CELEBRATEIN STYLE

Bring in a sense of celebration and give your

interiors a festive makeover with traditional accessories

and ornaments, bright lighting choices, classic

tableware and kitchenware and creative gifting ideas that

will help you recreate the richness and warmth of the

Ramadan season

Make special occasions extra special with this beautiful limited-edition perfume by M.Micallef. This hand-decorated crystal bottle can be engraved with a personal message and filled with any fragrance

of your choice. It is available exclusively in M.Micallef boutiques at Grosvenor

House and BurJuman Centre, Dubai, and Al Ain Mall, Al Ain. Dhs 1,250.

T H E P E R F E C T G I F T

A N T I Q U E TO U C H

D E TA I L E D E L E G A N C E

A luxury addition to your homeware collection, this stained glass mosaic leaf plate from Home Centre is ideal

for the festive season.

D E C O R AT I V E LYD I S T I N C T

A selection of bespoke Italian humidors by Katherine Pooley is the perfect corporate gift for men this Ramadan. Available

in two styles, the Safari and Zebrano, each humidor can be personalised with any desired

name.

Add a fresh twist to your interior décor by ditching

sleek modernity and replacing it with a vintage look with this 1960s fine

engraved Ottoman shield.

C U S TO M - M A D ES O P H I S T I C AT I O N

Add an artistic flair to your space with this stained glass decorative

piece from Home Centre.


Whether you fill it with scented pot pourri, candles, glass beads or delicate trinkets, this stylish bowl from Home Centre adds

plenty of personality to your space.

Create a warm and relaxing ambiance with the intoxicating scent of fresh oud wood. The glass jar candle set

makes a very interesting gift.

A RT Y C E N T R E P I E C E

S E T T H E M O O D

E T H N I C AC C E N TS

LU C K Y C H A R M

This ornate box from Home Centre stunningly

complements your tabletop and adds vibrancy and detail to

any room.

Ward off all negativity and bring in good fortune to your home with this hanging evil

eye charm.

Pamper your guests with this traditional Ottoman-style full-service

ornate and engraved Turkish coffee set.

A N AU T H E N T I C E X P E R I E N C E


Gather your keepsakes in this unique box. An eclectic mix

of inlaid stones and metal trim makes it a striking find

for a table or shelf.

GID MIX

T R E A S U R E D A N T I Q U E S

V I N TAG E F L A I R

With heirloom-quality workmanship and intricate

designs, accent your interiors with this 1935 old

steel (Johar) box with inlaid silver and gold from Iran.

This hand-crafted ceramic vase brings sophisticated

detailing to your home decor.

Simply pair this 1840 Persian holder from Global Islamic Arts

with a pretty candle and give your space an old-time charm.

Use it as an incense burner or as a candle holder. This hand-

painted genie lamp would make an impressive addition to any

Middle Eastern-themed room or as a cultural conversation piece.

S T Y L ES TAT E M E N T

A D D AL I T T L E S H I M M E R

B R I G H T A N D C O LO U R F U L

T R A D I T I O N A L LY D E S I G N E D

This delightful hand-painted ceramic bowl from Turkey combines classic

sophistication with a modern touch and will be perfect for your centre table,

console or mantle top.


From shapely serving platters to cocktail picks, make your

dining experience a grand one with L’Objet’s Fortuny collection

which is available at Tanagra.

S E R V E I N S T Y L E

Capture special moments of family and friends with this

Arabic-inspired vintage photo frame from Global Islamic Arts.

Express your home’s unique character with a 19th century

big copper crock designed with Sarraf-glazed colours from Damascus. It is available at

Global Islamic Arts.

M A K I N GM E M O R I E S

P R E C I O U S P O S S E S S I O N S

F E S T I V E T R E AT

This Morrocan-inspired stained glass lampshade is a festive treat

for the eyes and brings a warm glow to your interiors.


THE MIX

WHETHER THEY ARE PROUDLY FLANKING A SOFA OR TUCKED UP NEXT TO A CHAIR IN A QUIET CORNER, SIDE TABLES ADD FLAIR

AND PERSONALITY TO STANDARD AND DULL INTERIORS. SO EXPLORE AN ENTIRELY NEW WORLD OF DESIGN OPTIONS TO DECORATE YOUR HOME WITH THESE ONE-OF-A-KIND PIECES.

M A K E A S TAT E M E N T

S I M P L E A N D C O M PAC T

T U R N I N G TA B L E S

N AT U R E - I N S P I R E D E L E G A N C E

A TO U C H O F C L A S S I C

Bold and distinctive and crafted in gold leaf, the alluring work of

Portuguese marquetry makes the “three rocks” geometric side table

from INSIDHERLAND a unique statement piece for your home.

If you want to complement your living room decor with a functional

yet interesting piece, the collection of stools from the Tokyo tribal collection

by Nendo is the perfect choice for you. Made from solid oak with a mix of natural and plaster finishes, they

come in various sizes and heights and are an eco-friendly home solution.

The perfect companion to a corner sofa, this hand-woven

cocktail table with steel wire on a stainless steel structure from

Roche Bobois definitely ups the glamour quotient. QR10,295

Indulge in an artistic fusion of French chic and haute couture with this bipod side table from the new collection by Jean Paul Gaultier. Deconstructed into a

relaxed ottoman, this piece is the perfect addition to your home.

QR5,205

A natural spot for coffee or cocktails, this hand-crafted tree branches side-

table from INSIDHERLAND created by Joana Santos Barbosa captures nature’s

beauty and adds style and elegance to any space. This piece is intricately

crafted in wood with beveled finishes in rosewood, ebony and olive-tree veneer

finished in half-gloss varnish.

Accentuate the style of your home with this contemporary Iride white glass side

table from Roche Bobois. Tempered with a clear glass top and a white frame with storage underneath, this piece has everything you want for a refined and

easygoing look. QR5,725

A R C H I T E C T U R A L A N D A E S T H E T I C


7

10

GID DECONSTRUCT

8

9

11

PHOTOGRAPHY BY ROBERT A


5

1

12

3

1. KAMI YELLOW QR8502. L’ANNEE LUMIERE PAINTING QR7,8573. BUTTERFLY IN A BOX QR1,9444. MOVING VASES “SET OF 2” QR3,4705. SMOOTH ON SAND QR1,3056. ACCASTILLAGE FLOOR LAMP QR12,7667. ETOILE FILANTE QR7,8578. NUAGE ARMCHAIR “MISSONI” QR14,7139. PIOMBINO MISSONI OTTOMAN QR3,71010. CUTE CUT XXL QR9,73411. CROCODILUS NAUTILICUS QR12,49012. MAH JONG MISSONI MODULAR SOFA QR90,185(ALL PRODUCTS ARE FROM ROCHE BOBOIS)

WITH DISTINCTIVE COLOUR TONES, STYLISH MODULAR SOFAS, CHIC UPHOLSTERY, SOFT TEXTURES, ETHNIC PATTERNS, A BLEND OF EYE-CATCHING DECORATIVE MOTIFS AND LIMITLESS OPTIONS TO MIX AND MATCH, GIVE YOUR LIVING SPACE A FEEL OF HAUTE COUTURE AND MODERN AESTHETICS WITH THIS PLAYFUL YET CLASSY ARRANGEMENT.

2

4

6 MEDLEY OF COLOURSANDPATTERNS


GID FOCUS

THE STORIES

CAROLINE BOS,Co-founder and Principal Urban

Planner, UNStudio

GLAM INTERIORS + DESIGN CHATS WITH CAROLINE BOS, CO-FOUNDER OF AND PRINCIPAL URBAN PLANNER AT THE DUTCH FIRM UNSTUDIO,

ABOUT BUILDING ON INTERNAL KNOWLEDGE AND HOW GOOD URBAN DESIGNS CAN BRING PEOPLE TOGETHER AS WELL AS TELLA UNIFIED STORY.

BY AYSWARYA MURTHY

THAT

CITIES TELL


THE FOCUS

Over the years, UNStudio has resisted becoming too specialised and has a very diverse portfolio of work, ranging from the very small scale to the very large, Bos says. “We also love to span the different typologies, and do residential, mixed-use, cultural and infrastructural projects all at once, keeping us all interested and on our toes.” Not only that, the firm has channeled the natural buildup of highly specific know-how relating to realising complex and ambitious projects globally into Knowledge Platforms that combines research and practice both internally and with collaborators. “The technological, economical and social facets involved are brought together in a balanced way, requiring what Ben van Berkel

(Founder, UNStudio) refers to as ‘trained judgment’. In recent years, the whole studio has participated in four different Knowledge Platforms which form an integrated part of the practice. Emerging knowledge about sustainability, parametric tools, innovative materials and building organisation is put into an internal database which is shared as much as possible with the wider world. We do this partly because we are interested in contemporary phenomena such as the creative commons and the knowledge-sharing culture, and we are curious to see what its effects could be on our own field, architecture and urbanism. And partly because we also think: why not? Sharing the knowledge we produce

When we last saw Caroline Bos in Doha last, she was part of a contingent of Dutch architects who were here to demonstrate what new-age Dutch design can mean for a rapidly expanding city like Doha, as it strives to be a beacon of urban design and architecture. This journalist-turned-architect describes herself as “very much an interdisciplinary person”. “So I was never completely a journalist and am also not quite an architect! As a child, my favourite book was a by then already antiquated anthropological textbook. I still have it. That early fascination with different cultures persisted in my work as a journalist, art historian and urban planner.”


“WE ARE CURIOUS TO SEE WHAT THE EFFECTS OF CREATIVE COMMONS AND THE KNOWLEDGE-SHARING CULTURE COULD BE ON OUR OWN FIELD, ARCHITECTURE AND URBANISM.”

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as a byproduct of our projects will not make us dumber, or poorer, and it might help someone else,” she says.

It is perhaps this practice she was referring to while mentioning some of the attributes that Dutch architects can bring to the table; like their habit of combining experience and experimentation, an international orientation, a penchant for creating public spaces that were socially sustainable and a focus on responsible urbanisation. When we connected with her recently, it was an ideal opportunity to get her talking in detail on these and get her impressions on Doha’s development. While the city’s expansion might seem frenzied to the outsider, with players from different

corners of the world bringing their distinct influences, it’s far from that. “Our experience as UNStudio has been that planning institutions and decision- making authorities in Doha, and Qatar as a whole, are very intent on ensuring that the city develops in a controlled and focused manner,” she says. This is important for many reasons but less obviously to be able to craft a unique identity for Doha. “Culture, sports and knowledge have for a number of decades now been the drivers of the future identity; public infrastructure, to complement a mainly car-based city, has now been added to this in a major way,” Bos elaborates. “With these focus areas Qatar has also established the

THE MEETING SPACEConcept designs for stations of the New Doha Metro Network by UNStudio.


GID FOCUS

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SINGAPORE UNIVERSITY OF TECHNOLOGY AND DESIGN; PICTURE CREDIT: SUTD


community.” And only time will tell how and when that happens, she says, while reminding us that risks and roadblocks are inevitable in the making of a great city which is “a real hub in the global network and a place of singular identity”.

If urbanization is not planned and controlled, the benefits around standard of living will start to lose out to the downsides. Also, while we need to take full advantage of the opportunities of social integration that big cities provide, Bos says the social aspects of urban life have been a cause for concern for at least a century. “In cities, people are strangers to each other. Especially in fast-developing cities where many are new arrivals. Loneliness is rife. Some see loneliness as an epidemic with serious health consequences, at least equal to other known health risks. Thus, one of the most important questions we face when designing for cities is how we can stimulate social encounters. Ideally, we

would like to see more social cohesion, more community formation. We can start by creating public spaces in which people feel comfortable and safe. Places in which people from all backgrounds and cultures can mix. Of course, this is a huge challenge. There are real cultural differences between countries and regions and we are not so naïve as to think we can simply overcome these with good design. At the same time, we can learn from the past and from other cities that have gone through the process that Doha is going through now and keep trying to improve the social sustainability of the city,” she says.

The challenge of building engaging public spaces is further compounded

in the city because of its dry and hot climate. “The fastest-growing cities today are in tropical climates or, as in the case of Qatar, in an arid climate.” And this is a relatively new test for Western architects because in heavily urbanized Europe and the US (80% and 70%, respectively), cities are mostly situated in temperate climate zones. “We try to respond to these challenges with a mixture of passive and active design tools. Sometimes technology is employed to cool down places, sometimes shading or natural ventilation may suffice, or a combination of both proves the answer. We are, for example, currently in the process of completing a university campus in Singapore (very hot and humid) where the parametric modeling of climate factors, such as solar orientation, breeze and so on, has resulted in a whole range of cross-ventilation spaces that together enable the natural cooling of the complex. In addition to that, we have also designed this campus to encourage walking - another very important health factor.”

It will be interesting to see how the firm will incorporate these concepts and philosophy into their potential future projects in Doha. They have been contracted to provide design guidelines for the stations that serve as a reference for the new Doha Metro Network; around 35 metro stations in phase 1 and around 60 in phase 2. While Bos is unable to share more details because they are still in the early stages of the process, she does assure us that the project is “incredibly versatile, and will really bring to Doha something that is now lacking: public transportation as a high-quality alternative to private transportation.” The metro network will make the different parts of the city and urban region far more accessible to everyone. Additionally, the new stations will provide safe passage across busy road intersections. These are some of the practical solutions the Qatar Integrated Railway project will achieve. And of course we are also aiming at designs of the stations that are open, light and welcoming, with references to traditional Qatari architectural forms and materials,” she says.

executive systems to ensure controlled implementation of the plans. Thus, Qatar really distinguishes itself by having a disciplined and expert framework in place, before global influences even enter the mix.”

But she agrees that the growth rate here in Qatar certainly brings up a lot of questions, including the one about ensuring a coherent narrative for the future of the city. “Ultimately, we believe that the story of the city is one that the people living in it produce and tell each other. Buildings communicate, but only up to a point. Most of what we as architects and planners can really hope to achieve is to provide the conditions for the future population to cohere into a

“THE METRO NETWORK WILL MAKE THE DIFFERENT PARTS OF THE CITY AND URBAN REGION FAR MORE ACCESSIBLE TO EVERYONE.

ADDITIONALLY, THE NEW STATIONS WILL PROVIDE SAFE PASSAGE ACROSS BUSY ROAD INTERSECTIONS.”


Muneera Umedaly Spence MFA Yale University Graphic Designis currently the Chair of the Department of Graphic Design at Virginia Commonwealth University in Qatar and has been for the past seven years. She leads a Graphic Design team of ten faculty in a contextualised BFA degree programme. She has participated in and led conference development and presentations, including Tasmeem Doha 2011.

She specialises in collaborative interdisciplinary teaching and learning methodologies, especially pertaining to design education in the international context. Her interest in international development/design projects has manifested in Tajikistan, Kyrgyzstan, Ukraine and, now, Qatar.

GID EXPERT

WHEN WE LEARN TO

COLLABORATE, WE CAN MAKE


MY INTEREST IN COLLABORATION AND HIGHLY PRODUCTIVE COLLABORATIVE EXPERIENCES BEGAN IN EARNEST IN 2000. I WAS WORKING WITH A TEAM TO DEVELOP AN ENTIRELY NEW GRAPHIC DESIGN CURRICULUM AT THE UNIVERSITY LEVEL AT OREGON STATE UNIVERSITY IN OREGON, USA.

BY

MUNEERAUMEDALY SPENCE

We accomplished this goal in record time and created an engaging and contemporary curriculum. This was due to the amazing collaboration between professors committed to transcending the norms and expectations of simply working together, to being a highly effective collaborative team. Even more importantly, the outcome credit belonged to the team and the programme to the future students of the university.

The essential knowledge gained and transferred while working together inspired me to develop a course on the topic of collaboration, which focused on collaboration as the bedrock of engagement while continuing the learning and responsiveness to design briefs. Understanding that the design

interventions being developed today are based on complex and interdependent problems, designers need to work in teams where each member can contribute their skills and knowledge to the task at hand.

From the moment that a situation is observed, design thinking strategies have to be employed to unpack the issues and encourage engagement in research well before the formation of possible solutions. We need many minds and skills working together to innovate new possibilities. Collaboration is a good way of creating an interactive environment focused on solving problems while building capacity for innovation.

We watch children learn from people and situations at a fast pace, enabling them to become functional participants in society; they collaborate, imitate

and invent with ease. As we grow, it is incredible that we are invited to become heroic or independent individuals, to shine above others and delight in the attribution of accomplishments. I submit to you that these acts of heroism are actually based on a series of collaborations along the path.

It is important that an interdisciplinary team is formed to work together with a common purpose and mutual respect. Designers understand the complexity of today’s problems and strive to use design-based interventions with incredible insight and varied creative responses. Designers can offer their skills in bridging fields/mediums while developing processes. They can also help with the navigation of problem solving and understanding the values and impact of potential sustainable solutions before


“IN THESE COMPLEX TIMES, MULTIPLE PERSPECTIVES SERVE THE SCOPE OF THE WORK MUCH BETTER.”

ON THE RUN

JALJALA

HOMMOUS

SKEEK

WAS6A

GID EXPERT


CHILDHOOD REVISITEDThe various games designed by VCUQ students that asks them not only to work together but also to innovate at an incredible pace. The games are created in a space of five weeks and must have all the ingredients of a marketable product.

VUJADEWHAT GOES... COMES

TALES OF GLORY

INSIGHT


NOT JUST A GAMEThe students are led through an iterative process that demands experimentation and testing to ensure the viability, playability, and innovation of the game they are creating.

DESERT GHOST STORIES

WHAT DID YOU SAY

PLOT TWIST

TICKETY

SPOOGLE

GIZMO

GID EXPERT


unleashing “good ideas” into this fragile environment. This combination of skills necessitates creative thinking and collaboration!

I developed a course, which we have implemented at VCUQatar, that builds collaborative experiences in the classroom. Working with the incredible professors in the graphic design department, we have together advanced this course to an excellent level as we share knowledge with our students. My collaborators, Peter Martin, Levi Hammett and Michael Hersrud, have been the fulcrum of the development of this course.

We believe that collaborative methodologies are important lifelong skills that will serve our students in many aspects of their future endeavours. When we teach students to collaborate, we are asking them to take command of understanding themselves and each other to enable fruitful and synergistic explorations working together in progressive low-conflict zones. Mapping and visualising ways in which we think, learn, and communicate, helps us acknowledge our differences. Acknowledgement of our variation in skill sets strengthens our contribution to the task at hand.

It is not morphing into one that describes a successful collaboration but in fact being able to remain in a strong individualistic frame that is important. Creating a project space where each other’s contributions are valued is the critical goal and a precursor to innovation and experimentation. I submit that learning to manage the group and the trajectory of collaborations is just as important as the work being accomplished. We seek to build this holistic experience in the classroom environment though the assignment of complex problems that requires the team to grapple together with issues of tomorrow!

“In these complex times, multiple perspectives serve the scope of the work much better.” Peter Martin. “Economies of the 20th century thrived on simple and discreet problems. This approach has lost resonance in this era. The world is too croweded and

competitive and simple products as solutions are not enough. This understanding is compounded by the complexity of the environment requiring a particular skill set needed to understand the issues at hand.” Collaboration can provide just this skill set.

We need to educate our students to understand the opportunities and arm them with the tools to create viable design interventions for these times. Teams have the ability to comprehensively consider the value and sustainability of the design of actions in adjusting, innovating or creating systems that alter behaviour.

In this course, we explore types of collaborations, various types of problems/projects, and also diverse outcomes. I want to share the last of the projects given in these courses that asks students not only to work together but also to innovate at an incredible pace. A team of faculty supports students to design and create engaging, fully functioning games in the space of five weeks. The games must have all the ingredients of a marketable product. We start by building functional teams, which combine skills, and attributes that will support the creative task at hand (the project space). A competitive environment is set up so that the teams vie for the best game EVER! The professors guide the teams though theoretical foundations of game design while working to support the management of the team environment. The students are led through an iterative process that demands experimentation and testing to ensure the viability, playability, and innovation of the game they are creating.

According to Levi Hammett, “Comprehensive game design projects offer students a multilayered project that motivates them to go through the process emerging with systematic outcomes

while developing their skills as generative collaborators.”

“To ensure successful games, we teach students to manage three entities; the use of intangibles such as concrete concepts combined with theoretical frameworks embedded in game design (example, mechanics/dynamics/aesthetics) while understanding the impact of the audience on the workings of the game (and vice versa) and then require them to prove the game through multiple tests,” he elaborates.

On the other hand, working in teams provides the skills, know-how, leadership and supportive environments that enable all the team members to participate at a high productive level to flourish while building on their collaborative and design skills.

Martin feels that a generative collaboration might be more successful than just a delegation of work. He says, “We need to realize the difference between coordination and collaboration. We often overlook the fact that the power of delegating work, or the division of labor, is a cumulative process (where 1+1=2) and is not the same as a generative collaboration where the whole is more than the sum of its parts.”

Through the years, very different types of games were created with multiple purposes in mind. What amazes me is that the narrative and function of the games have been so diverse. Creativity abounds in healthy environments.

Take a look at the games and enjoy the inventive spirit of our students as we work with them to develop their expertise in collaboration, leadership, mentorship and game design.

“COMPREHENSIVE GAME DESIGN PROJECTS OFFER STUDENTS A MULTILAYERED PROJECT THAT MOTIVATES THEM TO GO THROUGH

THE PROCESS EMERGING WITH SYSTEMATIC OUTCOMES WHILE DEVELOPING THEIR SKILLS AS GENERATIVE COLLABORATORS.”


AN AURA OF

ENGLISH LUXURY

GID PULSE

COMBINING GLAMOUR, SOPHISTICATION AND REFINEMENT

WITH MEANING, FORM AND FUNCTION, SALLY CHAMLEY CREATES THE PERFECT

BACKDROP FOR STATEMENT FURNITURE IN QATAR WITH BLACK

ORCHID INTERIORS.

BY AARTHI MOHAN

A PLAY IN CONTRASTSLeft: Sally Chamley, CEO and owner of Black Orchid Interiors; The brand's signature style lies in the emphasis of contrasts, between sharp and soft, metal and wood, and black and orchid.


Like ordering a custom-made bespoke suit from the finest tailor in town, Black Orchid Interiors has made an art of perfectly tailored opulence in luxury furniture. Each piece by Black Orchid is crafted with the right choice of colour, made-to-last materials, clean lines and perfect handles and moldings, bringing in a symmetrical balance between modernist rigor and antique embellishments.

Mixing old with new is an art form and one that Sally Chamley, CEO and owner of Black Orchid Interiors, accomplishes elegantly and effortlessly. She is known for an understated, classic approach to furniture forms which capture the essence of traditional silhouettes combined with modern touches. Her foray into furniture design started at a young age. Her parents were entrepreneurs and would travel frequently around the world and stay at different high-end hotels. The grandeur, luxury and classic finishes of hotel furniture left a lasting impression on her and her fascination soon turned into reality with Black Orchid Interiors.

“Black Orchid”, as the name suggests, has a very contrasting element to it. Sharp meets soft, metal meets wood, the darkness of black blends with the softness of an orchid in a stylish way; this is the


GID PULSE

“Details make all the difference in the craftsmanship of luxury furniture. Black Orchid is a very opulent and glamorous brand which caters to clients who want to be different and express their personality through furniture.”

to be on-brand. From form and shape to the overall finish, everything must speak Black Orchid. “You can have the nicest chair in the world, but the finished product must reflect who we are and what we stand for. When in doubt I have a policy to keep the business card with the logo near a piece of furniture to see whether it is on-brand,” Chamley says.

brand’s signature style. “Details make all the difference in the

craftsmanship of luxury furniture. Black Orchid is a very opulent and glamorous brand which caters to clients who want to be different and express their personality through furniture,” says Chamley.

A lot of Chamley’s design inspiration comes from fashion and world shows like Maison&Objet, a melting pot of designers, colours, art and creativity, and she loves to translate inspiations from these shows into her work. “All designs are created by me. More than designing, I like to be creative when it comes to styling a piece. I pick a basic chair or table and then choose the right elements to dress it up just like an outfit. It’s a very exciting process,” she says.

When it comes to favourites, Chamley cannot stop with just one. “There are more than 200 pieces in a collection and each piece exudes an understated elegance and is an eye-catcher. I love the big book cases in black, the twin set. The black dining table is also very stunning.”

Fashion and architecture inspire Chamley. She says, “I am a big fan of the works of designers like Kelly Wearstler.” The design motto she stands by is always


WITH OVER 2,000 EXHIBITORS SHOWCASING THEIR DESIGNS AND THOUSANDS OF PRODUCTS AND EXHIBITS MAKING THEIR DEBUT,

THIS YEAR’S SALONE DEL MOBILE MILANO, OPENED ITS DOORS TO A VISUAL ARRAY OF QUALITY AND INNOVATION.

DESIGN

From established design super-brands in their pavilions to young and emerging artists, the recently concluded design fair at Milan showcased a creative blending of classic minimalism and modern functionality through visually stunning designs with strong shapes, focus on colour and innovation in materials and techniques. Well-known designers set the trend with the re-edition phenomenon, restoring iconic and forgotten pieces of established heritage brands. Whereas upcoming artists made design accessible by creating beautiful pieces focusing on minimalism, cross-cultural influence and cutting-edge technology. Here is a sneak peek at the products and designs which were presented:

GID INSPIRATION


Another innovative piece by Ron Arad, Matrizia, gave the regular mattress a whole new presence at the design week. “The design for the matrizia sofa is based on an old discarded mattress that Aras saw lying on a New York street.” A perfect blend between design and craftsmanship, Matrizia is a seat created by re-modelling and

recovering a mattress. Formed on a spring-based structure, the mattress is folded over into the shape of a sofa and is held in place using a hidden metal frame. It is fully upholstered in quilted jersey fabric. The name is a combination of the word mattress and Patrizia, after the brand’s creative director Patrizia Moroso.

G L I D E R

It is as fun and exciting as it is functional, with a bold stage presence. The Glider by designer Ron Arad is not just your traditional sofa with back seats and arm rests but a single structure modelled to create something as comfortable as a classic sofa. Combining movement with comfort, the seat comes with a rounded steel base that rests on tracks, “allowing it to gentth.” A rocking function

can be added to transform the sofa into a swing. The version displayed at the Salone is upholstered in Blur, a material produced exclusively by Dutch textile company Febrik. The fabric features a colour scheme which transitions from one shade to another across the length of the sofa. It is available in red to purple dark grey to pale grey.

M AT R I Z I A


Inspired by multiculturalism, as seen through the eyes of a native Eastern citizen, Armani Casa’s limited-edition Justin desk was an eye-catcher this year. In celebration of its upcoming 40th anniversary, the collection was themed

around styles which are modern and elegant yet essential with a cross-cultural vision. Designed with a double top and drawers crafted in grey tamo ash wood and aqua leather, this desk is both fundamental and beautiful.

J U S T I N D E S K

C O N C E RT I N A TA B L E

C O N C E RT I N A C H A I R

As a result of Yael Mer and Shay Alkalay’s long-time interest in

collapsible objects, this structure is made of ash wood and brushed gilded

metal with a seat and backrest made up of segments of padded orange calfskin. The chair is as intriguing to look at as it

is comfortable to sit on. Originallyinspired by a piece of industrial duct tubing, the chair’s innovative design

takes the extremely complex andmakes it look absolutely natural.

Objets Nomades Re- inventing the classic Louis

Vuitton Art of Travel, nine established and upcoming

designers created an exclusive line of travel-inspired objects,

the Objets Nomades collection. This collection has been

synonymous with the celebration of the brand’s savoir faire with impeccable design. Three new

designers, Gwenaël Nicolas, Damien Langlois-Meurinne

and Raw Edges, were presented this year. The range includes 16 items, from a hammock to

a foldable stool, all made from noble materials and sold in

limited editions or prototypes. The following are the new

additions which were showcased:

●A Concertina Collection Based on the folding mechanism called Concertina, London-based design studio Raw Edges featured a unique range of tables, chairs and lamp shades.

The Concertina table brings to mind the flower that has been featured on the Louis Vuitton

Monogram pattern since 1896. The understated elegance of the ash wood legs and trefoil

top with stylish Nomad leather calfskin gives this portable

table what the designers calla “special presence”.

GID INSPIRATION


●B Ernest bedDesigner Gwenaël Nicolas’s

Ernest Bed is a roll-up, leather-edged canvas bed which unrolls to become a

luxurious cot with a leather-edged canvas mattress

and an attached Nomade-leather pillow which is

supported on a sturdy oak structure. Inspired by Ernest Hemingway’s African travels and a laudable successor to Louis Vuitton’s celebrated

Bed Trunk, the Ernest Bed is ruggedly beautiful, portable and convenient for modern–

day adventurers.

A piece from the new Prova d’Autore collection presented at the Fuorisalone, “Skyline” by designer Lucio Doro from Alchymia in collaboration with designer Giuseppe Manzoni creates beauty and luxury through its fresh and

bold designs and unique craftsmanship. This six-door cabinet is made of rosewood with motifs in polyester polychrome varnish and the base in black nickel metal. The series also includes a four-door cabinet.

S K Y L I N E

●C Valet A minimalistic reinterpretation of Louis Vuitton’s

historical trunks, Damien Langlois-Meurinne’s Valet goes back to the essentials of dressing. Attached to a slender Nomade leather-covered pole, these gilded

brass brackets present everything a person requires to get ready. A lamp with frosted Murano glass shades

illuminates an elegant mirror while a bracket for hanging clothes is accompanied by a wooden valet tray and a shelf for accessories. Taking up little floor space, this piece can

be easily dismantled and moved. The Valet is Langlois-Meurinne’s contemporary vision of nomadic furniture.


REGIONAL FOCUS

FOR THE

LOVE

OF

OBJECTSNAYEF FRANCIS DOES NOT FASHION STUNNING AND UNIQUE PIECES OF

FURNITURE. RATHER, HE PAINTS BEAUTY THROUGH MINIMALISM,

COMFORT, PERFORMANCE AND PURPOSE.

BY AARTHI MOHAN


Nayef Francis’s innate ability to create simple masterpieces which allows people to immerse completely into their form and functionality has made him one of the sought-after names in the international design scene. His creations are a combination of high-quality craftsmanship with an imaginative and versatile design approach.

Born and raised in Lebanon, as a child Francis was very interested in arts and crafts. Spending several hours building and structuring objects on Mechano sets and Lego blocks made this budding designer realise his love for object design. “I appreciated turning around sculptures and seeing them from every point of view. For me, touching a wooden carving that was still alive and smelled like wood was an invitation by itself to the world of objects,” says Francis. Being a boy scout harboured his bond with nature and taught him how to derive creative designs from it. Soon after, he stepped into design school with a dream of becoming an object designer. Thus began Francis’s journey into furniture design.

Rooted in functionality, Francis’s design philosophy strips his creations to the essence of what they were originally designed for. He says, “A chair can be design relevant as well as beautiful. But a chair was originated for the purpose of sitting. I believe that most furniture we use has a meaning outside the

visual scope. Designs which are highly functional as well as aesthetically pleasing are crucial to quality furniture.”

The process of creation for this maker starts with observation. It is more person-centric than style-centric. Paying careful attention to human behaviour, nature and the world around him helps develop the actual design. “Creativity

“I appreciated turning around sculptures and seeing them from every point of view. For me, touching a wooden carving that was still alive and smelled like wood was an invitation by itself to the world of objects.”

SIGNATURE CREATIONSTop and left: Bivalve Brass Lamps;below: Charlie Chair; bottom: Cul de Sac


REGIONAL FOCUS

should be simple. I like to eliminate all unnecessary details and keep intact the aesthetics in order to achieve a perfect harmony of idea, function and art,” says Francis.

“Being involved in all aspects of the design process is very rewarding. The fact that one can shape a new creation by having control over minute details which can affect functionality, volume and esthetics is very gratifying,” he says. Francis likes to involve himself in the entire design process from start to finish. According to him it is a very intimate process which requires a lot of dedication and personal time. He feels that “when you pour yourself into the process, each object becomes a part of your own identity and it always fascinates me to see how this identity is accepted by my clients who come and purchase the pieces. The process of creating the product will always be my favourite.”

What distinguishes Francis’s works from others is the clarity in his designs. Francis’s most celebrated works include the Spinning Library, bivalve brass lamps, Charlie chair and many more.

“I like to allow the product to mould and grow in its own form. This guarantees longevity

and prevents it from falling out of style.”

A HEADY READTop and right: The

Spinning Library, standing and table editions.

EMBEDDED DINING TABLE


This creative artist soaks up all his inspiration from the evolution of the product itself. “I like to allow the product to mould and grow in its own form. This guarantees longevity and prevents it from falling out of style. If I find inspiration in a current trend, then the object will be in relevant only for a short period of time,” he says. “I believe that relevance of a product should outlive a trend or fashion. More so, a correctly designed product is always relevant. This is why my design process is human-centric rather than trend-centric,” he says.

Francis’s approach to material use is very pure. He likes to keep it original by using natural materials in their true form, making the material an identity aspect of the final product.

He has undertaken a lot of projects with different approaches, from retail designs to living spaces and different product lines. Out of all the projects, the most interesting are his designs for the Dubai project. “We took the market need into consideration and developed new sets of designs which targeted the fast turnover of expat population looking for high-end designs which can be disassembled and shipped out. We decided to bridge the gap between functionality and good standard of design and craftsmanship worthy of the brand’s label,” says Francis.

Francis has been influenced by the works of not just one but many artists and designers like Oscar Niemeyer, Hans Wegner, Poul Kjærholm, Achille Castiglioni, Richard Serra and Peter Zumthor.

As an emerging designer, he feels that “A challenge is not a one-time problem which can be resolved for good but it lies in the everyday process of furniture designing. This is what keeps me motivated and I strive to evolve and create better designs in my forthcoming projects”

DISTINCTIVE WEAVESLeft: The Weaved Lamps; below: Weaved Cubes and Iron Stool.

THE SPINNING LIBRARY ON RETAIL.


A

SCRAPBOOK OF

CURIOSITIES

OUR HOME


A

SCRAPBOOK OF

CURIOSITIES

“I LIKE TO TREASURE EVERYTHING I HAVEEVER SEEN, ANYONE I HAVE EVER MET AND ANY PLACE I HAVE EVER BEEN”, SAYS LELAND HILL, A COLLECTOR BY INTEREST,

WHO HAS CREATED AN IDENTITY TO KEEP STORIES, EXPERIENCES AND INSPIRATION CLOSE TO HIS HEART THROUGH HIS AUTHENTIC AND QUIRKY INTERIORS.

BY AARTHI MOHAN

PHOTOGRAPHY BY ANGEL MALLARI

Stepping into Leland Hill’s apartment, your eyes are immediately drawn to a painted canvas in warm and earthy tones, outfitted with carefully arranged tokens and totems from around the world, enviable vintage finds and a vibrant artwork. Now add layer upon layer of fabrics, textures, colours, meaning and personality and you discover something new every time you look at it. A personal gallery of sorts, this graphic designer returns from a globe-trotting experience with a physical reminder. Leland’s home is a reflection of his travel mania.

An eclectic mix of masks and screen prints, the foyer sets a lively tone to the home with its bright yellow palette, small pieces of crafted antiquities and a custom-made rustic wooden coat hanger which reflects Leland’s

THE PHILOSOPHY“It is like a home of collectables; but not just of one kind. There was never an actual idea in play. I just enjoy infusing off-beat things from different places. It is almost like my personal three-dimensional scrapbook.”


OUR HOME

Having lived in Doha for the last 15 years, Leland reminisces about the time when he

first came with just two suitcases.

A HOME LIKE NO OTHER

In designing the home, he has not followed any

particular pattern or theme but created a

free-flowing space and filled it with positive

visual cues that remind him of home, people and

the places he loves.


personal style. With just the right amount of sunlight streaming in, the large living area is accentuated with vignettes of warm wood. This space holds the most delicately collected arty printing blocks of fabrics, ethnic dark-coloured carpets, small tops, army knives, a vintage abacus, abstract-patterned artifacts from Uzbekistan, funky nautical instruments, hanging artwork, wooden puppets, vintage bells, a small collection of wood and metal, hand-carved figurines from Alaska, a vintage electric fan, massive hand-crafted wooden book-shelves which hold his collection of books and treasured pictures of family and friends, and many other collected pieces. Fitted against the green walls, this area is drenched with textures and patterns.

Having lived in Doha for the last 15 years, Leland reminisces about the time when he first came with just two suitcases. Turning an empty palette into his sanctuary was a gradual process for him. All of the hard furniture was bought from different stores in Doha, the rest is a culmination of his memories from travelling. In designing the home, he has not followed any particular pattern or theme but created a free-flowing space and filled it with positive visual cues

Turning an empty palette into his sanctuary was a gradual process for him. All of the hard furniture was bought from different stores in Doha, the rest is a culmination of his memories from travelling.


OUR HOME

A GLOBAL MELTING POTBeing a graphic designer and a teacher at Virginia Commonwealth University, Leland’s space feels true to his artistic spirit and acknowledges his inspiration from different cultures and works of notable artists.

“One of the perks of living in Doha is being able to travel to a lot of interesting places

around the world and I did just that.”


that remind him of home, people and the places he loves. Every room treads on memories and has taken shape in its own beautiful way. Anything unusual and interesting with a lot of meaning and craftsmanship is sure to be seen in this designer’s collection. Many of his friends jokingly address him as a hoarder, collecting and accumulating stuff.

“One of the perks of living in Doha is being able to travel to a lot of interesting places around the world and I did just that. I like to collect art pieces, whether graphic prints or music-related, paintings or photographs, there is so much memory behind every piece, a memory of just being in the place at that moment, that time”, says Leland.

The dining area shows an earthy wood table which perfectly complements the deep dark-coloured red walls and flowing drapes from Korea and Turkey. The off-beat mix of concert posters with traditional hand-crafted masks completes an exciting visual journey from funky modern to aged vintage.

Leland has a fascination for wood; lot of the furniture he owns is made from mango wood. “I am not interested in mass-produced furniture pieces. I like anything that is hand-crafted and artisan which is very rustic and vintage. I like

to use antique wood and dark colours at home, that’s more of my style,” he says.

Being a graphic designer and a teacher at Virginia Commonwealth University, Leland’s space feels true to his artistic spirit and acknowledges his inspiration from different cultures and works of notable artists with a varied collection of artwork he has acquired over the years. Landscapes, abstracts, portrait sketches, still-life paintings and more line the walls of every room.

“I like pieces with composition, heavy typography and a sense of imagery in them. More than the furniture, I have a deep connection to the art pieces. The painting of my grandfather’s farm house, which was done by a friend from the school where I work, really brings back wonderful memories,” he says. Another favourite piece is the screen printing done by Reza Abedini, an Iranian graphic designer.

A well-put together home always has stories to tell. Leland explains it all quite simply:

“It is like a home of collectables; but not just of one kind. There was never an actual idea in play. I just enjoy infusing off-beat things from different places. It is almost like my personal three-dimensional scrapbook”.


GID ARCHITECTURE

FORMFOLLOWS

NATURE

A FIRM IN INDIA DEFIES THE

ARCHITECTURE OF THE MASSES AND TAKES A UNIQUE

STAND: GIVING THE ENVIRONMENT ITS

DUE, DESIGNING AROUND THE

NATURAL ELEMENTS PRESENT ON SITE.A LOOK AT THEIR MOST ENTICING

PROJECTS.

BYSINDHU

NAIR


GID ARCHITECTURE

Shifting through projects on the internet, it was easy to zero in on this strikingly simple one: nature seemed to be its most important feature, almost as if the building was placed in its location lightly, with the stream as a natural insertion.

The House on a Stream, a project in Alibaugh, Maharashtra by Architecture BRIO is a collaboration of two minds: Shefali Balwani (C.E.P.T, India) and Robert Verrijt (TUDelft, the Netherlands). The firm already has a few awards under its belt: two at the Trends Excellence Awards 2014 and The Best Practice of the Year Award. The firm received the award on the basis of three projects: the House on a Stream, the Laureus Learning Pavilion and the Spiral Dollhouse. Set up in Mumbai in April 2006, Architecture BRIO is a design studio that has thrived with an energetic team of architects. Explaining the dynamics of the two architectural masterminds, Verrijt says, “We are a firm which has its roots in two quite contrasting parts of the world. The balanced and organised country of the Netherlands with a thriving and experimental design culture on one hand, and on the other hand the exciting, vibrant culture of the Indian subcontinent with a strong cultural presence, where every day is a new

SYMBIOSISThe House on a Stream is like an

organism trying to make the most use

of its resources and surroundings,

“WE’VE HAD THE LUXURY OF WORKING IN VARIOUS LANDSCAPES WITH VERY STRONG CHARACTERISTICS.

EVERY TIME WE SEARCH FOR THAT SPARKLE, THE ESSENCE OF THE PLACE WHERE WE ARE BUILDING, AND TRY TO BRING OUT THIS ESSENCE THROUGH OUR INTERVENTIONS.”


adventure. Our work is very much influenced by these opposites.” And it is thus the confluence of these two contrasting design influences that has created that special touch which has a strong conceptual character, where materials and details support and enrich the ideas embedded in the concept of the project: a very Dutch way of working, emphasises Verrijt.

But these projects also strongly relate to their surroundings in multiple ways. “Like an organism trying to make the most use of its resources and surroundings, the house with its several limbs reaches out into the landscape, making full use of the views within the site and dramatises special moments: a beautiful tree, a view of the mountains beyond or the cascading stream during the monsoon rains,” say the architects about the House on the Stream project.

“We’ve had the luxury of working in various landscapes with very strong

characteristics. Every time we search for that sparkle, the essence of the place where we are building, and try to bring out this essence through our interventions. I think this goes back to the time we were working in Sri Lanka on hospitality projects in some most amazing locations,” he explains.

In Sri Lanka the team has worked with Channa Daswatte, Geoffrey Bawa’s protègè. “We had the chance to work on refurbishments of existing hotels Bawa had designed and extensions as well. One was an eco-farm resort where we designed tree houses with plunge pools integrated in the foundation. It was set in a village that could be approached on a boat leaving from the Lighthouse Hotel. You would drive through a mangrove-lined river upstream and get off on a jetty which would lead you over a boardwalk through a paddy field to the treehouses,” he says. Working around nature and integrating the environment around their

GIVING BACK The Magic Bus Learning Pavilion near Mumbai by Architecture BRIO.


GID ARCHITECTURE

water is either very scarce or it is treated with fear, considering the monsoons and water streams can be so fierce. But we enjoy working with water to either harvest it or to integrate it with the landscape instead of turning our back towards it. It requires some engineering, weighing the risk factors – the stream around which we built House on a Stream does tend to get quite violent during the highs of the monsoons – but we worked around the problem and found the most specific solution through design. It is mostly an attitude which looks at how nature can work for you, instead of working against it.”

Discussing the architectural landscape of a city and how it guides or restricts an architect in his design process, Verrijt says: “In India multiple centuries exist at the same time. So you find pockets of cities that are like the picturesque mediaeval villages of the Mediterranean in the making. Next to that you may find the influence of global capital creating fortified enclaves along major infrastructure developments. These contrasting environments are emulsified in a soup of uniform middle-income, mid-rise residential tower blocks that spread across the peripheries of the cities very rapidly. It hurts sometimes to see so much development happening with such little regard for their future feasibility

PLAY AND LEARNThe Magic Bus

organises weekly camps to the

centre where the children learn to take up life

challenges, learn to work in teams

through sports.

project is the team’s strength. “In India we were privileged with similar inspiring sites. In Sikkim there are two projects with amazing views of Kanchenjunga on steep mountain slopes. Near Mumbai, we designed a house built inside a hall overlooking a perennial river. And on the Konkan coast we are creating a residential development surrounded by water ponds,” says Verrijt.

The element of water is very important in Architecture BRIO’s work. “In India

OLD WORLD LUXURYArchitecture BRIO's apartment project in Mumbai.


and lack of urban qualities. At the same time, as an architect there are always opportunities to push for exemplary projects that show how things can be done differently.”

As an architect who builds responsibly, he believes that architecture is so much more than just a building or a series of buildings. “We call it lifestyle now, but that is because there are so many different ways people live, work and recreate these days. Especially in India. Our clients are very diverse and their tastes and dislikes are very different as well. We start designing our projects by looking carefully at the place and its context. Along with the characters and life experiences of our clients and organisations, this transcends then in projects which are each unique.”

One of the recent projects, the Learning Pavilion, is almost like a gift from the firm to society.

“The Magic Bus Learning Pavilion is a very special project because it engages children who otherwise don’t have appropriate places to play because they happen to live in slums or orphanages. Magic Bus organises weekly camps to their centre just outside of Mumbai where these children learn to take up life challenges, learn to work in teams through sports. The pavilion is a part of the challenge course at the campus

and is a unique mix between a building and a sort of jungle gym,” he explains. But then he doesn’t consider this as a “charity project”. “They are in fact an integral part of our practice. But the challenges in these projects are very different. Especially due to budgetary restrictions. There is so little funding available for social infrastructure projects in India, such as schools, art galleries, libraries and sport facilities. Hopefully in the near future we are

going to see more patrons investing in social infrastructure,” explains Verrjit. So in this unique colection of work that ranges from landscape architecture to social infrastructure projects, which are the ones that capture the architects’ imaginations, we wonder?

According to the duo, it is not just one but a variety that keeps challenging them.

“THE MAGIC BUS LEARNING PAVILION IS A VERY SPECIAL PROJECT BECAUSE IT ENGAGES

CHILDREN WHO OTHERWISE DON’T HAVE APPROPRIATE PLACES TO PLAY BECAUSE THEY HAPPEN TO LIVE IN SLUMS OR ORPHANAGES.”


Senior Design Manager at AECOM, Suja Pramod, is an architect with over 18 years of experience in Qatar’s construction sector. One of Doha’s early residents, she has

literally seen the country build its architectural image with contributions from signature architects put into action by local firms. She has been involved in the detailing of

numerous such projects within Qatar Foundation and yet the brilliant Burj Doha Tower has stimulated her design sensibilities.

“The beauty lies in its simplicity. Having made a mark on the Doha West Bay skyline, the Jean Nouvel building, a replica of his Torre Agbar, is set amidst taller skyscrapers. However, its unique character shouts its presence. There is no grand landscape before its entrance portals. Instead, native planting in a bund sets the 42-storey tower with its sunken entrances into an unconventional trench. The floor plates, befitting open-plan offices, offer stunning views. It has an environment-friendly skin of double glazing and an aluminum mesh, with concealed lighting that gives it an ethereal glow at night. A modern architectural masterpiece indeed.”

THE SPACE

BEAUTY IN SIMPLE DETAILS

gid june 2015

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