Architectural Digest

ARCHITECTURAL DIGEST NOVEMBER-DECEMBER 2022 INDIA ₹200 THE MOST BEAUTIFUL HOMES IN THE WORLD WHEN ARCHITECTURE MEETS N AT U R E An AD100 Collaboration

ARCHITECTURAL DIGEST INDIA` 200 NOVEMBER 2018 ARCHITECTURAL DIGEST INDIA` 200 MARCH-APRIL 2019 THE MOST BEAUTIFUL HOMES IN THE WORLD THE MOST BEAUTIFUL HOMES IN THE WORLD AlibaThge Issue PHOTOS: JIGNESH JHAVERI (NOVEMBER 2018, OCTOBER 2019); BIKRAMJIT BOSE (MARCH-APRIL 2019, SEPTEMBER 2019); ALL COURTESY OF AD INDIA BEAUTIFUL PEOPLE DOING BEAUTIFUL THINGS IN THE HAMPTONS OF MUMBAI ARCHITECTURAL DIGEST INDIA` 200 SEPTEMBER 2019 ARCHITECTURAL DIGEST AD100 THE MOST BEAUTIFUL HOMES IN THE WORLD THE MOST INFLUENTIAL ARCHITECTS AND INTERIOR DESIGNERS IN THE SUBCONTINENT INDIA` 200 OCTOBER 2019 THE MOST BEAUTIFUL HOMES IN THE WORLD LAKSHMI NAWAZ BOMBAY THE RED ISSUE THE MOST BEAUTIFUL HOMES IN THE WORLD

CONTENTS ARCHITECTURAL DIGEST NOVEMBER-DECEMBER 2022 INDIA ₹200 COVER India’s best designers. A THE MOST BEAUTIFUL HOMES IN THE WORLD WHEN AD sets off for Alibag, where new exhibition sinks into ARCHITECTURE we find a sweeping weekend Mumbai’s Art Deco bones. MEETS N AT U R E An AD100 Collaboration home perched on a hill Formafantasma’s new PHOTO: ASHISH SAHI. that is the perfect meeting collection of lights nod to PHOTO: COURTESY OF HERMAN MILLER. ground for architecture and Henri Matisse’s paper cut- landscape design (pg 104). outs. Hermès’s touring 08 EDITOR’S LETTER exhibition lands in Mumbai. 10 CONTRIBUTORS Bijoy Jain sculpts a set of THE NOVEMBER-DECEMBER villas for boutique hotel ISSUE Amaya that sits lightly in the 13 DISCOVERIES lap of rolling hills in Kasauli. For our last issue of the year, 33 we put together a list of art and design programming from across various cities in India. Curio, a new digital platform for collectible design stars the works of four of NOVEMBER-DECEMBER 2022 AD ARCHITECTURAL DIGEST 3

CONTENTS 42 SHOP 49 KITCHEN REPORT 40 46 HELLO, BENGALURU AD’s annual report of the Glimpses of a fabulous night at the Grohe latest trends in kitchen showroom in Bengaluru, which opened with design is back. This time, a riveting talk by artist and curator Subodh KerkarPHOTO: TALIB CHITALWALA. chef Bani Nanda adds a new of Museum of Goa and PHOTO: COURTESY OF AMAN. closed with a rocking flavour to AD’s showcase dance party by local band Best Kept Secret. of fashionable tools and 58 gadgets for your kitchen. 66 ROLEX 58 AEQUŌ In a stunning evening at the AD visits aequō’s sun- Brooklyn Academy of drenched space in Colaba, Music in New York City, where designer Cédric Rolex announced the next Courtin unveils his debut set of mentor-protégé line for the collectible pairs for the 2023–24 design gallery—a series cycle of their celebrated of totem-like, leather- arts initiative, and also wrapped vessels, showcased the works handcrafted at his atelier created by the class of in Puducherry. 2020–22. 4 AD ARCHITECTURAL DIGEST NOVEMBER-DECEMBER 2022

CONTENTS 82 82 BRAGANZA HOUSE 120 STYLE BOOK 72 VILLA PALLADIO Interior designer Chlöe Our selection of this season’s Follow the old camel road out of Jaipur Elkerton’s newly renovated best design products. towards Agra and you’ll soon find the Pink City home in Sri Lanka is a labour 125 STOCKISTS takes on an altogether PHOTO: REBECCA CONWAY.ruddier tone. A short drive of love and clearly the most An A-Z listing of stores in away sits Villa Palladio, a fantastical new hotel photogenic on the island. the issue. conjured up by three of the most accomplished 94 NATE & JEREMIAH 126 THE CURATOR alchemists in the game. When their former New York In the last issue of this City apartment became year, Amin Jaffer reminds available, Nate Berkus and us of the Sidi Saiyyed Jeremiah Brent couldn’t Mosque in Ahmedabad and resist the call to return to its iconic jali. their aesthetic roots. 104 104 THE HOUSE ON THE HILL This Alibag home shows how architecture and landscape design can come together in a meeting of minds, hearts, PHOTO: ASHISH SAHI. and sweet eccentricity. NOVEMBER-DECEMBER 2022 AD ARCHITECTURAL DIGEST 5

EDITOR KOMAL SHARMA CNX ART DIRECTOR Chandni Mehta DIRECTOR – CNX Richard Mascarenhas COPY DIRECTOR Tyrel Rodricks CREATIVE LEAD – BRANDED CONTENT (VIDEO) Devika Luniya SENIOR FEATURES CREATOR Ritupriya Basu CREATIVE LEAD – NATIVE, SOCIAL, & PROMOTIONS Sneha Mahadevan DIGITAL EDITOR Harleen Kalsi SENIOR DIRECTOR – CLIENT SERVICING & PROJECT MANAGEMENT Neha Dhanani FEATURES CREATOR Arshia Dhar CREATIVE STRATEGIC PARTNER Esha Singh CONTENT CREATOR Nicole Newby VISUALS EDITOR Harshita Nayyar CREATIVE STRATEGIST Shreya Baid SENIOR GRAPHIC DESIGNER Atul Hirijagner DIRECTOR OF OPERATIONS Renuka Modi CREATIVE STRATEGIST – ART Richa Jain (Consultant) ASSOCIATE OPERATIONS Shalini Kanojia SENIOR MANAGER – INFLUENCER MARKETING Siddhant Salve ENTERTAINMENT DIRECTOR Megha Mehta ASSISTANT MANAGER – INFLUENCER MARKETING Preeti Perla ART PRODUCTION DIRECTOR Mihir Shah ART PRODUCTION MANAGER Aarti Tharwani PROMOTIONS WRITER Ritika Saundh DIGITAL WRITER Vanshika Jain AUDIENCE DEVELOPMENT MANAGER Selwin Edward ASSOCIATE MANAGER – SOCIAL MEDIA Shrishti Bhatia COMMERCIAL TALENT DIRECTOR Devika Patne PRODUCTION DIRECTOR Sunil Nayak HEAD – AD OPERATIONS Sachin Pujari SENIOR MANAGER - COMMERCIAL PRODUCTION Sudeep Pawar MANAGER – AD OPERATIONS Shivangi Shinde ASSISTANT MANAGERS – AD OPERATIONS Sagar Lund, Akanksha Malik PRODUCTION MANAGER Mangesh Pawar SENIOR PRODUCTION CONTROLLER Abhishek Mithbaokar DIRECTOR – COMMUNICATIONS Swati Katakam MANAGER – COMMUNICATIONS Waheeda Machiwala CRAFTSMANSHIP EDITOR Maximiliano Modesti MANAGER – CIRCULATION OPERATIONS Jeeson Kollannur CONTRIBUTING EDITORS FIELD ASSISTANT Tirupathi Dudam Amin Jaffer, Channa Daswatte, Cosmo Brockway, Divya Mishra, Gauri Kelkar, Gayatri Rangachari Shah, CHIEF OPERATING OFFICER Amrit Bardhan Malika Verma, Mayank Mansingh Kaul, Nazneen Jehangir, FINANCIAL CONTROLLER Viral Desai Priyanka Shah, Roshini Vadehra, Sunil Sethi, Vivek Sahni, ASSOCIATE DIRECTOR – FINANCE Dattaprasanna Bhagwat Yeshwant Holkar ASSOCIATE DIRECTOR – REVENUE SUPPORT Vinayak Shetye CONTRIBUTING PHOTOGRAPHERS SENIOR FINANCE ANALYST Yogesh Suresh Potnis Ashish Sahi, Ashish Shah ASSOCIATE DIRECTOR – TAXATION Ankit Pansari ASSOCIATE DIRECTOR – GENERAL ACCOUNTING Sanket Deshpande CHIEF BUSINESS OFFICER PANKAJ SINGH PARIHAR SENIOR ASSOCIATES – DISBURSEMENT Nikhil Rane, Devang Pandya PUBLISHER Armaity Amaria MANAGER – FP&A Vishal Darji ADVERTISING DIRECTORS Kapil Tolani, Niti Bathija, Arun Bassi (New Delhi), MANAGER – GENERAL ACCOUNTING Yogesh Gawde Sabina Lall (New Delhi), Ruchira Kanwal (New Delhi) MANAGER - DISBURSEMENT Ameya Namjoshi ASSOCIATE ADVERTISING DIRECTORS Varun Sama, Dia Sachanandani (New Delhi), ASSISTANT MANAGER – TAXATION Pranav Shah Aditi Sharma (New Delhi) ASSOCIATE – BILLING Shailesh Koli SENIOR ADVERTISING MANAGER Sana Fatima (New Delhi) HEAD – WORKPLACE SERVICES Boniface Dsouza ADVERTISING MANAGER Shanu Dahiya (New Delhi) MANAGER – LOGISTICS & FACILITIES Zain Shaikh ASSISTANT ADVERTISING MANAGERS Jinal Goradia, Sharmin Jafri MANAGER – IT Madankumar Thapa ITALY SALES REPRESENTATIVE Angelo Carredu US ADVERTISING MANAGER Alessandro Cremona BUSINESS RELATIONSHIP MANAGER – GLOBAL PRODUCT & TECHNOLOGY Vishal Ingale CHIEF DIGITAL OFFICER – SALES Jabir Merchant ASSOCIATE DIRECTOR – VIDEO COMMERCIAL Rahul Vetkar ASSOCIATE MARKETING DIRECTOR Pooja Jaggi MANAGER – PROCUREMENT Anubhuti Sharma ASSISTANT MARKETING MANAGER Romaljit Banga SENIOR DIRECTOR – GLOBAL AUDIENCE PLANNING & OPERATIONS Saurabh Garg STRATEGIC PLANNING DIRECTOR Alisha Goriawala CONSUMER MARKETING LEAD Priyanka Shivdasani MANAGER – AUDIENCE ACQUISITION Srividya Iyengar PEOPLE DIRECTOR – HR Coralie Ansari SENIOR ASSOCIATE & BUSINESS PARTNER Sumairah Ansari ALEX KURUVILLA MANAGING DIRECTOR Conde Nast (India) Private Limited MUMBAI 2nd and 3rd Floor, Birla Centurion, Pandurang Budhkar Marg, Worli, Mumbai – 400030, Maharashtra, India NEW DELHI Avanta Business Centre, 1st Floor, D-2, Southern Park District Center, Saket, New Delhi, Delhi 110 017, India RNI. No.: MAHENG/2012/43454. AD Architectural Digest November–December 2022 Vol. 11 Issue 5. Published monthly in English, in Mumbai. Price: `200. Printed and published by Armaity Amaria on behalf of Conde Nast (India) Private Limited. Printed at Kala Jyothi Process Pvt Ltd, Survey No. 185, Masjidband, Kondapur Village, R.R. Dist. Hyderabad-500084 and published from 2nd and 3rd Floor, Birla Centurion, Pandurang Budhkar Marg, Worli, Mumbai 400 030. Editor: Komal Sharma. Distributed by Living Media Ltd. All rights reserved. Reproduction in whole or part without written permission is strictly prohibited. All prices are correct at the time of going to press but are subject to change. Manuscripts, drawings and other materials must be accompanied by a stamped addressed envelope. However, AD Architectural Digest cannot be responsible for unsolicited material. 6 AD ARCHITECTURAL DIGEST NOVEMBER-DECEMBER 2022

Scan the QR code below to get the digital edition ARCHITECTURAL DIGEST INDIA` 200 SEPTEMBER-OCTOBER 2021 INDIA` 200 NOVEMBER-DECEMBER 2021 THE MOST BEAUTIFUL HOMES IN THE WORLD THE MOST BEAUTIFUL HOMES IN THE WORLD QUEEN Published By Condé Nast OF HER Chief Executive Of cer Roger Lynch CASTLE Chairman of the Board Jonathan Newhouse Global Chief Revenue Of cer & President, SONAM KAPOOR U.S. Revenue Pamela Drucker Mann Chief Content Of cer Anna Wintour AHUJA President, Condé Nast Entertainment Agnes Chu Chief Financial Of cer Jackie Marks THE STYLE ISSUE Chief Marketing Of cer Deirdre Findlay ARCHITECTURAL DIGEST INDIA` 200 JANUARY-FEBRUARY 2022 MARCH-APRIL 2022 INDIA `200 Chief People Of cer Stan Duncan THE MOST BEAUTIFUL HOMES IN THE WORLD Chief Communications Of cer Danielle Carrig THE MOST BEAUTIFUL HOMES IN THE WORLD THE Chief of Staff Elizabeth Minshaw 2022 TENTH Chief Product & Technology Of cer Sanjay Bhakta WOW LIST Chief Content Operations Of cer Christiane Mack OUR FIRST ANNIVERSARY ISSUE Worldwide Editions GLOBAL COLLABORATION WITH France: AD, AD Collector, GQ, Vanity Fair, Vogue, Vogue Collections AMIN JAFFER Germany: AD, Glamour, GQ, Vogue sSaHaOtWrCIAsStI NhGIsgtujral’s ARCHITECTURAL LEGACY IN PARIS India: AD, Condé Nast Traveller, GQ, Vogue Italy: AD, Condé Nast Traveller, GQ, La Cucina Italiana,Vanity Fair, THE ART ISSUE Vogue, Wired ARCHITECTURAL DIGEST MAY-JUNE 2022 INDIA `200 ARCHITECTURAL DIGEST JULY-AUGUST 2022 INDIA `200 Japan: GQ, Rumor Me, Vogue, Vogue Girl, Vogue Wedding, Wired THE MOST BEAUTIFUL HOMES IN THE WORLD THE MOST BEAUTIFUL HOMES IN THE WORLD Mexico and Latin America: AD Mexico and Latin America, The Condé Nast College Américas, Glamour Mexico and Latin America, Te x t i l e GQ Mexico and Latin America, Vogue Mexico and Latin America Issue Spain: AD, Condé Nast College Spain, Condé Nast Traveler, Glamour, GQ, Vanity Fair, Vogue MHAEYLOLO Taiwan: GQ, Vogue United Kingdom: London: HQ, Condé Nast College of A RESTORATION STORY With Priti Fashion and Design, Vogue Business; Britain: Condé Nast Johansens, Condé Nast Traveller, Glamour, GQ, GQ Style, House & Garden, Tatler, Pratap Singh The World of Interiors, Vanity Fair, Vogue, Wired United States: Allure, Architectural Digest, Ars Technica, basically, ARCHITECTURAL DIGEST SEPTEMBER-OCTOBER 2022 INDIA ₹200 ARCHITECTURAL DIGEST NOVEMBER-DECEMBER 2022 INDIA ₹200 Bon Appétit, Clever, Condé Nast Traveler, epicurious, Glamour, GQ, THE MOST BEAUTIFUL HOMES IN THE WORLD THE MOST BEAUTIFUL HOMES IN THE WORLD GQ Style, healthyish, HIVE, La Cucina Italiana, LOVE, Pitchfork, THE WHEN Self, Teen Vogue, them., The New Yorker, The Scene, Vanity Fair, TIMELESS ARCHITECTURE Vogue, Wired MALMHOANTRISAH MEETS Published Under Joint Venture N AT U R E Brazil: Casa Vogue, Glamour, GQ, Vogue An Published Under License Or Copyright Cooperation AD100 Australia: GQ, Vogue, Vogue Living Collaboration Bulgaria: Glamour THE STYLE ISSUE China: AD, Condé Nast Traveler, GQ, GQ Lab, GQ Style, Vogue, Vogue+, Vogue Café Beijing, Vogue Café Shanghai, Vogue Film, Vogue Business in China Czech Republic and Slovakia: Vogue Greece: Vogue Hong Kong: Vogue, Vogue Man Hungary: Glamour Korea: Allure, GQ, Vogue, Wired Malaysia: Vogue Lounge Kuala Lumpur Middle East: AD, Condé Nast Traveller, GQ, Vogue, Vogue Café Riyadh, Wired Philippines: Vogue Poland: Glamour, Vogue Portugal: GQ, Vogue, Vogue Café Porto Romania: Glamour Scandinavia: Vogue Serbia: La Cucina Italiana Singapore: Vogue South Africa: Glamour, GQ, GQ Style, House & Garden Thailand: GQ, Vogue The Netherlands: Vogue, Vogue Living Turkey: GQ, Vogue, Vogue Restaurant Istanbul Ukraine: Vogue, Vogue Man Condé Nast is a global media company producing premium content with a footprint of more than 1 billion consumers in 32 markets. condenast.com

I must PHOTO: SARANG GUPTA admit that it is to walk down stone steps, into someone’s bedroom, draw the curtains aside (which our stylist thankfully removed for the ridiculously limiting to sake of a better “photograph”), and imagine waking up to this view that you see on the cover, of the coastline of Mumbai judge the works of architects and languidly sprawled in front. Oh the delight of discovery! homes of people merely from photographs. In this last issue of this year—already!—we wanted to leave you with a solid, beautiful and respectful, architecturally This is an idealistic lament of course, and I am fully aware strong project. This cover story is classic AD: a considered that we are living in a digital age—in an Instagram age, if point of view on architecture, nature, materiality, space, and I may—and I shall not attempt to, and do not claim to, visit subtle, remote luxury. every home that we feature. But a few, we do, and apart from a rare unfortunate experience, mostly it’s a pleasure and And before you turn the page, I want to give you a heads- a privilege. up on what’s coming in December. The AD Design Show is back after a pause of over three years. We all met in October This home on AD’s cover came with high expectations, of 2019 last and what madness we’ve all been through since! considering it’s been made in collaboration by two brilliant AD100 firms—Architecture Brio and Kunal Maniar & This edition of the AD Design Show falls in the 75th year of Associates. But as my two colleagues and I discovered a India’s independence. We’re having a moment of self love, an few months ago, after a boat ride on a miserable, rainy India gaze, so to speak. We’re looking at our design history, monsoon morning, across to Alibag from Mumbai, the home some iconic post-independence architecture; pulling out spoke for itself. product designs from the archives, textiles that lie in museum collections; and paying tribute to people who have We caught a first glimpse from afar driving up the slope, contributed to India’s narrative—from the giants to the lesser and saw it resting on a mountainside. It gradually revealed its known to the forgotten, yet those who continue to inspire us volume and scale, as the aged stonework rose high above and feed the creativity of contemporary makers. This edition like a chapel. It’s remarkable when the ideologies of the of the Design Show is all about India. And I really hope you will makers match and a vision is aligned. To not flatten vast come. The dates are 16-17-18 December in Mumbai. I’ll see you expanses of land for construction but instead play so there. Until then, I hope you enjoy this issue. —Komal Sharma poetically with the contours of a site; to not give in to the temptation of putting glass and concrete boxes on hillsides; EDNITOOTRE’S and to let it be a little wild, a bit of a jungle, with a trail going up and down and around. Then in the middle of this walk around this vast property on an otherwise overcast day, the clouds parted, the sun showed up, hanging in a brilliant blue sky, and a voice from above said, “This is your next cover.” So back at the office, we continue to depend greatly on the work of the photogenic “image”—with a hat tip to John Berger and his Ways of Seeing. But once in a while, one gets 8 AD ARCHITECTURAL DIGEST NOVEMBER-DECEMBER 2022

PHOTO: ASHISH SAHI/AD INDIA THE MOST BEAUTIFUL HOMES IN THE WORLD

CONTRIBUTORS ← ASHISH SAHI PHOTOGRAPHER AD’s former art director photographs a sweeping weekend home in Alibag for our cover story (pg 104). “This is the third project that I have shot for Kunal Maniar. Being a nature lover, I always enjoy being part of and capturing his effortlessly created, artwork-like landscapes.” → REBECCA CONWAY ↑ SAMIR WADEKAR PHOTOGRAPHER Conway, a British STYLIST AD’s former stylist rolled up photographer known for her extensive his sleeves and hopped onto a ferry work spanning South Asia, travelled to Alibag to deck up the home that to Sri Lanka to shoot the idyllic, newly graces this issue’s cover (pg 104). “I renovated Braganza House (pg 82). was transported to a bucolic world “The tranquillity found photographing over the three days that I spent at Braganza House on Sri Lanka’s azure this marvellous house. It was a joy to southern shore offered a serene retreat style the home and reveal its multitude in a palm-fringed hideaway on this of emotions.” always-dazzling island.” → RAJASHREE BALARAM WRITER Balaram is a journalist and screenplay writer based in Mumbai. In this issue, she writes about the Siddi quilters of Karnataka (pg 24), and jets off to Alibag to write our cover story (pg 104). “It was truly exciting to write about a home in which landscape and architecture blended together with such impeccable seamlessness.” ↑ COSMO BROCKWAY ← BIKRAMJIT BOSE WRITER A contributing editor for AD, PHOTOGRAPHER Bose’s pared- Brockway writes about Braganza House back aesthetic has been seeping in Sri Lanka (pg 82), and Villa Palladio in through his years-long practice Jaipur (pg 72). “Both the projects are and is best felt in his portraits. creations of outsiders wholly in love For this issue, he moves his gaze with their adopted settings, both loyal to interiors as he travels to Jaipur to the vernacular and traditions of their to shoot the vibrant Villa Palladio respective regions while unabashedly (pg 72), a palazzetto-turned- steering new paths in their designs— boutique hotel, that has quickly fresh, bold, and singing with colour.” become the talk of the town. 10 AD ARCHITECTURAL DIGEST NOVEMBER-DECEMBER 2022

CONTRIBUTORS ← AVESH GAUR PHOTOGRAPHER A Delhi­based photographer and film­maker, Gaur popped by Bani Nanda’s home to photograph the chef and the four dishes that star in our colour­ blocked Kitchen Report (pg 49). “Being able to witness Bani’s culinary skills at work made this one of the most enjoyable shoots—and one I’m always going to remember.” → BANI NANDA ↑ NEERJA DEODHAR CHEF Chef and founder of Miam in WRITER New Delhi—known for its exquisite Deodhar is a writer and researcher baked goodies—Nanda is one of with five years of experience in the most exciting chefs on AD’s Indian newsrooms. In this issue, radar. For this issue, she whipped she writes about architect Ramu up four delectable dishes for our Katakam’s moving, expansive very special, colour­splashed memoir (pg 28). “Reading Ramu Kitchen Report (pg 49). “The shoot Katakam’s book was like watching was fun and candid, and the whole Indian history in action, right before bunch of us had a pizza party my eyes.” with my dog, Polly. The end result speaks for itself!” → GAUTAMI REDDY PHOTO: PADMA REDDY. WRITER India Art Fair’s director of digital and communications, Reddy writes about Formafantasma’s latest collection of sculptural lights inspired by the iconic cut­outs of Henri Matisse (pg 27). “It was a joy to step into Matisse’s world at Maison Matisse in Paris—and be soaked in Formafantasma’s lights inspired by the artist’s colourful paper cut­outs.” ↑ VAISHNAVI NAYEL ← TALIB CHITALWALA TALAWADEKAR PHOTOGRAPHER A Mumbai­based WRITER Talawadekar is an arch­ photographer and former member itecture, design, and art journalist, of the AD team, Chitalwala shoots and a regular contributor to AD. In designer Cédric Courtin’s new this issue, she discovers Amaya collection of leather­wrapped ves­ (pg 38), a self­sustaining resort sels at aequō in Colaba (pg 58). designed by Bijoy Jain, and Curio “Courtin’s collaboration with aequō (pg 20), a new digital platform is an example of the beauty that can that is rewriting the rulebook for be achieved when craftsmanship collectible design. “Both are hidden and art come together.” gems waiting to be discovered.” NOVEMBER­DECEMBER 2022 AD ARCHITECTURAL DIGEST 11

CONTRIBUTORS ← KATHERINE MCLAUGHLIN WRITER McLaughlin is the associate digital features editor at AD US. In this issue, she writes about Aman’s latest hotel in New York City that marries a slice of Big Apple glamour with the calm serenity that’s synonymous with the hotel chain (pg 40). → ADARSH SONI ↑ KELLY MARSHALL WRITER A regular contributor to AD, PHOTOGRAPHER Marshall is a Soni writes about interior architect New York–based photographer Kunal Shah’s ongoing exhibition at specializing in interiors, travel, and 47-A that sinks into Mumbai’s Art portraiture, and a regular contributor Deco bones (pg 22). “Getting a to the Wall Street Journal and The behind-the-scenes look at Kunal’s New York Times. In this issue, she vision for the exhibition was as photographs Nate Berkus and exhilarating as walking past a chic Jeremiah Brent’s Greenwich Village Art Deco–style building in Bombay.” home (pg 94). “The apartment is alive with joy and laughter, which made the shoot feel more like a family gathering than a day at work.” → JESSI KLEIN PHOTO: CARLENE FERGUSON. ↑ CRISTINA PIOTTI WRITER Klein is the New York Times bestselling author of You’ll WRITER A regular contributor to AD, Grow Out of It and an Emmy- and Piotti writes about architecture and Peabody-award-winning television design as well as geopolitics. She writer, producer, and creator. In this lives in Milan but is often spotted issue, she writes about designer- in her second home, Mumbai. In duo Nate Berkus and Jeremiah this issue, she writes about the Brent’s return to their former home beauty of the Italian expertise and in New York City (pg 94). craftsmanship that sings through Visionnaire’s latest collections ← DORCIA KELLY (pg 26). STYLIST Kelly has been behind the scenes in the luxury design industry as an interior stylist, art buyer, and designer. For this issue, she styles Nate Berkus and Jeremiah Brent’s home in New York City (pg 94). “I’ve seen many beautiful homes, but they are kings when it comes to creating interesting styles with neutral tones.” 12 AD ARCHITECTURAL DIGEST NOVEMBER-DECEMBER 2022

The ye ar might be coming to a close , but the art and de sign Discoveries community isn’t missing a beat. We bring you a crisp round-up of unmissable exhibitions and events from Kochi, Goa, Hampi and beyond. Curio, a new digital platform for collectible design, hand- picks heirloom-worthy selections from Indian and international designers. Hermès’s touring exhibition in Mumbai reflects on the power and beauty of movement. And AD100 architect Bijoy Jain unveils his latest project tucked away in the rolling hills of Kasauli.

The AD Calendar For our last issue of the year, we round up the upcoming art and design festivals and exhibitions taking over Kochi, Goa, Vadodara, and Hampi, along with the opening of a much-awaited private museum in Bengaluru. TEXT: GAUTAMI REDDY. PHOTO: SAHIL NAIK/KOCHI BIENNALE FOUNDATION. KOCHI-MUZIRIS BIENNALE ALL IS WATER AND TO WATER WE MUST There’s optimism even in the hangar, visitors are invited to walk on and RETURN, SAHIL NAIK, 2022—THE GOAN darkest absurdity,” reads the inhabit the landscape of the site that now VILLAGE OF KURDI, PHOTOGRAPHED BY curatorial statement by Shubigi lies submerged under water since the NAIK, REMAINS SUBMERGED FOR MOST Rao for the fifth Kochi-Muziris construction of the Selaulim Dam in the OF THE YEAR. YET, AS A MIRACLE, FOR Biennale; it reflects the spirit of the mega 1970s, which comes to life for a brief spell ALMOST A MONTH EVERY SUMMER, THE showcase ready to return after the pande- each summer. WATERS OF THE RESERVOIR RECEDE mic with a cast of 80 artists and collectives AND THE ENTIRE VILLAGE RETURNS from 30 countries. As this year’s curator, All across the city, it is as if the very soul TO SING AND CELEBRATE—SOUNDS Rao is set to champion stories and voices of Kochi is on display. Beyond the main OF WHICH CAN BE HEARD IN THE from Asia, Africa, and Latin America, venue are a series of collateral exhibitions, BACKGROUND IN NAIK’S INSTALLATION. responding to the powerfully evocative including “Tangled Hierarchies”, which theme: “In Our Veins Flow Ink and Fire”. explores lesser-known stories from India’s struggle for independence, curated by At Aspinwall House, the traditional Jitish Kallat, and new projects curated home of the biennale, there is an array by the Bangladesh-based Gidree Bawlee of large-scale projects and installations, Foundation of Arts and the Chennai including those by art-world bigwigs Photo Biennale. As art blends seamlessly like Vivan Sundaram and Joan Jonas, into its surroundings, the city’s residents and rooms of paintings by Arpita Singh, and thousands of visiting art lovers will Richard Bell, and Vasudevan Akkitham. gather to celebrate the magic. And yet, it’s Sahil Naik’s life-size lands- Kochi-Muziris Biennale will be held across cape of the Goan village of Kurdi (pictured) multiple venues in Fort Kochi and Ernakulam that steals the show. Laid out in a central from 12 December 2022 to 10 April 2023. 14 AD ARCHITECTURAL DIGEST NOVEMBER-DECEMBER 2022

THE PROGRAMMING AT SERENDIPITY ARTS FESTIVAL WILL BE FULL OF There’s yet another reason to visit EVOCATIVE PERFORMANCES, LIKE VISTAR, CURATED BY MAYURI UPADHYA. Goa. After skipping an edition during the pandemic, the otherwise annual Serendipity TEXT: GAUTAMI REDDY. PHOTO: AJAY LAL. Arts Festival is back and larger than ever. Cutting across creative disciplines and boundaries, this year’s programme will span music, dance, theatre, crafts, and visual and culinary arts, with each section curated by an expert of the art form. Over 10 locations across Panaji have been transformed into cultural hotspots. Facing the Mandovi River, the Goa Medical College and Hospital in the heart of the city—one of Asia’s oldest medical institutions built in 1927— will house exhibitions, including an immersive library of art books curated by Pramod Kumar K.G., as well as the beloved Goa Familia Project, a hit from the festival’s 2019 edition, in a room filled wall to wall with charming photographs of local residents and families of Goa. A contemporary black box space in the complex will stage striking dance and theatre performances (pictured) directed by Mayuri Upadhya and Quasar-Thakore Padamsee respectively, while the outside courtyard will become a playground for gatherings and intimate farm-to-table experiences curated by Goa-based chef Prahlad Sukhtankar. “In many ways, the festival aims to push beyond accepted notions and conventions of art and culture,” says Smriti Rajgarhia, director of Serendipity Arts Festival. Indeed, from craft corners in public parks to live music on moving jetties and hip-hop and jazz takeovers in multilevel car parks, it’s as if the festival has permeated every corner of the city. There’s something for everyone at Serendipity. Serendipity Art Festival runs from 15 to 23 December 2022 across multiple venues in Panjim, Goa. SERENDIPITY ARTS FESTIVAL NOVEMBER-DECEMBER 2022 AD ARCHITECTURAL DIGEST 15

A museum in Amsterdam is MUSEUM OF ART & PHOTOGRAPHY cheekily known as “The Bathtub” because it resem­ TEXT: ADARSH SONI. PHOTO: SOUMITRO GHOSH AND MAP. bles one, while another in France is dubbed the “Chinese Hat” due to its avant­garde design. When speaking about designing South India’s first private art museum, architect Soumitro Ghosh highlights the humble “water tank” as an unmistakable landmark in Indian neigh­ bourhoods. But it’s not meant to be a nickname like those European buildings— the sentiment has a deeper meaning. “The space is designed to captivate and connect as an identifiable landmark through the materiality of its façade and the metaphorical and historical recall of its embossed panels on the exterior. As one moves inside, they find the naturally lit transition spaces built to hold the art,” says Ghosh, of his design of the Museum of Art & Photography (MAP) in Bengaluru. “The architectural groundwork for MAP, as one of the most significant museums in India, was laid to give complete foreground to art in all possible ways,” he adds. Spread across a 44,000­square­foot plot, MAP’s new home was designed by the renowned AD100 firm Mathew & Ghosh Architects, and is located in the heart of Bengaluru’s museum quarter. It spans four galleries, along with a café, rooftop restaurant, 130­seat auditorium, and two libraries. “Here art rules—celebrating its challenging and unpredictable nature while providing neutral enclosures and spaces,” Ghosh adds. Opening with a busy programme, including a retrospective of photographs by celebrated printmaker and painter Jyoti Bhatt as well as the first­ever solo show by sculpture artist L.N. Tallur, MAP promises to become one of the foremost cultural hotspots in India. Museum of Art and Photography (MAP) opens to the public on 11 December 2022. TOP: A SKETCH OF THE FAÇADE OF THE BUILDING BY SOUMITRO GHOSH. THE SWEEPING SPACE WILL HOLD MAP’S PERMANENT COLLECTION, INCLUDING A LARGE BODY OF INDIAN PAINTINGS AS WELL AS HISTORICAL AND CONTEMPORARY PHOTOGRAPHY. ABOVE: DEVI PISTOL WALI, ARPITA SINGH, 1990, ACRYLIC AND OIL ON CANVAS. 16 AD ARCHITECTURAL DIGEST NOVEMBER-DECEMBER 2022

S ince its inception in 2017, Raw City Art District, as a four­day event that QUCORR, A COCOON-LIKE HANDMADE Collaborative has emerged as will bring together some of India’s finest LAMP BY NAMEPLACEANIMALTHING— one of India’s most distin­ creative minds. ONE OF THE MANY BRANDS THAT WILL guished design symposiums. SHOWCASE THEIR PRODUCTS AT THE Keeping art, craft, architecture, and With equal room for emerging and “PLAYGROUND” AT RAW COLLABORATIVE— heritage at its core, the platform invites established talent, this edition will MADE FROM CORRUGATED CARDBOARD. designers, makers, and craftspeople, include several one­of­a­kind curations. annually, to showcase the processes Some standalone exhibitions on the line­ behind their products and peel back their up are “Intersection”, “Playground”, and layers—literally and figuratively. “Every “Young Designers Gallery”. While year, participating designers see Raw “Intersection” will explore the confluence Collaborative as an opportunity to create of art, design, and craft, “Playground” beyond their regular studio hours and will aim to engage patrons through bring to life ideas they have been longing objects and installations, that evoke a to pursue. Bringing creative energies and spirit of discovery. Yet the crowning minds together under one roof allows for glory of the symposium will undoubtedly a cross­pollination of thoughts, inspiring be “Craft Collective”, a curation that aims new discussions and collaborations,” says to celebrate India’s artisans and craft Tanvi Karia, who co­founded the plat­ ecosystems. With a roll call of leading form with Priyadarshini Rathore and designers and makers, Raw Collaborative Vishwa Bhatt Weir. This December, will continue to pay homage to India’s Raw Collaborative’s fifth annual edition evolving design landscape. will take place at Vadodara’s Alembic Raw Collaborative will be held from 1-4 December at The Art District, Alembic City, Vadodara. R AW COLL ABOR ATIVE TEXT: VAISHNAVI NAYEL TALAWADEKAR. PHOTO: NAMEPLACEANIMALTHING. NOVEMBER-DECEMBER 2022 AD ARCHITECTURAL DIGEST 17

RED LILIES, WATER BIRDS— Agarment with a history as THE SAREE IN NINE STORIES old as India herself, the sari has remained relevant for TEXT: VAISHNAVI NAYEL TALAWADEKAR. PHOTO: THE REGISTRY OF SAREES. hundreds of generations—a precious inheritance often passed on through time. It was this idea of time­ lessness that seeded the inspiration for “Red Lilies, Water Birds—The Saree in Nine Stories”, an exhibition presented by the Registry of Sarees in association with the Kishkinda Trust, and curated and desi­ gned by AD contributing editor Mayank Mansingh Kaul and Reha Sodhi resp­ ectively. The exhibition—on view across several locations in Anegundi, near Hampi, Karnataka, between 14 November and 6 December 2022—will unveil 108 saris, most of them handwoven, from the permanent collection of the Registry of Sarees, a multidisciplinary research and study centre that focuses on design, curatorial, and publishing projects in the realm of handspun and handwoven textiles. With a selection that spans 150 years—from the third quarter of the 19th century to the present day—the exhibition will showcase the sari through various cultural lenses by way of performances, talks, and craft workshops with local artisans and designers. “The selection is presented through nine stories, each highlighting an aspect of Indian textiles, be it aesthetic, material, technical, or historical,” says Kaul, for whom the choice of location is as attention­worthy as the exhibition itself. “As a curator, it has been a long­held dream to stage an exhibition of textiles in Hampi. But given the fragile state of the saris and the dearth of formal infrastructure in the region, we have had to be considered in our approach,” he notes. By taking such exhibitions beyond large urban cities, Kaul hopes to inspire a new generation of textile patrons and practitioners alike. Red Lilies, Water Birds—The Saree in Nine Stories will be held across multiple locations at Anegundi, Hampi, between 14 November and 6 December. WITH 108 VINTAGE SARIS ON SHOW, THE EXHIBITION TURNS THE LENS ON THE GARMENT’S EVERGREEN CULTURAL SIGNIFICANCE. SEEN HERE IS A 19TH-CENTURY SILK SARI, HANDWOVEN IN DOUBLE IKAT, FROM PATAN, GUJARAT. 18 AD ARCHITECTURAL DIGEST NOVEMBER-DECEMBER 2022

WHAT A MAN'S GOT TO DO PHOTO: R BURMAN/GQ INDIA

Collectors, Take Note Ashiesh Shah, Tarun Tahiliani, Vikram Goyal, and Klove Studio feature in the first edit of Curio, a digital platform by Shalini Misra that curates from the finest Indian and international names. TEXT: VAISHNAVI NAYEL TALAWADEKAR. PHOTOS: COURTESY OF CURIO. THE HAND-SCULPTED VELO DB Growing up in India, Shalini CHAIR BY ENGLISH DESIGNER JAN Misra was always WATERSTON, NAMED SO FOR ITS surrounded by exemplary DYNAMIC BICYCLE-LIKE SHAPE. artisanship. “It always fascinated me, and today, most of my work is bespoke, with layers of materiality that hold a mirror to their maker,” says the London-based interior designer, whose Delhi home previously graced AD’s cover in January 2020 with its spectacular Charles Jencks–designed garden. Over the course of her 20-year career, Misra has discovered and collaborated with some of the world’s rarest craftspeople, and remains inspired by their untold stories. Curio was born from this experience. A digital platform, two decades in the making, it features collectible furniture, lighting and accessories and is set up to democratize collectible design for discerning patrons around the world. With the aim of spotlighting global craftsmanship and cultural vern- aculars, its debut exhibition, “Hand in Hand: Making in the Modern Age”, opened at the Nehru Centre, Mayfair, at the London Design Festival in September. In a fitting hat tip to her roots, Misra’s curatorial ethos for Curio is informed by regional as well as global design lan- guages. “We work with both established and emerging designers and makers, united not by a particular typology, style, or material, but by exceptional creativity and skill. Emerging talent is of great interest, as are traditional skills and crafts,” says Misra. 20 AD ARCHITECTURAL DIGEST NOVEMBER-DECEMBER 2022

Some noted Indian names in Curio’s repertoire include Vikram Goyal, Tarun Tahiliani, and Ashiesh Shah. Goyal’s bouquet of brass tables, screens and murals (pictured) are artisanally crafted, while Tahiliani’s pichhwai renditions are a muted take on the traditional art form. Shah’s Bird Lamp is also of special note, its feathered tail mimicking that of a resplendent bird. By the same token, the platform is underpinned by over 60 other international makers, including such names as Tamsin van Essen, Tom Faulkner and Amelia Lancaster. Although the objects are prized for their provenance, they are curated to be acc­ essible. At its very foundation, Curio removes the white gallery walls and replaces them with windows through which connoisseurs and enthusiasts can appreciate the honesty and integrity of these craftspeople, designers, makers, and artists. It is Misra’s belief that one shouldn’t have to visit galleries and art fairs to be “in the club”. For designers like Shah, the platform has helped shine a light on the makers behind each object. “At the atelier, we endeavour to give Indian craftsmanship a voice,” he says. “Curio has served as a welcome medium to reshape the perception of ver­ nacular crafts, and in turn, inspire a spirit of karigari amongst curators of art and design across the world.” “SOARING IN FUJI”, A BRASS WALL MURAL WITH REPOUSSÉ MOTIFS, FROM VIKRAM GOYAL’S JAPPONISME SERIES. NOVEMBER-DECEMBER 2022 AD ARCHITECTURAL DIGEST 21

TEXT: ADARSH SONI. The After spending time with his Eye Has to beloved grand aunt, whose Travel father built the majestic Kapur Mahal on Marine From fine jewellery to Drive, interior architect Kunal Shah lithographs, interior instantly knew what his next show was architect Kunal Shah’s latest going to be about. But it wasn’t just an exhibition at design gallery overnight revelation. Having grown up in 47-A spotlights Mumbai’s Mumbai, Shah has always maintained an glamorous Art Deco era. affinity for the city’s opulent Art Deco architecture. “Art Deco is gentle, gracious, A VINTAGE TEAPOT FROM and egalitarian, especially given its history THE COLLECTION OF as a response to colonialism,” says Shah. CURATOR KUNAL SHAH “There is a certain familiarity as well and a (PHOTO: KUNAL SHAH). thrill when you encounter anything of that style,” he adds. From Nanavati Hospital in Vile Parle West to the iconic Regal Cinema in Colaba that started it all, Mumbai simply doesn’t exist without Art Deco. To Shah those buildings represent a new India, a youthful and exuberant nation that dared to step outside the looming shadow that the British had cast. Shah’s ongoing exhibition—titled Art Deco, which opened earlier this month at 47-A, a design gallery in Khotachiwadi—doesn’t just explore the ornamental surface of the 22 AD ARCHITECTURAL DIGEST NOVEMBER-DECEMBER 2022

design movement that was founded in the 1920s, but sinks right into its bones. It sifts through the fabrics woven by Hema Shroff Patel, who works with Maheshwari artisans to modernize their offerings. It flirts with jeweller Hanut Singh’s gem-encrusted danglers that have been worn by celebrated Hollywood icons. It waltzes into imaginary ballrooms that are covered in artist Vishwa Shroff’s study of floor tiles. It’s everywhere. Tea pots, bookends, and other objects procured through an antique dealer are delicately displayed on vintage furniture pieces. Everything is assembled in front of embroidered wall- paper panels of Art Deco- style imagery from the famed DeGournay—as if a ritualistic offering. Tucked within it all are some stand-out mo- ments. “I’m currently taking great delight in a pair of bookends made of various marbles, with a view of the seaside etched on one of their surfaces,” says Shah. “It’s an incredibly unique piece!” he adds. The exhibition serves up a slice of important design history with a side of con- temporary tributes to the movement, all done with a tasteful flair. “The aim of this show is to simply draw attention to Art Deco, to understand it, and to cherish whatever is left of it—so we can make an informed decision about its future,” says Shah. “We must find ways to stimulate conversation about our cosmopolitan heritage, before it vanishes under the wrecking ball.” Art Deco is on view at 47-A, Mumbai, from 15 October till 13 November 2022. ABOVE RIGHT: EARRINGS TAKING INSPIRATION FROM ART DECO CHANDELIERS, DESIGNED BY HANUT SINGH (PHOTO: HANUT SINGH). ABOVE LEFT: SUNSHINE, 2021. LITHOGRAPH BY VISHWA SHROFF (PHOTO: VISHWA SHROFF). LEFT: AMBA WEAVE CREATES SCARVES WITH ART DECO MOTIFS, HANDWOVEN IN MAHESHWAR (PHOTO: COURTESY OF AMBA WEAVE). NOVEMBER-DECEMBER 2022 AD ARCHITECTURAL DIGEST 23

The Sisterhood of Quilters For years, a little-known cluster of women quilters in Karnataka has been creating bright patchwork quilts laced with their memories of home and belonging. Nearly a decade ago, Bengaluru- based art historian and textile TEXT: RAJASHREE BALARAM. PHOTO: ANITHA N REDDY. curator Anitha N Reddy found herself in Analesara, a remote village in Karnataka. Reddy remembers her first sight of the village—patchwork quilts, patterned like mosaic, were draped on bridges, courtyards, and roofs. The quilts, locally referred to as kavand, were made by the women of the Siddi community. The Siddis, who arrived in India in the 16th century, are of African descent and purported to have travelled from Mozambique, as soldiers and slaves on Portuguese trading ships. “They are deeply sentimental about these quilts, as they are patched with pieces of clothing that represent a family’s private memories,” says Reddy. Made of remnants of old saris, children’s clothes, sarongs, and petticoats, these quilts are used to swaddle babies, and as mattresses and blankets. Soonafter,Reddybeganworkingcloselywith thewomentorevivethequiltingpractice.Asthe conversation deepened, she supplied the artisans with a greater variety of upcycled and fresh fabrics.“In eachquilt, it’s therunning stitchthat governs the design. The quilt is not planned, but ‘emerges’ as women make spontaneous choices in geometry and texture, based on the material available,”marksReddy.Whereearlier,therewas one master quilter in each village community, now a larger number of women from many villages have taken up quilting. More than 80 women are now part of Reddy’s initiative. Over the years, Reddy has showcased these quilts at prestigious exhibitions across THE FREEWHEELING India. While the lives of the Siddi women SPIRIT OF THE QUILTING are changing for the better, some good old PROCESS IS REFLECTED IN THE PATTERNS AND ASSEMBLY OF things remain the same. Just before they put EACH QUILT, WHICH in their last stitches, the women continue to COMES TOGETHER IN A insert a few grains of rice under the final PATCHWORKED MOSAIC IN BOLD, VIVID COLOURS. layer as a symbolic gesture of prosperity for the quilt owner. They describe it as a nod to the Kannada saying ‘hotte thumbisodu’ (‘May your belly be full’). It’s only when art reaches for your heart, after all, that it becomes a true masterpiece. 24 AD ARCHITECTURAL DIGEST NOVEMBER-DECEMBER 2022

TEXT: SWAREENA GURUNG. PHOTO: DANIEL SCHÄFER. A House of Words Montblanc’s newly The Meisterstück, Montblanc’s Once inside the three-storeyed, opened experiential most iconic model, has been so 38,000-square-foot space, bathed in space in Hamburg often wielded by political and various shades of white, visitors are chronicles the cultural icons that it has been immersed in the brand’s history. Along contribution of the dubbed the “power pen”. In 1963, John F. with a cafe and boutique, it houses a German luxury brand Kennedy famously offered his personal permanent exhibition of over 400 writing to the art of writing. Meisterstück to German Chancellor instruments, including archival pieces and Konrad Adenauer to sign the Golden rare collectables. An ode to the art of A DISPLAY OF MONTBLANC’S ICONIC Book of the city of Cologne when the handwriting, the autograph library fea- MODEL, MEISTERSTÜCK, AT THE latter had forgotten to carry a pen. James tures 30 original handwritten notes, from MONTBLANC HAUS IN HAMBURG. Bond’s version in Octopussy, on the other Ernest Hemmingway and Albert Einstein hand, contained an earpiece and dispelled to Frida Kahlo and Spike Lee. Visitors are highly concentrated acids. themselves encouraged to leave a mark by signing the digital guestbook, testing When the renowned Spanish firm Montblanc writing instruments, and Nieto Sobejano Arquitectos designed participating in calligraphy classes. Montblanc Haus, the brand’s new experi- ential space right next to its headquarters “Montblanc Haus is a special home for in Hamburg, they had its iconic pens appreciating the art of writing. It is a place in mind. The building’s rectangular struc- where visitors and guests can discover ture imitates the historical shape of writing the power of handwriting and the creati- instrument packaging while the dark vity and emotions it unlocks in everyone. mineral façade recalls the Meisterstück’s It narrates this story through the eyes of a deep-black resin body. The snow-capped company that has been at the heart of the Montblanc mountain is rendered on culture of writing for over 115 years,” says the façade through cut-outs on the Neeraj Walia, MD and CEO of striated concrete. Montblanc India. NOVEMBER-DECEMBER 2022 AD ARCHITECTURAL DIGEST 25

Sense and Design, luxury, and environ- Sustainability mental sustainability lie at the heart of Italian luxury brand Intimate and organic Visionnaire. Founded in 2004 are the magic words by the Bologna-based company IPE, the for the Italian luxury brand blends art and design to develop brand Visionnaire. meaningful luxury, led by the inspired vision of art director and co-founder TEXT: CRISTINA PIOTTI. PHOTO COURTESY OF VISIONNAIRE. Eleonore Cavalli. To celebrate this moment in time, the brand recently unveiled the Mythica collection, an ode to our intimate and powerful daily rituals, narrated by the brand’s long-term designers, Alessandro La Spada, Mauro Lipparini, Draga & Aurel, and m2atelier—together with two new entries, Studiopepe and Marta Naddeo. They worked on six thematic chapters: the winter garden, the atrium, the convivium, the daytime oasis, the alcove, and the boudoir—the latter, implies a setting of profound and complete privacy, with two pieces (Blanche mirror and Parade lighting system) by Studiopepe. The unmistakable Italian expertise is also felt in the glassmaking and mirror etching: “The Blanche mirror bears an image etched on its surface by hand, concealed by a curtain of thin leather strips. To see it and then to see your reflection, the fringe has to be gently moved, implying the use of both sight and touch,” Cavalli explains. All Mythica pieces are designed with a focus on sartorial curation, material research, and low environmental impact. Consider the delicate and discreet lines of Alessandro La Spada’s Astrid chair (pictured): the sinuous shape is subtle and yet welcoming, while at the back, the leather variant with its embroidered foliage motif, an evident tribute to botany. A deep love for nature and organic contours have always been a visual signa- ture of the brand. “From the definition of the creative concept all the way to the choice of colours and materials connected with the earth, love of the natural envi- ronment is expressed in the entire design process of this collection,” says Cavalli. 26 AD ARCHITECTURAL DIGEST NOVEMBER-DECEMBER 2022

Tower of Light 0ne of the greatest modern Formafantasma’s new lighting artists, Henri Matisse was also a collection inspired by Matisse’s man of interiors. From books vibrant paper cut-outs is a perfect to crockery, rugs to chairs, balance of form and colour. objects of daily life delighted and inspired him. He collected obsessively and painted TEXT: GAUTAMI REDDY. PHOTO: DELFINO SISTO LEGNANI AND PIER CARLO QUECCHIA OF DSL STUDIO. ‘a world of things’ in the brightest, most expressive colours. Now, almost 150 years after his birth, the artist’s family–led by his great-grandson Jean-Matthieu Matisse–is building on his legacy through the design house Maison Matisse by inviting iconic and emerging designers to create objects celebrating the joie de vivre spirit of his art. The newest entrants are Italian designer FORMAFANTASMA’S DESIGNS WERE duo Andrea Trimarchi and Simone Farresin SENT TO SPECIALIST CRAFTSMEN of Formafantasma who have produced WHO LASER-CUT AND BENT Fold, a lighting collection inspired by METAL INTO GEOMETRIC SHAPES, Matisse’s famous paper cut-outs, a medium WHICH WERE THEN POLISHED that the artist turned to in his 70s in what AND VARNISHED IN DEEP GREENS, marked the beginning of his “second life” BLUES, CORAL PINKS, AND REDS. and a period of vibrant creativity. “We have always been fascinated by how Matisse used paper cut-outs to investigate shapes and colours,” says Farresin. The duo have beautifully translated the artist’s emotion and effervescence in metal. “I have always admired Formafantasma and their poetic aesthetic,” adds Jean-Matthieu, “and with this collection, they have found a way to combine their minimalist style with the ultimate expression of the colours of Matisse, both in their treatment of the pieces and hues.” The collection ranges from chandeliers and wall lights to table and floor lamps. Additionally, for Maison Matisse’s permanent collection, Formafantasma designed a candleholder and table centrepiece that draw from the floating forms in Matisse’s 1950 painting Les Mille et Une Nuits. “Ours is a family that counts on the finest designers to create forever pieces that bring joy to both present and future generations to come,” says Jean-Matthieu. Walk into Maison Matisse’s boutique store in Paris, and it’s immediately clear: His dreams are coming true. NOVEMBER-DECEMBER 2022 AD ARCHITECTURAL DIGEST 27

TEXT: NEERJA DEODHAR. COVER DESIGNED BY RUKMINEE GUHA THAKURTA. Making PUBLISHED BY ARTHSHILA. PHOTO: HARSHITA NAYYAR. of a Memoir Architect Ramu Katakam’s memoir offers an evocative glimpse into the history of post-independence architecture in India. T he memoir of an architect has Katakam to reflect on his practice, as THROUGH HIS BOOK, ARCHITECT the potential to be many well as the years before he became an RAMU KATAKAM DEMONSTRATES HOW different things, all at once: a architect. He paints a portrait of the early CHANCE ENCOUNTERS AND DEEP documentation of their oeuvre, years after 1947, when India’s citizens ENGAGEMENTS WITH BUILT SPACES the structures that moved and inspired were eager to experience “the beginnings CAN SHAPE AN ARTIST’S VISION. them, and the people and politics that of freedom”, as a resident of a tent shaped their world view. Ramu Katakam’s colony in Lutyens’ Delhi. He recounts Spaces in Time adds another dimension—of weekends spent at Teen Murti Bhavan serving as a record of history. with Rajiv Gandhi when they were both schoolboys—idyllic days of swimming A veteran whose practice began in the in the president’s pool and witnessing late ’70s, Katakam wanted his memoir to Jawaharlal Nehru at work. depict changes in India’s architecture in the period after independence. Katakam’s Of a visit to the Piazza del Campo in first-hand experiences—whether his Italy, the architect writes as evocatively involvement in setting up Dilli Haat, a about the terracotta-coloured bricks as he crafts bazaar in the capital, or building does of a young couple in love. Structures a secretariat building in Saudi Arabia— such as the Piazza and architects such as reveal details beyond what is known. Louis Kahn and Luis Barragán deeply Consider, for example, a retreat in inspired Katakam. “Both attempted to Haryana’s Sohna that Katakam had to bring a spiritual quality to the spaces they work on in secret, because it was to be a designed,” he says. “Barragán even talks meeting place for cabinet ministers during of enchantment, serenity, intimacy, and Indira Gandhi’s tenure as prime minister. amazement. If a building gives me these, I find myself drawn to it.” The writing process prompted 28 AD ARCHITECTURAL DIGEST NOVEMBER-DECEMBER 2022

More Than a Chair Chennai-based product studio BeatRoot Co is on a mission to style coffee filters and leather pouches, That Chair by BeatRoot Co is create a more efficient craft which allowed them to experiment with economy. Founded in 2017 by designs while minimizing financial risk. architect and industrial designer The whimsically detailed seating series an eye-catching consequence Shreelekha Lakshmipathy, the brand That Chair, which comprises four pieces, of the Chennai-based studio’s investigates the intricacies of small-scale is the brand’s first foray into the furniture craft-forward design process. manufacturing in all manner of industries, space. The collection, crafted in teak from stoneware to leather and wood- wood, is punctuated with curvilinear, working. “We pick artisan clusters and try geometric forms distilled from traditional to understand how they work,” says South Indian design motifs. “The idea was Lakshmipathy, “and we eventually try to to create something that would bring discover something that we could do visual value to a space,” she says. “But that differently.” did not guide our design–our first concern Lakshmipathy’s experimental approach was structural stability and ergonomics.” to manufacturing processes draws from her background in architecture and in- The creative process is an ever-evolving dustrial design. “We are still in the process adventure for Lakshmipathy. Currently, of finding the perfect balance between she is focused on making the collection PUNCTUATED WITH GEOMETRIC FORMS what works for us and the artisans,” says flat-packable, and introducing modern INSPIRED BY THE CULTURAL MOTIFS OF Lakshmipathy. She offers the example of a technologies–like MDF templates–to SOUTH INDIA, THAT CHAIR REMAINS AN rug cluster in Bhavani, Tamil Nadu that make the hand-crafting process more OPEN COLLECTION THAT BEATROOT was losing business because their designs consistent. “Our designs are inspired by CO HOPES TO INVITE MORE DESIGNERS our surroundings,” she says, “But 90 TO CONTRIBUTE TO IN THE FUTURE. percent of our work goes into improving the manufacturing process—making sure weren’t evolving to suit the contemporary the craftsmen are working efficiently and market. “We intervened to rework the getting paid fairly, and that quality is not designs, while making an effort to main- compromised. In that sense, we’re not just tain the quality of the craftsmanship.” designing a product, we’re designing an The brand initially launched a set of entire ecosystem.” small objects, including South Indian– TEXT: AVANTIKA SHANKAR. PHOTO: ROOPIKA LAKSHMIPATHY. NOVEMBER-DECEMBER 2022 AD ARCHITECTURAL DIGEST 29

TEXT: ARSHIA DHAR. PHOTO: EDWARD HENDRICKS. A Leaf out of History Hermès returns with its third edition of the brand’s Heritage Exhibition in Mumbai to celebrate the joy of movement. In 2019, only months before the world Gaudichon, he mentions the striking went into lockdown, Hermès miniature child’s carriage (pictured), celebrated its second edition of its that sits petite in its unique structural touring Hermès Heritage exhibition integrity. The quaint metal coach that with all things red, a colour deeply is over a century old is a stellar example embedded in the brand’s prolific legacy. of the brand’s craftsmanship that has While its maiden chapter explored the stood the test of time. “This object is theme of “Harnessing the Roots”, the a perfect example of the combination French maison is back with its third of both aesthetics and technicality chapter after three years, this time that Hermès creations seek to attain, commemorating objects that are “in and even if this model vehicle is over motion”, carefully curated from the a hundred years old, it perfectly Hermès archives and conservatory, the expresses the principles that are still Emile Hermès Collection, and Hermès’s relevant today for creation at Hermès,” contemporary collections. the curator says. Besides this, the host of interesting objects that will be on “The idea of movement is at the origin display include a stirrup heater, an of the maison. It is the foundation of aeroplane change tray, a 19th-century Hermès’s raison d’être and evolution,” tobacco box, among numerous others. says Bruno Gaudichon, curator of the exhibition. It’s this philosophy that The idea fuelling these exhibitions is to guided him while choosing the objects foreground the stories woven into the and iconography to be put on display brand’s history and identity over its from 11–20 November at the show in 180-year-old presence, and what better Mumbai’s IF.BE Gallery. way than this to set the wheels back in motion after three years of hitting pause. Of all the curios handpicked by 30 AD ARCHITECTURAL DIGEST NOVEMBER-DECEMBER 2022

On the AD100 architect Martand Brink Khosla talks about his art as an F or AD100 architect Martand extension of his architectural Khosla, his art is an extension— practice, which explores the and a reflection—of his two- nuances of the urban condition. decade-long architectural practice, where he explores the urban TEXT: ARSHIA DHAR. PHOTO: COURTESY OF NATURE MORTE. condition through both metaphors and materiality of construction. A strange paradox looms over his artworks—that of concurrent disarray, even distortion, and stillness bundled into visually arresting commentaries on what comprises the cycle of life on earth. At times, his objects seem to be suspended mid-air or stuck mid-movement; at others, you can see through them. This interdependence between his artistic and architectural practice was brought to light in Khosla’s exhibition, titled “On The Brink”, which was on view till 1 October at Nature Morte in New Delhi. “Almost all my artistic practice ref- erences architectural and construction materials. In broader readings of the city, social anxieties are perhaps one possible aspect. However, I see there to be several others: benevolent and violent, creative and destructive aspects to the city are equally important in understanding our urban realities,” says Khosla. As an archi- tect, his works are spread over both public and private domains. Within private spheres, shared spaces lend to lesser hierarchical interactions, which may not necessarily be the case with public spaces—an area in which his architectural practice lays emphasis. “In my work, both art and architecture occupy these critical conversations,” he says. Khosla’s artworks have a chimeric, almost fluid lyricism to them, despite being crafted out of elements generally perceived as “industrial”, and therefore rugged and lifeless. They meld the lines between sculpture and object, as is evident in the repeated motif of the door in his oeuvre. “Symbolically and literally, doors denote transitions and thresholds. When I look at domestic objects, neighbourhoods, and cities, I begin to formally push these simple objects and ideas to unexpected ON THE BRINK II, 2022, STEEL AND PAINT. forms and materials,” he says, underlining how art and architecture can collide to lend a more holistic view of the world. NOVEMBER-DECEMBER 2022 AD ARCHITECTURAL DIGEST 31

The On a walk in Paris in the early table in The Italian Job (1969), two Timeless 1960s, Italian brothers Achille illuminated an office in Diamonds Are and Pier Giacomo Castiglioni Forever (1971). Over the years, the best- Arco had a light-bulb moment. seller has lit up the homes of tastemakers, In the elegant arch of the city’s street from Andrea Molteni to Willy Rizzo. How Achille and lights, they found an enduring design “She’s tall and thin,” says interior design- Pier Giacomo solution—a directional light that didn’t er Darren Brown, who used one in a Castiglioni’s 1962 require ceiling suspension. soaring LA living room. “And there are light for Flos few alternatives that bring light to a became a living Enter: Arco, a flexible floor lamp that coffee table.” room essential. emerged from a hunk of marble and could function over a dining table or as a reading The 60-kilogram Carrara base has light. No ceiling fittings needed. In 1962 it bevelled, bump-proof corners and a hole was released by Italian manufacturer Flos, that makes the lamp easy to pick up. which has produced it ever since. The aluminium shade is perforated so it does not overheat. Look for these clues if The stem, made of three stainless-steel you’re trying to verify the much-copied pieces that extend like a telescope, stret- Arco. Or order the Arco K, a limited, ches to nearly seven feet wide, allowing crystal-based edition Flos just released for the Arco to sit easily out of foot traffic. “It’s the lamp’s 60th birthday. Its NFC tag can a ceiling lamp without being a ceiling be scanned to confirm authenticity. But lamp,” explains Giovanna Castiglioni, knock-offs usually reveal themselves, says daughter of Achille. Flos CEO Roberta Silva. “Making a copy is not easy. It became a screen star almost imme- diately—one arched over a conference A 1969 ARCHIVAL TEXT: HANNAH MARTIN. PHOTO: STUDIO CASALI/COURTESY OF FONDAZIONE ACHILLE CASTIGLIONI. IMAGE OF THE ARCO LAMP BY FLOS. 32 AD ARCHITECTURAL DIGEST NOVEMBER-DECEMBER 2022

TEXT: SWAREENA GURUNG. PHOTOS COURTESY OF HERMAN MILLER. Evergreen Eames Here’s a fun yet practical retelling of classic Eames furniture by Denmark- based design brand, HAY. THE EAMES MOULDED In the mid-19th century, the designers “The Eameses were very experimental in PLYWOOD LOUNGE CHAIR Charles and Ray Eames pioneered taking advantage of new technologies,” UPDATED BY HAY IN A RICH materials and techniques ahead of their says Rolf, “And they were having fun.” FOREST GREEN COLOUR. time. Their 1946 LCW chair, for Mette cites this playful yet rigorous instance, has been dubbed “the chair of approach to design as the model for their the century” and was a by-product of their own creative process. experiments with moulding plywood— initially to make leg splints for the US In the Hays’ hands, the furniture pieces Navy. Launched a decade later, their are reinterpreted in sustainable materials Lounge Chair, which combines moulded and fresh new colours like toffee, iron plywood with cushioning, became one of red, and powder yellow. The Eames Shell the most sought-after pieces of furniture Chair—the first-ever plastic chair, launched and a perennial status symbol. in 1950—now comes in 100 percent post- industrial recycled plastic and in six fresh Several decades later, when a young new colours; their Hang-It-All coat rack Rolf Hay attended an exhibition about is fitted with cast-glass balls instead of the the Eameses in Germany, it left a lifelong original painted wood; two tables are now impact on him. Today, he and his wife topped with cast-glass too, while wire Mette head the design brand HAY, which chairs have been powder-coated and can they founded in 2002. be outfitted with weatherproof cushions. When Herman Miller, the American “A unique vision of colour, the company that produces Eames furniture, evolution of thoughtful materials, and a approached the couple to re-envision beautifully interconnected story of design eight Eames mid-century classics for the partnership harness the enduring spirit of 21st century, they used the Eameses’ col- Herman Miller,” adds Ben Watson, the laborative design ethos as a starting point. brand’s president. NOVEMBER-DECEMBER 2022 AD ARCHITECTURAL DIGEST 33

Tiled Wonders The award-winning Palacio collection by Orvi Surfaces TEXT: AVANTIKA SHANKAR. PHOTO: COURTESY OF ORVI DESIGN STUDIO. is a symphony of materials, brought together by impeccable craftsmanship. Apattern of wood grain, ORVI SURFACES’ DESIGNS STRIKE A DELICATE BALANCE straight-lined and shaded, BETWEEN MINIMALISM AND FLAMBOYANCE, CREATING invites the eye to wander. PATTERNS THAT TRANSCEND GEOGRAPHY AND CULTURE. Suddenly, a block of polished black commands a moment of pause. The spell is finally broken by a glimmer of brass, weaving into view and carrying the gaze onward. The landscape unravels into a tapestry of wood, metal, and stone, perfectly balanced in a geometric tableau. Orvi Surfaces’ Palacio collection of tiles, which won the European Product Design Award for “Home interior products/materials and surfaces” this year, witnesses a rare combination of opulence and restraint. “It took us a while to understand the characteristics of each material, and how they can be brought together,” explains Orvi Surfaces founder Sanjeev Agrawal. “We were among the first to [add high- quality] metal inlay in stone and wood, and now we’re looking at how that can be translated into designs that can appeal to a global audience.” Agrawal is part of a burgeoning movement in the Indian design landscape that seeks to revive traditional crafts—such as stone inlay—through design interven- tions. “It made me sad to see that crafts from India were still being practised in a very old-fashioned manner,” he admits, “There was no modernity in the designs.” In a bid to offer traditional craftsmanship a platform in the contemporary market, Agrawal enlists the sensibilities of designers from around the world; Orvi has previously collaborated with Italian des- igner Matteo Cibic on the Filo collection of objects crafted in marble and brass. “If we enhance craftsmanship with contem- porary design and modern technology, we might be able to help those traditions survive,” he insists, “That is the intention with which we founded Orvi.” 34 AD ARCHITECTURAL DIGEST NOVEMBER-DECEMBER 2022

THE LAST WORD IN TRAVEL PHOTO: ERRIKOS ANDREOU/CONDÉ NAST TRAVELLER INDIA

TEXT: VAISHNAVI NAYEL TALAWADEKAR. PHOTOS: HASHIM BADANI. On the Terraced Farms THE BUILT FORM IS PERCHED of Kasauli ON GENTLY SLOPING TERRACES WITH PAVED STONE PATHWAYS. Opening this month, the Bijoy Jain–designed Amaya 36 AD ARCHITECTURAL DIGEST NOVEMBER-DECEMBER 2022 is a self-sustaining boutique hotel etched sensitively into its Himalayan ecosystem. S omewhere near Kasauli, 4,600 feet above sea level, hides a secret gateway to the Himalayas. Nestled inside a sustainably managed forest, Amaya is tailored for the thoughtful traveller. It is slowly and harmoniously cultivated into the earth, and is as much a part of the landscape as the magpies and milk thistles that neighbour it. But what is perhaps most noteworthy of all is that the modern mountain village—whose name nods to the Sanskrit word for simplicity—is a self- sustaining sanctuary that elevates the Himalayan topography. When founder Deepak Gupta con- ceived the idea in 2013, his vision was crystal clear: an ecosystem of villas that would marry into the terraces, paddy fields, water channels, and walking paths that had been bequeathed upon the land. It was an endeavour in reforestation that would restore the people and the place alike. “In essence, our vision was to create a mountain habitat that didn’t displace nature, but rather rejuvenated the parts of the mountain landscape that had been disrupted by development,” he says. Recognizing that it was a tall order, Gupta reached out to the one architect he believed could match his sensibility: AD100 architect Bijoy Jain of Studio Mumbai. After all, for a site so ecologically fragile, it was an architectural undertaking achievable by but a precious few. For Jain, the landscape served as the point of departure for the architecture. After several visits to the forested site, he

RIGHT: BIJOY JAIN AND DEEPAK made up his mind: He would use a small GUPTA IN CONVERSATION AT section of the once-upon-a-time farm STUDIO MUMBAI. BELOW: A terraces to sensitively root the villas to the TRADITIONALLY OUTFITTED hillside. The gentle approach, which holds ROOM WITH TEAK-AND-MARBLE a mirror to his time-honoured ethos of SHUTTERS AND A LOUNGE CHAIR local sensitivity, was parlayed into the BY MAHENDRA DOSHI. THE BED material palette, with local materials like WEARS A GHONDAGI WOOL wood, lime, brick, timber, and stone BLANKET FROM MAHARASHTRA. nodding to the land’s pastoral heritage. “It isn’t just the fuel, manpower, and building materials we need to take into account [when we build spaces], it’s also the value of the people—and every other living being—that has participated in the creation of each structure,” says Jain. “Our studio views the landscape as a resource, using readily available materials and technologies to create spaces adapted to local climatic conditions.” True to Jain’s signature, the villas, chalets, and suites—of which there are five, nine, and six respectively—wear the colours of the landscape, both inside and outside. Yet, the interiors are a world unto their own, underscored by a decidedly Nordic aesthetic, courtesy of London-based interior design firm Viewport Studio. The walls and floors NOVEMBER-DECEMBER 2022 AD ARCHITECTURAL DIGEST 37

sport earthy finishes, while wood and rattan accents serve as rustic counter­ points to the muted shell. In the same vein, the furniture and furnishings are a collection of pieces from Denmark, Italy, and the UK, with the exception of some bespoke items that were designed by Viewport Studio and made in India. Each villa has a study or artist’s studio, dining and living spaces, a fully equipped kitchen, and three independent en­suite bedrooms with wrap­around porches. In most seasons, Amaya’s kitchen and herb gardens burst with lush, organic fruits and vegetables, offered fresh and ripe or turned into gourmet fare for discerning patrons. Other novelties in the sanctuary include Finnish saunas, a charming library, a heated swimming pool and sylvan landscapes that roll on unto oblivion. Brimming with influences from near and far, Amaya’s footprint—delicately tempered by Jain—is an equal reflection of global sensibility and local sensitivity. TOP LEFT: A LIVING ROOM CORNER, FEATURING A RESULT CHAIR BY HAY, BASKS IN THE FOREST LIGHT. TOP RIGHT: A DINING ROOM CHANNELS A MINIMALIST VIBE WITH A CUSTOM TABLE IN MARBLE AND TEAK, CHAIRS BY TON, AND A BENGAL SHELF BY MAHENDRA DOSHI. ABOVE: A VILLA LIVING ROOM STARRING A CHAIR BY SIBAST, A SOFA BY &TRADITION, A SIDE TABLE BY MENU, AND A CUSTOM COFFEE TABLE BY VIEWPORT STUDIO. 38 AD ARCHITECTURAL DIGEST NOVEMBER-DECEMBER 2022

IT'S WHAT'S NEW NOW PHOTO: TARUN VISHWA/GQ INDIA

Inside With its newest opening Aman New in New York, Aman brings York a slice of serenity to the bustle of Fifth Avenue. Aman New York is ABOVE: INSIDE THE CROWN BUILDING, TEXT: KATHERINE MCLAUGHLIN. PHOTOS COURTESY OF AMAN. redefining the AMAN NEW YORK MERGES NEW YORK luxury hotel scene HIGH SOCIETY WITH THE BRAND’S in Manhattan. In REPUTATION OF REMOTE TRANQUILLITY. a city as storied as New York, RIGHT: A MURAL INSPIRED BY THE 15TH- luxury, for better or worse, is CENTURY MASTERPIECE PINE TREES often synonymous with (SHŌRIN-ZU BYŌBU) BY JAPANESE PAINTER historic. Or, in less romantic HASEGAWA TŌHAKU IN THE SUITE. terms, old. Places like The Plaza, St. Regis, or Algonquin have long dominated when it comes to lavish accomm­ odations and, naturally, the look of these hotels—Gilded Age glamour with hints of neoclassical grace—has prevailed as the aesthetic of high­end hospitality. Aman New York, decked out in a modern organic style, wants to change that narrative. As the newest addition to the hospitality brand’s extensive property list, Aman New York is the brand’s first location on the East Coast and only the third in the United States. First established in 1988 in Phuket, Thailand, Aman was imagined as a collection of intimate retreats and has carved out a niche as a power player in remote luxury. Since then, Aman has spread its wings to many countries across the world—from Amangalla and Amanwella in Sri Lanka; Amanbagh and Aman­i­Khás in Rajasthan, India; Amankora in Bhutan; to Aman Tokyo and Amanemu in Japan—each touched by the sensitive, mindful approach of some of the finest minds in architecture: Jean­ Michel Gathy of Denniston Architects, late Ed Tuttle and late Kerry Hill. Sitting on Fifth Avenue just below Central Park, Aman New York is located in the historic Warren & Wetmore– 40 AD ARCHITECTURAL DIGEST NOVEMBER-DECEMBER 2022

TOP: THE DINING AREA IN THE SUITE FEATURES SUBTLE CONTRASTS IN designed Crown Building. Gathy TEXTURES AND A GENTLE PLAY OF LIGHT. ABOVE LEFT: THE SOARING oversaw the transformation of VOLUMES OF THE SPACE ARE SEEN IN THE SPA AND POOL AREA. ABOVE the building that once housed RIGHT: THE INTERIORS OF AMAN NEW YORK EMBRACE A DARKER, MORE the Museum of Modern Art into MODERN AESTHETIC COMPARED TO OTHER LUXURY HOTELS IN THE AREA. the exclusive accommodations. At the nexus of two histories— the building’s in New York high society and Aman’s in Asia—instead of avoiding this perceived dichotomy, the hotel chose to lean into the contradiction. Small gold details honour the structure’s roots from the Gilded Age, while wood and stone floors resembling a rattan basket and straw marquetry on fireplaces pull from the Asian design vernacular. For the New Yorker or tourist still looking for the calm they would easily find in one of Aman’s more secluded locations, the Big Apple hotel has another trick up its sleeve. Spanning 25,000 square feet, Aman New York contains the brand’s flagship urban spa, which offers seven treatment rooms with a long list of high- tech beauty technologies. In addition to the bedrooms and spa, guests can also find two signature restaurants, a fitness centre, a 65-foot reflective pool, a hair and nail salon, a garden terrace, a jazz club, and a lounge bar. Vlad Doronin, owner, chairman and CEO of Aman Group tells AD, “We have one clear design language, which creates a feeling of harmony and serenity, reflective of the Aman ethos and feeling.” Instead of looking to replicate the New York of the past, Aman looks to the future—one where a sliver of Fifth Avenue can be both a quiet respite and one of the busiest blocks in the world. NOVEMBER-DECEMBER 2022 AD ARCHITECTURAL DIGEST 41

PIERRE AUGUSTIN ROSE Duo (oak) coffee tables STYLIST: SHALINI KANOJIA. THIERRY LEMAIRE R12 (bronze) side table GIOBAGNARA Eloise chair PACO CAMÚS Saigon cabinet SHOP 42 AD ARCHITECTURAL DIGEST NOVEMBER-DECEMBER 2022

EK DESIGN Hem pouffe LAKKADHAARA Rajasthani door STROMBOLI DESIGN Krid bench SHOP I S KO S Sofa from the Slice collection, by Aleksej Iskos and Yukifumi Shibasaki NOVEMBER-DECEMBER 2022 AD ARCHITECTURAL DIGEST 43

CECCOTTI COLLEZIONI Imrat console, designed by Yamo SHOP KASSL EDITIONS NIL AYA Pillow sofa, Benito sofa, from by Muller Van Severen the Utopia collection 44 AD ARCHITECTURAL DIGEST NOVEMBER-DECEMBER 2022 THE INVISIBLE COLLECTION Croisillon Lamp 1928, by Jean-Michel Frank

HERMÈS H Riviera blanket BAREEKI Surudoi table DESIGN BOHINC STUDIO Derriere chair LOUIS VUITTON SHOP Bomboca Sofa GM (grey), by Estudio Campana NOVEMBER-DECEMBER 2022 AD ARCHITECTURAL DIGEST 45

Hello, Bengaluru HERE ARE SOME GLIMPSES OF A FABULOUS NIGHT AT THE GROHE SHOWROOM IN BENGALURU, WHICH OPENED WITH A RIVETING TALK BY ARTIST AND CURATOR SUBODH KERKAR OF MUSEUM OF GOA AND CLOSED WITH A ROCKING DANCE PARTY BY BEST KEPT SECRET. 3 11 22 3 1. Te am Grohe . 2. Bobby Jose ph, Shibane e Sagar, 5 AD e ditor Komal Sharma. 3. Subodh Ke rkar. 4. Bijoy Ramachandran. 5. Nisha Mathe w Ghosh. 6. Dhaval 8 Shellugar, Manisha Mittal, Jeenesh Nahar, Farah Ahmed. 7. Gine lle Gabrie lla Lope s, Chintan Singh, Likhitha 46 AD ARCHITECTURAL DIGEST NOVEMBER-DECEMBER 2022 Shivmay. 8. Be st Ke pt Se cret pe rforming at the eve nt. 9. Joshua John, Juhi Patel. 4 7 67 9 8

12 3 56 4 9 8 7 11 10 NOVEMBER-DECEMBER 2022 AD ARCHITECTURAL DIGEST 47 1. The Lixil Studio installation. 2. Rahul Mistri. 3. Gue sts during the band’s pe rformance . 4. Grohe clie nts. 5. Amrita Guha. 6. Disha Mankikar. 7. Catering courtesy of Single Thread by chef Manu Chandra. 8. Kavita Sastry. 9. Te am AD. 10. Sumit Dhawan, Harjas Kaur. 11. Nare sh V. Narasimhan.

THE LAST WORD IN TRAVEL PHOTO: ATHUL PRASAD/CONDÉ NAST TRAVELLER INDIA

BANI NANDA PORTRAIT, FOOD PHOTOS: AVESH GAUR. PRODUCT CURATION: SHALINI KANOJIA.KITCHEN REPORT WITH BANI CHEF F R O M A Z I N GY, F R ES H SA L AD TO A SI LKEN VA N IL L A M OU SSE THAT M ELTS IN YOUR M OU T H , C HE F B A NI N A NDA ADDS A FEISTY FLAVOUR TO AD’S COLOUR-SPLASHED KITCHEN REP ORT, DOTTED WITH SOME OF OUR FAVOURITE PRODUCTS THIS SEASON. NOVEMBER-DECEMBER 2022 AD ARCHITECTURAL DIGEST 49

Le Creuset Pepper mill (bamboo green) Phaidon The Irish Cook Book Material Kitchen The Trio of Knives (sage) PHOTO: PAUL MASSEY. The Plated Project The Muse plate Great Jones Hot Dish & Lid Vista Alegre Our Place Häcker Bread-and-butter plate Oven pan AV2035 kitchen Caraway from the Amazōnia Ceramic sauce pan collection with lid (sage) Casa Bugatti Grohe Kiss salad tongs Blue Pure Minta 50 AD ARCHITECTURAL DIGEST NOVEMBER-DECEMBER 2022 single-lever sink mixer