Architecture + Design

www.architectureplusdesign.in N OV E M B E R 2 0 2 2 `200 AN INDIAN JOURNAL OF ARCHITECTURE SPACES OF INTEREST By ALEXIS DORNIER ARIANE THAKORE GINWALA JEET SONEJI MINNIE BHATT PRIYANKA KHANNA & RUDRAKSH CHARAN SANCHIT ARORA DECODING THE BUSINESS DesOiFgn AMIT PORWAL





CONTENTS VOL. XXXIX NO. 11  NOVEMBER 2022 08 ABOUT THE ISSUE 10 REFLECTIONS 14 UPDATES 18 COVER FEATURE In conversation with Amit Porwal: Redefining the Narrative of Luxury ADVERTORIAL 17 Creating a Stunning Outdoor Space Disha Pavers ARCHITECTURE FOR HOSPITALITY 30 Of The Land, By The Land Tipai – Wildlife Luxuries, Tipeshwar Sanctuary, Maharashtra 18 This and That



CONTENTS 52 58 38 Lost By The Sea 66 Lost Lindenberg, Bali Alexis Dornier & Studio Jencquel 78 Sarita Handa: Enhancing the Indian Design Aesthetics 82 Siddharth Sirohi: Designing to Enhance Life 46 Inside An Emerald World 86 JJ Valaya: The King of Couture The Elgin Cafe, Amritsar Renesa Architecture Design Interiors Studio PROJECT FEATURES 90 A Seamless Walk-Through Home 52 An Ode To Lucknow Levana Rooftop Restaurant, Lucknow Residence in Ahmedabad 42MM Architecture Jetsons, Mumbai 58 An Elevated Club Experience CONCEPT PVR HOME, Ambience Mall, Vasant Kunj, New Delhi 96 One with the clouds DesignEx Studio, Noida 66 Hidden In Plain Sight PCO, Mumbai Minnie Bhatt Design, Mumbai BESPOKE LUXURY 74 Gunjan Gupta: Reimagining the India Design Narrative

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www.architectureplusdesign.in N OV E M B E R 2 0 2 2 `200 Architecture is more about curating experiences, especially in the hospitality segment. Designing for an unknown audience, for a varied demographic, ensuring that their stay is memorable is AN INDIAN JOURNAL OF ARCHITECTURE no mean feat to achieve. Designing a hotel or a restaurant or any public space for that matter is about curating a narrative. Functionality is key, but what matters the most is the experience, SPACES and the story that guest comes away with. In that sense, it’s not just the scale, but it’s about OF INTEREST balancing comfort, functionality, sustainability, all of this while weaving a strong design narrative. In this Issue, we shine the spotlight on architecture and design in the hospitality By segment. From Ariane Thakore Ginwala’s rustic approach, Minnie Bhatt’s eclectic style, Rudraksh ALEXIS DORNIER Charan’s ode to the context, to Sanchit Arora’s bold, contemporary narrative, we bring to you, ARIANE THAKORE spaces that are conceptualised for the people. GINWALA On our cover is interior designer Amit Portal, Founder, IPIPL - a multidisciplinary design firm based in Mumbai. With over 20 years of experience in the industry, Porwal has now established JEET SONEJI his distinct approach to design — that of relaxed sophistication. “Our endeavour is to put forward MINNIE BHATT simple, yet strong ideas. We believe that each project and each client is unique and for this reason, each design must also be unique,” says Porwal. As a designer, he believes he is keen on PRIYANKA KHANNA & ‘responsible interiors’ that constantly explores new paradigms and pushes the boundaries. In a RUDRAKSH CHARAN wonderfully candid chat, he talks about his journey so far and his design philosophy. SANCHIT ARORA We also take you to the ateliers of four of the most celebrated and intriguing designers, who are, in their own way reinventing India’s design identity. DECODING THE BUSINESS We have something special planned for you next month. Follow us on our social media handles to know more. DesOiFgn Happy Reading! AMIT PORWAL ON THE COVER: AMIT PORWAL PHOTO CREDIT: BIJU GOPAL Architecture For Hospitality All drawings and visuals for the projects and articles, unless mentioned otherwise, are courtesy the architects/authors. (Seema Sreedharan) Editor “One of the great beauties of architecture is that each time, it is like life starting all over again.” —RENZO PIANO Digital illustration art of a fantasy Illustration contributor - DigitalAssetArt Indian architecture interior. 8 November 2022 ARCHITECTURE+ DESIGN



Reflections EVOKING NOSTALGIA From larger-than-life sculptures in brass and steel to paintings of kitchen utensils, eminent artist Subodh Gupta’s works take you on a nostalgic trip. The artist’s ongoing solo exhibition, “My Village”, at Galleria Continua, France conveys the memories, nostalgia, desires and struggles that permeate the stories of India. The exhibition has been held to celebrate the 15th anniversary of Les Moulins — Gallery Continua’s first space in France. In his works, Gupta elevates mundane, everyday objects to the status of art. The exhibition is evocative of the artist’s vision of life, “which is made of abstract elements, everyday objects, noise and silence.” The objects and tools present in the paintings and installations on display are entities that, in their simplicity, interact with the intricate textures of life, its shades, lines and shadows that also furrow the palms of our hands. Gupta shows to the public sculptures in brass and steel, materials found in works such as Rural Urban that tease the aesthetic and consumerist desires of today’s world. Steel is somewhat typical of post- independence urban India where traditional Hindu beliefs and practices constantly share space with modern Western education. On the other hand, as we see in the paintings titled My Village, food, the tools for cooking and preserving meals, together with the ritual of feeding (the needy, the wise, saints, even animals) have constituted a central and recurrent motif in Indian life, both religious and cultural, from its earliest times up until today. Photo Credit: Allison Borgo 10 November 2022 ARCHITECTURE+DESIGN



Reflections Maharukh Desai—Japanese Book Ends Ranji Goa—Baby Deco Camelot—Art Deco Dresser Mahendra Doshi—Skater THE ALLURE OF ART DECO Hashim Badani—Ismail Begmuhammad High School The fascination and lure of Art Deco lives on and we 12 November 2022 ARCHITECTURE+DESIGN see a mix of the real and decaying, the restored and resplendent, the reproduced copy and the inspired contemporary all over the place, every day. India had its own stamp on the style, and Bombay claimed it as its own. Curated by designer Kunal Shah, Art Deco at Gallery 47A, Kotachi Wadi, Mumbai features works by Hashim Badani who takes us on a photographic tour of Mohammed Ali Road. The style continues to inspire contemporary design as we see it waft into weaves by Hema Shroff Patel, who works with Maheshwari weavers to modernise their offerings. It sparkles off important Hollywood earlobes when jeweller Hanut Singh transforms its ziggurats into exclusive jewellery. Bookends, tea pots and other objects procured through an antique dealer are set up on vintage Art Deco furniture pieces, all arranged in front of embroidered/ painted wallpaper panels of art deco style imagery from the famed DeGournay.

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Updates Market Review EVENT workshops on molela clay art And the next decade is very and phad painting. crucial for its survival, revival India Craft Week 4th Edition and adaptation of indigenous “Technology has helped us crafts when e-com, D2C and The fourth edition of India Singh, Co-Founder, Craft Village; a lot, artisans even as basic as such channels are redefining craft week was recently Manish Saksena, Lead, Aadyam WhatsApp Groups has been able conventional businesses.” said held at NSIC, Okhla, New handwoven; CS Sudheer, CEO, to realize commerce simply and Jaya Jaitley, Founder of Dastkari Delhi, which was dedicated Freedom.com and Padmashri Jai e ectively, and with personal Haat Samiti and Craft Activist. to craftspeople of India. It is a Prakash. Instagram, Facebook and other tribute as a part of India @75 social media, their art is reaching India Craft Week also Azadi Ka Amrit Mahotsav. The The first day saw the Launch everywhere. So, a lot of things hosted the 5th and 6th edition event was inaugurated by of ‘Trend Loom’, a trend research have changed post COVID the International Craft Awards Padmabhusan Rajeev Sethi and book curated and created jointly way demand and supply works, to recognise and celebrate Jaya Jaitly an activist, author and by ICW and Aadyam Handwoven, and artisans are also getting outstanding accomplishments by Indian handicrafts curator in the a CSR of Aditya Birla Group. ICW used to these new tools and the global craft community. The presence of, Iti Tyagi, Founder also organised Symposium on technology, we have to be winners from more than eight India Craft Week; Somesh Craft Tech: Role of Technology adaptive to future, but without countries were honoured at the in rapidly expanding craft sector, losing the real essence of crafts. ICA ceremony. TRADE NEWS GRAFF India presents MOD+ Collection GRAFF, a manufacturer of finishes made of natural stone and luxury faucets and shower extravagant textures broaden the systems, recently launched range of options. the MOD+ collection. It is a rich and diversified collection that Ziggy Kulig, President, adapts to all styles, from the GRAFF Designs, said “GRAFF traditional to the contemporary, is committed to presenting the and o ers a modern luxury range best bathing experiences with of faucets, tub fillers and shower exceptional style and selection of components that are distinct precious raw material, in a way in versatility, aesthetics and that exceeds your expectations.” functionality. The handle covers are available in various colours The collection of enchanting and finishes. Exclusive custom designs with meticulous finishes works well with coordinates as well as with individual pieces. 14 November 2022 ARCHITECTURE+DESIGN



Updates The worktop spans the the worktop, the cabinets below images of Roman worlds and cabinets below, appearing to and the open shelves. The luxurious living. As if floating, it TRADE NEWS float. The resulting free space pull-out shelving serves as an rests on the cabinets in eucalyptus becomes a stage for utensils and open presentation area for food, wood. The sophisticated interplay Plüsch unveils personal accessories. A culinary cooking utensils and personal of colour, jewel-like finishes and Poggenpohl’s workbench and a stage for accessories. The worktop made its play with dimensions elevates latest +MODO kitchen living interplay between of Rosso Lepanto conjures up the kitchen design. collection Plüsch recently launched Poggenpohl’s latest +MODO collection, a range of worktop and cabinetry designed by Spanish designer Jorge Pensi. “This is something I have personally seen on the storefront across all our showrooms. The best part is that the design can be completely customized to your liking and preference. We have executed simple kitchen designs with just one pull-out tray on the island to complete full- fledged open kitchen designs in a complete +MODO concept,” said Sukriti Sharrma, Partner at Plüsch. STORE LAUNCH home furnishings that are not third franchise store to Pune. just unique but tasteful and We are very confident of getting The Yellow Dwelling opens affordable. It specialises in much love from the people of Store in Pune hand-crafted cotton and natural Pune. Pune as a city is home to The Yellow Dwelling has fibre home decor in modern many niche brands that proudly recently launched its new city of Pune. The brand run designs, fresh, neat, and showcase a wide range of store at Deccan 99 mall by a husband wife duo had a cheerful colours, paramount handcrafted products. With a (Jangali Maharaj Road), a prime humble beginning in early 2017 weaves and finishes. large number of truly modern area of the young and vibrant with a strong vision of providing urban youth population, we its customers with world-class Nandakumar, Co-Founder, are certain our store will find The Yellow Dwelling said, “We a space in the homes of the are really excited to bring our people of Pune.” The collection ranges from curtains to throws, bedspreads to quilts, handwoven baskets to out-of-the-ordinary decor items. “The store is in the heart of Pune on JM road and easily accessible from all parts of the city. The store is about 1000sq ft and offers customisation of products for your home, because we believe every home is unique. With a few days away from the festive season, we are positive to delight Punekars with our product offerings,” said Abhinayah Sundaramoorthy, Co-Founder of The Yellow Dwelling. 16 November 2022 ARCHITECTURE+DESIGN

ADVERTORIAL CREATING A STUNNING OUTDOOR SPACE Disha Pavers’ Natural Stone finish collection blends effortlessly with natural outdoor elements to create a rich look for walkways, patios, and courtyards. As a pioneer of eco-friendly It is hard to beat the beauty and instance, Bric and Cobblestone, to create pavers, Disha has been producing grandeur of Disha’s Antique pavers that stunning visual effects. cement paving blocks for over provoke the designers’ imagination. 15 years now. Disha’s natural stone Antique pavers are outright fascinating All ‘eco-friendly’ Disha pavers have finish collection blends effortlessly with because of their old-world charm. nibs to facilitate rainwater percolation natural outdoor elements creating a rich Available in three splash colours, the for groundwater recharge. This way, look for walkways, patios, courtyards, defined cracks and rock-like finish the outdoors look exquisite without etc. A special eco-shield coating renders makes it possible to achieve highly compromising nature. Disha pavers abrasion-resistant as well personalised and attractive indoor as safeguards the colours from running, and outdoor looks. These can be For more information, log on to keeping them vibrant. complemented with other pavers, for www.dishapavers.com or call Rajshri on +91 9881193612 for details

COVER FEATURE IN CONVERSATION WITH AMIT PORWAL: REDEFINING THE NARRATIVE OF LUXURY INTERVIEW: NISHA KAPIL n PROFILE PHOTOGRAPHS: BIJU GOPAL 18 November 2022 ARCHITECTURE+DESIGN

Our endeavour is to put forward simple, yet strong ideas. We believe that each project and each client is unique and for this reason, each design must also be unique.” —AMIT PORWAL Pricipal Designer and Director, Icon Projects Inspace Pvt Ltd (IPIPL)

(Above & Below) SYLVAN PLY CORPORATE OFFICE: The interiors of the office showcase unique ways of incorporating plywood, not just as the base material, but also a key decorative element.

Innovation and creativity are two traits that naturally parts, but I have enjoyed the whole process of it. For me, it come to Amit Porwal. He is a passionate interior designer was something which just happened; I was never destined whose work depicts a balance of uber class taste with to be an interior designer. I started my initial education with functionality and inventiveness. His designs beautifully chemical engineering, and that was something which happened blend style and luxury with comfort, thereby harmonizing organically because it was a family business. This was something the space. An alumnus of Rachna Sansad’s School of Interior that I did not disclose much in my initial years, but now I don’t Design and Jamnalal Bajaj Institute of Management, he mind talking about it because I believe that when I see the young completed his studies in 1998 to go on to work under Hafeez generation now, I see that there is a lot of confusion when it Contractor. Established in 2003, Icon Projects Inspace Pvt Ltd comes to choosing the right path. I also realised that what has was the brainchild of Amit through which he carved his path happened to me, happens to many of them, so I think it’s a very into the designing domain. usual story. Coming from a Marwadi family, it was difficult to convince them, but my conviction somehow assured them. A personification of the design philosophy that his firm thrives on, he started his design journey almost 20 years ago in his I got a call from Hafeez Contractor’s office because my first-ever office in Mumbai. A strong ally in this journey has been portfolio had landed up there and I stayed there roughly for his wife and partner Preeti Porwal who is known for her aesthetic a year. It was a fascinating experience working at one of the orientations. Like a true devotee to his work, he gets involved largest architecture practices in India and I took my inspiration in all the stages of design from conceptualizing, designing and from there. By the end of the year, I had started getting a few building to execution. “Our endeavour is always to put forward sites and I decided to start my own firm. I realised that survival simple, yet strong ideas. We believe that each project and each was not very easy for an interior designing firm. Those were client is unique and for this reason, each design must also the days when the contractors were the ones who used to be unique,” says Porwal. For him, architecture is embedded rule the families who wanted to do their interior works, and everywhere, and he takes inspiration from everything around. an interior designer was somebody that the contractor would It is no more a mere profession for him, but a way of life. As a fall upon. Unless you were a big brand, people would not designer, he believes he is keen on ‘responsible interiors’ that invest on interior designers, and so the entire society was in a constantly explores new paradigms and pushes the boundaries. transition of accepting interior designers and it was a difficult “For us design is poetry, where our lines blend with the verses of phase. I worked in partnership and failed badly. After a lot of harmony, colour and rhythm,” says Porwal. persistence and hard work, I understood that I need to learn the art of management other than creativity, and from then on With nearly 20 years of experience, he has worked on the journey of profitable interior designing began. almost the entire spectrum of projects, from residences to retail to hospitality. As a true conceptualiser with a strong belief in FINDING THE BALANCE basics, he has time and again proven to reimagine and reinvent the space in question. “With design ideas sprouting from the NK: What are your views on designing with the team, and needs of the client, we manage to present them with solutions how do you keep yourself and your people organised? that supplement and complement the client’s way of living,” he AP: The team is the soul of any company and you cannot work says. Having recently expanded to the global market, Porwal without them. I strongly believe that it is the people management today finds himself with an interesting challenge of designing which is more important, and I like to pamper my team. I believe across cultures and lifestyles. Along with the tangible awards, his one thing that is very important in our profession of creativity is that personal intangible award is his high-functioning diverse team. you need to be innovative every single moment and that’s where the team plays a huge role. I like to keep my team intact and invest We caught up with Porwal for an interesting conversation, my time in them for a fruitful journey together. For any organisation where he speaks his heart out about designing, luxury, creativity, to run efficiently and smoothly, the management system should balance and much more. Here’s an excerpt from the interview: be very good. In terms of ratio, 20% is creativity and 80% is management. You need to manage your clients, your vendors, THE JOURNEY your team, and the whole lot of it, so you need to be organised and disciplined so that it is reflected on other people too. Keeping Nisha Kapil (NK): To start with, how were your initial days it organised is about having some good set of policies and maybe like? When did you think of pursuing architecture and began not everybody likes so many policies, but then you don’t have a your career in this field? choice. And yes, that’s how I like to manage my team. Amit Porwal (AP): Professionally, I’ve been very happy with how the journey has been; there have always been some rough Over a few years now, I have also learned the art of technology because learning at every stage is very important. So, I believe technology is an integral part of any profession and if you don’t accept it, if you don’t adapt to it, explore it; you will be left behind.” —AMIT PORWAL, Pricipal Designer and Director, Icon Projects Inspace Pvt Ltd (IPIPL) ARCHITECTURE+DESIGN November 2022 21

ASHFORD: The house is a perfect portrayal of modern luxury. Curated to reflect panache and stylish luxe, the space has a stunning expanse. The master suite dons a classic colour combination of white and gold fashions. Intimate elements including picture frames of the couple, minimal decor, and soft hues furnish the room.

For me, luxury is having a good time with myself in my space. I believe every section of the community can get the luxury by actually exploring and understanding what they want. I believe luxury doesn’t really mean materialistic pleasures, but it is the comfort and resonance the space offers.” —AMIT PORWAL, Pricipal Designer and Director, Icon Projects Inspace Pvt Ltd (IPIPL)

We are doing a whole lot of projects and are busy for the next three years. We are doing some very interesting and challenging projects such as night clubs, which we have not done earlier—something which is very exciting for me as we’re designing for a certain generation and it is something that we probably are not used to doing.” —AMIT PORWAL, Pricipal Designer and Director, Icon Projects Inspace Pvt Ltd (IPIPL) NK: Keeping up with trends is hard work. How do you keep NAVIGATING THE CHALLENGES it consistent? AP: In the initial years, it was difficult with social media not NK: When you plan to design globally, how challenging is it being there. Now it’s Instagram world and everything is just on to design for different cultures, societies and lifestyles? your hand. Keeping yourself updated is not a challenge now. AP: So far, we have been designing for Indians who are settled It was a challenge earlier. You get information every single internationally, so it is not that difficult to cater to their needs. second now, and at times there are days when it feels like it’s Relating to them and their requirements is very simple, unless getting too much. But it was not similar 19 years back when I that eye comes up and you do a house for a British family or an started. It was difficult to find a niche or identify yourself. We American family, or something like that, then that is where you would invest a lot of time, energy and money because it was really need to get into that understanding of their culture and not so easy then, exploring international exhibitions to keep up needs. Right now, we have a Lebanese client, and we are doing with the trends. And that’s where the art of getting information their villa in Dubai. We have done a whole lot of research about about different journals of design came in. I remember the their particular society, community, how they behave, how they live years when we used to go to an exhibition with large suitcases etc to deliver what they exactly want. What I have also observed in to bring back catalogues for home. We would fill all those with the conversation is that not many people are different from what catalogues because there was nothing like an e-catalogue we are. And that’s the best part that you try to identify with. back then. Everything was on print. We used to beg, borrow, and steal those catalogues because we would want those NK: Beyond management, what are your views on the right and that is what we had come for, and then try to find a post use of technology in interior designing? office because you can’t carry such a lot of weight back to your AP: I believe it is the world of technology now and you will be country. So, we did it all. out of the race if you don’t adapt to it. Although personally, I’m not a tech savvy person and I still sketch on my sheets because DESIGN LANGUAGE that’s how we were taught. But now times are changing. Over a few years now, I have also learned the art of technology because NK: What was your design philosophy in the early years and learning at every stage is very important. So, I believe technology how has it evolved? is an integral part of any profession and if you don’t accept it, if AP: I believe in bringing in a lot of natural topography into the you don’t adapt to it, explore it; you will be left behind. design element. Keeping it as natural as possible is something that really excites me, and I like working on this parameter. NK: You have gained 20 years of experience in the industry; Keeping the lines simple, not having a lot of materials coming what advice would you give to your younger self as a in on one project and keeping the pallet controlled as a design designer? team. Working around the needs of the client because we are AP: I would have hoped that my initial career could have been supposed to be giving them their dream house or their dream a little smoother. But then these are the rough roads that make office or their dream project and they are the ones who are going you a man. So, the advice I would have given myself back then is to finally take it up once we leave. So, it is very important that to keep your focus intact and be consistent. You are going to get they relate to that space, instead of enforcing it upon them. Any into so many different distractions, but the key to achieve your design whatsoever should make the user comfortable. goals is to keep on moving. NK: From luxury interiors to construction and furniture, NK: You have worked on many luxury projects; can you what other plans do you have for adding new paths in your suggest a few ways in which luxury can be affordable for success? even the middle-class people? AP: After almost 20 years of my profession, I strongly believe that AP: For me, luxury is having a good time with myself in my space. now I want to give back to my society. By getting the new talent I believe every section of the community can get the luxury by sculptured in a certain manner, that’s exactly where I’m trying to actually exploring and understanding what they want. I believe invest my time. We do a lot of workshops with students and try luxury doesn’t really mean materialistic pleasures, but it is the to get the raw talent in its pure form, which I believe is immense comfort and resonance the space offers. That is if I don’t have and this generation is much more gifted than we were. 24 November 2022 ARCHITECTURE+DESIGN

PATNAIK HOUSE: A mansion that features beautiful details at every turn NAHAR TERRACE: There is a sense of luxe at play in both the space and the selection of materials and how they are used in the space

Porwal's design aesthetic is all about relaxed sophistication. His approach to luxury is very measured. In this space he seeks to achieve a fine balance between style and functionality.

TANTIA VILLA: A large volume design with layering of space ANCHALIA: Architectural space is about layering for all the senses. Bringing a space to life means that architectural function and form is not just primarily for the visual sense

With design ideas sprouting from the needs of the client, we manage to present them with solutions that supplement and complement the client’s way of living.” —AMIT PORWAL, Pricipal Designer and Director, Icon Projects Inspace Pvt Ltd (IPIPL) NK: How do you want your work to impact the people? AP: So of course, we would love to be recognised in the society with the kind of work that we are doing as designers, but other than that I always seek for an evolution of how we are and how we behave. How as a society and community, we reflect on each other. As a responsible designer, I feel it is my duty to give back to the society and mother nature in the best possible way. NK: What are you currently working on? AP: We are doing a whole lot of projects and are busy for the next three years. We are doing some very interesting and challenging projects such as night clubs, which we have not done earlier— something which is very exciting for me as we’re designing for a certain generation and it is something that we probably are not used to doing. So, the expectations here are completely different and the level of designing and detailing is also very unconventional and out of the box. We are also doing some excellent commercial projects that we look forward to. We have a lot of projects in the residential segment too like villas, second homes, large apartments, duplexes. We’re doing some projects in Dubai and internationally too, and that is something which we always looked forward to as we wanted to go beyond the geography of India. So, you can say, almost all the verticals of interior designing are what we are into now. gold, I will have something like brass, or if I don’t have brass, I’ll NK: Considering the number of years you have spent, your add something which is like steel but can be coated as brass. So portfolio is vast. Which has been your most challenging there are many ways that you can get into that mode and feel project and why? happy about what you own. Not everybody can afford the kind AP: A few projects that I did in my early years were the most of chandeliers and lights that we do. But then you have to go challenging ones. Firsts are always challenging. I will give two deeper and try to understand that how you can source it locally. examples of two very different design analogies. Around 11 years Sustainability and locally available materials are the real jewels, back, I met a client who showed me a plate of 50,000 square feet and an uncompromised way of looking at a particular project. and wanted to make a Banquet Hall there. Before this I had never seen this large a space at one go. It was a challenging project CHARACTERISING LUXURY because it had everything. It had a kitchen, banquet hall, a large open space with a terrace, which also involved landscaping and NK: What are your views on luxury? How is it common or some structural work. So, learning how to do it for the first time, different for different lifestyles? delivering it within a certain time frame and convincing the client was AP: At this point we are catering to two types of clients—the first a huge task, but I took it. In fact, let me tell you that banquet halls go set is where he wants to shout out that I have arrived and have into renovation every five to six years because they need to keep money to spend, and the second set of clients is the one who has updating their property to get business. And we’ve been doing that made enough money and now wants to get into the Zen mode. So project since then. Now it is much easier, because now people know the zen mode people have seen it all, done it all, and have become that we have done a lot of banquets and such kinds of properties. more subtle, and they understand that luxury is in the essence of actually making your project look much simpler, whereas the Another challenging project was in 2015 in Bhubaneswar, first set of clients wants to spend money and get the best out of where the client wanted a colonial house, which I had never everything. I believe the definition of luxury is different for every done before. For this project, a set of teams was dedicated to individual, and as designers, we need to cater it and tailor fit it. do research before we could get into the planning process. The client was equally involved in every detail of the project as he was very clear about what he wanted, but he gave me the freedom of filling the empty canvas my way and that was a very overwhelming and challenging task that I enjoyed. 28 November 2022 ARCHITECTURE+DESIGN

Each client is unique and so is the design brief. Porwal uses intricate design to customise and add that special touch to ensure that the space reflects the owner's personality. MANBA: Vibrancy of natural impressions — Designed to make the working experience as comfortable as possible, this is a comprehensive design which makes the space look light and airy.

Architecture for Hospitality 30 November 2022 ARCHITECTURE+DESIGN

OF THE LAND, BY THE LAND Project: Tipai – Wildlife Luxuries, Tipeshwar Sanctuary, Maharashtra; Architects: This and That Made using local building materials and techniques by the village folk, this sustainable wildlife luxury stay is designed with minimal impact on fragile ecosystems ARCHITECTURE+DESIGN November 2022 31

MASTER PLAN 32 November 2022 ARCHITECTURE+DESIGN

Adesign process usually starts with a plot of land. For this project though, it began with a deeply nurtured philosophy. Core to the design of Wildlife Luxuries is localisation, as without that, you cannot hope to be sustainable. Whether it was the techniques used, the material that was built with, or the people who contributed to the building process—they were all of this land. Working closely with the Institute of Village Sciences in the Gandhian town of Wardha, located 80 kms from the site, the architects researched various possibilities of low-impact construction. Instead of importing labour, the neighbouring village folk were trained in rammed earth construction and stone masonry. The vaulted roofs were made of terracotta tiles made by local potters. Drawing on local resources wherever possible meant building not just Tipai but the community around it, who are now the heart of the staff. Since it is located in a drought-prone zone, water is a precious commodity. Working with a permaculturist, the land was rejuvenated with natural vegetation, strategically located water bodies and a robust rainwater harvesting system to reduce the impact on fragile ecosystems. With no hospitality industry baggage, the ARCHITECTURE+DESIGN November 2022 33

PLAN — FOREST VILLA SECITONS — FOREST VILLA

Core to the design of Wildlife Luxuries is localisation, as without that, you cannot hope to be sustainable. Whether it was the techniques used, the material that was built with, or the people who contributed to the building process—they were all of this land. ARIANE THAKORE GINWALA Interior Achitect and Founder, This and That Ariane Thakore Ginwala has been practicing as an Interior Architect since 1997. While based out of Ahmedabad, her projects have taken place across India. Ariane trained at the Kent institute of Art and Design (UK Creative Arts) Ariane’s expertise includes restoration of ageing and antique furniture, deploying rare artisanal techniques and enhancing local craft approaches with a contemporary design sensibility. Lately she has ventured into architecture and is working on a inaugural initiative that will bring a unique Wild life Experience, located in Central India. ARCHITECTURE+DESIGN November 2022 35

PLAN — POOL RESIDENCE VILLA With no hospitality industry baggage, the architects were SECTIONS — POOL RESIDENCE VILLA free to reimagine everything that a sustainable luxury stay could 36 November 2022 ARCHITECTURE+DESIGN be. Moving away from staple hotel furnishing, all the textiles have been handwoven by Magankhadi with organic natural fibres. architects were free to reimagine everything that a sustainable luxury stay could be. Moving away from staple hotel furnishing, all the textiles have been handwoven by Magankhadi with organic natural fibres. From the tea to the toiletries in the rooms, every detail has been curated for Tipai with small batch boutique brands who share the brand’s values for sustainability, quality and fairness. FACTFILE Client: Wildlife Luxuries Principal Designer: Ariane Thakore Ginwala Consultants: Structural – VR Shah; Rammed earth consultant – At aur Rahman Kalakutumbh; Textiles – Anahita Ginwala; Vaults – Constructed by Centre of Village Sciences, Wardha; Landscape – Parag Mody; Plumbing – Aqua Utility Designs and Management Pvt Ltd; Electrical – Ace Antech Consultants and Engineers; Civil work done by the local villagers Built-up area: 5,000 sq m Year of Completion: 2022

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Photo credit: Robert Rieger Architecture for Hospitality LOST BY THE SEA Project: Lost Lindenberg, Bali; Architects: Alexis Dornier & Studio Jencquel A new guest collective with its own surf spot on the West Coast of Bali o ers a tranquil treehouse retreat amidst a mystical jungle setting

POOL 2 DECK BAR & LOUNGE TOWER 4 COMMUNAL KITCHEN OUTDOOR TOWER 2 TOWER 1 RECEPTION BUILDING TERRACE TOWER 4 LOUNGE & AND DINING AREA TOWER 2 MULTI FUNCTION YOGA DECK MULTI FUNCTION SECTION SITE 1 The drive along Bali’s coast—amongst honking 2 moped drivers, past roadside Warungs 3 (street food stands), palm forests and crashing waves—is captivating. On arrival in Pekutatan, a 1 quiet village road lined with temples and frangipani trees leads to a clearing and, as if out of nowhere, a 6 huge, brightly illuminated wall of neon signs appears, 5 advertising holiday pleasures in giant letters. It would look more at home in Las Vegas than it does in Bali. 7 There’s a small, secret door built into it, so plain that 5 it’s easy to miss. Open it, and enter a lush green jungle, where a narrow path weaves between tropical 8 plants before reaching a landscape of treehouses. We are at LOST LINDENBERG, a new guest collective far 59 removed from Bali’s garish mass tourism. 4 Inaugurated in July 2022, LOST LINDENBERG is 1. RECEPTION the fifth project, and the first in Indonesia, from the 2. OFFICE 1 young Frankfurt hospitality company, LINDENBERG. 3. OFFICE 2 Just as with their previous concepts, this too focuses 4. SUNDECK on the collective experience of the guests, who are 5. CORRIDOR invited to spend their time together in the property’s 6. TOWER 1 LEVEL 1 FLOOR communal areas. Surfing waves at sunrise against 7. TOWER 2 LEVEL 1 FLOOR a backdrop of pristine black lava sand; enjoying 8. TOWER 3 LEVEL 1 FLOOR peace and quiet in the open-plan communal spaces; 9. TOWER 4 LEVEL 1 FLOOR practising yoga under the pergola; enjoying bonfires on the beach and self-harvested coconuts in the ARCHITECTURE+DESIGN November 2022 39 turquoise pool or an aroma massage in the jungle spa; in the evenings, sumptuous plant-based dinners at the restaurant and the sharing of stories. Retreat is o ered in each of the eight lovingly- designed rooms, which are elevated high amongst the treetops of the West Balinese palm jungle, set on a long and pristine glistening black lava sand beach. “The inspiration for this concept was the magic, this sweet, warm melancholy of the location, the black lava sand and the fantastic waves. Not just another rattan-clad honeymoon hotel, but instead, the courage to settle by a wild sea, to embrace surfing while at the same time satisfy the need for urbanity. LOST was born out of a chance visit and has become a place of longing, a new home for us and anyone else who fancies coming along,” says Denise Omurca, Managing Director, LINDENBERG. LOCATION N LOST LINDENBERG is part of the Pekutatan MASTER PLAN LEVEL 1

community, a small Hindu village on Bali‘s west 12 coast that is largely untouched by tourism. A hidden 13 retreat surrounded by temples, ruled by nature and sacred spirits—and only a stone’s throw from 9 15 11 the famous Medewi Surf Point. 1010 ROOMS 8 There are eight rooms of two different types. Guests 15 can catch a glimpse of the waves from each of the treehouses, but the two Ocean Panorama Suites, 7 which sit in front row position, look directly out to 6 sea. The six Jungle Panorama Suites offer views of the jungle and temples. The 45 sq m suites are all 4 furnished with contemporary art, sustainable linen 5 bedding, custommade Gaya ceramics, air conditioning and spacious bathrooms. 15 3 1. POOL 2. LOUNGE AND BAR SURF 2 3. POWDER ROOM + Home to Bali’s longest wave, Medewi Surf Point attracts surfers of all levels, and surfing is an essential 14 BAR STORAGE + TOILET element of staying at LOST. The hotel’s own LOST 1 4. DINING AREA BEACH is still a little known surf spot, and included in 5. KITCHEN the room rates are surf sessions with local instructors. 6. OUTDOOR LOUNGE AND Boards made in-house in collaboration with Pyzel Surfboards are available for hire. DINNING AREA 7. STORAGE RESTAURANT & BAR 8. LINEN AND LAUNDRY The solid, seven-metre-long wooden table, where 9. LOCKER ROOM guests meet for conversations and opulent meals, 10. TOILET is the heart of LOST LINDENBERG. The culinary 11. STORAGE concept here celebrates nature with its seasonal and 12. CONTROL ROOM local flavours, and offers a plant-based approach to 13. MEP Balinese home cooking with Western influences. All 14. POOL DECK ingredients are cultivated at LOST or sourced from 15. CORRIDOR AND TERRACE nearby organic permacultures. Choose from the likes of homemade granola, tropical fruits and coconut MASTER PLAN — LEVEL GROUND French toast for breakfast, and sumptuous rice plates with a variety of spicy sambals (chilli pastes) for 1. LOCKER ROOM 1 5 dinner. The poolside bar serves classic long drinks, 2. TOILET 6 local kombuchas and seasonal cocktails. 3. STORAGE 4. CORRIDOR SPA 5. CONTROL ROOM The small spa is located in LOST’s jungle. Built in the 6. MEP style of a gladak, traditional wooden houses originally used for storing crops, the site is now a place of 2 4 tranquillity. Balinese massages smooth muscles 2 strained by the surf; treatments are inspired by local rituals and aromatherapy, filling the spa with scents of 3 chamomile, lavender, lemongrass and bergamot. N ARCHITECTURE Alexis Dornier and Studio Jencquel are responsible for RECEPTION — GROUND LEVEL LOST’s architecture. The main idea was to create an unusual, dreamy experience in the midst of a mystical jungle, where spaces and walkways were imagined high off the ground. Constructed beside tall coconut trees, the staggered towers provide a glimpse of the sea in front. The towers are connected by a so-called highline, an elevated walkway pointing towards the sea. “We wanted to give the feeling of walking in a 40 November 2022 ARCHITECTURE+DESIGN

Photo credit: Robert Rieger ARCHITECTURE+DESIGN November 2022 41

Photo credit: Neven Allgeier Retreat is offered in each of the eight lovingly-designed rooms, which are elevated high amongst the treetops of the West Balinese palm jungle, set on a long and pristine glistening black lava sand beach. 42 November 2022 ARCHITECTURE+DESIGN

different world, of resting on a floating ship, elevated 1 3 and safe, with the wild jungle at your doorstep,” says 2 Alexis Dornier. 45 21 1. BEDROOM Grouped close together, the towers form a quasi 2. LIVING village in the trees, a small floating society. LOST is N 3. BATHROOM designed with great attention to detail, with examples 4. TOILET of the traditional contrasted by exaggerations. The TYPICAL BEDROOM TOWER PLAN 5. SHOWER predominant material is sustainably-sourced wood in various patterns and directions, the floors are covered 45 with Bali green stone, and brass is used as an accent in the whole composition. “With LOST we move in a 3 dream world, somewhere between fiction and reality.” Photo credit: Robert Rieger INTERIOR The interior concept as well as additional architectural elements are designed by Studio Jencquel. The interiors are warm and cosy, as if they want to embrace us, integrating linen fabrics, lava stone, tropical hardwood, burnt teak and river stones. The colours and materials are locally sourced. The wooden blinds in the bathroom blur the line between outdoors and indoors, letting the sea breeze in while providing a sense of protection from the hot sun. Panoramic windows allow us to spot boats passing by on the horizon. The furniture, lamps, ceramic tableware and almost all the accessories in this project were custom designed by Studio Jencquel. “The underlying theme of melancholy and darkness is strongly felt throughout: a neon scar on my sweet melancholy,” says Max Jencquel, Studio Jencquel. LANDSCAPE ARCHITECTURE The landscape design is an extension of the architectural footprint (or vice versa). The highline connecting the towers is actually the continuation of a path that begins in the garden, penetrates the buildings and ends at the black lava sand beach. The path begins at the entrance past the neon installation and leads us first through a tropical forest. The variety of plants here is huge: heliconias, ferns, Bodhi trees, banana trees, Banyan trees, Majapahit trees, Baobab trees, Pule trees, bromeliads, to name but a few. Inside the forest, we encounter moments such as a mossy rock turned fountain, a bench for meditating by a shrine, an enclosed garden where guests can listen to and read poetry by Artur Becker, and an enormous Pule tree in the middle. Beyond the forest, the path continues on to grasslands, a vast area close to the reception that extends to approximately the middle of the property and in which one can find every grass species available here on Bali. The landscape changes as we move from one zone to the next, and rainwater is channelled into swales of river rocks that look like streams (or rivers in the rainy season). There is a sacred spring and, next to it, a large, carefully placed river rock set between two lava stone temples. Bougainvilleas and fragrant ‘Lady of the Night’ are planted generously around the dining and lounge areas. Tower trees are planted next to the tall ARCHITECTURE+DESIGN November 2022 43

ELEVATION – TOWER 3 SECTION – TOWER 3 TOWER 3 ELEVATION TOWER 3 SECTION TOWER 3 ELEVATION TOWER 3 SECTION Photo credit: Robert Rieger 44 November 2022 ARCHITECTURE+DESIGN

buildings to appease the size and dimensions of the Photo credit: Robert Rieger architectural giants and make them appear somewhat smaller. Finally, a hidden path leads to the beach The art at LOST LINDENBERG plays with the through a forest of pandan trees. eclecticism between Indonesian tradition, nature and urban lifestyles. To this end, the LINDENBERG ART team sourced local Indonesian antiques from all The curation and use of artistic works constitutes an essential part in all of LINDENBERG’s concepts. The eras, such as vases, baskets and statues. art at LOST LINDENBERG plays with the eclecticism between Indonesian tradition, nature and urban Photo credit: Robert Rieger lifestyles. To this end, the LINDENBERG team sourced local Indonesian antiques from all eras, such as vases, baskets and statues. These items contrast with contemporary photographs by, among others, Indonesian artist Prawobo and British photographer Annie Collinge. In the entrance area, the thick tropical jungle is interrupted by a neon sign installation by renowned Frankfurt artist and Golden Lion winner, Tobias Rehberger. “The bewildering collection of colourful messages represents the noisy world that most visitors probably want to escape from and certainly were not expecting to find here in the jungle on Bali’s west coast. My installation is intended as a staged transition, a final, almost ritual farewell to the hustle and bustle that visitors can literally leave behind when they discover the hidden entrance and step through the secret opening in the wall into the tranquil paradise of LOST LINDENBERG,” says artist Tobias Rehberger. SUSTAINABILITY AND SOCIAL RESPONSIBILITY LOST LINDENBERG operates as far as possible in an environmentally-friendly, low-waste manner. Solar panels supply the property with energy, and fruits and vegetables from LOST’s own permaculture are used in the restaurant. All products such as soaps and toilet paper are produced regionally and fairly; litter is collected in weekly beach clean-ups; and the restaurant—like all LINDENBERG projects—is entirely plant-based (free of animal products). In order to contribute to the local community, LINDENBERG founded LOST BUNCH, an educational programme with local surfers that supports, encourages and opens up new prospects for children and young adults in Medewi. Many of these young people are passionate about surfing, but have no access to educational institutions. The programme combines surfing lessons with classes in subjects such as English, sustainability and hospitality with the hope of opening up more opportunities for them in the future. FACTFILE Interiors and landscaping: Studio Jencquel Construction management: Bali Construction Number of rooms: 8 Communal areas: Lobby with shop, restaurant, bar, pool and lounge, workout/yoga area, sundeck, beach deck, spa Total size: 8,440 sq m ARCHITECTURE+DESIGN November 2022 45

Architecture for Hospitality INSIDE AN EMERALD WORLD Project: The Elgin Cafe, Amritsar; Architects: Renesa Architecture Design Interiors Studio A functionally designed space that welcomes the visitor to engage with the play of materials, Amritsar’s Elgin Cafe is defined by a nature-inspired design dipped in emerald hues

Acool bistro by day and a hip bar by night, the design for The Elgin Cafe restaurant and bar leans on the maximalist side, with a clean soft space and an inviting colour palette. The idea was to create an atmosphere and feel of the outdoors, where you would find yourself surrounded by greenery, natural wood, food spots and conversations. The architects sought to engage in a design that would create an international hospitality experience, while consequently appealing to the social media savvy clientele who enjoy the cafe culture. The design process began by an understanding of the functional demands coupled with a modern and refreshing interpretation defined by design, materiality and brand. Once inside, customers are invited to engage with the play of materials and the spaces they form in the cafe. One part constitutes the cafe area that has more of a day dining aesthetic, while separating the private dining room through sliding folding shutters. Layers and design ARCHITECTURE+DESIGN November 2022 47

Approaching the design through locally sourced materials, the entire space reflects Udaipur green stone with fluted members. One can spot nuances of Madagascar green and pale green with contrasting salmon colour seating that adds a not so subtle quirk to the scheme. 3 2 4 1 7 5 6 8 1. ENTRY FLOOR PLAN 2. PRIVATE DINING ROOM 3. TOILET N 4. WINE ROOM . 5. POUR BAR . 6. CAFE SEATING ARENA . 48 November 2022 ARCHITECTURE+DESIGN 7. SERVICE ENTRY/KITCHEN 8. POOL