ARCHITECTURAL DIGEST ` 200 JULY-AUGUST 2019

THE MOST BEAUTIFUL HOMES IN THE WORLD INDIA

BAWA
*In March 2019
**As per research by an independent agency
Bengaluru | Chennai | Delhi | Gurugram | Noida | Hyderabad | Mumbai | Thane | Pune
DESIGN
SHOW
S AV E T H E D AT E

Over three days in October last year, the biggest names in art, architecture and design
could be found under one roof, at the first AD Design Show—a spectacular display of
craft, design and artistry. This year, the AD Design Show is back in October with the best
in art, craft and design from around the country—and the world.
FOR ENQUIRIES, PLEASE CONTACT [email protected]
ANNOUNCING
THE SECOND EDITION OF
THE AD DESIGN SHOW

18
19
20
OCTOBER
DOME@NSCI, SVP STADIUM, WORLI, MUMBAI
DELHI SHOWROOM: 218, 223 DLF Grand Mall, Second Floor, MG Road, Gurgaon | Tel: 124-4108800/9900
MUMBAI OFFICE: 1115-11th Floor, Hubtown Solaris, NS Phadke Marg, Andheri East, Mumbai - 400069
WWW.RAVISHVOHRAHOME.COM
CONTENTS
J U LY- AU G U S T 2 0 1 9

30 EDITOR S LETTER
32 CONTRIBU TOR S

42 TRENDSPOTTING Our selection of the best of

design for your home.

SALO N E D E L MOB ILE 2019

56 PEPE E CACHET Studiopepe’s presentation at
Salone created a one-of-a-kind experience through
its exploration of materials and mysticism.
60 MODER N LUXURIES Designer André Fu’s
latest collection of homeware is an introspection on
his personal journey.
62 ICON IN THE MAKING The ‘OE Quasi
Light’ pendant lamp—a collaborative effort
between Olafur Eliasson and Louis Poulsen—is
bound to find pride of place in your living space.
64 BLUE CHIP FUR NITURE Own a piece of art
with Anish Kapoor’s ‘Oval’ table, a collaboration
with Citco.

ARCHITECTURAL DIGEST ` 200 JULY-AUGUST 2019

THE MOST BEAUTIFUL HOMES IN THE WORLD INDIA

ON THE COVER

This 19th-century English garden

sculpture—one of two on the
property—defines the edge of the
northern terrace at Geoffrey Bawa’s
country house Lunuganga. (‘Geoffrey’,
pg 130)
BAWA Photographer: Ashish Shah
ASHISH SHAH

pg 130
contents
66 FROM THE ASHES ExCinere, a new collection of 88 FUSION MUSIC Studio Apparatus blends
tiles made by Dzek in collaboration with Formafantasma, music-inspired shapes with Indian embroidery
explores the use of volcanic ash. techniques to create Editions—a suite of furnishings.
68 A LIGHTNESS OF BEING The ‘Vertigo’ light by 90 OU T OF THE BOX The Zhuang collection, a set
Michael Anastassiades is a celebration of minimalism. of desk accessories designed for Poltrona Frau by
Neri&Hu, celebrates the best of East and West.
70 R AW MATERIAL Hermès departs from its usual
material palette in its latest collection of lights. 92 MA XIMAL LIVING Gucci’s distinct visual
vocabulary was merged with fine craftsmanship to create
72 INTERWEAVING STORY Artemide presents the spectacle that was the Gucci Décor pop-up.
‘Interweave’, a light designed by Pallavi Dean who
interpreted it as a metaphor for connections. 94 MAGIC CARPET RIDE Inspired by the sights
and sounds of Jaipur, Matteo Cibic collaborates with
76 DOUBLE DUT Y The Doppia Firma exhibition Jaipur Rugs to create a collection of handmade rugs.
showcases collaborations by 19 designers and artisans in an
array of materials from brass to blown-glass. 96 WATERING POLE Scarlet Splendour collaborates
with international designers to create a collection that
78 MY PRECIOUS Together with Milan-based Dimore effortlessly fuses design and art.
Studio, Dior has created objets d’art for the modern home.
80 WHEN IN ROME Classic Roman architecture and
98 SURFACE TO AIR Inspired by aircrafts and
bridges, the ‘Ava’ table from Italian furniture
motifs from its fashion line were the reference points for brand Molteni&C blends elements from engineering
Fendi Casa’s latest furniture collection. and architecture.
82 A VISION TO BEHOLD On it’s 15th anniversary, 100 META MORPHOSIS The unique collaborations in
Visionnaire revisits its founding principles while Turri’s new collection mark an effortless foray into
creating a collection that paves the way for the future. contemporary minimalism.
84 BASKET CASE Collaborating with 11 master 102 RETUR N OF THE BOOMER ANG The latest
weavers from all over the world, the Loewe Baskets furniture collection by Cassina pays tribute to the works
project elevates basketry into a modern art form. of Pierre Jeanneret.
ASHISH SHAH

pg 130
AD Beatrice Rossetti - Photo Federico Cedrone

GROUNDPIECE SECTIONAL SOFA AGENT FOR INDIA BANGALORE

Antonio Citterio Design VITA MODERNA LIVING ART
MUMBAI SHOWROOM INTERIORS LLP
www.flexform.it [email protected] [email protected]
contents

104 HOT SEAT Minotti looks at Nordic references for the

‘Angie’ armchair, made in collaboration with Dutch
studio GamFratesi.
106 THE EDIT AD’s selection of the best new products
and trends from Milan.
119 NAVY TIME From Salon International de la Haute
Horlogerie to Baselworld and more, AD picks the best
new watches—in blue.

TH E G EOFFR EY BAWA ISSUE

130 GEOFFREY The life and times of Bawa through a
cinematic photoshoot at some of his most iconic
architectural sites.
179 CONCRETE POETRY In this series of essays, AD
paints a portrait of Bawa—through the eyes of his
longtime friends and collaborators.
193 THE IMPRESSIONISTS AD takes a closer look at the
works of Bawa through his exquisite architectural drawings.
204 THE ORIGINALS AD profiles the gardeners and
housekeepers who worked with Bawa in his lifetime
and continue to maintain his spaces as he liked them.

ASHISH SAHI

pg 234
ALEXANDER SEATING SYSTEM | RODOLFO DORDONI DESIGN
DISCOVER MORE AT MINOTTI.COM/ALEXANDER

AHMEDABAD
BY DESIGN ITALIANO
OPP. SINDHUBHAVAN, SINDHUBHAVAN ROAD, BODAKDEV
AHMEDABAD - 380015 GUJARAT (INDIA)
T. +91 98 79026328 - [email protected]

CUSTOMISED INTERIOR DESIGN SERVICE

contents
210 THE WENDT GA ZE This selection of iconic sketches and personal notes are some of the treasures
photographs from Lionel Wendt’s oeuvre—with a found in the pages of his precious guest book.
revelatory essay by Shanay Jhaveri—explores the Sri
Lankan photographer’s impact and influence. 272 PICKING UP THE THREADS AD explores Bawa’s
creative use of textiles that he commissioned from his
219 CU TTINGS Bawa’s love for nature is evident in the contemporaries like Ena De Silva, Barbara Sansoni and
paintings of Wimal Lokuliyana, whom he commissioned Riten Mazumdar.
to document the indigenous plants of Lunuganga.
276 THE ULTIMATE BAWA TOUR This 10-day
224 B S ARK Photographer Chitral Jayatilake travel guide takes you through Bawa’s homes, hotels
captures Bawa’s Heritance Kandalama hotel, set amongst and gardens.
tropical wildlife and greenery.
278 YEAR S OF BAWA AD lists a series of events
234 SENSE & SERENDIPIT Y Geoffrey Bawa’s organized by the Geoffrey Bawa Trust to celebrate the
masterful design of Sunethra Bandaranaike’s architect’s 100th birthday.
ancestral home showcases his genius and style.
284 SCOUTS A round-up of some of the best products
254 A SONG FOR GEOFFREY In this exclusive first that you need to own this season.
look, AD visits the De Saram house and discovers an
art-filled home that captures some of Bawa’s most 292 STOCKISTS An A-Z listing of the stores in our pages.
ingenious architectural and design solutions.
294 THE MOOD Channa Daswatte shares a personal
265 TALES FROM THE GUEST BOOK Photographs, mood board full of inspirations.

pg 254
ASHISH SAHI
Italian Masterpieces
GranTorino sofa designed by J.M. Massaud.
Brno, Ceská republika

poltronafrau.com

Mumbai - Ground Floor, Wakefield House, Dougall Road - T. +91 22 22614848

Pune - Ground Floor, Trump Towers, Kalyani Nagar - T. +91 20 66473131
Surat - No.6-7, Union Heights, Next to Lalbhai Cricket Stadium, Surat Dumas Road - Tel +91 261 2977444
New Delhi - 99 Empire Plaza, Mehrauli-Gurgaon Rd, Sultanpur, T. +91 11 26809772
EDITOR GREG FOSTER CHIEF BUSINESS OFFICER ARJUN MEHRA
MANAGING EDITOR Komal Sharma PUBLISHER Armaity Amaria
ASSOCIATE ADVERTISING DIRECTORS Kapil Tolani, Loveleen Kahlon
ART DIRECTOR Ashish Sahi SENIOR ADVERTISING MANAGERS Rajnandini Sunil Barjatiya, Aditi Sharma (New Delhi)
ACCOUNT MANAGER - ADVERTISING SALES Varun A Sama
DEPUTY ART DIRECTOR Almas Jani ADVERTISING SALES COORDINATOR Yesha Patel
ITALY SALES REPRESENTATIVE Angelo Carredu
COPY CHIEF Tyrel Rodricks US ADVERTISING MANAGER Alessandro Cremona
SENIOR STYLIST Samir Wadekar ASSOCIATE DIRECTOR - DIGITAL SALES Saurabh Bhutoria
SENIOR MANAGER - DIGITAL SALES Joita Basu
JUNIOR STYLIST Mitalee Mehta MARKETING DIRECTOR Madhura Phadnis
SENIOR MARKETING MANAGER Jaymin Dalal
PHOTO ASSISTANT Talib Chitalwala MARKETING MANAGER Jinita Sheth
EDITORIAL ASSISTANT Sakshi Lakhotia HEAD - ADMINISTRATION Boniface Dsouza
PR DIRECTOR Swati Katakam Samant
WATCH EDITOR Rishna Shah PR EXECUTIVE Waheeda Abdul Jabbar Machiwala
MANAGER SYNDICATION Michelle Pereira HEAD - EVENTS Fritz Fernandes
MANAGER - EVENTS Khushnaz Daruwala
SYNDICATION COORDINATORS Giselle D’Mello PROJECT & MARKETING MANAGER Olinda Rodrigues
CREATIVE DIRECTOR - PROMOTIONS & CREATIVE SOLUTIONS Dipti Soonderji Mongia
DIGITAL EDITOR Aditi Sharma Maheshwari ASSOCIATE PROMOTIONS EDITOR Sherrie A Marker
ASSISTANT DIGITAL EDITOR Kriti Saraswat-Satpathy SENIOR GRAPHIC DESIGNERS Karishma Gupta, Varun Patil
MANAGER - CIRCULATION OPERATIONS Jeeson Kollannur
JUNIOR DIGITAL WRITER Aryambika Chatterjee CHIEF OPERATING OFFICER Amrit Bardhan
FINANCIAL CONTROLLER Rakesh Shetty
SENIOR ACCOUNTANT Dattaprasanna Bhagwat
ACCOUNTANTS Nitin Chavan, Anthony Paulose
ASSOCIATE DIRECTOR - VIDEO COMMERCIALS Kastubh Belur
ASSOCIATE PRODUCTION DIRECTOR Sunil Nayak SENIOR MANAGER - PROCUREMENT Rahul Mulekar
ASSISTANT MANAGER - PROCUREMENT Anubhuti Sharma
COMMERCIAL PRODUCTION MANAGER Sudeep Pawar
ASSOCIATE DIRECTOR - COMMERCIAL PLANNING Alisha Goriawala
PRODUCTION MANAGER Mangesh Pawar HEAD - HUMAN RESOURCES Zeenat Burji
SENIOR MANAGER - HUMAN RESOURCES Mohsin Ismail
PRODUCTION CONTROLLERS Abhishek Mithbaokar, Geetesh Patil ASSISTANT MANAGERS - HUMAN RESOURCES Ria Ganguly, Neha Pednekar
CHIEF DIGITAL OFFICER Gaurav Mishra
DIRECTOR - DIGITAL SALES AND BRANDED CONTENT Shreyas Rao
DIGITAL TECHNOLOGY DIRECTOR Kiran Suryanarayana
CONTRIBUTING EDITORS SENIOR PROJECT MANAGER - DIGITAL Dipak Raghuwansi
DIGITAL GRAPHIC DESIGNER Deep Shikha
Sunil Sethi GRAPHIC DESIGNER - NATIVE Ayushi Teotia
MANAGER - TECH PROJECT Vishal Ingale
Nonie Niesewand MANAGERS - AD OPERATIONS Vinayak Mehra, Reshma Nilankar
Divia Patel SENIOR EXECUTIVE - AD OPERATIONS Akanksha Malik
AUDIENCE DEVELOPMENT DIRECTOR Saurabh Garg
Neha Prasada MARKETING MANAGER - SUBSCRIPTIONS V Satyavagheewasan
MANAGERS - DIGITAL MARKETING Sushmita Balasubramanian, Priyanka Shivdasani,
Namita A Shrivastav Akanksha Naik
MANAGER - DATA & GROWTH Tanvi Randhar
Divya Mishra ASSISTANT MANAGER - AUDIENCE DEVELOPMENT Isha Gupta
Gauri Kelkar ASSISTANT MANAGER - SEO Akash Kumar
MANAGER - EMAIL MARKETING Avantika Pandey Bathiya
Gayatri Rangachari Shah EXECUTIVE DIGITAL COPYWRITER Pranjali Jakatdar
DIRECTOR - DIGITAL BRAND SOLUTIONS Salil Inamdar
Arati Menon CLIENT DIRECTOR - BRAND SOLUTIONS Aman Bahl
ASSOCIATE DIRECTOR - CLIENT SERVICING AND PROJECT MANAGEMENT Neha Dhanani
MANAGING EDITOR - NATIVE STORIES Shivani Krishan
CREATIVE STRATEGIST Sangita Rajan
SENIOR MANAGER - BRAND SOLUTIONS Abigail Rodrigues
CONTRIBUTING PHOTOGRAPHERS COPY EDITOR - BRAND SOLUTIONS Tanuj Kumar
ASSISTANT MANAGER - INFLUENCER MANAGEMENT Jackson Shalu Lobo
Ricardo Labougle CREATIVE PRODUCER Bobby Khurana
Neville Sukhia DIRECTOR - VIDEO Anita Horam
SENIOR CREATIVE PRODUCER - VIDEO Preshita Saha
Tom Parker EA TO MANAGING DIRECTOR Karen Contractor Avari

ALEX KURUVILLA
MANAGING DIRECTOR
Condé Nast India Pvt. Ltd.
MUMBAI 2nd Floor, Darabshaw House, Shoorji Vallabhdas Marg, Ballard Estate, Mumbai 400 001, India. Tel: +91 22 6611 9000 Fax: +91 22 6611 9001
NEW DELHI Unit No. 503-B, 5th Floor, Salcon Rasvilas, Plot No. D-1, Saket District Centre, New Delhi 110 017, India. Tel: +91 11 4066 9000 Fax: +91 11 4066 9001
Architectural Digest India
3rd Floor, Dubash House, 15 JN Heredia Marg, Ballard Estate, Mumbai 400 001, India. Tel: +91 22 6600 9000 Fax: +91 22 6611 9001

RNI. No.: MAHENG/2012/43454. Printed and published by Arjun Mehra on behalf of Condé Nast India Pvt. Ltd. Printed at Kala Jyothi Process Pvt Ltd, Survey No. 185,
Masjidband, Kondapur Village, R.R. Dist. Hyderabad-500084 and published at 2nd Floor, Darabshaw House, Shoorji Vallabhdas Marg, Ballard Estate, Mumbai 400 001. Editor: Greg Foster.
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,
Architectural Digest India cannot be responsible for unsolicited material.

JONATHAN NEWHOUSE
CHAIRMAN AND CHIEF EXECUTIVE, CONDÉ NAST INTERNATIONAL LTD
Craftsmanship just met luxury.
Clearly they got along.

Featured above is the Filigree Collection by Taannaz in white bronze medium patina.
www.taannaz.in
Scan the QR code below
to get the digital edition

Chief Executive Officer

ARCHITECTURAL DIGEST ` 200 SEPTEMBER 2018
THE MOST BEAUTIFUL HOMES IN THE WORLD INDIA ARCHITECTURAL DIGEST ` 200 OCTOBER 2018
THE MOST BEAUTIFUL HOMES IN THE WORLD INDIA
SUBSCRIBER COPY

Roger Lynch

Sabya
AT HOME IN
The
Light In the USA
Calcutta Issue Artistic Director, Anna Wintour

Vogue, Vanity Fair, Glamour, Brides, Self, GQ, GQ Style, The New Yorker,
Condé Nast Traveler, Allure, AD, Bon Appétit, Epicurious, Wired, W,
Golf Digest, Teen Vogue, Ars Technica, Pitchfork, Them, Iris

International
THE Wolfgang Blau, President
September
ISSUE
London HQ, Vogue Business, Condé Nast College of Fashion and Design

Britain
ARCHITECTURAL DIGEST ` 200 NOVEMBER 2018
THE MOST BEAUTIFUL HOMES IN THE WORLD INDIA
SUBSCRIBER COPY
ARCHITECTURAL DIGEST 200 DECEMBER 2018
THE MOST BEAUT FUL HOMES IN THE WORLD INDIA
Vogue, House & Garden, Brides, Tatler, The World of Interiors,
GQ, Vanity Fair, Condé Nast Traveller, Glamour, Condé Nast Johansens,
The GQ Style, Love, Wired
rt
THE

Blue Issue I France

Vogue, Vogue Hommes, AD, Glamour, Vogue Collections, GQ,
AD Collector, Vanity Fair

Claims
Sleep Italy
Vogue, Glamour, AD, Condé Nast Traveller, GQ, Vanity Fair, Wired,
Calms
La Cucina Italiana, Experienceis

Germany
All

Some
Vogue, GQ, AD, Glamour, GQ Style

R AQS MEDIA COLLECTIVE

Spain
Vogue, GQ, Vogue Novias, Vogue Niños, Condé Nast Traveler, Vogue
Colecciones, Vogue Belleza, Glamour, AD, Vanity Fair
ARCHITECTURAL DIGEST INDIA ARCHITECTURAL DIGEST INDIA
Japan
` 200 JANUARY-FEBRUARY 2019 ` 200 MARCH-APRIL 2019
THE MOST BEAUTIFUL HOMES IN THE WORLD THE MOST BEAUTIFUL HOMES IN THE WORLD

Vogue, GQ, Vogue Girl, Wired, Vogue Wedding, Rumor Me

Taiwan
Vogue, GQ, Interculture

AlibagIssue
BEAUTIFUL PEOPLE DOING BEAUTIFUL THINGS
Mexico and Latin America
Vogue Mexico and Latin America, Glamour Mexico, AD Mexico,
IN THE HAMPTONS OF MUMBAI

GQ Mexico and Latin America

MODERNIST MASTERPIECE
THE PIERRE JEANNERET RESIDENCE, CHANDIGARH
PHOTOGRAPHED BY DAYANITA SINGH

India
Vogue, GQ, Condé Nast Traveller, AD

Juhu
BeachChic
A DAZZLING BEACH COTTAGE ON THE MUMBAI SANDS DESIGNED BY AMBIKA HINDUJA
AD
THE MOST INFLUENTIAL
ARCHITECTS AND
INTERIOR DESIGNERS IN
THE SUBCONTINENT
100 Published under Joint Venture:
Brazil: Vogue, Casa Vogue, GQ, Glamour
Russia: Vogue, GQ, AD, Glamour, GQ Style, Tatler, Glamour Style Book

ARCHITECTURAL DIGEST ` 200 JULY-AUGUST 2019

THE MOST BEAUTIFUL HOMES IN THE WORLD INDIA

Published under License or Copyright Cooperation:

Australia: Vogue, Vogue Living, GQ
Bulgaria: Glamour
China: Vogue, AD, Condé Nast Traveler, GQ, GQ Style,
Condé Nast Center of Fashion & Design, Vogue Me, Vogue Film
Czech Republic and Slovakia: Vogue, La Cucina Italiana
Germany: GQ Bar Berlin
Greece: Vogue
Hong Kong: Vogue
Hungary: Glamour
Iceland: Glamour
Korea: Vogue, GQ, Allure, W
Middle East: Vogue, Condé Nast Traveller, AD, GQ, Vogue Café Riyadh

BAWA Poland: Vogue, Glamour

Portugal: Vogue, GQ, Vogue Café Porto
Romania: Glamour
Russia: Vogue Café Moscow, Tatler Club Moscow
Serbia: La Cucina Italiana
South Africa: House & Garden, GQ, Glamour, House & Garden
Gourmet, GQ Style, Glamour Hair
The Netherlands: Vogue, Glamour, Vogue The Book, Vogue Man,
Vogue Living
Thailand: Vogue, GQ
Turkey: Vogue, GQ, La Cucina Italiana
Ukraine: Vogue, Vogue Café Kiev

Chairman of the Board of Directors

Jonathan Newhouse
A THING OF BEAUTY IS A JOY FOREVER
It was Dayanita Singh who called me last October to tell me about
the plans to celebrate Geoffrey Bawa’s birth centenary, which takes
place on 23 July 2019. Dayanita was in Sri Lanka, and was calling with
Channa Daswatte, chairperson of the Geoffrey Bawa Trust, on the line.
They immediately put it out there: AD should dedicate the entire July
2019 issue to Bawa, in a style similar to our July 2018 issue, which was
a magnum opus tribute to Pritzker Prize-winner BV Doshi. In return, the
Trust would give us unprecedented access to the Bawa archives, plus
entry into some of his least-known residences, to reveal an unknown
side of Geoffrey. Rarely does one get such an opportunity served on a
silver platter; I will forever be grateful for that call.
While Bawa was in the back of our minds for months, it ended up
being the issue that nearly didn’t happen. The day before I was due to
make the first recce to Sri Lanka, I realized I needed a new passport
to travel and had to hop over to London instead. Then, trying to find
time after Salone (already so late), the tragic Easter attacks struck. This
wasn’t an idea we could push to September (“celebrating 100 years and
2 months” just doesn’t have the same ring to it) and we had to make a
quick decision on whether to continue. I’m so glad we did.
There was a sadness about the first night I spent at Lunuganga.
Just a week after the attacks, all reservations had called to cancel, and
I was the only guest staying at Bawa’s iconic country estate, which is
left exactly as he liked it. Exploring the vast gardens alone, watching the
sunset with a gin-and-tonic for one, and a lonely dinner on the loggia
gave my internal psychodrama plenty of time to consider what life must
have been like for Geoffrey, a single man.
The next day, over lunch, Channa gave me further insight. Channa
does the most hilarious impersonations of Geoffrey, for whom he worked
for six years, injecting much love and candidness into his exaggerated
spoofs. Through Channa’s take on his aristocratic, Cambridge university
drawl and comically timed facial expressions, I quickly picked up on
Geoffrey the snob, Geoffrey the difficult-to-please perfectionist, and
Geoffrey the aesthete. Finally, after reading all the books and having
visited all the important properties, I was getting to know Geoffrey
beyond the edge of the garden, beyond the tropical modernist who
brought the outdoors in.
It was then that I pitched our big idea for the issue: a cinematic
storyboard of Bawa’s biopic set in his personal homes using his personal
possessions as revealing props. His watches, signature sunglasses, gold
lighter and Rolls-Royce would all be brought to life in our ultra-glossy
casting of A Single Man meets The Thomas Crown Affair meets The
Talented Mr Ripley. Channa jumped on the Tom Ford reference, having
always thought that the fashion designer and film director would be the
only person who could do Bawa: The Movie justice. He even told me
about the opening scene he had in mind.
Action!
The 46-page cornerstone of our Bawa issue became such a
production that we might as well have made a movie. The week that
photographer Ashish Shah, fashion stylist Kshitij Kankaria, AD photo
assistant Talib Chitalwala and I went to work is a week that Sri Lanka will
not forget. Instead of ‘lights, camera, action!’, it was Dalmatians, bottles
of Old Arrack, and a bespoke wardrobe made specially by Rajesh Pratap
Singh! With consultants on standby to show us how Bawa liked his
drinks served, where he took lunch and how he entertained, we’ve tried
to keep it as accurate as possible, revealing that for Bawa luxury was in
the details, as well as in a perfectly framed view. We can only hope that
he would have approved.
PORTRAIT: R BURMAN.
contributors
CHANNA
D A S WA T T E
writer
The chairperson of the Geoffrey
Bawa Trust, Channa Daswatte
practices as an architect from Kotte
and Kandy in Sri Lanka, and gets
pleasure in working in architectural
heritage as the chairperson of the
Galle Heritage Foundation.
“Recollecting a life in design with
Geoffrey Bawa in a candid way for
the first time was the greatest
pleasure that AD offered me. Working
with the AD team in imagining a
meaningful tribute issue to the great
architect was another.”

E DW I N
H E AT H C OT E
writer
Architect and designer, Edwin ISHANTHI
Heathcote is the architecture
and design critic for the GUNAWARDA NA
Financial Times. In this issue, writer
he writes about Geoffrey Sydney-based writer Ishanthi
Bawa’s career (pg 186). Gunawardana is the founder
“Looking through books and of the website Sri Lanka by Ish.
pictures of his garden and In ‘A Song For Geoffrey’ (pg
house was like an architectural 254), she writes about her visit
vacation, a little breath of to the De Saram house after
green tropical air and the receiving an invitation from
free-flowing breeze of ideas, Amila de Mel, the architect in
exchange and beauty.” charge of its restoration. “The
house was quintessential
Bawa: changing perspectives
CRISTINA from one space to another
PIOTTI and a tranquillity born of his
refined aesthetics.”
writer
Indo-Italian journalist,
Cristina Piotti reports
from Salone 2019.
“This year, I was
fascinated by the
range of concepts and
influences—from rugs
made in Jaipur (pg
94) to a Rome-
inspired armchair
(pg 80).”

PHOTOS: LAURYN ISHAK (CHANNA DASWATTE);

SMRITI
DA N I E L
GETTY IMAGES (SHANAY JHAVERI).

writer
In this issue, journalist Smriti
Daniel captures the oral
histories of the gardeners
and housekeepers who S H A N A Y J H AV E R I
worked with Geoffrey Bawa writer
in ‘The Originals’ (pg 204). “I Assistant curator in the department of
loved interviewing the Modern and Contemporary Art at The
people who have been Metropolitan Museum of Art, New York,
witness to both his whimsy Shanay Jhaveri assesses the genius of
and brilliance. They keep his Sri Lankan photographer Lionel Wendt
legacy alive.” in ‘The Wendt Gaze’ (pg 210).

32| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

www.baxter.it
contributors

R A J E S H P R ATA P
SINGH
designer
In ‘Geoffrey’ (pg 130), designer
Rajesh Pratap Singh reimagines
ADRIAN ZECHA Bawa through a capsule collection
writer of clothes created especially for AD
Founder of the beautiful Aman line of hotels, and based on archival images of Bawa.
currently owner of Azerai hotels, Adrian Zecha “Geoffrey Bawa’s timeless designs
remembers some of his first encounters and lasting encapsulate all the values that I
memories of Geoffrey Bawa (pg 190). He writes relate to. The clothes represent a
about Bawa’s beautiful Lunuganga estate, his certain calm, ease and unaffected
influence on the South East Asian luxury resort and modern Srilankan elegance, which is
recalls a helicopter ride with him. instantly experienced in his spaces.”

M AYA N K
MANSINGH
K AUL
writer
In ‘Picking Up The Threads’
(pg 272), Mayank Mansingh
Kaul assesses how Bawa
ingeniously used textiles. “I
acknowledge the support of
Monika Correa, Dominic
Sansoni, Ushmita Sahu and
Channa Daswatte in the
writing of this piece, as well
as providing access to
unpublished notes on Ena de
KSHITIJ K ANK ARIA Silva by David Robson.”
fashion stylist
Mumbai-based stylist Kshitij Kankaria
recreates Geoffrey Bawa’s personal style
in ‘Geoffrey’ (pg 130). “His philosophy
was to make his immediate surrounding
beautiful and pleasurable and I could
really see the uniqueness and freedom in
all the places he touched.”

A R AT I M E N O N
U DAYS H A N T H writer PHOTOS: SANJIT DAS (MAYANK MANSINGH KAUL);
FER NANDO New York-based writer and editor
writer Arati Menon reports from Salone.
Creator of the acclaimed label “Studiopepe’s installation (pg 56)
Paradise Road, Udayshanth provided a mix of theatre,
GETTY IMAGES (ADRIAN ZECHA).

Fernando writes a personal philosophy, aesthetics and the

essay remembering Bawa and arcane in a former gold factory,
how he inspired his taste and complete with floors covered
style (pg 184). “It is an honour in salt.”
to write about Geoffrey Bawa
for this centenary memorial
issue. It is wonderful to look
back at the memories of being
acquainted with this truly
remarkable architect and
collector, and to identify the
parallels between his work
and my eye as a
designer today.”

36| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

THE SPIRIT OF PROJECT
COVER FREESTANDING WARDROBE SYSTEM DESIGN G.BAVUSO

SOURCES UNLIMITED - 356/357 MG ROAD NEXT TO SULTANPUR METRO STATION, NEW DELHI 11 00 30, TEL +91 9560 444 907 - [email protected]
RIMADESIO BANGALORE BY RISE GROUP - 438, 17TH CROSS, SECTOR 4, HSR LAYOUT, BANGALORE 560102, TEL +91 9611533229 /+91 9611855889 - [email protected]
SCASA 8-2-674/B/3/4B ROAD N. 12, BANJARA HILLS, HYDERABAD - TEL +91 9959755688 [email protected]
SYSTA WORKS - TEL +91 22 2612 8844 - [email protected]
FIND OUT MORE AT RIMADESIO.COM
contributors

K E N G O KU MA
writer
Japanese architect and teacher, Kengo Kuma
has built a practice that sensitively merges
architecture with its cultural and
environmental surroundings, proposing
gentle, human scaled buildings. In this issue,
he contributes a poetic ode to Geoffrey
S H AYA R I D E Bawa (pg 188).
S I LVA
writer
An architect, editor and the
current curator at the J I T E S H PA T E L
Lunuganga Trust, Shayari de Illustrator
Silva writes about the unique London-based illustrator Jitesh
drawing style Geoffrey Bawa Patel creates maps as visual
chose for his works in ‘The journeys. In this issue, he
Impressionists’ (pg 193). illustrated a map for ‘The
“Working in Bawa’s buildings Ultimate Bawa Tour’ (pg 276).
is a dream. I have been “Illustrating a map for the
inspired by him since Geoffrey Bawa for AD was a real
childhood. Working on this joy. I enjoyed drawing the
issue of AD was a chance to architectural details and adding
dig deep into the Geoffrey motifs from Sri Lanka. It gives me
Bawa Archives and publish pleasure to know the map might
some of its previously unseen be used by some AD readers to
treasures—one of my discover where to find Geoffrey
favourite ways to explore and Bawa’s architectural gems.”
share Bawa’s legacy.”

DOMINIC
SA N S O N I
photographer
Sansoni has been capturing
the beauty of Sri Lanka since
1980, and currently is a
partner at the Three Blind
Men photography
collaborative. For this issue,
he photographed the
gardeners and staff who had
worked with Geoffrey Bawa
in ‘The Originals’ (pg 204). “I
ASHISH SHAH was happy to be back at
photographer Lunuganga and No 11, two
Mumbai-based photographer properties which I have
Ashish Shah spent seven days known well for over fifty
at Geoffrey Bawa’s years. This time, it was to
Lunuganga estate and work with the fine teams
Bentota hotels, to soak in the that keep both the garden
architect’s sense of space and and home so well-
beauty, before he maintained and looked after.
photographed it for the cover Geoffrey would be happy.”
and in ‘Geoffrey’ (pg 130).
PHOTOS: JC CARBONNE (KENGO KUMA);

C H I T R A L J AYAT I L A K E
LAURYN ISHAK (SHAYARI DE SILVA).

photographer
A travelling nature photographer,
Jayatilake, in this issue, photographs wildlife
around Kandalama against the backdrop of
the magnificent Geoffrey Bawa hotel in
‘Bawa’s Ark’ (pg 224). “A design by the
maestro was inviting enough. And to
photograph what roams around almost
unnoticed was beyond exciting. In all my
work in the wild, this must sit on the
top shelf.”

38| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

contributors

Keeping the legacy of

the master architect
alive, the members of
the Geoffrey Bawa
and Lunuganga
Trusts come together
to celebrate the
icon’s 100th birth
anniversary this
year. would like to
thank the trustees for
their time and effort
spent collaborating on
this special issue
From foreground, left to
right: Sanjay Kulatunga,
Nadija Tambiah, Channa
Daswatte (chairperson of
the Geoffrey Bawa Trust),
Sunethra Bandaranaike
(chairperson of the
Lunuganga Trust). On the
staircase, left to right:
Suhanya Raffel, Chamika de
Alwis. (Absent in the picture:
Ward Beling.)

PHOTO: ASHISH SAHI.

40| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

2

TRENDSPOTTING
A curated collection of design for the home
STYLIST MITALEE MEHTA

3
1

1. Rattan marquetry headboard, La French Studio. 2. ‘Avocado Vert’ metamorphic quartzite, The Quarry Gallery.
3. ‘Leo’ stools by Topp Brass, `12,000 each, Natty.in. 4. ‘Sloane’ sofa in olive velvet fabric, `2,34,460, Iqrup + Ritz.

42| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

2

1. ‘North’ dish, `6,450, BoConcept. 2. ‘Dribble Purple’ (8x5 feet) hand-tufted carpet in viscose silk, `60,000,
Qaaleen. 3. ‘Standing Straight’ floor lamp in pink marble and brass, `56,000, Casegoods. 4. Accent chair in oak
wood and resin rope, `52,000, Cane Boutique.

44| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

Contact:
[email protected]

Reverse Conference
by Piergiorgio Cazzaniga

Nuez Chair
by Patricia Urquiola

Gurgaon Showroom Bangalore Showroom Delhi Showroom Pune Showroom

F-2/20, DLF Phase-1 #8/4 Ulsoor Road, S-101 Okhla, Phase-2 3a,3b, Siddharth Court Society,
Gurugram-122002 Bangalore 560042 Delhi-110020-India Off Dhole Patil Road, Pune
1

1. ‘Gold On Grey’ wallpaper from the Nilaya Signatures series, `8,000 per roll, Nilaya. 2. ‘Tempest’ cement mirror,
`19,500, Craft Béton. 3. ‘Jasper’ premium Italian-leather sofa, `1,60,000, Blue Loft. 4. ‘X+L 02’ (5.5x5 feet) teak
room divider in collaboration with Xander Vervoort and Leon van Boxtel, `72,500, Phantom Hands.

46| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

1

1. ‘Beaucosy’ (56729-872) rug (4.5x4 feet), `15,330, D’Décor. 2. ‘Lotus’ garden chair, `24,000, Sahil & Sarthak.
3. Terracotta water bottle with sphere stopper from the Terracotta collection, `790, Ellementry. 4. Medium-sized
Aztec-patina brass bowl, `16,050, Dtale.

48| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

1 2

For details, see Stockists

1. ‘Badmaash’ stool in powder-coated iron, `5,758, AnanTaya. 2. ‘Blue Sainte’ champagne glass, `699, India Circus.
3. ‘Sofa Bench’ (6x3x2 feet), `64,990, ‘Ink Blue*Navy’ polyester cover, `12,990, MUJI. 4. ‘Moonchild’ tufted rug
(7x5 feet), `29,400, Bent Chair.
A SCULPTURAL PANORAMA
Soaring high in the heart of the city is World One Towers, home to the finest in luxury
living. Sprawling across one of its floors is a swish residence crafted by Design Hex,
which promises exquisite interiors and the finest living experience mirroring the
characters of the residence

A sleek console table designed by Design Hex, at the grand entrance

SPECIAL FEATURE

Exquisite furnishings and a charming vibe

at World One Towers, Textured archways, each with a story to tell

Mumbai. Every bit of
this expansive space is
steeped in opulence. As
you step in, you will be
greeted by the essence
of strong masculine
stone textured arches.
These powerful forms
merely mark the onset
of a sculptural journey.
Enhanced stone textured
arches continue into the
Shimona Bhansali single narrow passageway,
created to lend character
Plenty of people can to the space. These
design exquisite spaces, natural crushed stone
but only a handful can textures highlight the
render personalities geometric patterns, giving
of the inhabitants into the home its sculptural
the space. Design Hex’s finesse. As you walk, you
Shimona Bhansali is one will notice how flawlessly
such person, who with the bold colours of the
her inimitable design skills furniture contrast with
and exceptional taste, the neutral hues of the
transforms each project stone textures around.
into a work of art that’s a And this is what the
treat to live in. Kothari’s residence is all
That’s exactly what about - a truly luxe space
she did while designing that offers the comforting
the Kothari’s residence warmth of a luxury
A gorgeous combination of style and comfort A plush space for some quiet time
A sprawling balcony with hints of green
SPECIAL FEATURE

home. Shimona Bhansali media room. Designed

said, “We catered to the for movie-time with
client’s fondness towards the family, this cozy
art and sculptures and space has a relaxed
emulated that within the and personalised vibe.
entire house, making it a The customised plant
sculptural entity in its wallpaper, plush seating,
own right.” contemporary light
The space consisted fixtures and bold colours
of multiple bespoke bestow the residence with
elements that highlighted a powerful character. The
its architectural essence. residence also takes pride
The elegant console table in its sweeping balcony
creates a composed visual area. The designers
at the entrance of the laced it with plenty of
space. In keeping with the greens, such that when
dips and curves of the sunlight streams through,
walls, the team designed it infuses the space with
appropriate furniture a sharp play of light and
pieces that would shadow. Moreover, all
complement the house of the artwork here has
and weave in a highly been custom designed
personal touch. for Design Hex by British
The crockery unit artist Alexandra Gallagher.
inside the residence, However, there
for instance, replicates were challenges to
the curve of the area deal with along the
it’s placed at, acting as way. The building’s
A redefined dining experience
yet another sculptural circular structure made
Daughter Khushi Kothari’s quirky room element. The daughter’s attaining parallel walls a
room was designed to difficult task. The single
emulate her personality. passageway was a dull,
Everything from her narrow space. The walls
headboard, storage weren’t parallel to each
area to her study and other either. But the
dressing table, were team converted these
designed in playful unconventional shapes
hues, unconventional and challenges into their
accessories and quirky strengths. While the
geometric forms. These furniture was designed
interior elements were to complement the
enhanced through lights, shape of the walls, its
eclectic quotes and slopes and angles were
frames as well as bespoke cleverly incorporated
handles that mirrored its inside storage cabinets.
occupant’s vibrant and Nothing could stop them
cheerful personality. The from crafting such an
height of the passage and unforgettable space.
the living-room ceilings Suffice to say that
were also increased so as the Kothari’s residence
to create a seamless flow renders the space with a
that would eventually tie powerful and masculine
it all together. character complementing
Such hints of strong its sculptural journey. It
masculine components truly redefines the very
can be found in the premise of luxe living.

For more information, visit www.designhex.in

Salone
del
Mobile
2019
‘Buongiorno Milano’,
we said in April, as we
arrived at the world’s most
important furniture fair.
Change was afoot and
everyone agreed that the
fiera itself was unusually
stronger than the exhibitions
back in town, particularly
in the exciting Euroluce
show. Team walked
those halls looking for the
new that you need to know
about. Welcome to our
power-packed 33-page
Milan Report
TEXT: ARATI MENON. PHOTO: ANDREA FERRARI.

Pepe e Cachet
Milan-based Studiopepe created one of the most standout experiences of the week,
establishing them as the designers of the moment

T
itled ‘Les Arcanistes. The Future is Un/Written’, the third and performances unfolded around corners. More practically, the
edition of Studiopepe’s Manifesto Project was designed to project was about presenting the studio’s design collaborations and
connect the dots between matter, symbolism and the one-off gallery pieces. Highlights included an armchair created
arcane. The Arcanists, of course, were 18th-century European from a single block of Gujarat green marble, and a sculptural
chemists, but the project was also a nod to the Major Arcana, the daybed in stone by Mumbai-based designer Thierry Betancourt,
symbolic picture cards in a tarot deck. The experience translated and furniture brand Almst Blck. Equal parts fantasy, philosophy
into a sequence of maze-like rooms, in which floors were covered and aesthetics, Les Arcanistes was a departure from the members-
with coarse salt, and old and new furniture designs sat alongside only nightclub experience the studio had created for Salone in
blocks of stone. Neon lights spelled out words on concrete walls, 2018. More arcane, but equally immersive and fetching.

56| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

Rear view of Villa V2 with private pool

LUXE LIVING, REDEFINED

The ultra-luxurious YOO Villas styled by Kelly Hoppen, developed by
Panchshil Realty truly represents sheer regal finesse and the sentiment
of a home. Kelly Hoppen, designer to the stars, tells us more about it

When it comes to luxury residential developments in How has the relationship with YOO & Panchshil
India, the Pune based real-estate developer, Panchshil inspired you to design and create these masterpieces?
Realty, has always been at the forefront of creating the Panchshil specialises in the art of transforming the
most stunning innovations in the real estate sector. Over dreams of a quintessential lifestyle into reality and YOO
the last two decades, Panchshil’s projects have raised aims to create spaces that people enjoy living in. The
the standards of luxury. Case in point being YOO Villas, a two together, only meant tons of great possibilities for
‘five-star-style’ gated luxury development and an address me, as a designer. I was truly inspired by the location
for some of India’s most discerning. of YOO Villas. The flowing water streams, the early
Conceptualised and styled by one of Britain’s most morning sun, the scent of the earth; everything here is
celebrated designers, Kelly Hoppen, YOO Villas is a pure surrounded by the finest natural beauty and that is only
reflection of her ever-evolving style. Hoppen’s work has one of the many things that inspired me to create and
taken her across the globe, from Manhattan and London give it my all.
to Barbados and Beirut. During this period, she designed
homes, yachts and jets for the elite, as well as several What was your inspiration for the three style options
hotels, restaurants and offices. for YOO - Urban, Vintage & Sea Breeze?
For the world’s first ever YOO-inspired villa community I firmly believe that calm, well-planned, clean and
in India, Kelly has redefined opulence, designing what she efficient designs create possibilities for fun elements and
fondly calls ‘homes’. And here’s what this ace designer textures. Additionally, clean and harmonious interiors can
had to say about this project. be as beneficial to health as a sensible diet and regular
Front view of Villa V2

CONCEPTUALISED
AND STYLED BY ONE
OF BRITAIN’S MOST
CELEBRATED DESIGNERS,
KELLY HOPPEN, YOO VILLAS
IS A PURE REFLECTION OF
HER EVER-EVOLVING STYLE.
Lobby in Sea Breeze palette

KELLY HOPPEN

Bedroom in Vintage palette Double heighted living room in Sea Breeze palette

exercise. That’s where I drew my inspiration from when three waterbodies running through ‘The Central Park’.
it came to designing the three options. That’s also why I The interiors of the clubhouse at YOO Villas along with
used some of my more popular themes that would create its modern-age design all reflect my own eclectic style,
a balance between Eastern and Western cultures. So, the or design aesthetic.
Vintage palette blends the classic and opulent design
style with modern finesse, while the Sea Breeze palette is What, according to you sets YOO Villas a cut above?
striking, yet calm and peaceful. The Urban palette, on the Of all the inspiring living environments that I’ve created,
other hand, is an ode to contemporary lifestyles. YOO Villas stands out as a stunning beacon of opulence.
Architecturally rich and environmentally friendly, it
Tell us about your fundamental design aesthetic while preserves the enchanting character of communities.
working on this project. Moreover, my entire design philosophy blends in
All images shot on location

My design aesthetic at YOO Villas follows an East- beautifully with Panchshil’s unwavering commitment
meets-West philosophy. YOO Villas acts as a canvas to offer every resident the finest of lifestyles.
for my expression of a simple yet luxurious style
which actually offers a spiritual approach to design. If you had to sum up this project in a hashtag,
At a broader level, the entire enclave offers stunning what would it be?
architecture by Shekar Ganti, spread across undulating #IndulgentLiving
landscapes capturing seasonalities, broad tree-lined
avenues, jogging and walking tracks, a water stream and For more information, visit www.panchshil.com
TEXT: GAURI KELKAR. PHOTO COURTESY AFSO.
modern luxuries
Architect André Fu brought his unique perspective of experiential luxury to his debut
stand-alone collection of homeware for André Fu Living

A
mong the many things he does well, André Fu designs The collection, christened Modern Reflections, encompasses
hotel interiors extremely well. His work articulates luxury as home accessories that showcase the same refined sense of design that
a personal and welcoming experience, which is evident in informs his spaces—the introspective, experiential luxury that is his
his most prestigious projects; the recent Waldorf Astoria in hallmark. “It is somewhat a celebration of the many things I have
Bangkok and Park Hyatt Resort in Phuket are cases in point. While learnt from the world of hospitality—to create a backdrop that
that’s enough for anyone to be typecast as a ‘specialist’, Fu, the revolves around everyday life. The key difference is that hotels are
founder of design studio AFSO, has adroitly sidestepped that spatially driven, whereas the world of homeware is meant to
pigeonhole, exploring different tangents of high-minded, immerse you in an environment,” states Fu.
meaningful design, including products and furnishings. The collection—from furniture, lighting and textiles to tableware
His showing at Salone is a grand sequel to what he rolled out and stationery—is also shaped by the memories of his teenage years,
three years ago—André Fu Living (AFL). In 2016, the Hong spent travelling between Hong Kong and London; it resonates
Kong-based architect took an arterial path, going beyond spaces to deeply with his own belief that, in a distracted, wired world, it is
what they contain—products, furnishings and accessories. With important to step back and introspect on personal journeys, and
AFL, Fu expanded his oeuvre, partnering with artisans to create a “learn from the past in order to foster creativity”.
line-up of lifestyle products. The agenda was clear: bringing his Fine materials, finer craftsmanship and subtle elegance are at the
signature aesthetic of ‘relaxed luxury’ into the creation of products, centre of this collection, which is based on two distinct design
and using design as a fulcrum for enriching lifestyles. languages—Artisan Artistry, which is driven by artistic expression,
This year’s collection reflected his desire to build something and Vintage Modern, which draws on the geometric patterns
discrete. “I wanted to challenge myself with the curation of a featured in 1960s modernist architecture. A total of 150 pieces are in
stand-alone lifestyle collection of homeware and decorative the offing for this range, which shows Fu doing what he does
accessories, encapsulating the key elements of my style and best—creating singular designs meant to be experienced—because
[creating] something that is tangible,” explains Fu. luxury, after all, lies in “the experience, not just aesthetics”.

60| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

Icon in the
Making
Olafur Eliasson’s first collaboration with a
major lighting manufacturer is the
‘OE Quasi Light’ for Louis Poulsen

A
Louis Poulsen light doesn’t just illuminate a
room; it claims its space. “A good light is
functional and beautiful, but most
importantly, interacts with and shapes the
environment,” says Søren Mygind Eskildsen, Louis
Poulsen’s CEO.
It’s no surprise, then, that when it was time for
Danish-Icelandic artist Olafur Eliasson to collaborate
with a manufacturer on a suspended light, it was the
145-year-old company that he chose. Eliasson is no
stranger to using space and design symbiotically. The
Berlin-based artist is probably best known for his
large-scale sculptures and installations that adopt
elemental materials such as light and water to engage
with the viewer’s perception of the space they occupy.
The ‘OE Quasi Light’ is a lesson in geometry. The
pendant lamp is composed of two contrasting
geometric shapes, nested inside each other. The outer
layer is an aluminium frame in the shape of an
icosahedron (20 faces and 12 vertices), while the inner
TEXT: ARATI MENON. PHOTO: STEFAN GIFTTHALER.

layer, in the shape of a dodecahedron (12 faces and 20

vertices) appears to float inside. LED lights are
embedded at the vertices of the outer frame, directing
the light inward. “What distinguishes it from so many
lamps is that it shines in towards the core, from which
the light is reflected back out onto the surroundings,”
says Eliasson of the lamp’s construction.
Critically, the lamp represents a rare occasion to
actually own a piece of Eliasson’s work in your home.
Even better, it’s been designed to allow for a smaller
and more affordable size at a later stage. More light to
go around.

62| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

TEXT: GAURI KELKAR. PHOTO COURTESY CITCO.IT.
blue-chip furniture
A new marble table for Citco represents a rare and first opportunity to own a piece of
furniture designed by Anish Kapoor

A
n artist, a contemporary legend in fact, walks into a brand’s table (pictured). “[Kapoor] has often worked with marble and onyx
showroom, takes a look around and really likes what he and as Citco specializes in working with such materials, we thought
sees. His presence is noted, and in an ingenious brainwave, that it would be an interesting collaboration to pursue,” says Rasool
the owners solicit a meeting to discuss a collaboration. That’s how of the ‘Oval’ table that was part of the brand’s collection for 2019.
Anish Kapoor came to design furniture. Camiran Rasool, founder The table’s two versions are made in granite and onyx. Kapoor
and president of Citco, recalls: “Anish went to our London worked with the natural patina of the materials to give the piece
showroom and he was very interested in the pieces and in our texture and form with a recessed centre that reinforces his own
work. We decided to contact him as we knew of him and his fascination with the concept of a void. The end result is sculpture,
incredible work.” But then again, who doesn’t? Kapoor has been hardscape and design rolled into the form of a table. “The Citco 2019
knighted, feted with multiple awards and prestigious commissions, design collection features new pieces created in collaboration with
applauded and rewarded (his stainless steel sculpture sold for `9.31 world-renowned designers and architects,” says Rasool. Kapoor was
crore at a Christie’s auction in October 2018). His magnificent in august company with the likes of Zaha Hadid Design, Fabrizio
works, large-scale biomorphic forms that seem equal parts mythic Bendazzoli, Arik Levy and Italian architect Marco Piva.
and futuristic, are hard to miss and impossible to ignore. And so, for In fact, unique collaborations are not new to Citco, with the
that matter, is Kapoor designing a piece of furniture—as evidenced brand previously having collaborated with stalwarts from
at Salone. architecture and design, like Norman Foster, Daniel Libeskind and
Until now, his most-reported-on tryst with any kind of Ora Ïto. That it scored a coup with a Kapoor-sculpted table,
furniture was largely in the capacity of muse or inspiration, as was however, is undisputed. As Rasool says, “This has been a great
evident in the ‘Anish’ chair, created last year by Milanese designer collaboration that mixes art, design and expertise and we look
Emanuele Magini for Campeggi. This singular partnership between forward to exploring this further.” Whether that happens, only
Kapoor and Citco, the Italian brand that’s known for versatile, time will tell. In the meanwhile, though, there’s always spectacular,
elegant furniture, largely in marble, took the shape of the ‘Oval’ rousing art to look forward to—and make sense of.

64| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

TEXT: SHWETA VEPA VYAS. PHOTO: DELFINO SISTO LEGNANI &
MARCO CAPPELLETTI.
from the ashes
A special collaboration between Dzek and Formafantasma gives birth to a one-of-a-
kind collection of volcanic-ash-glazed tiles

F
or the last 10 years, Andrea Trimarchi and Simone Farresin— its challenges. The high metal-oxide content in volcanic ash and
who make up the Amsterdam-based design studio basalt rock makes them rather unpredictable materials to work
Formafantasma—have been researching the design with. It took three years of experiments—including exploding and
possibilities with volcanic lava. It’s easy to see where Trimarchi’s cracking tiles—before ExCinere was finally born. The tiles are
fascination for the material stems from; a native of Sicily, he literally available in five volcanic glazes and two sizes, and can be used for
grew up in the shadow of Mount Etna. interior and exterior spaces.
Apart from studying the properties of volcanic lava, the duo Shedding light on the exacting production process, Brent
witnessed and documented the ravages of mass tourism on the Dzekciorius, founder of Dzek, shares, “The five ExCinere glazes are
landscape of Sicily leading them to their 2014 project titled De created by mixing varying quantities, particle sizes and densities of
Natura Fossilium. Through this project, they analysed lava in the volcanic matter. The lighter glazes use extremely fine ash powders.
Mount Etna and Stromboli regions of Italy to create a collection of The glazes become increasingly darker and more specked as the ash
beautifully crafted glass, basalt and textile works. As such, particles increase in size and frequency. The glazes are hand-applied
Formafantasma is no stranger to this particularly unique material. on the tile body in varying densities and fired to temperature in a
Cut to 2019 and their work on the subject has culminated in the fast fire kiln. It’s the hand-application of the [glazing] process that
creation of ExCinere—a one-of-a-kind collection of tiles, glazed allows for all of the variations within each colour.”
with volcanic ash—made in collaboration with Dzek, a London- Both collaborators were extremely pleased with the resulting
based architectural materials company. creations. Dzekciorius says of the collaboration: “Formafantasma’s
The idea behind ExCinere was to experiment with the use of patient, forensic approach to materials made them the perfect
volcanic lava in architectural products and realize its full potential. partners to collaborate with on a new architectural product. It has
“Mount Etna is a mine without miners; it is excavating itself to been an immensely gratifying and rewarding collaboration that we
expose its raw materials,” state the designer duo. are all incredibly proud of. I am certain we will continue to work
Despite their expertise in the subject, the project wasn’t without together in the future.”

66| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

A lightness
of being
‘Vertigo’, another sculptural light from the
oeuvre of Michael Anastassiades, is a delicate
balance of beauty and strength

L
TEXT: KOMAL SHARMA. PHOTO COURTESY OF MICHAEL ANASTASSIADES.
unch Atop A Skyscraper (1932), the photograph taken during physical presence, especially with light. “I think it’s the scale of
the construction of the Rockefeller Center, comes to the beam. It occupies space and it’s visible. You cannot miss it,”
mind when you see the ‘Vertigo’ lamp by British-Cypriot says Anastassiades. “My design process is to simplify, to remove
designer Michael Anastassiades. The iconic photograph might the excess. [And], most importantly, to start a dialogue because
not have been a direct inspiration for him but the structural a design will have its own life. The person who uses it will have
beams and visual vocabulary of the 1930s’ construction era in their own relationship with it.” With ‘Vertigo’, Anastassiades
New York were. communicates the story of balance. Since he set up his studio in
“I wanted to create a light that references architecture. The 1994 and his label in 2007, his works have found a place in the
beam was the starting point for me,” he says. Anastassiades has permanent collections of MoMA, V&A and the FRAC Centre
mastered how to pare a thing down to its essence. ‘Vertigo’ is yet in Orléans, France, among others.
another example of his genius with deconstruction—of form, As Anastassiades continues to talk to us about the making of
shape and elusive light. He creates a form so elemental that it’s his lights, he remembers the work of Robert Mallet-Stevens, an
almost poetic: a horizontal beam precariously balanced with a early-20th-century French modernist and contemporary of Le
vertical strap of light, with a touch-sensitive dimmer placed in Corbusier. “That was the period when lighting was incorporated
the middle. Available in three lengths, ‘Vertigo’ can be into space and not just retrofitted,” he says. ‘Vertigo’ adds to the
customized according to the required drop. tradition of architectural lighting—the kind that defines space
But the minimalism is not restricted to aesthetics. It’s a rare and experience, that adds softness and lightness even while
sense of proportion and material that gives the object a fine evoking imposing structural beams of skyscrapers.

68| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

Raw
material
Hermès unveiled its first collection of
lighting with a series of lamps designed by
Tomás Alonso constructed in bamboo and
Japanese paper sourced in Kyoto

W
ith delicate bamboo frames, sheets of Japanese
washi paper in vibrant colours, and copper-steel
loops, at Salone this year, Hermès set aside its
signature luxury materials—leather and silk—and took its
obsession with fine craftsmanship to unusual mediums.
While Hermès dedicated itself to exploring colour in
2018, this year the French luxury brand has put its heart into
materiality. “We wanted to work with raw materials—
transformed as little as possible. The archaic stone, which is
found from Ireland to Greece, used in the scenography, also
reflects this intention,” say Charlotte Perelman and Alexis
Fabry, co-creative directors at Hermès Maison. For Coulisse, TEXT: KOMAL SHARMA. PHOTO: FRANÇOIS LACOUR.

they joined hands with Spanish designer Tomás Alonso who

took inspiration from theatre and set design. Alonso creates a
poetic interplay of shadow and light, positive and negative
space, quite like in a theatre production. Available in three
versions—single-screen, T-shaped and Z-shaped—these
coloured paper screens are compositions of geometric forms,
held together with a skilfully assembled aerial structure and a
copper-coloured loop that supports the light source.
The dry stone walls of the exhibition space, with their
subtle grey texture, offered the perfect backdrop for these
delicate yet dramatic lamps. Indeed, Hermès truly knows how
to marry fragility with finesse.

70| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

VILLEROY&BOCH SALES INDIA PVT. LTD.
9th Floor, Notan Classic, Turner Road, Bandra (West), Mumbai – 400050
Telephone: +91 22 49050400
Discover a bathroom that combines practical features and timeless design
in a beautifully stylish way: villeroyboch.com/collaro
interweaving story
At Euroluce this year, Artemide unveiled ‘Interweave’, a new light made in
collaboration with Dubai-based designer Pallavi Dean

I
nterweave’ is a flexible lighting system that features a long waving the light like a glow stick at a rave! Some designers
LED strip weaving through a group of suspended metal would be horrified at seeing their ‘babies’ pushed and pulled
pillars. What is even more interesting is that the pillars— around like this, but I loved it,” says Dean.
depending on how users want to customize them—can ‘Interweave’ is available as a kit of parts, so no two will ever
house speakers, motion sensors, or temperature and air- be the same. Plus, the Artemide app allows users to interact
quality detectors. with their environment. “So much control is in the hands of
While presenting it at Euroluce in Milan, Pallavi Dean of the people in the space—that’s awesome!” says Dean.
Roar, a Dubai-based design studio, explained her obsession Dean considers the light a metaphor for connections and
with one aspect above others: she wanted ‘Interweave’ to intersections, much like her enthusiastic collaboration with
make people in the room authors of the space, not just passive Artemide, and with Carlotta de Bevilacqua, vice president
users. “So often with beautiful objects, it’s the designer who’s and CEO at the brand. “We met at Dubai Design Week in
in command. They [create] a table, chair or light, and we have November 2018 when we were on a panel about women in
to accept it for what it is. That can work, but I wanted design and we just clicked,” says Dean. But her project, she
‘Interweave’ to be far more playful,” she says. That is why her explains, also celebrates globalization. “I’m sick of reading
TEXT: CRISTINA PIOTTI.

most enduring memory from Milan this year is seeing people about people building walls, fighting trade wars, wanting
play with the light. “Picking up the LED strip and draping it Brexit—things that roll back globalization. Great art and great
around themselves like a necklace; creating their own design often happen at the intersection of people and
soundtrack by telling Alexa to play their favourite songs; and cultures—which a globalized world promotes.”

72| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

Double Duty
Made for the Doppia Firma exhibition—presented by the Michelangelo Foundation for
Creativity and Craftsmanship—the ‘Tavoli Angeli’ table is a study in beautiful opposites

T
he story behind the ‘Tavoli Angeli’ table is a In a salute to his craft, the table is named after him.
juxtaposition of contemporary design and regional The collaboration was born of the fourth edition of
artisanal excellence. Designer Victoria Wilmotte and Doppia Firma, a Design Week exhibition that pairs
master craftsman Giorgio Angeli have had very different contemporary designers—the likes of Patricia Urquiola and
artistic journeys, but when it came to working together, they Sam Baron—with uniquely skilled regional craftsmen, with
understood each other perfectly. the aim to nurture a “cultural movement of excellence”.
A graduate of London’s Royal College of Art, Wilmotte Together, these creative couples, as they are referred to, create
opened her Paris studio as a 24-year-old design prodigy. A a unique body of original works that carry two signatures—
decade on, she has focused on bringing her unique perspective hence, Doppia Firma.
to home decor, using what are now her preferred materials— This year’s exhibition shone a spotlight on 19
stone and steel. Angeli, an experienced carver, has had a much collaborations between designers and artisans whose works
longer career arc. His studio sits in the historic Tuscan village often go unnoticed, or those who chose to pursue a less
of Querceta, from where he executes large-scale architectural prominent form of art. Creators from Belgium to the Czech
and design projects—collaborating with famous artist- Republic, Germany and even Japan produced work of
sculptors along the way. “The extreme precision with which differing scales with materials as varied as brass, blown-glass,
Giorgio crafted the two tables was, for me, a masterful display and even knitwear—ultimately serving to underscore the
of both passion and skill,” says Wilmotte of their partnership. principle that great design is truly borderless.

TEXT: ARATI MENON. PHOTO: LAILA POZZO.

76| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

I
t’s a mix of fine alloys of gold and silver with alternative
materials like Plexiglas and rattan. It takes inspiration from
classic artistic styles like Cubism and Surrealism—both
favourites of Monsieur Dior—and reimagines them in cool,
contemporary ways. A collection of 14 precious objects (vases,
trays, a candelabra, a lighter and an ashtray, among others),
Dior Maison x Dimore Studio 2019 is finely crafted yet
irreverent, charming yet utilitarian—qualities that are true to
both the fashion house and the Milan-based design studio.
Founded in 2003 by Italian-American duo Emiliano Salci

My precious
and Britt Moran, Dimore Studio has been doing exceptional
work in furniture, lighting and textiles. In this collaboration,
they bring humour and new techniques to Dior’s history of
Dior collaborated with Milan-based Dimore craftsmanship. Vases in lunar curves in light-coloured woven
rattan comprise the Basket series; a candelabra in bronze, gold
Studio to create a limited series of objets d’art and steel, called ‘De Nuit’ (By Night), seems to rise from the
petals of a flower; and a rattan umbrella stand encircled in
gold-plated brass and black metal trim is titled ‘Ceci N’est Pas
Un Vase’ (This Is Not A Vase). A series of vases, a cubic
lighter, ashtray and tray in smoke-grey Plexiglas form the
Cubisme (Cubism) series; and the delightful Côté De Toi
(Next To You) is a series of place settings in satin-finish and
chrome-plated steel that has been embellished with the
Christian Dior signature motifs like the cannage. Available on
order only, for a one-year period, these collector’s pieces are
meant to be enjoyed and entertained with.

TEXT: KOMAL SHARMA. PHOTO: © SILVIA RIVOLTELLA.

78| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

TEXT: CRISTINA PIOTTI. PHOTO: CRIS FOTO/SHUTTERSTOCK.COM.
when in rome
Fendi Casa’s latest collection, while drawing inspiration from classic Roman
architecture, also cross-references motifs from its fashion lines

T
he relationship between luxury fashion house Fendi and the State-of-the-art processing techniques were used in the making of
city of Rome, is, in a way, emblematic of how far some ties the metal frame, which is laser-processed from 12-millimetre sheets,
go—even beyond history. After all, the story of Fendi starts then polished and galvanized in gun-metal, with ‘Bronze Shadow’
right in the heart of the Eternal City, in 1925. In 2015, on the fashion or ‘Palladium’ finishes.
house’s 90th anniversary, Fendi moved into its new headquarters at A second example is the ‘Brigitte’ armchair, which was inspired
Rome’s Palazzo della Civiltà Italiana (pictured), a stunning square- by the steel structures of mid-20th century architecture. Presented
shaped structure, featuring a grid of symmetrical arches on each of in mink or upholstery, Fendi’s signature Pequin pattern appears on
its four facades, clad entirely in Travertine marble. It is an it, referencing the brand’s origins as a fashion house. In fact, a lot of
exceptional example of 20th-century Roman architecture—and has the pieces in the collection display aspects of cross-pollination
now come to be known as a symbol of the maison. between Fendi’s fashion and living lines.
These Roman codes also underlie the trends in the new Fendi The ‘Duke’ sofa, for example, creates clever storages space in
Casa collection, which was first seen during the 2019 edition of its armrests, which have been upholstered in leather stamped with
Salone del Mobile. Showcased by the Luxury Living Group, which the ‘FF’ logo, previously seen on the label’s travel bags. The ‘Dorian’
has been producing and distributing Fendi Casa collections since bed, which is based on the sofa of the same name, similarly
1987, the range includes coffee tables, mirrors, sofas and armchairs. features the piping seen on Fendi’s ‘Selleria’ bags, which were
A highlight is the ‘Anna’ armchair (pictured), most representative of inspired by the Italian saddler. Also seen on the ‘Dorian’ bed are a
Fendi’s location at the Palazzo. With a firm eye on the future, it zip-slider, ‘F is Fendi’ logo, and zip with coloured ribbing, all of
channels the stylish charm of the Italian maison, while paying which reference its ready-to-wear line. The slim-lined ‘Thea’
tribute to the history of the building that houses it. The symmetrical armchair, which was spotted in a new outdoor version at Salone,
arches on the facade of the Palazzo appear on the sides of the has its edges and backrest decorated in the same type of braiding
chair—on natural, barrel-tanned, full-grain leather, the edges of seen on the brand’s iconic ‘Peekaboo’ bags. So classic, so Roman,
which are hand-painted and stamped with the Fendi logo. so Fendi.

80| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

smoking hot
Luxury Italian brand Visionnaire took its 15th birthday as the perfect opportunity to
reinforce its founding principles and lay the groundwork for the future

I
talian brand Visionnaire celebrated a double birthday at Salone experience, contamination (‘hybridization’ in this context),
and presented a range of surprises: a collectible book titled uniqueness, ingenuity, luxury, and, of course, vision. “This year,
Decalogue; a photography exhibition; a video-art project; a ballet more than ever, we wanted to interpret our products so that the
and a music show. It was not just a celebration, but a full range of design of each object goes beyond its functionality, following our
creative considerations, explains Visionnaire’s creative director, visionary trait—as our name implies,” Cavalli says, adding, “I’m
Eleonore Cavalli. “For Salone, we decided to develop a reflection thinking about the ‘Cà Foscari’ bed, with the headboard featuring
dedicated to this year of anniversaries—our parent company IPE embroidery that creates a graphic pattern with a Japanese character.
was founded 60 years ago, while Visionnaire, its exclusive brand, is Or the ‘Granger’ trio of side tables, with the marble incorporating
celebrating its 15th birthday. The result is Decalogue, a list of 10 values, liquid metal, and creating new shadings and unexpected
10 keywords that are part of our daily work, that describe our highlights—reminiscent of landscapes crossed by rivers, seen from
identity, and also indicate our ambitious trajectories for the future. above. Or the striking combination of metals, marble and glass in
I am thinking, for example, of our commitment to becoming the ‘Marty’ console (pictured), by Marco Piva, which is a very special
more and more of a low impact-company for sustainable growth, piece. Marco usually works on large scales of urban planning, so I
and focusing on safeguarding our natural heritage,” says Cavalli. asked him to develop products representing the great projects he
Decalogue, she reminds us, comes from the Latin ‘decalogus’ creates in various parts of the world, in particular skyscrapers. The
and the ancient Greek ‘decalogos’, meaning 10 words, vertical elements of the ‘Marty’ refer to this type of architecture.”
TEXT: CRISTINA PIOTTI.

pronouncements or reasons. The piece is part of the Marty collection. The rectangular bases of
The 10 basic and indispensable values of Visionnaire are the consoles are made in marble and metal, and the tinted glass tops
culture (the crucial value that indicates the first of the foundation project over and around them, like edgy, futuristic rooftops of
concepts in the identity and philosophy of the brand), nature, buildings. The pieces almost seem built for a civilization 50 years in
design (and the value of a designed environment), object (“Our the future, but one that remembers its roots—not unlike
objects develop intangible imaginaries and tangible uses”), Visionnaire itself.

82| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

WEAVES OF WONDER
Ever since 1975, The Carpet Cellar has been the last word in excellence
when it comes to the most perfectly crafted designs. The brand now
unveils three new collections that take luxury living to new heights
When you look at a carpet, know this – you’re looking Dhruv and Nishant Chandra. It stands today as India’s
at a labour of love. Painstakingly crafted, knotted and most reputed curator of carpets, tapestries and textiles.
woven into intriguing shapes and patterns, a carpet is yet Their collection includes hand-woven and hand-knotted
another form of love. Blending this passion for carpets masterpieces, each reflecting myriad cultures. Driven by
with a flawless design aesthetic is The Carpet Cellar. their commitment to create products of supreme quality,
While the brand was founded by Mr Sheel Chandra, The Carpet Cellar continues to innovate. Here’s a quick
it’s now successfully helmed by his descendants Mudita, glimpse into their three stunning new collections.

ZEN COLLECTION
Think sleek, think simple. Steeped in luxury, the brand’s
Zen collection draws inspiration from Mahayana
Buddhism. These carpets are ultra-modern in their
designs, in subtle, muted colours. The idea here is to
infuse the space with an air of calm and serenity. Crafted
in bamboo silk or fine Australian wool, these carpets are
soothing in washes of silver, beige, gold, ivory and more.

ART DECO COLLECTION

We’ve all heard about
the Art Deco style. But
to actually witness it
playing across a series of
carpets, is nothing short
of breathtaking. Art Deco
as a visual style tends to
combine modern styles
with fine craftsmanship
ARCHITECTURAL COLLECTION and rich materials, and so
Architectural giants the likes of Tadao Ando, Le does this collection. Just as
Corbusier, Frank Lloyd Wright and Louis Kahn serve Art Deco stands for luxury,
as the inspiration for this collection. Embodying glamour and exuberance, For more information, visit
the beauty and simplicity of modern design and so do these beauties. www.carpetcellar.com
architecture, this collection is absolutely cutting-edge.
An excellent combination of silk and wool textures
breathes life into each carpet from this selection,
making them great statement pieces.
basket case
Spanish luxury leather brand Loewe’s basketry-inspired exhibition blended material,
craftsmanship and art to create objects fit for a modern world

S
ince 2013, when Jonathan Anderson took over as creative planters and carriers that combine quiet sophistication with a deep
director, Loewe has taken on a significantly more pro- respect for craft.
craftsmanship avatar, launching initiatives like the Loewe In master artisan Hafu Matsumoto’s designs, his experience of
Craft Prize (as seen in AD’s May-June 2019 issue), and regular creating in bamboo was reflected in the wide bands of leather that
appearances at Salone. Where previous Design Weeks have seen came together in simple, yet arresting objects; Irish basketmaker
the brand explore textiles, ceramics and marquetry, this year, for its Joe Hogan’s creations reflected the colours and occupations of his
fifth appearance, the brand focused on reimagining basketry. native landscape. Seattle-based Deloss Webber presented a
Titled Loewe Baskets, the project was divided into two variation (pictured) of his Geisha Handbag Series, which was
sections: Inspiration and Collection. The former had the Spanish selected as one of the final entries for the 2019 Loewe Craft Prize.
brand’s creative head Jonathan Anderson round up 11 craftsmen His rattan baskets are woven around pieces of granite, emphasizing
from across the world, and replace their usual material palettes their form, while also contrasting the natural with the man-made.
with Loewe leather. A craft traditionally associated with rural life For the Collection section of the exhibition, the brand engaged
and domesticity, the exercise saw basketry transform into an artistic three Spanish artisans whose inspirations included nature and
engagement that resulted in a limited-edition collection of objects traditional maritime motifs. In Álvaro Leiro’s ‘Bucket’, his
that are as unusual as they are expressive. experience with reed and natural fibres manifested in a criss-cross-
The 11 master weavers tasked with re-contextualizing their craft woven calfskin bag with a removable shoulder strap; Galician artist
techniques came from all over the world—South Africa, America, Idoia Cuesta’s ‘Bucket Espiral’ used her signature ‘chaos technique’,
TEXT: DIVYA MISHRA.

Ireland, Japan and Korea—and brought with them the skills and where no finished piece is the same as the next.
understandings of their native settings. Working with natural The entire Loewe Baskets collection was displayed in the
materials like reed, bamboo, rattan, tree bark, cane and straw, they corridors of a historic courtyard on via Monte Napoleone, whose
created objects inspired by everything from birds’ nests, to fishing arched colonnade provided the perfect showcase for these ancient
nets and farmers’ baskets. The result is a collection of bags, baskets, craft traditions used to create objects for a modern world.

84| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

DESIGNING A LEGACY
ARA Design, an architectural and design firm, functions like a large family.
From designing spaces for the best in hospitality to coming up with stunning
designs for residential projects, founder Amey Dahanukar takes us through his
journey, his passion and his love for all things design

Take us through your story and your design journey. What would you say defines a smart design?
For as long as I can remember, I’ve been surrounded A smart design is socially adaptive and socially viable
by the world of architecture. Being an architect, my for the person. In this characterisation of the two, it is
father would take me to sites along with him. He was essential to have a vision in terms of the output and
my sole inspiration. I remember accompanying him the experience of your design element. Architectural
to construction sites in amusement. I was as young as firms today are either design-oriented or devoted
ten years old when I first watched a slab being cast. towards technical execution. The challenge here is
So, in terms of my design journey, it all began when I to not fall into extremes, in order to come up with a
was a child. smart design.
ARA Design is all about architecture, Urbanism and How have building and design
design. Tell us a little more about this. aesthetics changed with time?
To me, ARA Design is more of a family or an institution Talking purely of architecture,
that I want to build. We have a great vision for our there has been an addition to
company and are growing each day. We look at porosity over time. The ways
creating design that goes beyond a person. We want to build have evolved to match
to speak of a language in architecture that’s more patterns in our thought. We’ve
universal and inclusive. Design, to me, is everywhere, also come to acknowledge
right from a car to a piece of clothing. Delving into perspectives now. The
the technicalities, it feels as though Urbanism is the perspectives and possibilities of
father of it all that helps put together everything and people, their lifestyles, evolving
amalgamate it into a living space. patterns of health and climate are now
integral to design. We at ARA are a sum of these
What are some of the most stimulating projects that evolving concepts.
you’ve worked on?
A few of the most intriguing projects I’ve worked on You’ve worked on hospitality, residential and
were at a temple in Punjab and a hotel in Anaklia, commercial projects already. Any other space you’d
Georgia. Our experience at Georgia was truly like to delve into in the future?
remarkable. We lived off a container on site because At ARA, we don’t keep our genres restricted to the
those were the only habitable conditions there. Most work we’re known for. I always envisage a space as
of my projects have been unforgettable adventures! a design first. Nonetheless, a space I would like to
explore in the future would definitely be art curation.
What inspires you to create and re-create each day? Art influences humankind in many ways and so, I’d love
Dreams brew all my design inspiration. An for us to design an art museum or a gallery one day.
implementation of a dream is the key power that
remains with me, as an architect. The combination For more information, visit www.aradesign.in
of dreams with AI and IoT of analog to digital data
conversion is an efficient understanding of research
analysis that we learn in architectural schools. I am also
constantly reminded of how much there is to learn. It is
in search of these moments and these opportunities to
learn that I am most alive.
fusion music
Apparatus launched the first run of their Editions series, with the Interlude collection
that fuses Indian embroidery techniques with modern shapes inspired by music

S
ince 2011, Gabriel Hendifar and his partner Jeremy pieces—in the semi-organic shape of the tables, the embroidered
Anderson of New York-based Apparatus studio, have motifs on the lights (pictured), and the rendering of the ideas of
been creating works that embody sensitive explorations of theme and variation. Interestingly, the motifs feature traditional
space, context and material. For Interlude, they went a step Indian techniques of zardozi and karchobi—reinvented to
further. The suite of furnishings—comprising screens, cabinets, interpret modern shapes. “Typically sewn flat against a fabric,
tables, and, of course, lights—was designed for “an imagined, we have turned the bugles on their ends, to create multiple
modernist concert hall”, and features motifs inspired by musical dimensions and layers on the brass surface,” says Hendifar. The
references. “The embroidery motifs are inspired by animations embroidery is by a Mumbai-based studio, against a material
made by Stephen Malinowski, who experienced a synaesthetic palette of brass, eel skin, Carpathian burl and alabaster. This
TEXT: DIVYA MISHRA.

vision while listening to Bach on acid,” Hendifar says almost in creates the play of contrasts that Apparatus is known for. And
passing—as if channelling people’s hallucinogenic experiences into in getting Indian embroidery to render an American composer’s
tangible, layered design were a normal, everyday activity. ideas for furniture by an Iranian-American designer, Apparatus
Aspects of Malinowski’s animations can be seen across the proves that design, like music, knows no boundaries.

88| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

LUXE KITCHENS
Renowned the world over for its
resplendent designs and state-of-the-
art functionality, Magppie Kitchens
revolutionises Indian homes by crafting
luxurious kitchens suited to withstand
tough Indian conditions
More often than not, the kitchen is the centre of every
home. And given the fact that it is where people spend
a sufficient amount of time to cook, it is important that
it be both visually pleasing and highly functional. But
creating such a space is no easy feat—even if you’re
someone from the world of interiors and architecture.
Allow us to introduce you to Magppie Kitchens, an
internationally recognised authority on kitchen design.
Apart from being a three-time winner of the prestigious
Red Dot Design Award, Magppie has also bagged the IF
and ID design awards. And here’s why:
With a design philosophy rooted in social
responsibility, their kitchens are all about mindful
luxury—meaning they effortlessly blend fine aesthetics
with practicality. Magppie Kitchens also understands the
environment and thoughtfully articulates one’s culture
and lifestyle before expertly crafting a kitchen.
The good news is that the brand understands the
challenges of modern Indian kitchens, which don’t
always comply to fire-safety standards and include
a host of problems like water seepage, termites,
mould and pathogens. Elaborating on this, Vinod Jain,
Managing Director, Magppie Kitchens, says, “Designing
kitchens, for us, is a social responsibility. We brainstorm
every day to solve the health problems of India—be it
contaminated water, food or air—through innovations in
our kitchens. We are driven to build a more conscious
civilization.” In 2011, the brand invented M Stone. Perfect
for kitchen panels, it is a globally patented material that
is waterproof, anti-germ, termite-resistant and fire-safe.
Sturdy, durable and the perfect alternative to granite,
its 25-year warranty speaks volumes. So whether you’re
an interior designer decorating a home or an architect For more information, visit magppiekitchen.com
who is building one from scratch, consider Magppie
Kitchens. You’ll be pleasantly surprised.
out of the box
A classic case of East meets West resulted in the birth of the Zhuang collection—a series of
contemporary multipurpose desk accessories—designed by Neri&Hu for Poltrona Frau

I
t pays to surround your workspace with things you truly love, if precious possessions. In a similar vein, these stackable boxes—
the advice of Japanese organizing consultant Marie Kondo is available in round and oval versions—were designed as the ideal way
anything to go by. And Zhuang—an uber-modern set of desk to store precious belongings, whether at home or at the workplace.
accessories that’ll help you organize your space—certainly looks like The Zhuang desk collection expands on this idea with a
it will make the cut. A collaborative effort between the century-old, multipurpose box, a pen holder with a ruler, and a working pad.
Turin-based furniture maker Poltrona Frau and Shanghai-based The finest craftsmanship is at work here, evident in the
interdisciplinary architectural design practice Neri&Hu, this containers carved out of a single piece of Canaletto walnut. The
collection perfectly melds Eastern minimalism with Italian numerically controlled machinery enables near surgical precision.
craftsmanship. The result is a collection of accessories that are bound The pieces are finished with a saddle leather. Other elements of
to find pride of place on your desk. visual interest are the contrasting embroidery and the logo. Staying
The Zhuang desk collection isn’t the pairing’s first outing true to Italian craftsmanship, the attention to detail is certainly a
together; in the past they’ve come together to create products talking point of this collection. For instance, the lids of the
ranging from lamps to furniture. Prior to this they had collaborated multipurpose box and pen holder are partly fixed in position to keep
to create the Ren series of furniture. In Chinese, the word ‘ren’ the contents in place. The movable part of each lid is equipped with
means people and the collection was designed to mirror a personal a metal clip that doubles as a handle. Another clever little design
TEXT: SHWETA VEPA VYAS.

valet or butler and included pieces like a mirror and clothes rack and element is that the metal base of the pen holder (pictured) can also be
a wall mirror created especially for the entrance of the house, to used as a ruler; a set of magnets ensures it snaps into position when
welcome people in. under the box.
This series of desk accessories is inspired by a series of boxes— With their minimalistic designs and luxurious finishes, these
“stackable treasures”—of the same name, which the design firm pieces will help you channel your inner Zen at the workplace. And
created for Poltrona Frau in 2018. The term ‘zhuang’ is derived from while they were designed to protect your little treasures, they’re no
the Chinese phrase for dowry and refers to the protection of less treasures themselves.

90| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

maximal living
With fantastical motifs and an excess of colour and pattern, Gucci Décor’s pop-up in
Milan was like walking through a cabinet of curiosities

A
lessandro Michele has a flair for the idiosyncratic. Ever era, their soft-velvet and moiré upholstery in red, grey, teal and
since he took over the reins at Gucci in 2015, he has soft-pink colourways featured seats embroidered with whimsical
brought a wild, theatrical spirit to the Italian luxury house. motifs like an owl’s head, a butterfly, a floral arrangement and a
At this year’s Met Gala, he dressed actor Jared Leto in a jewelled, silk monkey (pictured). In addition to last year’s Capitonné porter’s chair,
gown, and had him carry a bust of his own head as an accessory. In there is a selection of low stools in printed and jacquard fabrics,
the Cruise 2019 collection, he showed a darker side of fashion with a metal folding tables, all with floral and mythological imagery. It’s
collection inspired by the symbolism of death. And at Salone, he not just Gucci’s peculiar visual vocabulary that sets it apart, the
poured the same magic realism into Gucci Décor. house’s commitment to craft is well-known as well. The motifs on
At a temporary two-floor store at 19 Via Santo Spirito in Milan, these chairs were hand-embroidered and then hand-appliquéd in a
a full rendition of Gucci’s home collection was up for display. tedious, time-consuming process.
Teacups with the macro-rose pattern, porcelain vases with the eerie All of Gucci’s porcelain is made by the historic Richard Ginori, a
“Star Eye” motif, trinket trays shaped as pairs of hands, urns and Florentine company that was founded in 1735, and acquired and
vases with lion heads and snake-shaped handles, classic umbrella revived by Gucci in 2013. The best of these could be seen on the first
stands with “Mystic Cat” motifs, blankets and cushion covers in the floor of the pop-up in Milan: a full banquet set with a herbarium
TEXT: KOMAL SHARMA.

signature GG jacquard—the entire imagery of Gucci’s extravagant pattern, laid out densely over a long table and encased in a grand
world was on display. And it was orchestrated as vintage living and glass cabinet. Gucci’s blend of old-world charm and bizarre new
dining, set against wallpaper running the entire length and breadth modernity is spot on.
of the space, creating a layered canvas of pattern over pattern. Michele is a fashion provocateur with an unabashed love of
An all-time favourite, the plush shell-shaped armchairs made colour, pattern and material. With Gucci Décor, the surrealist
an appearance as well. Reminiscent of the glam 1950s Hollywood dream goes on and comes right into our homes.

92| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

Magic Carpet Ride
With the Wunderkammer collection, Jaipur Rugs and Italian designer Matteo Cibic
brought a dash of conscientiousness and a splash of colour to Salone

P
alazzo Litta is an incredible Milanese landmark that turns The collection, named Wunderkammer (after the cabinets of
into a large exhibition space for international design during curiosities in mid-16th-century Europe), celebrates Jaipur and “its
Design Week. This year, the first floor of this Baroque colours, music, mountains, wild animals, lakes, sundials, palaces,
building hosted an exhibition by one of India’s leading producers of food and the many shades of pink, rose, orange and peach that are
handmade carpets. Jaipur Rugs and Matteo Cibic collaborated on a typical to the city”, Cibic highlights. The Italian designer feels this is
vibrant collection of handcrafted rugs, inspired by the Italian India’s moment in the sun: “Very few Indian brands export their
designer’s visit to the Pink City. “I always wanted to visit Jaipur for contemporary design, culture and visual identity abroad. Even after
its architectural beauty and monuments. And I was attracted to the globalization, India has retained elements from its incredible history
TEXT: CRISTINA PIOTTI.

innovative Jaipur Rugs business model and its mission, which to me and fantastic visual grammar.” Chaudhary agrees, emphasizing that
is more a social enterprise than a typical global company that just Jaipur Rugs has yet another card up its sleeve: “There is a collective
cares about maximizing profits at the expense of craftsmen,” says [endeavour] to move towards conscious designs, to find solutions to
Cibic. Yogesh Chaudhary, director of Jaipur Rugs, explains: “For us, the world’s suffering. Designers are accountable to the world around
the artisans are at the forefront of our design and business them and they are the best people to do something about it through
philosophy and we do everything to make their voices heard.” innovative design.”

94| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

Integrated Side-by-
Side fridge-freezer
with BioFresh
Long-lasting food preservation with BioFresh
NoFrost technology – Never defrost again!
DuoCooling for exact temperature control
Automatic IceMaker

Visit now: World’s first Liebherr

ExperienceCenter in Mumbai
Durolite House, New Link Road, Andheri (West), Mumbai

Customer Helpline: 1800 2333 444

[email protected]

blog.liebherr.com/appliances/IN/
LiebherrAppliancesIndia

biofresh.liebherr.com
watering pole
Design and art came together as Kolkata-based Scarlet Splendour collaborated with
Rotterdam-based designer Richard Hutten for the first time to create its 2019 collection

O
f all the pieces that were part of Scarlet Splendour’s seamlessly. This is true for all our designers and products. If you see
collection at Salone, one of the first that will catch your any of our products anywhere, you’ll be able to identify the
eye is ‘Oasis’ (pictured). At first look, you’d be forgiven for designer as well as the fact that they’re by Scarlet Splendour. It’s a
thinking it’s some kind of futuristic time capsule. At second glance, wonderful marriage, really.”
you realize it’s a rather sleek and modern interpretation of a cactus In a similar vein, it’s easy to see that the ‘Wolk’ chair has also
replete with 200 brass “spines”. been created by Hutten. Inspired by the rare mammatus cloud, this
Upon further investigation, the piece reveals itself to be a regal chair in pure brass will compel you to sit up and take notice.
cabinet with cleverly concealed metal shelves housed inside. Hutten is part of the Dutch Droog Design movement, which was
Those familiar with his work will instantly recognize this as the started in 1993 and is rooted in non-conformist, conceptual design.
work of Rotterdam-based designer Richard Hutten. Playful and “Richard is a very accomplished designer but extremely down-to-
whimsical, this is one of two pieces by Hutten for Kolkata-based earth and humble. He has designed for a lot of brands globally.
design brand Scarlet Splendour, helmed by siblings Ashish Bajoria We saw a specific language in his work. We knew that if
and Suman Kanodia. he came on board, he could develop pieces that are really special,”
This work along with others makes up Scarlet Splendour’s 2019 says Bajoria.
collection in collaboration with international designers like Nika For Bajoria, the creative process begins at the stage wherein
TEXT: SHWETA VEPA VYAS.

Zupanc, Matteo Cibic and, of course, Hutten with whom the they identify designers with a sensibility matching theirs. After that,
brand has partnered for the first time. Interestingly, each designer right from the briefing to selecting the design and prototyping, each
manages to retain their aesthetic while staying true to the design step is a collaborative effort with the designers: “It’s a tight-knit
language of Scarlet Splendour. collaboration based on trust, long-term perspective and the mutual
As Bajoria puts it, “The designer maintains his signature, understanding that we need to have the quality of the piece in place
integrity of design and character but at the same time blends the so that neither the designer’s—nor our—name is compromised.
design of the product in a way that fits the language of the brand Everything has to be in sync.”

96| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

BEAUTIFULLY BESPOKE
Meet the crafters of the finest custom-designed doors,
frames and panelings. Dru’Casa delivers cutting-edge
designs and sound expertise on all things luxe
When it comes to designing your no fuss. The result? Well, a perfect
home, perfection is what you seek. fit that reflects the owner’s design
The furniture has to be just right, the aesthetic and personality.
carpets must be luxurious and the Dru’Casa sprung from the brand’s
doors and windows must be roots as India’s largest provider of
absolutely grand. Discerning imported and domestic veneers, Coast
homeowners are also looking to their to Coast Designs P Ltd. Built on a 15-
European counterparts for a spot year legacy, Coast to Coast offers the
of design inspiration. This is where finest and widest selection of veneers,
Dru’Casa comes in. handpicked from exotic locales. With
Dru’Casa is an architectural atelier Dru’Casa and Coast to Coast working
that prides itself on its Italian and in tandem, the options are limitless
European design inspirations. As across all sectors, be it for a five-star
manufacturers of customized, hotel or a luxury real estate property.
state-of-the-art designer doors, To keep things on track, team
frames, paneling and ceilings, Dru’Casa now has a new addition—
Dru’Casa is synonymous with Michael Ogle. With over 20 years
contemporary luxury design. Truth be of manufacturing experience in
told, having to deal with the demands the luxury furniture and mill-work
of on-site manufacturing is stressful, sectors, he brings to the table a
to say the least. Instead of tackling fresh new perspective in bespoke
design and manufacturing troubles by manufacturing. His experience and
yourself, wouldn’t it be easier to leave expertise, together with their skilled
things to the capable hands of the team will make Dru’Casa your number
experts? And that’s exactly what team one choice for luxury designs that are
Dru’Casa is. beautifully crafted.
Crafting your bespoke doors, Dru’Casa—beautifully bespoke
ceilings and panels at their modern solutions, just for you.
factory, Dru’Casa saves you the
trouble of dealing with all the dirt, Shop No 122, First Floor, DLF Grand
dust and crowds that come with Mall, M G Road, Gurgaon - 122001
on-site manufacturing. Instead, it For more information, call
offers homeowners and architects the + 91 97116 32168 or 011 47079901-08
chance to order a custom, individually
tailored design theme using some
of the finest, most highly-coveted
veneers and woods, all in the comfort
of your home or office. No mess and
Surface to Air
The ‘Ava’ table designed by Foster + Partners for Molteni&C is ready for take-off

T
he ‘Ava’ table (pictured) came to this year’s edition of Salone that allows for easy combinations with other furniture pieces.
courtesy the long-standing relationship between London-based Foster + Partners are known for designing
architecture firm Foster + Partners and Italian design house iconic structures like London’s City Hall, the Millau Viaduct (the
Molteni&C. But with its streamlined form and elegant silhouette, it tallest bridge in the world) in the south of France, and Apple Park
owes as much to the disciplines of craft and engineering as it does to in Cupertino, California—all of which combine a vastness of scale
architecture and design. and function with a remarkably light-handed aesthetic. This
At an imposing length of 3.8 metres, this is a table that could expert balancing of scale, function and style is what manifests in
easily overwhelm a room—were it not for its clean lines and almost the ‘Ava’ table.
aerodynamic form. Foster + Partners have had design collaborations Comprising two segments—a middle section and cantilevered
with Molteni&C for 13 years now, and the ‘Ava’ table is a ends—the bridge-like structure has legs that taper down towards
reinvention of ‘Element 03’, a conference table the firm had the ground, giving it a slim, sculptural appearance. The minimal
previously designed for Unifor, a Molteni sister company that detailing shifts the focus onto the fine joinery that references
focuses on office furniture. architectural traditions, as well as Molteni&C’s origins as a joinery
The ‘Ava’ table differs from the ‘Element 03’ in two important workshop. The precise engineering makes it possible for the end
ways—in material and in function. Where the ‘Element 03’ was sections to cantilever out by up to one metre, giving the table an
made entirely in polished aluminium, the ‘Ava’ table is in pure aircraft-like appearance. The designers at Foster + Partners were
timber. “We wanted to explore the same spirit of flexibility and inspired by the “lightweight forms of aircraft wings and bridges”,
TEXT: DIVYA MISHRA.

exactness of detail through a different material that was more suited and it is in the overall streamlined form that this connection is most
to a domestic setting,” says Mike Holland, who heads industrial evident. The table is available in three sizes (2.9, 3.4 and 3.8 metres)
design at Foster + Partners. Sustainability was also a key factor in and two finishes—eucalyptus and walnut—and in keeping with
making the switch to renewable timber. Where the two designs are Molteni&C’s dedication to creating locally, will be made in
similar is in spirit—both have a lightness of form and a sparseness Molteni’s factory on the outskirts of Milan. Cleared for take-off.

98| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

Metamorphosis
Despite being around for almost a century, Turri’s spirit of innovation, ambition for
evolution and desire for a dramatic transformation were on staggering display with
furniture and accessories by Daniel Libeskind, Andrea Bonini and others

C
hange—however inevitable and unavoidable—is a difficult for a fineness of craft.
thing to accept. That posed no difficulty for Turri, however; Then there was the partnership with Milan-based
at the ripe old age of 94, the Italian brand, known for its multidisciplinary firm, SBGA | Blengini Ghirardelli for the Milano
classic and opulent offerings, parachuted into modern minimalism collection of furniture, inspired by the city, with finely made
in dramatic fashion. products of an unmistakable lightness, thanks to the choice of
It began with a logo change, went on to a showroom overhaul materials—steel, large meshes of tanned leather, glass and matt-
(at the hands of interior designer Andrea Bonini) and came into full finished metals. The Vine collection, on the other hand, by Chinese
display at the Salone del Mobile, with head-turning collections architect Frank Jiang, uses the pattern made by vine branches as a
resulting from incredible collaborations, starting with Daniel springboard to create offshoots of elegantly designed home
Libeskind. The Polish-American architect’s landmark structures furnishings with remarkable wood detailing. And the clean-lined,
(the Jewish Museum Berlin and the World Trade Center master frill-free Zero, a collaboration with Bonini, features furnishing
plan spring to mind), with such sharply contoured geometries, are accessories that combine “the essential rigour of Eastern style and
so acutely angled away from the soft-edged opulence of the old the elegance of the Italian tradition”, according to Bonini, who
Turri that any encounter with his unique aesthetic was going to believes the products bear a subtle reference to “the flexibility
leave the brand changed. His creation included a genre-defining found in the works of [Italian architects] Vittoriano Viganò and
exhibit space of “folded planes crossing over an oblique axis leading Carlo Scarpa”.
to the creation of a central gallery of intersecting spaces” spread Big-name collaborations and grand-scale launches that caused
over a staggering 1,000 square metres. “I wanted to communicate wide-eyed wonder, Turri’s transformation has emerged from a
a new way of looking at the tradition of Italian luxury in design,” search for a new route to “the Italian way to beauty”, as owner and
said Libeskind. CEO Andrea Turri put it, “to discover the tradition of Italian-style
Enter the ‘Edge’ desk (pictured)—with its asymmetrical, luxury but with an increasingly up-to-date approach”. Clearly, the
angular, irregular volumes and sharp form. Made of metal, brand has hit upon an infallible route to achieve that—through
walnut-wood shells and glass surfaces, this table skirts the big-name collaborations and grand-scale launches that cause
boundaries of the avant-garde while retaining Turri’s tradition wide-eyed wonder.

TEXT: GAURI KELKAR.

100| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

+91 90660 99000
www.fanzartfans.com
[email protected]

AVAILABLE PAN-INDIA IN OVER 50 LOCATIONS

Channel parter enquiries solicited.
Contact: +91 92430 30000 Email: [email protected]
Return of the Boomerang
Cassina pays homage to the furniture of Pierre Jeanneret with the reissue of four pieces,
including the rare ‘Boomerang’ table

L
e Corbusier may have defined the philosophical parameters Sitting prominently in the Chandigarh collection—and now
of the Chandigarh project, but it is Pierre Jeanneret who is part of Cassina’s homage—is the design for a large conference table,
credited with the form and design of furniture from the which was among the furniture pieces used in the Legislative
period—a practical application of design within the philosophy, if Assembly building of the complex. A striking solid teak table
you will. Crafted from teak, the designs ranged from low-slung notable for its interlocking ‘V’ legs (or chevron, if you will), it has a
lounge chairs and armchairs, to desks and tables, most with wonderfully rational quality with important graphic elements. It
Jeanneret’s signature compass-shaped legs. These novel forms of was a rare table, and colloquially named the “Boomerang”
furniture and lighting didn’t just transform the city of Chandigarh, table—not to be confused with the 1950s table of the same name
they also grew to define India’s modernist heritage. produced by Dutch furniture maker Bovenkamp.
It is their deep respect for the cultural weight of these The reissue of this table was born in Cassina’s beloved carpentry
achievements that prompted Cassina’s Hommage à Pierre workshop in Meda on the outskirts of Milan. It is available in the
Jeanneret—a new collection comprising two chairs, an armchair historic version with a teak structure and top, as well as two other
and a table that makes direct reference to Jeanneret’s designs. versions, in natural and black-stained oak with a glass top (pictured).
Cassina’s interest in the heritage of the furniture designed for the That appears to be in keeping with the company’s philosophy of
Chandigarh project arose as a need to complete its knowledge of adhering to authenticity whilst being unafraid to “modify the
the work of three great protagonists of modernism: Le Corbusier, story” as the company’s art director Patricia Urquiola likes to say.
Jeanneret and Charlotte Perriand, whose collaborative furniture You only need to see their versions of Jeanneret’s ‘LC2’ sofas in
has been re-issued by the company since 1965. The Italian gloriously playful sorbet green and blue at the Cassina headquarters
furniture maker carefully studied pieces from the Chandigarh to understand. It is a healthy dialogue, as the company itself
Capitol Complex and produced these models, with the support of heads towards a century in existence, between past, present day
the Fondation Le Corbusier, which granted access to its archives. and future.

TEXT: ARATI MENON.

102| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

hot seat
Italian brand Minotti adds a Nordic accent to its
2019 collection with the ‘Angie’ armchair—the result
of a collaboration with Dutch studio GamFratesi

O
ver the past year, in an endeavour to build a more
global design vocabulary, Minotti has flirted with
experimentation—collaborating with Japanese (Nendo),
French (Christophe Delcourt) and Brazilian (Marcio Kogan)
designers on various furniture lines. Rodolfo Dordoni, art director
at Minotti, often questions how designers can make different
cultures work together to develop products for the same company.
One of the answers to this question is the ‘Angie’ armchair (pictured),
by Danish design studio GamFratesi in its first-ever collaboration
with Minotti.
The chair is both a study in contrasts, and the embodiment of
balance between them. To design it, the Copenhagen-based
GamFratesi stayed true to its roots, drawing on the principles of
functionality over form, and an understanding of material. The
result is this elegant seat with clean, fluid lines and a contrasting
material palette. The softly upholstered backrest and seat are
embraced by a stiff-framed, saddle-hide wing that provides support
as well as a textural and visual break. The mix of materials available
makes for interesting combinations, while the die-cast aluminium
legs gently angle outward, emphasizing its curves.
‘Angie’ is a successful blend of its makers’ Nordic design
sensibilities with Minotti’s Italian finesse, creating a product that is
as pleasing to the body as it is easy on the eye. The Danish word for
it is ‘perfektion’.

TEXT: DIVYA MISHRA.

104| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

‘DOLLS’ CHAIR
BY RAW EDGES,
LOUIS VUITTON

‘RE SOLE’ RUG,

FORNASETTI

the edit
From re-editions of modernist icons to new ‘CHR 5’
BOWL BY
designs by leading fashion houses, this is the CHRISTOPH
RADL, BITOSSI
edit of what stood out in Milan
STYLIST SAMIR WADEKAR

‘KLEMT’ LAMP BY
ANNE MØLLER JENSEN
& LAURITS GERSBØLL,
VIA DESIGN

‘CLAM’ SOFA BY LÉO DUBREIL AND

BAPTISTE PILATO, LIGNE ROSET

106| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

HOW YO U S LE EP N EE DS T O B E

AS EXT RAO RD I NARY AS H OW YOU L I VE

M a k e t h e m o s t o f a l l y o u r m o m e n t s w i t h a w o r l d - c l a s s m a t t r e s s f r o m F o a m H o m e . Yo u g e t t o c h o o s e

f r o m s o m e o f t h e w o r l d ’s f i n e s t m a t e r i a l s , c l a s s i e s t t e c h n o l o g i e s a n d t h e m o s t d u r a b l e m o u l d s .

" 4 2 Y E A R S O F L E G A C Y , I N N O V A T I O N A N D T R U S T "

M att ress • P i ll o w s • Co m fo rters • So f ab e ds

Girnar bldg 69, Tardeo road, next to Victoria Memorial School for the Blind, Mumbai - 400034, India • Tel : +91 22 23515234 / 5053 / 4135.

Email : [email protected] • Website : www.foamhome.in • For Appointments Call : +91 9820338116.

‘POLLUX’ LIGHT
Pune-based design studio Koy presented BY JIŘÍ KRIŠICA,
the Yantr collection, as part of a group SANS SOUCI
exhibition at the PalermoUno gallery.

‘SORRY GIOTTO 3’ LAMP,

CATELLANI & SMITH

‘TULIPA’
ARMCHAIR,
SICIS
‘FRANCIS’ TABLE BY
CONSTANCE GUISSET,
PETITE FRITURE

‘RUBIS’ SOFA,
BACCARAT LA MAISON

108| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

‘NUAGE X4’
PENDANT LIGHT,
ATELIER DE TROUPE

‘OMBRA’
CHAIR
BY PIERO
LISSONI, LEMA

‘1388 SURF’
COFFEE TABLE BY
HAKAKIAN/HARPER,
DRAENERT

‘ELLING BUFFET’
SIDEBOARD BY
GERRIT RIETVELD,
CASSINA

‘ALTA’ CHAIR
BY OSCAR
NIEMEYER
FOR ETEL,
THE INVISIBLE
COLLECTION

‘HOV I’ RUG BY NOÉ

DUCHAUFOUR-LAWRANCE,
TAI PING
‘NAVICULA’ LAMP,
DAVID TRUBRIDGE

In the No Man’s Land exhibition, three Jean Prouvé prefab

houses served as a canvas for Raf Simons’s fabrics for
Kvadrat—shown here on vintage Pierre Jeanneret furniture.

‘HELENA’
BOOKSHELF BY
ÁLVARO SIZA,
BOTTEGA GHIANDA

‘TIME’ CHAIR
BY ALFREDO
HÄBERLI, ALIAS

‘LOW STOOL’ ‘KEISHO’ SIDE

(SOAPED OAK) TABLE BY
BY SPACE ANDREA STEIDL,
COPENHAGEN, LACIVIDINA
MATER
‘REVERSE WOOD’ TABLE BY
PIERGIORGIO CAZZANIGA,
ANDREU WORLD
‘STELLAR
GRAPE’ LAMP
BY SEBASTIAN
HERKNER,
PULPO

‘KING’S CROSS’
BAR BY MAURO
LIPPARINI,
VISIONNAIRE

‘MEREDITH’ CHAIR
BY GIUSEPPE
VIGANÒ, LONGHI

‘PETER’ OUTDOOR
CHAIR BY ANTONIO
CITTERIO, FLEXFORM

‘RIBES’ OUTDOOR
SOFA BY ANTONIO
‘CESAR’ SIDE CITTERIO, B&B ITALIA
TABLE BY
RODOLFO
DORDONI,
MINOTTI

‘MEDINA’ SOFA, ETRO

HOME INTERIORS

JULY-AUGUST 2019| ARCHITECTURAL DIGEST|111

‘HELIOS’
LAMP BY
ANNA
‘GOLD TAGLIABUE,
UNIQUE’ EMMEMOBILI
TABLE,
VERSACE
HOME

‘SKELETON’
CHAIR BY PEDRO
FRANCO,
A LOT OF BRASIL

‘FUJI’ DINING TABLE,

JUMBO COLLECTION

‘VOA BRANCH’
SCONCE, SERIP

‘CARNABY’ SIDEBOARD
BY R INDUSTRIAL DESIGN,
CATTELAN ITALIA

112| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

‘ULTIMATE BLISS’ RUG
BY MAE ENGELGEER,
CC-TAPIS

‘REVERSÍVEL’ CHAIR BY
MARTIN EISLER, TACCHINI

‘SIDEWALL’
CABINET
BY PIERO
LISSONI,
PORRO

‘TWELVE AM’ BENCH BY

NERI&HU, MOLTENI&C

‘AMARCORD’ CABINET BY ROMEO

SOZZI, PROMEMORIA
Brut, a collective of emerging Belgian designers comprising Bram
Vanderbeke, Charlotte Jonckheer, Linde Freya Tangelder and Nel
Verbeke chose ‘Bodem’ (soil) as the theme for their scenography
and as a motif for the individual designs and concepts. ‘TREE’ LAMP BY
RAPHAEL NAVOT,
ROCHE BOBOIS

‘TURNER’ BOOKCASE BY
GIANFRANCO FRATTINI,
POLTRONA FRAU

‘KEAN’ TABLE, FORMITALIA

‘CLE’ CHAIR,
DELCOURT
COLLECTION

‘BAMPTON’ SOFA BY CARLO

COLOMBO, BENTLEY HOME ‘VINE’ CONSOLE
BY FRANK
JIANG, TURRI

PHOTO: ALEXANDER POPELIER.

114| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

‘NIGHT FEVER’
SOFA BY GIUSEPPE
VIGANÒ, ARKETIPO

‘SPATE’ LAMP,
BERT FRANK
‘GLACOJA’
CENTREPIECE
BY ANALOGIA
PROJECT, JCP

‘OSLO’ CHAIR
BY ANDERSSEN
& VOLL, MUUTO

‘BIG TABLE’ DINING

TABLE BY ALAIN
GILLES, BONALDO

‘TEXTILE POSTER #4’ CARPET BY

MAREIKE LIENAU, LYK CARPET
‘NEWTON’ LAMP
BY FRANCO RAGGI,
FIRMAMENTO MILANO

‘SIREN’ LAMP BY
DIMA LOGINOFF,
PRECIOSA

‘MOON WALK’ CHAISE

LONGUE, MARNI

‘NASTRI’
DIVIDER,
ALTREFORME

‘ITALIC’ CHAIR
BY FABIO
NOVEMBRE,
DRIADE

‘MEW’ TABLE BY
ZAHA HADID DESIGN,
SAWAYA & MORONI
‘MOON 60’ LAMP,
KIRK STUDIO

‘MARLENE’ MIRROR
BY PHILIPPE STARCK
WITH SERGIO
Nilufar Depot presented Far, an
SCHITO, GLAS ITALIA
exhibition curated by Studio Vedèt
and designed by Space Caviar.

‘RIO’ CHAIR,
GIANFRANCO
FERRÉ HOME

‘SELF’ SIDEBOARD BY GIUSEPPE BAVUSO, RIMADESIO

‘NEXT 147’
TABLE BY
PAOLA NAVONE,
GERVASONI

‘PANTONOVA’ MODULAR
SEATING SYSTEM, MONTANA

For details, see Stockists

JULY-AUGUST 2019| ARCHITECTURAL DIGEST|117

CNTRAVELLER.IN

GO HERE
BEFORE
YOU GO
ANYWHERE
PHOTOGRAPH: PANKAJ ANAND

Engage with the website and its social media platforms through:
Display ads, carousels, native stories, microsites, videos and more.

For advertising queries please contact: [email protected]

@cntravellerindia @CNTIndia cntravellerindia cntraveller.in

NAVY TIME
At a time when the world of horology is in a complicated movement of its own, there is
one unified trend towards all-navy watches
WATCH EDITOR RISHNA SHAH

Could the centuries-old art of watchmaking be facing a new chapter? This year, the watch industry has seen
big changes. Several heavyweight brands have decided to step away from the usual format of showcasing
their new collections at one of two major trade fairs in Switzerland: the Salon International de la Haute
Horlogerie or the 102-year-old Baselworld Watch and Jewellery Show. The biggest news this year was when
major holding company Swatch Group exited to create its own event, called Time To Move, raising several
questions about what the future holds for trade shows and how relevant they are for today’s horologers and
consumers. While the fairs still prove to be an industry meeting point, they also provide a platform for new-
age independent watchmakers, who are impossible to ignore. AD flies to Switzerland to discover the new
timepieces worth talking about—and finds a blue twist to the tale.

audemars piguet
CODE 11.59 Selfwinding
Why 11.59? Audemars Piguet wants to highlight the minute before
midnight, the moment leading up to the next day, for its latest line
of timepieces. Although the case is circular, there is an octagonal
element on it, borrowed from its bestselling brother—the ‘Royal Oak’.
This octo-round shape isn’t the only thing unique here; the uniquely
curved sapphire crystal on top increases the legibility of the dial.
ROLEX
Oyster Perpetual GMT-
Master II
Gently tweaked from last year’s
version, the Cerachrom bezel has been
updated to blue and black—instead
of 2018’s ‘Pepsi’ blue and red. Carried
over from last year are the impressive
calibre 3285, five-piece Jubilee bracelet
with a secure safety clasp (patented as
Oysterlock), two time-zone functions
and waterproof to 100 metres.

rado
True Thinline My Bird
Designed by award-winning Russian artist
Evgenia Miro, a delicate feather motif is
laser-engraved on high-tech ceramic, instead
of her usual material of choice—silk or fine
bone china. Like all art, this too will be in rare
quantity—limited to 1,001 pieces.
omega
Speedmaster Moonwatch
Omega Co-Axial Master
Chronometer Moonphase
Chronograph
The Speedmaster was released
more than 60 years ago and has
been part of six lunar missions. Fast
forward to 2019 for this self-winding
chronograph that can withstand
magnetic fields up to 15,000 gauss—a
factor Omega tests very seriously in
its Biel headquarters. The platinum-
gold 44.25mm case also houses other
useful functions like the date and
moon phase.

Breguet
Classique 5177 Grand Feu
Blue Enamel
This neoclassical novelty features a striking
blue dial inspired by the signature shade of
Breguet hands. Grand feu enamelling has
been used to give the dial its perfect hue and
finish. The contrasting Arabic numerals are
silvered and enlarged for better readability.

JULY-AUGUST 2019| ARCHITECTURAL DIGEST|121

gReuBEL fORSEY
Art Piece Edition Historique
Disclaimer: Reading the time is not
a priority in this timepiece. As they
suggest with the name of this watch,
Greubel Forsey believe in creating
pieces of art. What time is it here?
The hours are marked with a tiny red
triangle on an etched sub-dial, the
minutes are not visible at all unless
you press down on the crown.

CHOPARD
L.U.C XPS Twist QF
Crafted using 18-carat ethically sourced
Fairmined white gold, this watch can be
worn with a clear conscience. Fitted with a
self-winding mechanical movement, a power
reserve of 65 hours and a small seconds sub-
dial at 7 o’clock, if you like this one, get in line;
production is capped at just 250 pieces.

122| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

cartier
Privé
The French maison reflects on its
heritage by reviving this Tonneau-shaped
dial first seen in 1906. The elongated
form proves a great stage for the
skeletonized dial; and for those who need
a little extra sparkle a baguette upgrade is
available on request.

a LANGE & SoHNE

LANGE 1 “25th Anniversary”
The Lange 1 was first launched by the
German watchmaker 25 years ago, and
to celebrate this milestone A Lange
& Söhne plans to release 10 watches
through the year, each uber-limited to
just 25 pieces. The theme, of course, is
Lange 1—seen so far with blue numerals,
blue alligator strap and blued steel hands.
Ulysse Nardin
Freak X
This addition to the iconic collection is
more accessible in size and price—as well as
usage; this is the first of the Freak watches
to feature a conventional crown. More
like previous editions, however, this watch
also has no hands; the central bridge and
one of the wheels act as minute and hour
hands respectively.

jAEGER-LECOULTRE
Master Ultra Thin Moon Enamel
It’s the guilloche on the dial that draws the
eye to the clean interface of this remarkable
timepiece. Also decorating the dial are
minimalist hour markers and a high-shine
moon on an enamelled base with low
relief—a technique perfected for each and
every one of the 100 produced.
GIRARD-
PERREGAUX
Cosmos
Your eyes do not deceive; there’s
not one but two rotating globes on
this masterpiece. Other than the
hours and minutes at 12 o’clock and
a tourbillon at 6 o’clock, you can
admire the mini-Earth with a second
time zone at 3 o’clock and zodiac
constellations of the sky at 9 o’clock.

HUBLOT
Spirit Of Big Bang Tourbillon
Carbon Blue
This barrel-shaped skeleton tourbillon
packs quite a punch. At 42mm, it’s hard
to miss on the wrist, especially with its
carbon-fibre elements, iconic H-shaped
screws and, of course, the tourbillon
at 6 o’clock. The whopping five-day
power reserve is on show at 8 o’clock
and the hours and minutes are located
at 3 o’clock.

For details, see Stockists

JULY-AUGUST 2019| ARCHITECTURAL DIGEST|125

In the weeks just after the terror attacks in Sri Lanka on
21 April, the AD team began shooting The Geoffrey Bawa
Issue. It was the issue that nearly didn’t happen. As we
captured both Bawa’s signature architecture as well as
the country’s natural beauty, there was a sadness about
the empty hotels and their staff. Tourism is a $4.4 billion
industry in Sri Lanka, and this year the numbers have fallen
drastically. AD stands by Sri Lanka in its time of need. We
offer our support in any way we can.

Go back to Sri Lanka.

23 July 2019 marks the 100th anniversary of the birth of the great Sri
Lankan architect Geoffrey Bawa. Working closely with the Geoffrey
Bawa Trust, has sought to celebrate both the man and his work in a
style that even “GB” would have approved of. Landscape architect,
interior designer or product designer? Bawa is often misunderstood.
But what is clear is that he was a man of exceptional taste in everything
he did. In our most ambitious endeavour to date, shot a cinematic
story of life at Bawa’s iconic personal homes, his Colombo townhouse
at No 11 on 33rd Lane, and in the legendary gardens of his Lunuganga
estate. With unprecedented access to the trust’s archives and to some
of his most rarely seen residences, we have put together the ultimate
tribute to The Talented Mr Bawa. Enjoy.
PHOTO: ASHISH SAHI.

Opening page: The oculus in the porte cochère

of Horagolla Stables gives a view of the garden
surrounding the property.
Geoffrey Bawa was born in 1919, the second son
of a wealthy lawyer, in what was then Ceylon.
Young Geoffrey was a literary man, who in his
teens liked to compose short stories. He came to
architecture through his interest in gardens.
SHIRT BY RAJESH PRATAP SINGH.
brings you a cinematic recreation of the life and times of the legendary architect
PhotograPher Ashish shAh . Fashion stylist Kshitij KAnKAriA
Geoffrey was first drawn to English
landscaped gardens when he went to study
law at Cambridge in the 1950s—on his
mother’s insistence. He explored Renaissance
gardens when he visited Italy, and on his
return, rediscovered the tropical garden
traditions of Sri Lanka. In 1947, he purchased
Lunuganga, a rubber estate near Bentota.
While making a garden to “capture the
feeling” of spaces he had experienced in his
youth, Geoffrey took the advice of his cousin
Georgette Camille, who suggested that he
do what he did best “with other peoples’
money”. Geoffrey gave up law and took to
architecture. In a career spanning
50 years, he always returned to Lunuganga,
an estate whose name evokes the salt river
that surrounds it.
At the end of a long dirt road, dancing flames on the gateposts
greeted visitors who arrived for evening gatherings in the
garden. Although Geoffrey enjoyed good company and moved
in the same circles as Colombo’s elite, he was a private person.
He would gaze across to the little dagoba on the hill of the
distant monastery and had a love for Dalmatians, three of
whom he named Leopold.
The making of the garden consumed Geoffrey for over 55 years.
He slowly chipped away at the landscape—like a sculptor—
giving life to his imagination. The frangipani tree was actually
two branches planted together and he watched them grow
away from each other over the years. He occasionally nudged
them into shape by hanging rocks on lower branches so that
peacocks might alight on them. He liked to have his breakfast
served on the concrete table with leaf impressions on it. From
here, he would watch the long shadows of the morning retreat
into nearby trees while savouring his string hoppers, prawn
curry and coffee. Lunch was often served on the eastern edge
of the red terrace, in 18th-century ‘kitchen Ming’ plates (as
Geoffrey called them), Spanish glasses and ‘Mama’s’ silver from
three generations.
SHIRT BY ITOH. FACING PAGE: SHIRT AND TROUSERS BY RAJESH
PRATAP SINGH.
“It’s my luggage, and I always travel with it!” said
Georgette Camille exhorting the customs officer
who attempted to charge duty on the 18th-century
chandelier she had brought for Geoffrey as a
housewarming gift. She convinced him. Only lit very
rarely, it was hung over a sitting room filled with
colonial furniture from the 16th to 20th centuries.
Geoffrey derived the proportions of the Sandella, or garden room, from
an 18th-century shopfront, from which he created a glazed window at
the back of the room. Its original window panels became the balustrade
of the upper gallery. He would unroll large drawings on a vast table,
made from a single plank of rain-tree wood. These drawings would often
be held in place by a 17th-century St Anne figurine and 20th-century
wooden car toys as paperweights. Once, over this very dining table,
Geoffrey discussed the official new residence of a president of Sri Lanka,
sitting in the two Bawa versions of the burgomaster chair. As for tea after
siesta, Geoffrey liked it in the silver service that belonged to ‘Mama’ .

SHIRT BY ITOH. TROUSERS BY RAJESH PRATAP SINGH.

Geoffrey’s study in the master bedroom overlooked a private courtyard
with independent access to the gardens beyond. One of his favourite
pieces of table lighting was the classic ‘Anglepoise’. It joined a collection
of other lights hung to catch the rays of the setting sun through their
cut-glass shades. He lived simply. His indulgences, however, included
foreign travel, automobiles and things of absolute beauty. He put up an
old print of the Villa del Emo, bought on the streets of Rome. Flanking
the bed, he had an antique window painted with gilt-backed illustrations
of birds by artist Laki Senanayake. He took a liking to the minimal work
of Riten Mazumdar, and brought back the textile designer’s bedspreads
from Fabindia of the 1970s. An old kerosene-operated fan whirred, at a
time when Lunuganga had no electricity.
Geoffrey’s father, Benjamin, died when Geoffrey was only three. His
brother Bevis and he were brought up by their mother in Chapman
House, a large villa on Darley Road in Colombo. Lunuganga, his
eventual home, was a coming together of pieces from around the
world and heirlooms. The barely used Biedermeier-style dining
table is from Geoffrey’s parental home. One of two 18th-century
tamarind-wood cupboards from the southern provinces flank the
table and a 19th-century burgomaster chair. The Romanesque
sculpture of a child bishop is likely of European provenance and
was sent to Sri Lanka in a box simply marked “One Bishop”.
Tall and strikingly handsome, Geoffrey would settle down
alone or with friends for sundowners of arrack and ice, or the
occasional gin, on the northern terrace overlooking the Honduwa
island. The little kink in the terrace allowed him to look at the sun
setting even when it was furthest south. He was fond of smoking
and a locally made cast-brass ashtray—a version of a Beck & Jung
pressed-aluminium design—was a constant presence, until he was
warned about the perils of smoking. He quit overnight.
SHIRT AND TROUSERS BY RAJESH PRATAP SINGH.
Like most plantation houses of the time, the main house, built in 1920,
occupied a prominent bluff on the landscape. Geoffrey opened the
views north towards the lake and south across Cinnamon Hill towards
the distant dagoba of the Katukuliya temple. The house became a
camera in the garden. In the mornings, when Geoffrey opened the door
of his private courtyard in the bedroom, his view would be the blushing
young leaves of a Na (Mesua ferrea) tree as it caught the light of dawn
and the sweet smell of its flowers wafted in.
C H A P T E R T WO
B E N T O T A
Bentota, the crossing at the Bentara River,
has long had a rest house overlooking the
spit of land between river and sea. It has
always been a favourite destination for
Colombo denizens wanting a break on the
south west coast. Geoffrey followed his
brother, Bevis, who had settled in nearby
Kalawila, on a piece of land he had received
from his mother, on the north side of the
river. It had been a ‘brief’ for one of the
cases their illustrious lawyer father had
appeared for. Geoffrey would find his own
land on the south side at Dedduwa Lake.
In the late 1960s, Geoffrey was called upon
to design a tourist complex on the south
side of the river, overlooking one of the
best beaches. There he created a shopping
village, town square and railway station
along with two of the four hotels planned—
the iconic Bentota Beach and the Serendib,
now the Avani.
Geoffrey’s architectural style during the 1960s
became a critical model for hotel design in
tropical climates. He took pleasure in making
buildings that would merge landscape with
interiors. The Serendib hotel was built to
replace the old Bentota Rest House. Its
location had been usurped by the much
grander Bentota Beach Hotel, which was, at
the time, unaffordable to domestic tourists.
The Serendib would fill that need for many
years. He originally planned it with sand floors,
but later replaced these with terracotta tiles.
The simply planned rooms had a private
courtyard and a little veranda that opened
up to vast lawns that sloped down to the
magnificent Bentota beach.
The pleasures of Bentota beach and peaceful village life in the
hinterland attracted many expatriates to come and live in Sri Lanka for
extended periods of time. The house at No 87 Galle Road comprises
two 17th-century houses, one remodelled and the other moved across
the road to make up a residence for Lydia Gunasekera, an Italian artist
who’d moved to the island. The owner added a pool to the property
and, on Geoffrey’s advice, hid it among lush tropical verdure.
Over the years, Lydia worked with
Geoffrey and made several sculptures
for him, including a leopard at the
water gate at Lunuganga and a
bishop for a school building. At No 87,
the duo put imprints of the breadfruit
tree (Artocarpus altilis) on the heavily
mossed-over garden steps to allow
for a foot grip. This practice was
started by Geoffrey’s brother, Bevis,
at his garden, Brief, and carried on by
Geoffrey in many of his projects.
Geoffrey had a talent for architectural bricolage. He would
cleverly juxtapose the old with the new, choreographing
elements salvaged from old buildings and setting them
next to modern pieces to create an evolving composition.
At No 87, a modern staircase replaced the old stepladder
used to access the upper floor of the main house, while
an 18th-century Dutch period gable-top cupboard took
centre stage in the entrance hall of the main house. Later,
the current owner had steel doors inserted for security but
designed to allow natural ventilation into the house.
Geoffrey worked with some of the most interesting artists, draughtsmen,
sculptors and textile designers of the time. Together, they wove a rich tapestry
of local Sri Lankan culture and foreign influences. At the Neptune Hotel (now
the Heritance Ayurveda at Beruwala)—part of the string of tourist hotels on
the beach around Bentota—artist Laki Senanayake adorned the pargeted
walls of the reception pavilion with local trees and foliage. The combination of
sinuous built-in sofas and copies of 19th-century nursing chairs with a round
table became signatures of Geoffrey’s work—especially in furnishing interiors.
His favourite was a love seat or conversation chair, such as one that now sits
on the edge of the swimming pool deck overlooking the Beruwala beach.
Of the many public buildings that Geoffrey built, the little
Bentota railway station is one of the least known. It was
designed along with the tourist shopping complex, a bank
and a police station to service travellers arriving directly
at the beach from Colombo. A footbridge connected the
station to the public beach. He designed the railway station
itself to appear like a little village veranda. The station
windows, which are decidedly modern, were made to
capture the shape and form of the windows of 1960s railway
carriages. When one takes the train through Bentota, it gives
a glimpse of a whole array of Geoffrey-designed beach
properties in Bentota. As it heads north to Colombo or south
to Galle, one gets to see the Club Villa, the Villa Bentota, the
Serendib and the Bentota Beach Hotels and others.

SHIRT AND TROUSERS BY ITOH.

C H A P T E R T H R E E
C O L O M B O
H O U S E N O 1 1
T H E O F F I C E
Colombo was the centre of Geoffrey’s social and
everyday work life. He rented the third in a row of
four tiny bungalows on 33rd Lane, off Bagatelle
Road and by 1969, he had expanded into the other
three identical cottages, combining them into an
extraordinary labyrinth of spaces. No 11 became his
own inner landscape. The soft curves of the stairs
and its handrail evoke Greek villages that Geoffrey
may have visited. These stairs lead up to a tower that
he made by demolishing one of the cottages and
replacing it with a three-storey structure. Geoffrey
would go up there and contemplate the city outside
as it changed around him. For the next 30 years,
this was the centre of his private life in Colombo. In
1989, he started a home office with a team of young
assistants and continued to work here for the last 10
years of his life.
Geoffrey’s interest in architectural bricolage peaked at No 11.
Painted fabrics from Bali line a whole wall in the guest suite at the
Colombo house. Geoffrey collected these over many trips to the
fabled island when he was working on the Batujimbar project in
the 1970s. The eclectic collection of furniture and artefacts features
designs of his own—including a sofa, a table and an easy chair that
he modified from a colonial veranda chair for the Bentota Beach
Hotel, as well as an exquisite ivory-inlaid ebony-and-jackwood
cupboard and an Eero Saarinen ‘Tulip’ table and chair.

SHIRT BY ITOH. TROUSERS BY RAJESH PRATAP SINGH.

Geoffrey designed No 11 like a series of discoveries,
beginning from the front door to the sitting area, and
eventually to the bedroom—the heart of the plan. The
master suite was placed centrally within the labyrinth of
spaces. It included a large bedroom with the bed placed
at the end of an enfilade of doors, which, when opened,
allowed Geoffrey a view of a huge frangipani tree seen
through his veranda and the sitting room from his bed.
Geoffrey’s talent in carving out views and perspectives
remains unmatched.
And then came the details. An epoxy-painted slab of
concrete surrounded by Saarinen-designed ‘Tulip’ chairs
played host to exquisite silverware and a series of guests
in the dining room. He had the walls adorned with charcoal
rubbings of antique temple columns and part of a poster of
Lenin, a relic from a trip to the Soviet Union.
The daily ritual of a traditional English breakfast was always
laid on a little round table in the veranda with Ena de Silva
table linen, family silver and Spanish glasses.

SHIRT BY RAJESH PRATAP SINGH.

Geoffrey worked at a cement-topped table, then painted with
white epoxy, at his office which is now Paradise Road, The Gallery
Cafe. He liked to surround himself with things he loved, like the
gilded saint and his favourite ‘Anglepoise’ lamp.
In 1997, before handing over the building, Geoffrey decided to
discard most of the drawings from his office, but the assistants
managed to save many, which are now part of a 4,000-plus object
collection in the Geoffrey Bawa archive.

Behind his bed, he put up a magnificent 18th-century hand-printed

cloth that was given to him by Ena de Silva, his dear friend and
client. On a side wall, a cartoon of Geoffrey made by Bevis, his
brother, was put up, and below it, a picture of Bevis. An 18th-
century calamander cupboard contained most of his wardrobe.
Daily life was spent in the veranda outside Geoffrey’s bedroom.
This is where he met with friends, colleagues and guests before
filing in to the dining room to sit down for meals. Overlooking a
courtyard that was open to sky and protected by a steel pergola,
the veranda was at once both inside and outside, a hallmark of his
style of design.

SHIRT AND TROUSERS BY RAJESH PRATAP SINGH.

Geoffrey worked like a theatre artist, choreographing
spaces, movement through them, and the fierce tropical
sunlight. Light was always brought in from above and
through courtyard spaces open to sky.
A small roof aperture throws light on to a gilded owl and
down on a seat covered in an Ena de Silva batik. Finger
palms bring in a soft dappled light effect, and the floors
and walls being painted completely in white helped multiply
the effect of even the smallest amount of light. Even on a
grey monsoon day, the spaces appear to be full of light.
Crowning the three-storey house, Geoffrey designed a
modernist roof terrace that is reminiscent of that of Le
Corbusier’s Maison Citröhan.
C H A P T E R F O U R
T H E G O O D L I F E
Geoffrey was relentless in
pursuit of his ideas and he
would not give up until he had
achieved a result as close to
what he had pictured in his
mind. He was someone who
enjoyed the good things in
life. From beautiful cars and
exquisite cigarette lighters to
ivory-tipped walking sticks and
passionately made watches, he
surrounded himself with things
that he considered beautiful. A
lot of these he collected during
his travels, which was his other
indulgence in an otherwise
simple life.
Geoffrey and his brother Bevis shared a passion for beautiful cars
and between them had several Rolls-Royces, including a Silver
Ghost and a Silver Shadow from the early 20th century, as well as
a 1922 Rolls-Royce 20 HP from when he worked in Madras in the
1970s. The Rolls-Royce that survived him, a 1934 Drophead Coupe,
was bought from “two ladies in Brighton”, when he was a student
at the Architectural Association. He used it both to travel around
London and often to speed down to Rome for long weekends. It
was last used when he drove it to the state opening of the new
parliament buildings at Sri Jayawardenepura Kotte in 1982. The
Mercedes-Benz 300 Adenauer limousine that stands beside the
Rolls-Royce at No 11 in Colombo is one in a long line of Mercedes-
Benz cars that he owned, including a 220a and a 280SL.
Geoffrey dressed in a simple manner. He would be seen wearing
long shirts with multiple pockets on an everyday basis and
occasionally in formal coats paired with light-coloured trousers. He
always wore a gold ring and a chain around his wrist along with the
one wristwatch he would choose for the day. Towards the latter part
of his life, he carried a simple resin-handled walking stick to support
himself. On occasions and evenings, it was replaced by an exquisite
antique ivory-handled rosewood stick that had once belonged to a
bishop of Bombay and given to him by antiques dealer Mahendra
Doshi.
Throughout his life, Geoffrey revelled in travelling. Escapades
in Venice and Budapest at the start of the Second World War,
motoring trips across the United States and Europe, travels across
the subcontinent, China and Japan—his experiences became a core
from which he drew many of his architectural ideas. His final trip
was to South Africa in 1997, after which his health deteriorated.

Geoffrey passed away in 2003. He was cremated in a moving

ceremony on the summit of Cinnamon Hill in Lunuganga, and his
ashes were scattered in his beloved garden.
.
TEXT: CHANNA DASWATTE PRODUCTION: TALIB CHITALWALA.
PHOTOGRAPHER’S ASSITANT: ABHISHEK RAO. FASHION ASSISTANT: RUHANI
SINGH. HAIR & MAKE UP: AKGUN MANISALI. MODEL: NAVAJO HILLION
WOMEN GONE WILD
Condé Nast Traveller’s Wildlife & Safari Supplement 2019
spotlights the women who protect our forests and wildlife

The much awaited Wildlife & Safari Supplement by Condé Nast Traveller is back
and it’s brimming with inspirational stories of women who are devoted to nature and
its conservation. Look forward to a comprehensive guide on the best safari lodges
and how to take on the wild, with insider advice from avid women safari goers.

PLUS

★ The Essential Safari Calendar for India and the rest of the world ★

COMPLIMENTARY
WITH THE AUGUST
- SEPTEMBER 2019
ISSUE

For advertising queries please contact [email protected]

www.cntraveller.in cntravellerindia @CNTIndia @cntravellerindia

GQ’S GUIDE TO
THE BEST WATCHES
IN THE WORLD
COMING UP IN THE AUGUST ISSUE

For more information, contact [email protected]

Friends and peers of Geoffrey tell tales of wisdom, talent and
great taste in these artistic tributes

Horagolla Lunuganga Horagolla Stables

Stables Gateposts Living Room

Bentota Train Lunuganga Lunuganga

Station Entry Steps Details
Channa
Daswatte,
architect, writes a
personal memoir of his
time with Geoffrey Bawa.
How to meet up with Geoffrey
Bawa for lunch in Kensington
between an exam that finished at noon
and the 3.30pm to Paris from London Victoria
occupied my mind more than the subject of
‘complex buildings’ that June morning in 1991. I had met
Bawa several times while I was attending the Bartlett. One of
these meetings entailed a visit to the gardens of Chiswick House
with Bawa hanging on for dear life to my shoulder while walking on an
utterly uneven lawn that appeared otherwise to the eye. It was only years later
that I realized why he was now courting me to work with him over lunch. I had
been tested as perhaps the nearest thing to a perfectly proportioned, living walking stick
that could be found. I was, of course, under the rather grand impression that his choice was
made for an intellectual brilliance! However, that afternoon, I took the bait, which was a stack of
photos of a site in Sri Lanka very close to where I had camped as a Cub Scout in my childhood
years.
“We will
be building a
hotel here,” he said,
“Why don’t you come
over and help us?” What I
didn’t know was that “help” meant
help him walk. Being a walking aid, I
realized, has its many advantages. One gets to
participate in the life of the one supported—
literally upfront and face-first and in every aspect of it!
Arriving at his office in No 11, on the 3rd of November, 1991,
fully prepared to take on the practice of architecture, I was
immediately asked to take a week’s holiday. It was a couple of years
later that I realized that this was going to be the only holiday he would give
me ungrudgingly of his own accord. Walking sticks cannot be off-duty, but this
one did occasionally walk away—much to his annoyance. The first of these forays
came in 1993 when, after the second year of almost non-stop work, I took off to the
mountains. In spite of his indignation at my going, my return from Tibet was welcomed with
the curiosity of an inveterate traveller, who now seemed slightly inhibited by work and age. But travel

we did, and it
was something we both enjoyed, me
on my own on an annual escape and with Bawa on
several wonderful trips, which included Australia, Brazil, the
UK and South Africa with regular forays into India or Singapore for
work. One such visit was the result of a new interest in an exhibition
that had confirmed Bawa as a doyen of tropical regionalism, then the
fashionable ‘ism’ around the world. The exhibition, which was at the RIBA
in 1986, was now to be dusted and sent off to Brazil. The event held at the
Museum of Art of São Paulo was sponsored by the Instituto Lina Bo Bardi.
Bo Bardi had designed the stunning building; her work as a modernist who
broke the mould and made an architecture relevant to the São Paulo
landscape, resonated with Bawa’s own life and he enjoyed seeing her work
immensely. On this trip, one night, Bawa insisted he be taken to see the
famed São Paulo nightlife. An approach by a slinkily dressed person plying
their trade on the street was enough to send Bawa scurrying back to his
hotel and for the walking stick to escape into the night! His curiosity was
something that he held for all things good and bad. In South Africa, where
he had been invited along with Charles Correa to be a judge to shortlist
projects for a new constitutional court in Johannesburg, he insisted on
visiting the quite-extraordinary Palace of the Lost City at Sun City, the
casino capital of Africa, much to the indignation of Correa. In the end, the
sheer vanity of it all amused everyone and for me it was indeed a learning
experience of not judging anything until having seen it. At that time, he was
slowing down, and one of the other duties I had advanced to beyond being
the walking stick was to deliver his lectures, which happened for the first
time at the University of the Witwatersrand, which Charles Correa later
called “the Geoffrey and Channa duet”. Bawa introduced me as “someone
who can talk more about my work than I can!”, and unleashed me on the
gathered crowd, constantly interrupting with his own views to the huge
amusement of everybody. When I started with him, Bawa was already 75
years old. For a man that age and with various ailments, he had
tremendous energy, especially when visiting a site was involved. >
of
I n the
a sin- buil-
gle week, ding and
we would Bawa’s aban-
visit at least four donment of his
sites with vast well-known
distances between “tropical style”. What
them. These visits were they didn’t know was
the highlight of my work that the building was still
with Bawa, both as walking incomplete. Complex projects
stick and occasional architectural such as this can lead to differences
assistant. On a visit to the of opinion and one afternoon there
Kandalama hotel site, a colleague and I was a heated debate in the office. We all
looked out of the window of our knew that the one opposing Bawa with
approaching vehicle in horror as we saw that vehemence was utterly wrong, but in the heat
something terrible had happened on site. One of the moment he did not realize this. Mid-
look at Bawa’s face and I could see he was livid. conversation, Bawa suddenly got up from his
As he got out of the car, he said, “Lean me on
seat and left the room. A minute later, I was
that tree.” For one of very few times in our
summoned for support and we got into his
relationship, he wasn’t confident of my ability
car. “Let’s go for a drive,” he said. After half an
to support his frame. He then called on the
executive architect and engineer who hour of aimlessly driving around Colombo, we
approached him with great trepidation as by returned to the office and Bawa went back to
now they had realized what had happened. “I the now chastened colleague and apologized
cannot pretend that I am not outraged,” he to him for losing his temper and then carried
said to the duo. The contractor had blown up on with a more even and sensible discussion.
a rock that had a banyan (Ficus benghalensis) tree Such was his nature that he would never raise
on it that had been on all of the drawings from his voice or seem to be out of control in any
the very first sketches. He wanted to know if situation. Bawa was often right about his
the new retaining wall being built of bits of hunches about people he may have never met.
rubble was stronger than the solid granite A call requesting him to build a house in New
boulder that had perhaps been there for a few Delhi that was followed by a 30-page fax, with
million years. Fortunately, the tree had not about three lines on each, helped him decide
been badly damaged and was hanging on for that he would at least meet the lady who had
dear life on a fragment of the rock that was called. His excitement at building a house in
incorporated into the retaining wall and today Delhi was such that he immediately set about
the tree remains a magnificent specimen on designing it. The design was based on an
the edge of a precipitous wall for all to see. On imagined visit to meet his potential client in a
another occasion, he stopped all work on site now-finished house. A car rolled across an
until haphazardly blown-up rocks that had arrival court with the crunch of wheels on
been piled up around a magnificent Milla gravel. Bawa alighted from the car, both
(Vitex altissima) tree—another one of those walking sticks at hand, and stood on a stone
placed on the drawings from the early threshold slab floating on a lotus-filled moat
sketches—had been cleared. Nobody went to against a sandstone wall and struck the silver
lunch that day until 4pm. Kandalama was door with his walking stick. Staff peered out of
perhaps one of his least understood buildings. a small window and arrived at the door, which
At the end of construction, it was essentially a opened into a courtyard shaded by frangipani
modernist box with a concrete pergola on top trees with flowers littering the stone floors, and
painted olive green and black, and many tour across from this arrival area was a crystalline
operators came down hard with their criticism glass box from which an elegant lady emerged
to
be-
gre-
came
et him!
the main
This was
circulation
sketched by
of the hotel,
Bawa in pencil with staff and
onto square-ruled services using the
paper and later onto l owe r , g u e s t s t h e
tracing and to scale by middle, and further
one of us in the office. Many services incorporated into the
more anecdotes were designed, third level. Staff and guests
including quiet dinners for two on popped out at various parts of the
chilly winter evenings, in a courtyard hotel by traversing the monumental
open to the stars with four blazing fires wall that gave character to the whole
on its walls. I was sceptical of both the complex. It was these and other stories that
beauty and the taste of the new-found also manifested themselves in his life at
potential client until we did finally meet her, Lunuganga of which he once said was an
and I was most convincingly proven wrong. attempt to capture a feeling of various places
In the extraordinary friendship that developed and sites he wanted to hold on to. Perhaps he
between client and architect, many a happy was making a place to instigate other stories
time was spent on designing the house and and it was indeed the scene of many that came
telling stories to each other. Stories were often from entertaining ambassadors and presidents,
the basis of many of Bawa’s initial sketch princes and artists, revolutionaries and thieves
designs. Pondering the Lighthouse Hotel, in its spaces, which, of course, is another series
Bawa had to deal with the need to climb more of stories. Sadly, my life as a walking stick
than 15 feet from road level to the top of a began to come to an end shortly after
hillock on the sea in a very short distance and Christmas of 1997. Having come back from a
realized he could not escape having a staircase weekend in the south and a great dinner
and lift as part of the very first experience party at a friend’s house in the Galle Fort,
someone would have of this building. Here, he Bawa had the first of two strokes. The second
remembered the living room of a friend’s soon after impeded his speech and movement
house he had visited in Greece that was at the until his death five years later. A couple of
bottom of an unused well. This emerged as a years into his illness and after his health had
sweeping curved stairwell open to the sky, stabilized, the decision was taken to let him
with a bit of water at the bottom, embellished travel and visit his favourite places. One such
by a stunning sculpture by Laki Senanayake as visit was to his beloved Kandalama hotel,
its handrail. Designing the Sinbad Garden which neither of us had visited for over five
Hotel, now the Anantara Kalutara, Bawa was years. It was a quiet morning and as I, now
bored with what must have been his retired as a walking stick, wheeled him
umpteenth hotel and on what was for him a around the corner from the tunnel-like
boringly flat site—albeit a location between corridor that connects the public areas to
river and sea. Having struggled with several the bedrooms on the top floor, he put his
sketch ideas over a period of time, he suddenly feet on the ground, stopped the chair
remembered Hadrian’s Villa in Tivoli, and the and started weeping. There, in front of us,
cyclopian walls that criss-crossed the site that was the building he had envisaged in
some believe may have serviced the vast his mind’s eye in its full physical glory with
complex. Staff could emerge at any given place all manner of creepers and plants growing
as though appearing from nowhere. This around and out of it—the jungle beginning
manifested as a vast three-storey wall at to claim it. In that moment the architect
Kalutara that criss-crossed the site and had finally seen his building complete.
Shanth m y
Fernando, designer, own taste and
art collector and founder style. Bawa’s lifestyle was
of Paradise Road in Colombo, representative of his work; he
writes about Geoffrey Bawa, the lived as he designed. In his own
tastemaker of modern Ceylon. In the home, his sensitivity was obvious. His
early 1960s, Valentine Gunasekara, taste in art and furniture proved his
who was working with Geoffrey house was like its master. His eye for
Bawa at Edwards Reid & Begg, was a antiques, colonial furniture and objets
tenant of my parents. Gunasekara d’art was exceptional. He discovered
designed a townhouse for them; this perfect pieces while travelling around to
was my introduction to modern former colonial settlements, particularly
architecture and Bawa’s style. I can of the Dutch period in Ceylon, when
recall when, around the same time, the the furniture was refined and not over-
Bawa style was introduced to Colombo ornamented. His taste in art was
with the Ena de Silva house on Alfred modern, with works by L aki
Place. I, being a Boy Scout, did chip-a- Senanayake and Australian artist
job to get a peek into what was created. Donald Friend in his collection. In
I was fascinated by what I saw. Ever objects, Bawa had eclectic taste,
since I was exposed to it, I have whether it be temple or church art
been influenced by Bawa’s work— placed alongside contemporary
contrasts in texture, aesthetically materials; they represented a warmth
designed patios and traditional and an individuality. As a designer and
courtyards. I personally feel that Bawa’s retailer of homeware, I used a similar
height and his eye for detail were yardstick for choosing merchandise. I
undoubtedly his greatest assets in developed my eye to see beauty in what
creating vistas of perfect proportions, an was essentially Bawa. After living
ability that few architects have been able abroad for 16 years, I became a retailer in
to emulate, then or now. The homeware in Colombo and chose a
perspectives that he created were his 7,000-square-foot penthouse
signature. His work had a designed by Bawa, as my family
timelessness, and his selection made abode—a residence that he
of components to create him the yardstick then visited for the first
his spaces has in modern Sri Lankan time as he
design style and living culture.
The interiors that he put together—
dramatic, balanced and tactile—
became the ambitions of creative
people. Bawa’s style was the
foundation of my interest in
interior design and an
important stage in the
development of
for his
persistenc e in
acquiring the object. One
such piece was an antique
granite elephant that was placed
behind our sitting-room sofa. He
kept mentioning how nice it would
look in Lunuganga and I pretended
not to hear it. One day he met my
wife, Angelika, at an event where again
he mentioned the elephant. My wife
responded, “Mr Bawa, what makes you
think I don’t like it?” I found it very
difficult to keep this object thereafter, as
well as to appease his desire. I gifted
him two similar elephants that took
pride of place in his Colombo home.
My interest in the Bawa style has today
made me a proud tenant of several
spaces designed or influenced by him.
In his last years, he entrusted his
beloved office to me to convert into The
Paradise Road Galleries and Gallery
Café, which is one of the most-visited
Bawa spaces today. It was his request
that this building house art. We have
placed a plaque at our entrance that
reads the words of Arthur P Ziegler:
“You cannot hang a building on a wall
like a painting. You have to find a use
for it.” When we completed the
h a d set-up of the restaurant and touched
fallen out with gallery, Bawa visited the every object in
the owner during cons- space and approval. Today, every part
truction. At the time, my of the properties I have
greatest achievement was to have designed remain architecturally the
Bawa visit my stores and become same; the interiors and extensions
a good acquaintance. He enjoyed are designed to enhance the
being entertained and it was a spaces. Looking back, I can
pleasure to entertain him. When honestly say that I have always
Bawa saw something that b e e n a G e of f re y B a wa
appealed to his taste, he addict and that he was
was renowned my idol.
Edwin Heathcote, architect and
design critic, on the wide-ranging cultural
influences of the inimitable Geoffrey Bawa. A house and a
garden. Between these, the architecture of Geoffrey Bawa can be
understood. Not just any house and garden, but two seductively gorgeous
places. House No 11 in Colombo is a row of bungalows that Bawa, beginning in
1958, slowly transformed into his own dwelling, one piece at a time. It is a microcosm of
the architect’s ideas, a complex labyrinth more like the inside of a mind with its collaged
memories and dreams than a conventional house. The garden at Lunuganga is a former rubber
plantation that Bawa acquired in 1949 and transformed into a tropical reinterpretation of an Italian
Renaissance garden, reimagined as a series of spaces beneath the canopy of the sky and trees instead of a
roof. The house and the garden exquisitely illustrate Bawa’s genius for interpretation and amalgamation,
taking fragments and layers of Sri Lanka’s history, crafts, landscape and ways of living, and conjuring up
something both new and timeless. Geoffrey Bawa (1919-2003) was himself as much a product of a complex
colonial environment as was the architecture he synthesized. The son of a well-to-do Muslim lawyer and a
mixed-heritage mother partly of Dutch descent, he read English at Cambridge University and studied law in
London. He returned to Sri Lanka and briefly worked at a law firm but, after the death of his mother, embarked
on a couple of years of travelling the world, before returning to buy the plantation that would become his garden.
It was in an attempt to realize its transformation that he began to understand he’d need more specialist study. He
returned to Britain again, this time to study at the Architectural Association, which was, at the time, a hotbed of
radical modernism. He finally kicked off his architectural career at 38. His first project, a house for his
collaborator, the batik artist Ena de Silva, was a very different proposition from the designs of his
contemporaries at the AA, where brutalism was just beginning to emerge as the default style of the avant-
garde. Built using local materials and techniques, it was a courtyard house centred around a mango tree and
with De Silva’s beautiful rustic murals on the walls. Bawa appropriated elements from an Arab house
(the closed exterior and open rooms facing the courtyard), colonial architecture (the shutters and
arcades) and an almost Roman approach to the plan, reminiscent of the remains of houses in
Pompeii (even the terracotta tiles and reddish-earthy colours recalled this Mediterranean
idyll). His own house, which began from the adaptation of a single, modest bungalow
became one of the most admired, complex and beautiful architects’ houses of the
post-war era. Unlike most of his contemporaries, Bawa was not dogmatic
in his architecture. His house was not a manifesto but a synthesis
of the history of the island and the fragments, both
physical and psychological, he had
picked up on his
travels. In some views, the enfilade procession of rooms
appear like a moment in a Dutch painting, from other angles it looks
like a tropical villa, and from others still it resembles an Islamic courtyard tempered
by the fragility of a Japanese timber house. It was a hybrid architecture, which embodied
memories and glimpses from the histories of civilizations. It took moments from indigenous
constructional techniques and decorative motifs of Sri Lanka, and cross-fertilized them with the
subsequent layers of colonial occupation. It became a reconciliation of history, of disappeared cultures and
disputed injustices. Sri Lanka only gained independence in 1948 (as Bawa returned from his first sojourn in
England) and was still a nation forging its identity. That impulse is vividly present in Bawa’s work, manifested
as a restless search for forms and crafts, which results in a paradoxically restful, serene architecture. This was not
the modernist, post-colonial impulse to begin again, to forge an identity through novelty, like that happening
simultaneously in Brasília for instance—rather, it was a slow, careful reimagining of what was already present in the
cultural consciousness. Bawa went on to become the de facto national architect designing everything from schools
to luxury hotels (incidentally, he virtually invented the template of the tropical hotel now so familiar as an
aspirational global trope). So it was natural that in 1977 he should be called on to design the nation’s new parliament
building at Sri Jayawardenepura Kotte. Set on an island in the middle of a lake and with a series of distinctive
overhanging roofs, it resembled a Chinese palace, a forbidden city. Its golden crowned debating chamber was
modelled on Westminster, but a series of terraces, balconies and gardens made it seem—despite its isolation on an
island—a porous, open kind of building, far from the formal structures of the colonial era. He could be modern too.
At the Jayawardene House, for instance, he adopted the low-slung flat roof characteristic of California cool. He never
settled on a style, rather, consistently inventing forms that somehow always felt familiar. If you look at the floors of a
Bawa house, a collage emerges, a quilt of materials from handmade tiles to rough pebbles, bricks and concrete, to
rock melting into a limpid reflecting pool. And in the same way, he collected fragments of Italian palaces, Buddhist
ruins, Mughal forts, Roman villas and colonial verandas. It is so rich that it can never become boring. In recent years,
Bawa has been adopted as a model for sustainability—not just climatic in how he eschewed air-conditioning in
favour of design to allow cool cross-breezes and used the landscape and walls to ameliorate the tropical heat, but
also in terms of materials, embodied energy and craft. He used the material that was available locally and the
builders who knew how to handle it from generations of experience. His buildings always worked with nature
rather than against it and he is now understood as one of the first truly green modern architects. But, perhaps,
even more than that, Bawa’s buildings managed to create an intense sense of place. Despite the mongrel
approach to style and form, lifting bits from innumerable periods and places, he nevertheless managed to
create an architecture that was absolutely of its place. His career as an architect coincided with
Ceylon’s transformation into Sri Lanka and his oeuvre has been pivotal in building an
identity for the island as a place in which the rich and not-always-easy layers of
history could be reconciled into a series of beautiful spaces.
e
the east, th
,
to the west
in
did not fall
e
his own. H
and was on
ng
g to anythi
n
fed belongi
a de
Bawa. Baw
ofrey
e
fG
o
re
tu
na
de
sh i
gu
in
ist
ed

e
ture of th
th

chitec
on

e ar
c onvert th
ma

c ould
y he
his is wh
Ku

ry feld. T
nt in eve
o

e
ng

was pres
gine. He
Ke

uld ima
co
to all things one
n
hing. He was ope
nyt
exclude a
was free from every cate
ens. Bawa gory and was alway
s by himself. Yet, h
or gard e
e didn’t
architectur
r
c ome unde
n
e didn’t eve
. H
e land
sea, th

tecture of the industrialized

c old urban archi era with the solid eart
h, and released them in
hard and
ected the to nature.
e rec onn
ury. H
20th cent
Adrian
Zecha,
celebrated
hotelier and
founder of Aman
and Azerai resorts,
on his friendship with
Geoffrey Bawa and the
architect’s influence on the idea of
the South East Asian luxury resort.
I first met Geoffrey’s brother Bevis, and
later Geoffrey, through Donald Friend, an
Australian artist living in Bali. In fact, Donald had
persuaded Geoffrey to design his private residence in
Sanur’s Batujimbar. This house was our family holiday
home for 17 years. I loved it so much that when Donald
de-
cided
to move
back to Aus-
tralia, I pur-
chased it from
him. Although it was
Balinese in its design,
Geoffrey applied a unique style
of simplicity and openness. It felt
like you were living outside. There were
no walls, just open spaces. His approach
was tasteful and relaxing. I stayed there several
times a year, for a few weeks each time, and often
in the summer because the weather was so good that
time of the year. Geoffrey was a man of great taste and
special style in everything he did. More than 20 years ago, I recall a
t i m e
with him
and my friend
Kerry Hill, the
Aust-ralian architect.
Geoffrey liked heli-
coptersand,atthetime,theonly
access to a helicopter was through
the military. Somehow, we managed
to get clearance. One of the most precious
moments I remember is when we flew all the
way up to Nuwara Eliya and had lunch at the
club there. Then we flew over Adam’s Peak, travelled
back and landed near Bentota for dinner at his villa. We
saw Sri Lanka in all its glorious beauty and design. The island
is
sp-
ecial.
And I
have a special
fondness for
Lunuganga. There
was a time I had hoped
to buy it. I thought it would
make a fantastic Aman. It has
so much natural beauty—the river,
lakes, and trees—which is extremely
important to me. It has the most incredible
views of soft rolling hills, especially from the
main house. The vistas are incredible. I never asked
to buy it during Geoffrey’s lifetime but I did present it to
the trustees later. Somehow, it did not come to pass. Should
it
be-
come
available
I would wel-
come the oppo-
rtunity. I wouldn’t
have to add anything to
it. Just a few rooms and a
pool. I don’t think Geoffrey used
pools in his designs. I built the pool
in the Bali villa and I probably would
have added that to Lunuganga. Sri Lanka is
one of my favourite countries in the world. It
always has been. Geographically, culturally, it has it
all. The coasts are beautiful and inland offers spectacular
rural settings. It is totally unique. All those hotels along the so
Sri Lanka coastline like the Lighthouse and Villa Bentota are be-
autiful.
Geoffrey’s
style is classic
simplicity. He had
an uncanny ability
to be simple. The first
building I admired was his
office in Colombo; it was more
a restored building that had been
transformed. With this inclination
towards simplicity and to align with the
natural beauty of a place, Geoffrey influenced
the idea of the resort hotel, perhaps not so much in
East Asia, but clearly in the subcontinent and South
East Asia. Kerry Hill was very close to Geoffrey and he
obviously brought about a certain awareness to Kerry as he
did, probably, to many others who came across him and his work.
WIN
A STAY
AT THE
LEELA PALACE
UDAIPUR

THE LAST WORD IN TRAVEL INDIAN EDITION

JUNE-JULY 2019 | 150

WIN WIN A
A STAY STAY AT
WELCOMHOTEL
AT HYATT PINE N PEAK
REGENCY PAHALGAM
DELHI

THE LAST WORD IN TRAVEL INDIAN EDITION THE LAST WORD IN TRAVEL INDIAN EDITION
APR MAY 2019 | 150 FEB MAR 2019 | 150

HOT! HOT! HOT! WHERE

Why now is the perfect time to take that fantastic trip to Ranthambore Tulum or Israel

TO GO IN THE
2019
Hot hotels in Asia the ultimate
HOT LIST
2019
cruise new extreme adventures

The sexiest
new hotels for all
stay cool
FOOD SPECIAL!
INDIA’S TOP 50
RESTAURANTS
seasons and reasons
WHY FINLAND WILL
MAKE YOU HAPPY WHY GOA IS OUR
YOUR GUIDE TO NEW FOOD CAPITAL
NYC THIS SUMMER HOW TO EAT LIKE A
THE RISE OF LOCAL IN VENICE
RESORT WEAR
BEAT THE
BUSINESS EXOTIC HOLIDAYS
TRAVEL SPECIAL
Making it work when
Chile, Namibia
Sweden, Queenstown HEAT ON
KENYA’S
you have kids how Manushi Chhi lar
at Four Seasons Berlin, Guizhou
corporates do it all Resort Seyche les

ROSEWOOD HONG KONG + ITC ROYAL BENGAL + KUDADOO MALDIVES A R I A N N A H U F F I N G T O N + D I I P A K H O S L A+ M A N I S H M E H R O T R A

COOLEST
ISND
8
TH

ANNIVERSARY
WIN A SPECIAL
STAY AT
ROSEATE
HOUSE, NEW
DELHI

L OV E
DISCOVER THE
SECRETS OF
KOLKATA
THE LAST WORD IN TRAVEL INDIAN EDITION
OCT NOV 2018| 200
THE LAST WORD IN TRAVEL INDIAN EDITION
DEC JAN 2018 19 | 150

GO BEFORE IT’S GONE

Spectacular experiences around the world that are d sappear ng fast
AND
T R AV E L
GALÁPAGOS ISNDS KIRIBATI PERU THE SUNDARBANS
Aishwarya THE GREAT BARRIER REEF ANTARCTICA RWANDA
n Washington DC

How tech has changed the way we navigate trips and relationships

TRAVEL LIKE THE STARS

Revealed: the secrets, the perks, the pressures, the glamour EXPLORE AUSTRALIA’S WILDEST FRONTIER TIME TRAVEL THROUGH VIENNA
DISCOVER CHETTINAD S THE HEROES SAV NG INDIAS LIVING SIKKIM S COOL CULINARY
PICO IYER’S GOA+SAIF & KAREENA IN MALDIVES+KANISHK THAROOR ON ICEND ROYAL LEGACY (& DYING) TREASURES TRADITIONS
With storytelling and detailing, his draughtsmen captured the lived
experience of a Bawa building on paper
Writer Shayari De Silva

W e do our drawings after the buildings are completed,” Geoffrey Bawa

had once famously said. While extraordinary for many reasons, Bawa’s
architectural drawings were less to provide instruction for constructing
a building and more to communicate an idea and an experience. Those who knew
Bawa and worked with him say that the site was the primary inspiration for each
project, and it was on site that Bawa would envision each building and develop its
design. What role, then, did the drawings take? For a new client, they might have
helped explain what Bawa was planning for their project. At other times, the
drawings were two-dimensional emissaries for explaining his work in publications
and exhibitions. Over his career, Bawa worked with a series of exceptionally
talented architects and draughtsmen who were able to convey the joy of being in a
Bawa building—often through their painstaking depictions of perfectly positioned
plants and the precise placement of objects. The drawing style, which continues to
have a significant influence in the region, subtly nudges viewers through the space
of the drawing, capturing the essential experience of movement and narrative in
Bawa’s architecture.

An elevation drawing of the eastern terrace showing the gallery,

henhouse and garden room at Lunuganga. It also shows the myriad
pathways and stairs that cut through the terraces and link the spaces
of the garden, which Bawa described as “a series of rooms seen in
succession or as a whole”. (Drawing by Sumangala Jayatilaka, 1988)
A perspective drawing of Lunuganga from the vantage of the
Honduwa island across the north terrace, showing the buildings
and pavilions nestled within layers of plants and waterbodies.
Bawa literally moved mountains, sculpting the terrain leading up to
Cinnamon Hill so that his view of the 14th-century Katukuliya stupa
would remain unimpeded. (Drawing by Philip Fowler, 1985)
This 1985 plan of the Lunuganga
garden shows the main house as
it sits on 25 acres of land, flanked
by the rooms and pavilions,
which were added later. The
pattern of paddy fields alludes
to the rice cultivation that took
place on the land, and continues
to this day. Bawa enlisted a local
elephant to stamp and puddle
the earth as he drained and
filled the land to resume the
paddy cultivations that had been
abandoned before he acquired it.
A section drawing of No 11—Bawa’s house in Colombo is
a series of four small houses that he artfully combined
between 1958 and 1968. Visitors are greeted by the
Rolls-Royce parked in a structure that stands where the
first of the houses used to be, reconceived as a three-
storey structure encompassing the guest suite and roof
terrace. (Drawing by Vernon Nonis, circa 1985).
A ground-floor plan of No 11—it shows the labyrinthine
quality of Bawa’s Colombo house and the pockets of
courtyards and loggias that are tucked into the spaces.
This drawing hints at the richly varied textures and
elements that underscore the architecture of the house.
(Drawing by Vernon Nonis, circa 1985)
The upper-floor plan and (below) roof terrace plan of No 11. In the 1968 remodelling of the house, Bawa inserted sculptural stairs that take one from
ground level up to a living room and guest suite, and subsquently to the roof terrace, which serves as the perfect place to enjoy an evening arrack-
and-ice amidst the treetops after a day of hard work. (Drawing by Vernon Nonis, circa 1985)
SUBSCRIBE

AND GET A GIFT HAMPER

1500*

Free gift hamper worth ₹1500* with print subscription.

31% off on print subscription, delivered bi-monthly to your doorstep (along with Oct
and Dec issues).

63% off on digital subscription at introductory price of ₹600 and read Architectural
Digest on any device.

1100 Gift Hamper worth ₹1500

600
*Offer valid till 31st Aug’ 19. Valid till stock last.

bit.ly/buyadmag 022 48933899

Meet the people who worked with Geoffrey Bawa and continue to
maintain his gardens and residences impeccably and exactly as he liked
Writer Smriti Daniel . PhotograPher Dominic SanSoni

MA Upali Lionel, gardener at Lunuganga since 1978

When MA Upali Lionel decided he needed a job in 1978, he didn’t have to look much farther than his
neighbourhood. He would take a short walk from his home in the village of Dedduwa to Lunuganga,
where Bawa recruited his help to build the famous staircases at Lunuganga. Cutting across the
landscape, they frame the levels of the garden and provide new perspectives at every landing. Their
elegance hides how logistically challenging they were for Lionel and the others to construct. Today,
the stairs are a celebrated part of the garden. Knowing that he helped to realize Bawa’s vision fills
Lionel with a quiet pride and happiness.
P Wijepala Abeyratne (left) and HTP Rathnawathie, gardeners at Lunuganga since 2004 and 1989
Wijepala first worked on Cinnamon Hill, painstakingly digging the ridge to lower its levels to ensure
perfect views, as Bawa had wanted. (Cinnamon Hill is also where Bawa’s ashes are buried under
the shadow of the tree that stands on its crest, with nary a memorial inscription in sight). And
Rathnawathie, simply known as Sita, has something of an odd speciality. Every week, she walks the
grounds, looking for places where the green carpet may have worn thin. She painstakingly plants
new shoots, and keeps an eye on them till they have grown strong. Her favourite time is after dusk,
when everything becomes still and the animals come out of their dens.
T Priyantha Kumarasiri, housekeeper at No 11 since 1988
Kumarasiri joined Bawa’s household at 17, and now, he is the most senior employee at the Colombo
residence. Thanks to him, this home remains much as its master left it. Kumarasiri’s particular loves
are the two vintage cars parked in the garage. The 1934 Rolls-Royce Drophead Coupe and the 1953
Mercedes-Benz 300 Adenauer limousine were the architect’s treasured possessions. In fact, Bawa’s
last outing in the Rolls-Royce was to mark a significant occasion—the debut of Sri Lanka’s beautiful
new parliament complex designed by the architect and completed in 1982.
Rohana Withanarachchi, housekeeper at No 11 since 1995
For years, Withanarachchi served Bawa his daily gin and tonic at 7.30pm on the dot. No 11 was
a space where Bawa loved to entertain, hosting elaborate dinners for his protégés like Channa
Daswatte and Amila de Mel, collaborators like textile and handloom designers Barbara Sansoni and
Ena de Silva, and artists like Laki Senanayake. Today, the house is filled with art and sculptures Bawa
collected over a lifetime, but Withanarachchi has a favourite series: he often pauses to appreciate
the 23 pieces of Balinese hand-painted fabrics—some inspired by the story of Mahabharata—that
adorn the long wall in the living room of the guest suite.
MD Amarasiri and Chandralatha, gardeners at Lunuganga since 1983 and 1999
As the head gardener, Amarasiri oversees 15 others. He remembers how Bawa would come down
every weekend, often with friends in tow. Sitting in his chair, languidly smoking cigarette after
cigarette, Bawa would issue instructions to them, many of which related to caring for the estate’s
trees. Bawa taught Amarasiri to consider them from every angle before ever pruning a branch. He
laughingly admits that it took him 20 years to understand what Bawa was trying to do. Amarasiri
now conveys some of those lessons to new gardeners who never met Bawa yet walk his lawns.
Chandralatha has known Amarasiri for 30 years. She sweeps, repairs and does routine gardening.
Krishna Jagadeesan, housekeeper at Lunuganga since 1999
Every week, Jagadeesan spends a day with memories of Geoffrey Bawa. He dusts and mops
but does not rearrange anything in Bawa’s room at the garden estate. It is Jagadeesan’s duty to
keep everything inside as it was. As part of his responsibilities, he has memorized the sounds of
14 different bells—each hung at a different point in the property. They were his signal that Bawa
needed something. Today, Jagadeesan will ring the bells when he is leading a tour group around the
property, allowing them to imagine for a moment that the architect is still calling for his evening gin
and tonic.
essay by Shanay Jhaveri
As we turn our eye towards Sri Lanka and its artistic geniuses, we look at the
photographic oeuvre of Lionel Wendt, capped with an excerpt from a revelatory
THE WENDT GAZE

EXCERPTED FROM ‘LIONEL WENDT: RECASTING THE IDIOM OF MODERN PHOTOGRAPHY IN SOUTH ASIA’ BY SHANAY JHAVERI,
LIONEL WENDT: CEYLON (FW: BOOKS, NETHERLANDS, 2017). ALL PHOTOS COURTESY OF JHAVERI CONTEMPORARY.
L
ionel Wendt was born in Colombo in 1900 into the Burgher community, a tiny minority in
Ceylon descended from Dutch and Portuguese colonialists. He came from a privileged
background and had studied law and classical music in London, at the Inner Temple and the
Royal Academy of Music respectively. Wendt learned a lot during his time in Europe, where he
familiarized himself with the modern movements in painting. He was also drawn to English, American
and French literature from the late Romantic poets to modernists such as Marcel Proust, Bernard Shaw,
TS Eliot, James Joyce and Paul Verlaine. Wendt consciously chose to return to Ceylon in 1924 which has
been acknowledged as a ‘commencement of his adult professional life but also suggests a commitment to
his country and an eagerness to intervene in its society, art and culture.’
(…) Having nurtured an interest in photography as a child, Wendt would only formally take up the
medium himself in 1932-33. He would first use a Rolleiflex, eventually trading that in for a Leica. Wendt
soon determined that his treatment and investigation of the medium would be distinct from what were
the then-accepted professional and aesthetic standards of 19th-century photographic practices that either
portrayed Ceylon in picturesque or ethnographic terms.
(…) Wendt’s photographs convey an allegiance to experimentation and technical ambition, steadily
attempting to develop skills like making enlargements from Leica’s small negatives or exploring
techniques like photomontage, photo collage, solarization, paper negatives, relief prints, brometchings,
photograms and transparencies in monochrome and colour. As their content testifies, however, his
images were not merely formal exercises. They ran the gamut from a wide variety of documentary images
to more staged studio compositions that, at times, conflate Eastern and Western objects against and
alongside one another, to a series of nude male and female portraits which, in certain instances, were also
manipulated. Collectively the photographs make plain that Wendt’s interest and knowledge ranged from
pictorialism to surrealism, to the indigenous culture of Ceylon, to music and theatre, cutting across
various national and cultural boundaries. These intellectual preferences and aesthetic proclivities are co-
existent components in his compositions, conflated, correlated, overlaid, and connected, literally and/or
symbolically, by a dexterous use of experimental techniques.
(…) Wendt, it transpires, was thinking of bodies in more considered terms rather than merely
documenting them. For example, in one image, Wendt lines up a photograph he has taken of a naked
man alongside two paintings. The composition is striking, not only because of the clash between
mediums but also in the way it confronts the modernist sensibilities both artists have used to render
sensual bodies. In other images, Wendt has directly paired the bare torsos of Ceylonese men alongside
European classical sculptures or South Asian antiquity. These images could be approached as an
assessment of the diverse ways in which bodies, particularly the male body, have been epitomized and
conceived across cultures and civilizations, and the stark relief in the idealized representational modes of
the classical as distinct from the modern. They are also active demonstrations of Wendt’s own worldly
sensibility, his way of looking across contexts and milieus and being adept in involving them in
speculative ways.
Yet, alongside these somewhat allegorical images there are those nude portraits that testify to more
intimate and subliminal negotiations. An incontrovertible and overt homoeroticism is evident in certain
images of men. Little actual detail is known about Wendt’s personal life, but his homosexual impulses
have been alluded to by people such as his close friend the Ceylonese modernist painter George Keyt
(1901-1993), with whom he shared a very close relationship, who proclaimed that Wendt ‘was always in
a state of conflict, and homosexuality, though a driving urge did not satisfy him’. The photographs are not
vulgar, nor do they generally picture full frontal nudity, instead they are representative of, as the
Australian historian and writer Robert Aldrich surmises, the pleasures of a spectator: “(…) gazing at those
standing in front of his camera, and by extension the viewer looking at the photograph, a complicity in
the appreciation of the aesthetic beauty of young men’s bodies. Wendt may have avoided taking
photographs implying sexual excitement or suggesting sexual play or intercourse as lacking in artistic
value or too blatant, too vulgar or too provocative, or perhaps his inclinations ran to fantasy more
than fornication.”
Whatever the case, the images are charged by Wendt’s own gaze but it is one which is not only
determined by his sexuality. It is one which is further complicated by his own mixed ethnicity. He was a
Burgher who constituted a part of the Ceylonese elite but were part of an ethnic minority. The Japanese
art historian Raiji Kuroda summarizes: “Owing to his in-between position and his use of photography as
an apparatus that is the very modern spirit cruelly to locate the viewer away from his subject, he had a
longing for the communities of his country to which he was not allowed to return or belong, and a sense
of melancholy that could not fulfil his longing.”
Wendt is consciously exploring the boundaries and threshold between himself and his own sexuality.
As I have previously contended: ‘Wendt’s studio portraits belie an underlying crisis in engagement with
the bodies of Ceylon and reflect a conflict of desire. These are not easy images: they are rapturous and
despairing in equal measure.’ There is an uneasy duality in the photographs of an expressed wish and
repressed desire, one that does not find a resolution as Wendt prematurely passes in 1944. Posthumous
exhibitions included those held in September 1946 at the Art Gallery in Colombo (a memorial exhibition
organized by the Photographic Society of Ceylon) and in 1950 in London at the Asia Institute. In 1950
the photo book Lionel Wendt’s Ceylon was published by the London publisher Lincolns-Prager. The book
was not favourably reviewed in The Royal Photographic Society Journal by Edwin Broomer.
(…) Broomer’s critique is a re-enforcement of what continued to be the West’s expectations of non-
Western art and of how the non-West should be represented. He anticipates a ‘feast’ of ‘exotic pictorial
photography’ but must instead appraise work that is probing, adroit and unusual. Broomer is critical of
the number of images included but more incensed and dismissive of their ‘experimental nature’. This
experimental bearing of Wendt’s photographs testifies forcefully to the crisscrossing currents of a more
affiliative, global modernist project and the unique expressions that were to emerge—a concern that has
only recently started to be considered more thoroughly and seriously and is evidenced by Wendt’s
inclusion in Documenta 14 (Athens). The twinned opening of Documenta and the retrospective
exhibition Lionel Wendt/Ceylon at Huis Marseille Museum for Photography (Amsterdam) in 2017
allows for a hitherto untenable possibility, to assume a bifocal lens when understanding Wendt.
For decades, Wendt’s photographs remained virtually un-exhibited. Now they can be appraised
simultaneously within a transnational historical framework and more thoroughly and dedicatedly as a
whole. Canonized nationally in Sri Lanka, perhaps now is the moment when Wendt’s practice as an
artist could productively contribute to an undoing of received regional and international historiographies
of art and of the medium of photography itself, perhaps revealing him not as a photographer who simply
transposed a series of modernist dictates to Ceylon, but rather strove to recast the idiom of modern
photography within South Asia and in the process laid bare a conflicted part of himself.
—Shanay Jhaveri
JUNE
2019
150

FORCES
ofFASHION
STARRING DILJIT DOSANJH, KAREENA KAPOOR KHAN,
NATASHA POONAWALLA & KARAN JOHAR
Famous for his fondness for nature, Geoffrey Bawa had commissioned
Wimal Lokuliyana, artist and landscape architect, to record the indigenous plants
of Lunuganga. pulls a leaf out of Bawa’s botanicals
DRAWINGS COURTESY OF THE LUNUGANGA TRUST.
B AWA ’ S A R K
“...this building will finally be complete when bears live in its
rooms and leopards walk its corridors.” — Geoffrey Bawa
Writer Channa Daswatte . PhotograPher Chitral Jayatilake

G
eoffrey Bawa had a fascination with change, perhaps because he came to
architecture via landscape, where one often witnesses visible changes in
short periods of time. His ultimate creation, Lunuganga is in a perpetual
state of decay, renewal and decay. This evolution is the one inevitability in
architecture as well. This awareness of impermanence is contemplated beautifully
by Japanese novelist Jun’ichiro Tanizaki in his book In Praise of Shadows
(published in 1933, translated in 1977). Impermanence fascinated Bawa too. His
great admiration for the ancient, such as the gardens of Sigiriya and the cities >
< of Anuradhapura and Polonnaruwa,
was as much for the great architecture,
but more—he once said—for the
elegance of their state of ruin. Perhaps
this is the inevitable completion of
architecture. The elegant return to
nature and the environment. In the
Kandalama hotel, Bawa seems to have
looked at this as a deliberate approach
to making architecture. Incomplete
when he formally finished with the site
and now, nearly 20 years after, it is
arguably his most innovative and
stunning work. With monkeys
cavorting on its pergolas, birds nesting
on its roof, spiders enmeshing its
corridors and the occasional lizard
scurrying down its corridors, it is only
a few steps from being finally “...
complete when bears live in its rooms
and leopards walk its corridors”.

226
228
230
232
The drive up to the front porch—next to it is
the ancestral mansion of the family. Facing
page: The front porch—the oculus gives
a glimpse of the foliage outside. Geoffrey
Bawa initially considered breaking down
the wall, but settled for the oculus when
Sunethra Bandaranaike protested. The lamp
was originally in the ancestral home; the
antlers were a gift.
It took a genius to redesign this Sri Lankan stable into the architectural
landmark it is today—it also took friendship to turn it into a home. Luckily for
Sunethra Bandaranaike, Geoffrey Bawa was both
Writer Smriti Daniel . PhotograPher aShiSh Sahi
Behind the stables is a cluster of straight tall
trees going deep into a forest. Sunethra has
a particular liking for clay pots, which give
a decorative touch to the interior and the
garden. She purchased the pots—once used
to store dried fish—from antique dealers
during the house’s construction. The stable
itself, she’s been told, was an ancestor’s
house. As the years passed, and it fell into
disuse, it found new life as a stable for her
grandfather’s horses.

237
A handsome Dutch door adorns the loggia;
the pillars supporting the porch roof are also
Dutch antiques. Sunethra purchased the
door and pillars from an old manor house
near Galle. The benches were custom-made
by her carpenter. Facing page: A side view
of the house—a stone staircase connects the
two levels of the garden.

239
A side view of the residence shows off the
double roof and its curved Sinhala tiles.

241
A shaded corner of the lawn with yellow
flowering Indian laburnum trees and a
circular stone table finds use as a spot for
drinks and conversations. Facing page: The
table laid for a ‘hopper’ breakfast; a hopper is
a bowl-shaped pancake. The polished brass
chairs were designed by Bawa.
243
A view of the long veranda—the painting of
Buddha and his disciples is from the Kandyan
period. The pettagama (storage chest) is
an antique in nedun wood; the chair is also
antique, from the British period. Facing page:
A veranda facing the forest—the oculus offers
a glimpse of the foliage on the other side. The
benches are, once again, constructed from
the headboards of old beds. The low table
is also a vintage piece, though the butterfly
chairs are more modern. The painted wooden
panel dates back to the 15th or 16th century—
the era of the Kandyan kingdom.
245
The central sitting room features a double-height timber
ceiling. The ‘stick man’ artwork was created with pieces
of wooden chairs. Another antique clay pot is used as a
decorative piece. The names of the last horses who lived
in the stables—Wild Rose, Lady Belle and Lady Durham—
are inscribed on plaques mounted on the edge of the
mezzanine. The candelabra was a gift from Bawa; the
paper lantern above the coffee table is from Japan. The
accessories dotting the table and cupboard include brass
bowls and boxes of calamander wood dating back to Dutch
and British colonial periods.
A section of the central sitting room—the water
colours are by the Sri Lankan painter Ivan
Peries. The cane chair was designed by Bawa.
The tables—marble tops with brass bases—
were custom-made for the house. The antique
cupboard was made with nedun wood.

247
The kitchen has an open hearth; food
is mostly cooked here in clay pots. The
lamp is a colonial-era antique. Facing
page: Babiya, the cook, is sitting on a
bench constructed from a headboard.
The sconce above and circle and arrow
motif were designed by Bawa.
249
The master bedroom on the first floor—
the bed and side tables were designed
by Bawa. Decorating the room are
an ‘Anglepoise’ lamp and a painting
by Indian artist Satish Gupta. Facing
page: The lower level of the master
bedroom is decorated with a Turkish
carpet, an antique chair—which was
used by Sunethra’s grandfather over a
century ago—and an antique British-era
fan. The dressing table—topped with a
slab of local marble—is a Bawa design.
251
This ivy-covered wall is part of the small
courtyard leading out of the master
bedroom and bathroom.
unethra Bandaranaike remembers turning down the with a torch, the door evaded him. He only realized who his
driveway to Lunuganga with the world’s first-ever female competition had been when he visited Horagalla and found it
prime minister in the seat beside her. They had been invited leaning against a wall.
by Geoffrey Bawa to visit his garden estate, and her mother’s first He demanded she give it to him, to which Sunethra responded
impression was guarded to say the least. “It looks like we are driving politely but firmly in the negative. She says he then gave in with
through a forest. What is this?” Sunethra remembers Sirimavo good grace and chose the perfect spot for the door. Even today,
Ratwatte Dias Bandaranaike asking. Sunethra is unrepentant. “He and I battled for things and I often
By this time, Sunethra and Geoffrey were friends—and she won,” she says, adding that this was because she had hit upon a
didn’t need her mother’s eventual confirmation to know that weakness in his strategy: “Geoffrey was not in the habit of paying
Lunuganga was the work of a genius. “I was 29 when I met for things.”
Geoffrey,” Sunethra recalls, adding that it was around 1972, and the
architect was roughly her mother’s age. On the surface, they had THE THEATRE OF LIFE
little in common. “I had no understanding of architecture; it was a Meanwhile the house was being transformed around them. At the
building and I liked it or didn’t like it, and that was all.” But time, Geoffrey had the Indian architect Philip Fowler working
Geoffrey seemed to enjoy their conversations. If he hadn’t heard with him, and it was the latter who spent the most time on the
from her in a few days, Sunethra would pick up her phone to find house. Geoffrey himself would visit once every two weeks or so, to
him on the other end. check on the progress. The stable hall itself became a double-
When they did meet, the two would break out the whiskey, height living room, with a timber mezzanine. Sunethra had asked
light up cigarettes, and talk buildings. He gave her books he Geoffrey to create more space for her and so he designed a new
thought she might find interesting and took her with him to visit wing containing kitchens and a guest suite. He added space for a
his sites at Kandalama, Galle and Wadduwa. Sunethra says it grew dining room after Sunethra refused to use the veranda for that
into a close relationship. “I wasn’t one of his architectural people. I purpose. (When she asked him how they would eat on the
was just a good friend. He trusted me and I trusted him,” she says. veranda when it rained, he replied: “Mop it.”)
On Geoffrey’s advice, Sunethra began to encircle the property
A BEAUTIFUL MIND with trees, and she planted Hora (after which the property is
Perhaps this is why, when she asked him whether he would convert named), Kotang and Kohombo trees all around. Others varieties
an old stable block on their family property in Horagolla into a were added for the scent and beauty of their flowers. Now,
home for her, she expected him to say yes. Instead, Geoffrey said no. Geoffrey added blocks of open lawn that stretched till the foot of
Being who she is, Sunethra wasn’t content with that answer. the trees. Verandas looked out over the garden courts, an invitation
She persisted, and eventually convinced the architect to visit the to relax. One would imagine that a conversion of this sort might
site. She remembers him asking her to stop the car some way off as leave little room to manoeuvre, but the architect left his mark.
he took in the landscape and outlines of the building. He was tall Writing about the garden pavilion in his book In Search of Bawa,
enough to lean on the roof of her car, and lit up a contemplative David Robson would note: ‘The conversion was achieved with
cigarette while she watched anxiously from within the vehicle. She great restraint, but Bawa could not resist adding a few witticisms—
could almost see his mind, whirring away like a camera, capturing the two occuli which mark the ends of the long veranda, the
all the details. Cigarette finished, he looked at her and said, “Yes, I’ll ancient fan which hangs from the gallows’ bracket above the dining
do it!”, and as simply as that, the matter seemed to be settled. table, the name boards of the long-deceased horses, the small
Sunethra now owned the stables, having bought them and the pavilion on the front lawn with the door which leads nowhere,
surrounding acre from her brother. The main house had been built and the art deco bathrooms which seem to have escaped from a
by her grandfather, and these horse stables—more beautiful and Hollywood movie.’
imposing than you’d expect—were part of the property. The result was a magnificent home, and what is today one of
Sunethra and her husband at the time, Udaya Nanayakkara, the most celebrated examples of Geoffrey’s work. Sunethra still
were on a tight budget, but this was alright because they were in no remembers the day they were ready to move in. It was the 25th of
hurry. To save on costs, the two purchased timber second hand, November, 1987. Her mother was there, and so too was her sister
driving across the island to pick up discarded building materials Chandrika (who would go on to become Sri Lanka’s first and only
from demolition sites for a steal. Sunethra was also interested in the female president in 1994). Geoffrey brought his friends along as
decor, and once again had learned a great deal from simply well, and insisted on an impromptu parade, leading them all into
watching Geoffrey select and respond to art. So much so, that at the house behind a domestic carrying a lit candelabra. Warm
one point in the construction process, the two had independently laughter spills out of Sunethra at the memory. “With him, there
stumbled upon the same magnificent wooden Dutch door. was always some drama.”
When Sunethra heard from the antique dealer that Geoffrey Now that her friend is gone, Sunethra seems simply grateful
had shown interest in it, she ran back home to Udaya, demanded for how this space is his memory made tangible. Here, Geoffrey’s
some money and rushed to purchase the door. She then had the talent, wit and imagination are writ in brick and mortar, garden
shop owner hide it under a stack of undistinguished lumber. court and occuli, and they all come together in this house she
Though Geoffrey returned to the shop and looked everywhere calls home.

253
The entrance to the home of Druvi and Sharmini
de Saram. This courtyard, dotted with fallen
bougainvillea flowers, is at the end of a long
driveway. The main entrance and garage—the latter
has a mezzanine guest room above it—are adjacent
to the orange perimeter wall. Facing page: A round
stone carpet strategically placed at the main
entrance appears to offer options for navigating the
house; the entrance itself is aligned with a series of
doorways and pavilions that present a clear line of
sight all the way to the back courtyard.

254
Art, music and the architect’s signature style come together in the De Saram house.
takes an exclusive first look at the residence, newly restored by the Geoffrey Bawa Trust
Writer IshanthI Gunawardana . PhotograPher ashIsh sahI
The De Sarams own significant pieces of art, which
are mostly curated on the walls of the music room.
Clockwise from top left are the ancestral portrait of
Christoffel Henricus de Saram, 4th Mahamudaliyar
of the Governor’s Gate; Justin Deraniyagala’s Nedra,
Fruit Seller and Musician; Ivan Peries’s Family on the
Beach; and Richard Gabriel’s Boy with Bull (from the
Geoffrey Bawa collection).
Druvi’s baby grand still stands in the music room
where he practised long ago. The room also houses
part of a collection of Sri Lankan masks belonging to
the De Sarams, the remainder of which is at London’s
Victoria & Albert Museum.

257
Shuttered Dutch doors span the length of the open
dining room and open to a reflective pond. Facing
page: The courtyard adjacent to the dining room
frames a whimsical minstrel’s gallery (hiding a
water tank tower) flanked by orange jasmine and
frangipani trees. Bamboo chiks unfurl to provide
shelter from the weather. The batik tablecloth
was designed by Ena de Silva, Bawa’s long-time
collaborator and friend.
259
These elongated corridors set against
the property’s boundary allow natural
light and ventilation into either side
of the narrow outdoor shower in
the main bedroom en suite. Facing
page: The saffron orange wall of the
small courtyard is adjacent to their
daughter Mandhira’s bedroom; it is not
an original feature of the house but was
created by architect Amila de Mel during
the restoration in the spirit of Bawa’s
outdoor shower in the main bedroom.

260
ianist Druvi de Saram is among the few people who can
say they have known Geoffrey Bawa almost all their lives. Their ties run deep. Druvi’s
parents were old friends of Bawa, as were his uncle and aunt, Paul Deraniyagala—
director of the Museum of Colombo—and his wife Prini, whose house was Bawa’s
first independent commission as an architect in 1952. Bawa was a well-known art and
music connoisseur, and moved in the same circles as Druvi, among Colombo’s
artistic and social elite, often designing their houses along the way.
So, when Druvi and Sharmini de Saram approached Geoffrey Bawa in 1986 to
help with the renovations to their eventual home, they didn’t anticipate the great
man’s response: “No, I don’t want to do it”.
Perhaps Bawa was just fatigued. By 1986, he was nearly at the end of seven
gruelling years of simultaneously designing two of the biggest projects of his
career: the Sri Lankan Parliament Complex and the Ruhuna University campus.
These were nation-building projects, both set on challenging landscapes, and
built during Sri Lanka’s early years of civil turmoil, which would last 25 long years.
Unperturbed, the gentle Druvi persisted and asked Bawa to visit his site.
What eventually became Druvi and Sharmini’s house exists on a battle-axe
plot hidden away from the hustle and bustle of Ward Place, in the exclusive
Colombo 7 area. It was part of a grander block, originally owned by Druvi’s
parents, and included a few outhouses previously let out by Druvi’s mother. But
it was what lay at the end of the long pathway that captured Bawa’s imagination
that day—a surprisingly large, tranquil private space in the middle of central
Colombo. “He came to the setting,” said Druvi, “and he changed his mind.”

A QUIET PLACE
Bawa was a master of space. He knew how to bring simple lines and fluid
movement into a building, and to carefully emphasize voids between mazes,
creating dramatic vistas in the process. He applied that ingenuity to the De Saram
house by cordoning off and remodelling the rear part of the original house
belonging to Druvi’s parents, and then added links between the outhouses and
the old garage to create a separate dwelling. The resulting “house” was an
ensemble of five linked pavilions separated by courtyards, arranged spatially in a
quincunx. The configuration appears simple but establishes a powerful dialogue
between the inside and outside, and private and public spaces.
“Geoffrey always discussed everything with us,” Sharmini remembers, “He
was so generous with his ideas. But we argued. I wasn’t happy about the open
dining room, however he insisted it would become a mere corridor if we closed it.
He put some temporary walls around it to prove his point. And he was right.”
That open dining room at the centre of the quincunx became the most lyrical
space in the De Saram house. Its handsome proportions give it the grandeur of a
ballroom, whose walls are painterly courtyards framed by frangipani and orange
jasmine trees on one side, and a series of Dutch doors running along the length of
the room and overlooking a reflective pond on the other. The white plastered
walls serve to intensify the perspectives created by the space. On one such wall
hung the imposing modernist painting titled Fruit Seller, by Justin Deraniyagala, a
renowned Sri Lankan artist and Druvi’s uncle.
The De Sarams cemented their friendship with Bawa following the building
of their home. During the day, Druvi would practise in the pavilion designed to
be a music room next to the entrance courtyard, and in the evenings, Bawa would
drop by for a tipple in the serene open veranda. This “room” was part of another
inspired pavilion in the quincunx, created by simply extending the old garage and
lifting the roof. This allowed for a mezzanine guest room to be created directly
above that garage and left the remaining space as an airy, double-height open-
sitting veranda.
Drinks would soon become dinner in the dining room, where Bawa had an
almost comic ritual of seating himself wherever he couldn’t see the Deraniyagala
painting, which he loathed. “It was hilarious watching him avoid it every time,”
recounts Sharmini, “but Geoffrey had a wonderful sense of humour so he saw the
funny side of it too.”
Three idyllic years passed by in that house, but the civil war loomed large. The
De Sarams discussed joining Druvi’s brother (and celebrated cellist) Rohan de
Saram in the United Kingdom. “Geoffrey begged us not to go,” said Druvi. Then,
when a bomb exploded near their children’s school it became a fait accompli. The
De Sarams shut the doors to their treasured home and left, closing a chapter in
their lives and, in many ways, the Ceylon of yesteryear.

AN INSPIRED VISION
Amila de Mel, architect and Bawa protégé, oversaw the restoration of the De
Saram house on behalf of the Geoffrey Bawa Trust. With the approval of the De
Sarams, the restorated property is now a boutique accommodation and music
venue managed by the trust, to coincide with the centenary celebration of Bawa’s
birth this year.
“It’s only when you start pulling it all apart that you see Mr Bawa’s genius,”
says Amila as she shows me around. In a time of import restrictions during the
war, Bawa turned inventor. Amila shows me the elegant brass brackets he had
created from door hinges to rest the rolled-up bamboo blinds, which neatly
hinges inwards when the blinds are down. They are a perfect balance between the
decorative and the functional. And then there are the flush bolts he created by
sawing brass handles off their door knobs and welding those handles back onto the
reverse side of the door knobs. Refitted vertically onto timber window frames,
these “reverse door knobs” now effectively operated as flush bolts. Even in the
bedrooms, there are antique painted columns in otherwise functional spaces to
beguile your eyes. It’s a virtuoso performance by any measure.
This restoration brought the de Sarams an avalanche of memories. “We were
thinking of how much we missed Geoffrey,” they say, misty-eyed, “and what an
inspired vision of life he gave us. We feel so privileged to have known him.”

263
BEST
DRESSED
INDIA
00
REALLY
STYLISH
PEOPLE
JUNE 2019 `15 0

FASHION
+CRICKET
LIVINGITUP
AT LORD’S

GQHOME
THE

SPECIAL

MMORTA
TALES FROM
THE GUEST BOOK
Pages of this guest book hold everything from photographs,
sketches and personal notes by princes and prime ministers,
presidents and secret agents, artists and bird watchers, and
most importantly, friends and collaborators who passed
through Lunuganga from its inception in 1947 until 1998
PHOTOS: TALIB CHITALWALA.

JULY-AUGUST 2019| ARCHITECTURAL DIGEST|265

SIGNED BY JOHN NICHOLAS, THE BRITISH
HIGH COMMISSIONER TO SRI LANKA (1979-
1984) AND HIS WIFE RITA JONES

THE LIVING ROOM

OF THE HOUSE
IN LUNUGANGA
IN THE 1980S
SHOWING THE
INDO-PORTUGUESE
SUITE OF
FURNITURE THAT
OCCUPIED IT AT
THE TIME

WITH LOVE, FROM JOHN

GUYER, DIRECTOR OF THE ASIA
FOUNDATION, WHO ONCE LIVED IN
THE GEOFFREY BAWA-DESIGNED
ENA DE SILVA HOUSE
A SKETCH OF A TEMPLE GATEWAY BY
ENGLISH ARCHITECT HUGH CASSON,
WHO WAS ALSO THE ARCHITECT OF THE
1951 FESTIVAL OF BRITAIN

GEOFFREY BAWA’S
FAVOURITE
DALMATION,
LEOPOLD THE FIRST
AND HIS PROGENY

SENAKE
BANDARANAYAKE
WAS LATER
PROFESSOR OF
ARCHAEOLOGY,
HEAD OF THE
POSTGRADUATE
INSTITUTE OF
ARCHAEOLOGY
AND SRI LANKA’S
REPRESENTATIVE TO
UNESCO. HE GAVE
THE FIRST BAWA
MEMORIAL ORATION
IN 2003.

JULY-AUGUST 2019| ARCHITECTURAL DIGEST|267

ARTIST CHRIS KELENER AND
JOHN WHO LIVED IN BAWA’S ENA
DE SILVA HOUSE

A FRIEND AND CLIENT,

ASKER MOOSAJEE WHO
COMMISSIONED ONE OF
GEOFFREY BAWA’S EARLY
HOTELS, THE SERENDIB

CHLOE DE SOYSA,
A FRIEND AND
CLIENT

ANULA JAYASURIYA
GILMOUR, CO-
FOUNDER AND
DIRECTOR OF
EVOLVENCE INDIA
LIFE SCIENCES
FUND AND
DAUGHTER OF ENA
DE SILVA, BAWA’S
DEAR FRIEND

A SKETCH BY BARBARA SANSONI DEPICTING

GEOFFREY BAWA AS ‘VAN ELEFANS’, A TOY
THAT WAS SOLD AT BAREFOOT, SANSONI’S
BOUTIQUE FABRIC STORE
THE 1953 MERCEDES-BENZ 300 ON THE
FORECOURT OF GEOFFREY BAWA’S
LUNUGANGA ESTATE—IT WAS ONE OF THE
BEST OF ITS TIME.

AN ELEVATIONAL SKETCH OF LUNUGANGA AS

SEEN FROM THE WATER GARDEN AND PADDY
FIELD, BY VERNON NONIS, WHO DID THE
DRAWINGS FOR GEOFFREY BAWA PUBLISHED
BY MIMAR

JULY-AUGUST 2019| ARCHITECTURAL DIGEST|269

WHEN RAY WIJEWARDENE, SRI LANKAN
INVENTOR AND AVIATOR, LANDED ON THE
ROOF OF THE HOUSE RATHER THAN THE
LAWNS OF CINNAMON HILL
DAVID GLADSTONE—BRITISH HIGH
COMMISSIONER TO SRI LANKA IN THE LATE
1980S, AND APRIL GLADSTONE

JULY-AUGUST 2019| ARCHITECTURAL DIGEST|271

PICKING
UP THE
THREADS
In the hands of Geoffrey Bawa
and his contemporaries—Ena de
Silva, Barbara Sansoni and Riten
Mazumdar—textiles were an intimate
collage of culture
Writer Mayank Mansingh kaul

A wall panel and cushion cover in the

Druvi de Saram house, handwoven
by artist Somawansa, commissioned
by Barefoot and Barbara Sansoni.
Its traditional patterns belong to the
Udadumbara region of Sri Lanka.
Detail of a collage of antique
hand-painted textiles that
covers an entire wall in House
No 11, 33rd Lane. It was
sourced by Geoffrey Bawa on
a trip to Bali in the 1970s.

O
ccupying an entire expansive wall of the living room in around. For a person as meticulous as he was known to be, keenly
House No 11—Geoffrey Bawa’s home in Colombo—is a considering the impact of every creative decision, it is hard to see
patchwork of Balinese vintage textiles. Hand-painted on the textiles as purely decorative. Bawa was an intense man,
cotton using natural dyes and pigments, the long horizontal registers interested in studying the many cultures of handcraft across Sri
depict ancient stories and myths. They reflect the aesthetics of textiles Lanka, and this reflected in the choice of handmade textiles in his
and painting that South East Asia and Sri Lanka have shared for projects. It shows also a keen grasp of how such fabrics have been
several centuries, instantly reminiscent of the narrative art traditions used across Asian cultures, in royal courts, in shrines and sacred
in India—kalamkari in the south, mata ni pachedi in the west, phad in rituals, and in the everyday.
the north-west and pata in the east. The Balinese patchwork, for instance, reminds one of the
The collage induces, in an onlooker, something hypnotic. One is historical traditions of murals, the effect of its slow patina much
drawn to the intricate details of its human figures, and simultaneously like that of historical frescoes. The magnificent cave paintings of
compelled to stand at a distance to marvel at the larger, sweeping Sigiriya, just a few hours’ drive away from Colombo, come to
scale of its landscape. Faded in parts, flaking in others, a torrent of mind. Across Asia and Europe historically, tapestry weaving is
colour in one corner showing a frenzy of activity, and in another, a believed to have originated as a means to replicate the scenes
quiet manner of repetitive motifs—the eye doesn’t stop. I find myself depicted in murals. Bawa’s fondness for canopies also reflects a keen
wondering, isn’t this quite like Bawa’s simulation of a new architecture eye for incorporating cultural habits. Otherwise used ephemerally,
itself? A truly original expression of modernity or contemporaneity— these textiles used under ceilings are brought into the format of
however one wishes to look at it—and more? Or perhaps, eluding permanent installations.
definition, something entirely its own? Bawa commissioned renowned Sri Lankan artist Ena de Silva to
Here it becomes important to read, as they say, between the create these vividly colourful batik canopies. With De Silva, he
lines, and to feel the space between things: an antique sculpture and a developed a close friendship and a series of professional collaborations
handmade basket, a gothic window frame next to a tarnished over many years. Flags in such batiks designed by her were also used,
doorway, a stark white industrial chair paired with a colonial-period alluding to the long history of textiles in processions and pageantry.
stool, a terraced garden becoming one with the sea. And it may seem From the 1960s onwards, De Silva brought new life to the age-old
this very same eclecticism ran across his use of textiles as well; but in technique of wax resist and hand-painting, at a time when it was
the case of fabrics it went beyond. more fashionable to use imported machine-made textiles.
Friends and colleagues recall Bawa as a man of few words, Expressively bold, using symbols and motifs from mythologies and
reticent, even if highly observant and engaged with the world living traditions, her designs have subsequently spanned several >

JULY-AUGUST 2019| ARCHITECTURAL DIGEST|273

< generations of replicas seen in popular tourist bazaars everywhere
in the country.
Interestingly, it was De Silva and her husband, Osmund, who
commissioned Bawa to build their retirement home in 1959. This
marked an important shift in both the designer’s and architect’s
trajectories. In De Silva’s case, it was in this home that she started to
experiment with batik in a focussed way, working closely with her
son Anil Jayasuriya and artist Laki Senanayake. In the case of Bawa, it
has been suggested that it was this commission that marked his entry
from a practice of Euro-centric tropical modernism into that of the

Handwoven upholstery fabric in

cotton, was sourced from Barefoot
in the 1990s. It represents Barbara
Sansoni’s quintessential use of
check designs—here seen on a
couch at House No. 11 33rd Lane.
Left: A Riten Mazumdar textile.

274| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

Far left: A Riten
Mazumdar wall panel.
Left: A close up of a batik
flag by Ena de Silva,
commissioned by Bawa
for use in the forecourt of
the Sri Lankan Parliament.

vernacular contemporary. Earlier De Silva had spent almost a decade Mazumdar was a student of Santiniketan, the art commune set
bringing attention to the handcrafts and textiles of the Kandyan up by Rabindranath Tagore in Bengal in the early years of the 20th
region in Sri Lanka. The most distinct among them were the century. Through the 1960s, he worked with the Swedish print
Dumbara fabrics, originally made with sisal, a fibre derived from the company Marimekko, and on his return to India, became
agave plant. Wall panels and furnishings inspired by these traditional intrinsically involved with Fabindia, a company started by the
weaves were designed by Barbara Sansoni, the other collaborator in American Indophile John Bissel. Back in the 1970s, Bawa reportedly
this fascinating milieu of people. bought Mazumdar’s textiles from Fabindia. Bold, hand-painted and
An artist, patron and conservationist, Sansoni had set up block-printed, with an essentialist used of primary colours, these
Barefoot, a design studio and weaving workshop, in the late 1960s. textiles defy belonging to a particular time, cultural paradigm or stage
It remains the most well-known textile brand from the country. Its of modernity; they allude, at once, to tantric art, a minimal geometry
quintessential oeuvre of stripes and checks is derived from her own and an urban sensibility, and are seen across Bawa’s projects.
watercolour paintings and ink drawings of the Sri Lankan landscape. Intentionally or otherwise, Bawa’s work can be seen within a
Her instantly recognizable, handwoven textiles now furnish the broader Asian zeitgeist of its time. Indian textile artist Monika Correa
couches, beds, chairs and tables in almost all of Bawa’s projects. and her husband Charles Correa were close friends with Bawa. She
Sansoni’s and Bawa’s families had known each other for many remembers visiting the Bawa-designed De Silva home, and how
years, belonging to the same privileged and cosmopolitan social mix nothing quite caught her attention as much as the large tree in the
of Ceylon, Sri Lanka’s pre-independence name. They were from a central courtyard. The form, landscape and use of materials is far
section of society that was, through various creative ways, addressing from the world’s obsession with glass and concrete. In an alchemy
local realities in shaping a post-colonial cultural ethos while that could only have been orchestrated by him, he made the various
participating in international conversations. While many of these individual elements secondary to the intangible essence and
practices have been studied in silos, a study of their work in relation experience of a place. This accomplished a keen insight into the way
to each other and within a broader cultural context is crucial. It is fabrics occupy us, not just in their purely functional terms as
here that the juxtaposition of Sansoni’s work with that of Riten furnishings, but in their sheer visual and tactile ability to uplift and
Mazumdar from India becomes revealing. move us in ways that nothing else quite can.
’s 10-day guide to Geoffrey Bawa’s gardens, homes
and hotels takes you along the Sri Lankan coastline
and deep into the architect’s creative genius
Illustrator Jitesh Patel

DAY 1 COLOMBO
The late architect’s home from 1958-2003, House No 11 on 33rd lane
in Colombo is the perfect introduction to Bawa’s world—the custom
pieces of furniture, the beautiful batiks, the stunning Rolls-Royce in
his garage, the skylights and window frames. You can even choose to
spend a night or two in the guest suite at the property.
DAY 2-5 BENTOTA
Once you head south from Colombo to Bentota, a two-hour drive is
Lunuganga, the country home of the maestro for nearly half a
century. It is the perfect way to experience Bawa’s vision of a space
where the indoors and outdoors co-exist in perfect harmony. The
landscaped gardens, the vistas, the private lake, the double-height
windows, the frangipanis outside, the chequered floors—Lunuganga
is available to stay for a maximum of 10 guests and is ideal for some
quiet contemplation.
While you stay at Lunuganga, you could visit other Bawa
properties in Bentota, including House No 87 at Galle Road (with a
maximum occupany of 4). Then stop by at Bentota Beach by
Cinnamon, which is being refurbished by architect Channa
Daswatte, to re-open in 2020. For a cheap and cheerful stay, head to
Avani Bentota Resort, followed by the absolutely unmissable Villa
Bentota that was converted into a hotel by Bawa in the 1970s, to
which further modifications were made by Shanth Fernando in 2007.
Another option further south is the Heritance Ahungalla hotel,
from where you can take a cruise on the Madu Ganga river and
discover the mangroves and islands. Closer to Galle, you have the
option of visiting the Lighthouse Hotel—the sculptural handrail of
its spiral staircase is designed by Sri Lankan artist Laki Senanayake.
DAY 6-7 MIRISSA
Head further south to the tip of the island to the Claughton House.
Dramatically perched atop a hilltop, it promises a luxurious stay. You
could also make a quick stop at the Jayawardene House, which was
the ex-president’s son’s home.
DAY 8 COLOMBO
To close the loop, head back to Colombo. But before you take your
flight out, visit the De Saram House. Recently restored, it is now a
boutique accommodation (with a capacity of eight) and music venue
managed by the Lunuganga Trust.

DAY 9-10 KANDALAMA (OPTIONAL)

For a change of scenery and the definitive Bawa experience, a drive
north to the interiors of Sri Lanka will take you to the Heritance
Kandalama hotel. Built on a cliff and with panoramic views of the
dense forests around, this labour of love was one of Bawa’s last and
most significant projects.

276| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

PHOTO: HARRY SOWDEN, COURTESY OF LUNUGANGA TRUST.
100
An exhaustive list of events for the centenary celebration by the Geoffrey Bawa Trust
2019 Installation Series at Lunuganga, Channa Daswatte, principal, TBD
13–21 July Moderated by Suhanya Raffel, MICD Associates, Trustee, Reopening of Reconstructed Bentota
Decorative Arts Exhibition: Objects Executive Director of M+ Hong Lunuganga Trust and Geoffrey Beach Hotel
from the Geoffrey Bawa Collection Kong, Trustee, Lunuganga Trust Bawa Trust in Colombo—
at Lunuganga and Geoffrey Bawa Trust including the De Saram 25 June – 31 July
at the Barefoot Gallery House, Raffle House and De It is Essential to be There: Exhibition
22 July Soysa House of Archival Drawings and Objects
Launch of the De Saram House and 24 July from the Collection, curated by
5th Cycle of Triennial Bawa Awards Launch of Dayanita Singh’s Bawa 12 October Shayari de Silva, Lunuganga Trust
Box 507 at the Barefoot Gallery The Gift: The First Launch of Curator of Art and Archival
23 July (to be followed at the Frith The Gift Installation Series, Collections
16th Annual Memorial Lecture by Street Gallery, London and featuring artists Lee Mingwei,
Kengo Kuma at the Sri Lanka Callicoon Fine Arts Gallery, Dominic Sansoni and 16 July
Foundation Institute New York) Chandraguptha Thenuwara 17th Annual Geoffrey Bawa
at Lunuganga Memorial Lecture at the Sri
23 – 31 July 21–29 September Lanka Foundation Institute
Unseen Bawa: Photographs by The Greedy Forest: Laki December
Sebastian Posingis at the Paradise Senanayake Retrospective The Gift: The Second Launch of The 23 July 2020
Road, The Gallery Café. Exhibition, curated by Max Moya. Gift Installation Series, featuring 5th Triennial Geoffrey Bawa Awards
at No 5 at Lunuganga (Ena de artists Kengo Kuma and Dayanita Ceremony: Guest Speaker Glenn
23 July Silva’s house). Singh at Lunuganga Lowry, Director of the Museum of
100th Birthday Modern Art, New York
Commemorative Dinner 5 October 2020
Open Buildings Day: Tour of January TBD
24 July Geoffrey Bawa-designed Launch of Oral Histories on the Bawa 100 Commemorative Stamp
The Gift: Artist Panel on the residences in Colombo by Geoffrey Bawa Trust website Launch

278| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

DISCOVER THE NEW MEANING OF LUXURIOUS LIVING
An exclusive look inside India’s most beautiful homes, featuring renowned architects,
celebrated interior decorators and discerning experts to help you create the perfect GQ home

COMING UP IN THE SEPTEMBER ISSUE

For more information, contact [email protected]

2-4 AUGUST, 2019
TAJ PALACE, NEW DELHI
To Register: Visit vogue.in/vwsregistration or Call +918657505223 / 224

BY INVITATION ONLY

The turf
of new age
nobles
SIGNE VILSTRUP

*Celebrate Responsibly
MEET INDIA'S MASTER COUTURIERS!
INDIA’S LEADING DESIGNERS

ANITA DONGRE FALGUNI SHANE PEACOCK GAURAV GUPTA

MONICA & KARISHMA MANISH MALHOTRA RAHUL MISHRA

COUTURE

RITU KUMAR SABYASACHI SHANTANU & NIKHIL

SHYAMAL & BHUMIKA TARUN TAHILIANI

LOUIS VUITTON

Embark on a celebratory journey to discover the savoir-faire of the prestigious trunk maker, Louis Vuitton.
Suited for brides, grooms, their families, for explorers and for adventurers, Louis Vuitton’s trunks carry with them deeply
engraved memories. They are like special possessions, carefully preserved, forever. Open a trunk and a myriad of
images escape, memories, scents and anecdotes will resurface.The trunks have their own history. They are scattered all
over the globe. Some rest in their owners most significant spaces, some are in museums, the others are still travelling...
Each trunk tells its own story, a story told “through those who order them, those who owned them, and the times
in which they were made, as if, once wide open, they are no longer trunks but albums” - Patrick-Louis Vuitton.

TRUNKS | EXOTIC LEATHERS | OBJETS NOMADES | FINE JEWELRY | WATCHES

OUR PARTNERS
JOHNNIE WALKER ATS KNIGHTSBRIDGE
THE JOURNEY The most luxurious real estate development by
Johnnie Walker The Journey stands for ATS, at the strategic confluence of Delhi and
inspiring personal progress. Through this initiative, Noida, is the majestic ATS KnightsBridge. This
the brand aims to enable real people and global 6.15-acre development comprises 5 magnificent
storytellers to express their incredible journey, 47-storey skyscrapers. Inside, uber-sized 4-bed
which artists bring to life, inspiring people to residences, each sprawling across an entire floor -
Keep Walking. play host to the powerful and the influential.

THE BEST WEDDING JEWELLERS ACROSS INDIA

BIRDHICHAND GHANSHYAMDAS RAJ MAHTANI COUTURE JEWELS
HAZOORILAL BY SANDEEP NARANG RARE HERITAGE
HAZOORILAL LEGACY THAKORLAL HIRALAL
KHANNA JEWELLERS THE HOUSE OF MBj
MEHTA & SONS

TROUSSEAU, GIFTING & WEDDING PLANNING

AHUJASONS ISHARYA
BULGARI, HERMES & GUERLAIN - KATALYST ENTERTAINMENT
FRAGRANCES & BEAUTY KINGDOM OF BAHRAIN
CREATIVE CUISINES INC. (CCi) PASSERINE
DREAMZKRRAFT WEDDINGS RAVISH KAPOOR INNOVATIVE INVITATIONS
FAAYA SHAZÉ
FABELLE EXQUISITE CHOCOLATES SHLOKA EVENTS

THE EXCLUSIVE SARI PAVILION

FAABIIANA, JAIPUR RATANSHI KHERAJ SAREES, MUMBAI
NAINA JAIN, KOLKATA SONIA K. MAHAJAN, KASHMIR
PALAM SILKS, CHENNAI
Names in alphabetical order
DISCLAIMER: CONFIRMED BRANDS AS ON DATE. SUBJECT TO CHANGE.
scouts

N E WS R E E L
From the hottest products to the most exclusive launches, here’s the low-down
on the latest in design this season

LU X U RY I N L E AT H E R
One of the first brands that spring to mind when it comes to ‘Made in
Italy’ high-end interior design is undoubtedly Baxter. While the brand
is famous for its gorgeous leather upholstered sofas, it also manufactures
a wide range of luxury furniture. The new Baxter collection was
launched at Salone del Mobile 2019 prominently featured leather–the
material that represents the brand’s DNA. The collection launched
with a range of products inspired by Mediterranean, Brazilian and
Nordic influences so that your home opens up to different geographic
horizons. (baxter.com)
MEET THE MASTER S
IOTA, a New Delhi-based boutique furniture brand promises to
take you on a journey aimed at re-igniting the process of self-
discovery, this time with the ‘Master’ chair (pictured) by Philippe
Starck. Re-interpreted by the French designer, the chair is a tribute
to three iconic modern chairs. The unmistakable silhouettes of the
broad ‘Tulip’ chair by Eero Saarinen, the taller ‘Eiffel’ chair by
Charles and Ray Eames, and the winged ‘Series 7’ chair by Arne
Jacobsen are interwoven into a sinuous hybrid, thus breathing new
life into the original styles. (iotafurniture.com)

READ BETWEEN THE LINES ODE TO A LEGEND

Earlier this year, the New Delhi-based Studio Art presented Inspired by the iconic Bentley 3-Litre car from the 1920s by
Between The Lines, a debut solo show by Pakistani artist Khalil Bentley Motors, LOCO Design revealed the 3L Shatranj chess set
Chishtee. The show included 10 intricate metal works; among (pictured) that pays homage to W.O Bentley’s engineering brilliance
them was Definition (pictured) in rusted metal, which reflected on and spirit of innovation. This bespoke piece was commissioned to
the trauma of war using calligraphed Urdu. Launched in 2003 coincide with the launch of Exploring the Extraordinary: 100 years of
with a contemporary art show titled Art & Interiors, Studio Art Bentley Motors–a publication curated and produced by leading
has since curated many well-received shows and worked with publisher St James’s House. This unique piece pays tribute to
prominent global artists. Studio Art director, Ashna Singh also handcrafted detailing. Each piece is hand engineered, using metal
works with interior designers and architects to curate art for finishing; the nuances reflect the pioneering aesthetic of Bentley’s
their projects. (studioartgallery.in) early designs. (locodesign.in)

JULY-AUGUST 2019| ARCHITECTURAL DIGEST|285

scouts

With no corner post to get in the way, corner

sliding doors can turn two rooms into one
with ease. Keeping in mind the aesthetics of
contemporary Indian homes, Fenesta, one of
India’s largest window and door brands,
recently introduced the Corner Slider system.
Perfect for using in spaces like a corner
balcony, corner garden space or corner facade,
Fenesta’s boutique products come with an
integrated bug screen and efficient sealing that
make them bug, noise, rain, dust as well as
pollution proof. (fenesta.com)

Showcasing its expertise in both cast-iron

fixtures and working with bold colours, Kohler
announced its Shadows collection at Salone
del Mobile 2019. An ode to the Victorian era,
the collection can adapt to any traditional or
contemporary setting with equal ease.
Comprising three vibrant hues–Lavender
Grey, Indigo Blue and Black Plum–the
collection is ideal for kitchens and bathrooms.
Inspired by the saturated purples found in
fruits and vegetables, and the deep moody hues
emerging in modern fashion, the collection
presents itself as a bold statement for
sophisticated homes. (kohler.co.in)

286| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

C E L E B R AT I N G N E W B E G I N N I N G S
The last Friday evening of May 2019 saw the who’s who of Mumbai gather together at the launch party of SPAZIO, a
premier designer furniture store that features Italian brands by the Luxury Living Group. The Italy-based group
develops, produces and distributes high-quality furniture collections for Fendi Casa, Trussardi Casa, Bentley Home and
Heritage, that set the benchmark for exquisite designer furniture. Brought to Mumbai by Atul Chordia, Chairman,
Panchshil Realty and Sagar Chordia, Director, Panchshil Realty—a leading luxury real-estate group that brings the best
of global brands to the country—the SPAZIO store (pictured) offers glamorous and iconic Italian furniture brands for the
discerning homeowner. (spazioliving.com)

Seen here is the Memphis-inspired

‘Spearman’ sofa, designed by
Shimona Bhansali, principal
designer of Design Hex. With its
wooden elements, this quirky
sofa is inspired by a game
of chess. (designhex.in)

The DESSO ‘Human Fascination’ carpet Following six years of research, appliance
range of flooring by SquareFoot aims to manufacturer Miele has introduced nearly
create healthier spaces with sustainable 3,000 models–featuring built-in kitchen
flooring. The carpet tile collection is made appliances from ovens to coffee machines.
from 100 per cent regenerated nylon yarn Pictured here is the VitroLine, a sleek and
from recovered waste materials with a 100 modern design, available in graphite grey,
per cent recyclable EcoBase. (squarefoot.co.in) brilliant white and obsidian black. (miele.in)
scouts

T R O P I C A L PA R A D I S E
Nestled in the serene village of Socorro in north Goa, amidst a lush,
verdant landscape, the Salvador Villa Bergia is the perfect getaway
for holidaymakers looking for some quiet downtime. Developed by
Tahiliani Homes, earlier known as Ahilia Homes, a boutique interior
and architectural firm from the house of Tarun Tahiliani, the villas
are constructed in the popular vernacular style of the region. The
use of modern technology with traditional Indian craftsmanship
techniques has created a comfortable abode with rich aesthetics.
Spread across 5,000 square feet, the villa features four bedrooms, a
day lounge, and living and family rooms. (ahiliahomes.com)
Talenti, a leading company for outdoor furniture, returns to NITCO, one of India’s premium tile brands has launched its
Fuori Salone 2019, at the iconic location of Via Solferino in all-new collection of glazed Italian stoneware, a range of
Milan with a striking new project helmed by designers robust yet sleek tiles to beautify your walls and floorings.
Ludovica + Roberto Palomba. The two icons of design—in Aeon, Earth and Nordic are the three collections that feature
collaboration with Rubelli, the luxury Italian textile maker— strong, beautiful pieces of glazed porcelain stoneware created
set up an original space on the third floor of the House of by expert craftsmen in Italy. The designs showcase the
Solferino with five rooms, each distinct from the other. One perfect balance of aesthetics and technology, resulting in
of the rooms (pictured) showcases a red burgundy sofa creations that are bound to drive trends in the world of
combined with a rug, the ‘Panama’ garden chair and tables Italian tiles. Featured here is Earth, a series crafted in earthy
from the Milo collection, designed by Marco Acerbis. tones—to add just the perfect amount of raw elegance to
(en.talentisrl.com) your living space. (nitcotiles.in)

Duragres Max is a series of large tiles from Somany Ceramics Making a statement with the MyEdition collection, Axor
that takes the idea of opulence to the next level. Crafted to has collaborated with Phoenix Design to set the stage for
absolute perfection, this range of large-format glazed tiles is a personal creativity. The German design studio has created a
part of the brand’s luxury collection and is made to the unique set of colours, materials and patterns that can be
highest standard of quality accepted at the international level. mixed and matched to create an uber-luxurious faucet.
Available in different sizes, the ‘Max 120 Antique Europa The mixer can be crowned with a plate in leather, wood,
Brown’ tiles come in sizes as big as 2,400 by 1,200 millimetres. marble or mirrored glass, creating a whole new experience
The innovative new range is as versatile as it is stunning and for the user. Pictured here is a wall-mounted mixer and
suits a host of spaces, both internal and external, including faucet in satin black in a new, matt, deep-black PVD finish
homes, villas, offices, hospitals and commercial buildings. with an American walnut wood plate.
(somanyceramics.com) (axor-design.com)

JULY-AUGUST 2019| ARCHITECTURAL DIGEST|289

Be a part of Vogue’s “It” list of the best curated design professionals through

Vogue Portfolio a unique online marketing and discovery platform that helps brands reach the right
audience. By creating compelling content for your brand, it allows you to connect with potential customers
beyond the metros, improve your brand’s visibility and a lot more…
BHARAT SIKKA

To create your Portfolio or for more details and listing queries, log on to Vogue.in/portfolio or write to [email protected]
SOME OF THE FEATURED PORTFOLIOS

SHREE JEE JEWELLERS TILFI

Handcrafted luxury is the perhaps the Bringing the beauty of Banaras to
best way to define this Jaipur-based your wardrobe is Tilfi, a brand with a
jewellery label. Inspired by their four- name inspired by a kind of technique
decade plus legacy, their collections in Banarasi weaving. Handwoven in
spotlight the age-old techniques of the spiritual city, and made using only
jadau, kundan and meenakari, and are natural fabrics, their apparel celebrates
truly an ode to opulence. the spirit of Indian craftsmanship.

SEASON’S FAVOURITE
Crafted from 22-carat gold and embellished with syndicate polkis and Russian emeralds, this
lotus flower-inspired ‘Aad’ neckpiece is heirloom-worthy. Regal in appearance and indulgent
in appeal, it can be paired with your favourite ethnic ensembles this festive season.

VAIDAAN JEWELLERY
This label, spearheaded by designer
Ishita Gupta, crafts beautiful jewellery
that makes a statement. In an effortless
convergence of East and West, SEASON’S FAVOURITE
shimmering crystals meet hand-picked Made using an ancient Banarasi skill
stones on frames made entirely of that involves adding supplementary
thread in these covetable baubles. coloured resham yarns during the hand-
weaving process, the Bhairavi pure katan
SEASON’S FAVOURITE silk saree is a work of art. Its deep magenta
Gold metal ball-embroidered studs, elaborate gold-toned concentric rings, a stunning hue gives it its royal charm while the all-over
round pearl and faceted crystal drop tassels—these earrings have it all. Flaunt them with floral jaal with multicoloured meenakari
your loveliest outfits this wedding season and watch heads turn. lends it its feminine appeal.
stockists

The merchandise KAPOOR WATCH, NEW DELHI LONDON 0044-20-73183977; (ELLEMENTRY.COM)

featured in the magazine 011-46767777 PARIS 0033-1-58182300 EMMEMOBILI: INDIA 0039-03-
(CARTIER.COM) 1710142 (EMMEMOBILI.IT)
has been sourced from B&B ITALIA: INDIA CASEGOODS: MUMBAI 022- ETRO HOME INTERIORS:
the following stores. 09999693093 (BEBITALIA.COM); 49714653 (CASEDESIGN.IN) (ETRO.COM);
Some shops may carry a SEE SPAZIO; SEE SCASA CASSINA: MUMBAI 022- SEE SEETU KOHLI HOME
selection only. Prices and BACCARAT LA MAISON: 22614848; NEW DELHI 011-
availability were checked ITALY 0039-05-43791911 40817357 (CASSINA.COM) FENDI CASA: ITALY
at the time of going to (LUXURYLIVINGGROUP.ONLINE); CATELLAN ITALIA: 0039-05-43791911
SEE SEETU KOHLI HOME ITALY 0039-04-45318711 (LUXURYLIVINGGROUP.ONLINE);
press, but we cannot BENTCHAIR: INDIA 1800-419- (CATTELANITALIA.COM); SEE SEETU KHOLI HOME;
guarantee that prices 6934 (BENTCHAIR.COM) SEE AND MORE STORIES; SEE SPAZIO
will not change or that BENTLEY HOME: SEE VENTURA INTERIORS FIRMAMENTO MILANO:
specific items will be in ITALY 0039-05-43791911 CATELLANI & SMITH: ITALY 0039-02-928503
stock when the magazine (LUXURYLIVINGGROUP.ONLINE); ITALY 0039-03-5656088 (FIRMAMENTOMILANO.COM)
is published. SEE SEETU KOHLI HOME; (CATELLANISMITH.COM) FLEXFORM: (FLEXFORM.IT);
SEE SPAZIO CC-TAPIS: MILAN 0039-02- SEE LIVING ART INTERIORS
BERT FRANK: 890938 84 (CC-TAPIS.COM) FORMITALIA: ITALY 039-05-
A LANGE & SÖHNE:
LONDON 0044-20-71646482 CHOPARD: ROSE - THE WATCH 73790066 (FORMITALIA.IT)
(ALANGE-SOEHNE.COM)
(BERTFRANK.CO.UK) BAR, MUMBAI 022-23620277; FORNASETTI:
A LOT OF BRASIL: SÃO
BITOSSI: FLORENCE 0039-05- JOHNSON WATCH CO, NEW MILAN 0039-02-84161374
PAULO 0055-11-23714593
7154511 (BITOSSIHOME.IT) DELHI 011-41513121; LONDON (FORNASETTI.COM)
(ALOTOFBRASIL.COM.BR)
BLUE LOFT: 0044-20-74093140
ALIAS: ITALY 0039-03-54422511
MUMBAI 09326063143 CRAFT BÉTON: GERVASONI: MILAN 0039-02-
(ALIAS.DESIGN)
(BLUELOFT.COM) INDIA 07042221219 780414 (GERVASONI1882.IT)
ALTREFORME: ITALY 0039-03-
BOCONCEPT: MUMBAI 022- (CRAFTBETON.COM) GIANFRANCO FERRÉ HOME:
416381 (ALTREFORME.COM)
49731531; NEW DELHI 022- MILAN 0039-02-801384
ANANTAYA:
497315314 (BOCONCEPT.COM) D’DECOR: INDIA 1800-267-9008 (GIANFRANCOFERREHOME.IT);
JAIPUR 141-4068400
BONALDO: (BONALDO.IT) (DDECOR.COM) SEE SEETU KOHLI HOME
(ANANTAYADECOR.COM)
BOTTEGA GHIANDA: DAVID TRUBRIDGE: NEW GIRARD-PERREGAUX: TIME
AND MORE STORIES:
MILAN 0039-02-87201362 ZEALAND 0064-06-6500204 AVENUE, MUMBAI 022-26515757;
MUMBAI 022-24931016
(BOTTEGAGHIANDA.COM) (DAVIDTRUBRIDGE.COM) JOHNSON WATCH CO, NEW
(ANDMORESTORIES.COM)
BREGUET: TIME AVENUE, DELCOURT COLLECTION: DELHI 011-41513121
ANDREU WORLD:
MUMBAI 022-26515757; (CHRISTOPHEDELCOURT.COM) GLAS ITALIA:
GURUGRAM 09711733808;
JOHNSON WATCH CO, NEW DRAENERT: GERMANY 0049-07- (GLASITALIA.COM);
PUNE 020-26161644
DELHI 011-41513121; THE 5452080 (DRAENERT.DE); SEE VENTURA INTERIORS
(ANDREUWORLD.COM)
HELVETICA, CHENNAI 044- AT PLÜSCH LIVING: BENGALURU GREUBEL FORSEY:
ARKETIPO: FLORENCE 0039-
28464096; EXCLUSIVE LINES, 080-25504444; MUMBAI 022- (GREUBELFORSEY.COM)
05-58876248 (ARKETIPO.COM);
KOLKATA 033-22820626 24467750; NEW DELHI 011-
SEE AND MORE STORIES;
BRUT: (BRUT-COLLECTIVE.BE) 41553333 (PLUSCHLIVING.COM) HUBLOT: ROSE - THE WATCH
SEE LIVING ART INTERIORS
DRIADE: (DRIADE.COM) BAR, MUMBAI 022-23620277;
ATELIER DE TROUPE: LOS
CANE BOUTIQUE: DTALE: KOCHI 484-6900470 KAPOOR WATCH, NEW DELHI
ANGELES 001-323-8705303
BENGALURU 080-41152093 (DTALEDECOR.COM) 011-46536667; THE HELVETICA,
(ATELIERDETROUPE.COM)
(CANEBOUTIQUE.COM) CHENNAI 044-28464096;
AUDEMARS PIGUET: TIME
CARTIER: DLF EMPORIO, ELLEMENTRY: ZIMSON WATCH WORLD,
AVENUE, MUMBAI 022-26515757;
NEW DELHI 011-46788888; INDIA 07424888999 BENGALURU 080-40913800

292| ARCHITECTURAL DIGEST|JULY-AUGUST 2019

INDIA CIRCUS: MARNI: (MARNI.COM) 76394408 (PORRO.COM) (SEETUKOHLIHOME.COM)
MUMBAI 022-48931878 MATER: DENMARK 0045-70- PRECIOSA: INDIA 07045145575 SERIP: PORTUGAL
(INDIACIRCUS.COM) 264488 (MATERDESIGN.COM) (PRECIOSALIGHTING.COM) 00351-21-4933045
IQRUP + RITZ: MINOTTI: ITALY 0039-03- PROMEMORIA: ITALY 0039-03- (SERIP.COM.PT);
NEW DELHI 09599110672 62343499 (MINOTTI.COM); 41581021 (PROMEMORIA.COM) AT ST UNICOM: MUMBAI 022-
(IQRUPANDRITZ.COM) AT DESIGN ITALIANO: PULPO: 40126611 (STUNICOM.COM)
ITOH: (ITOH.IN) AHMEDABAD 09879026328 ITALY 0049-76-211680103 SPAZIO: PUNE 020-66473131
(DESIGNITALIANO.IN) (PULPOPRODUCTS.COM) (SPAZIOLIVING.COM)
JAEGER-LECOULTRE: ART OF MOLTENI & C: ITALY 0039-03- SICIS: ITALY 0039-05-44469711
TIME, MUMBAI 022-26426241; 623591 (MOLTENI.IT) QAALEEN: NEW DELHI 011- (SICIS.COM); AT INTERSEKT:
KAPOOR WATCH, NEW DELHI MONTANA: 69000130 (QAALEEN.CO.IN) NEW DELHI 011-47129937
011-41345678 DENMARK 0045-64-733211 (THEINTERSEKT.COM)
JCP: ITALY 0039-031-7075777 (MONTANAFURNITURE.COM) RADO: MUMBAI 022-26489174;
(JCPUNIVERSE.COM) MUJI: MUMBAI 022-35553183 NEW DELHI 011-43575253; TACCHINI: ITALY
JUMBO COLLECTION: ITALY (MUJI.COM) CHENNAI 044-28464224; 0039-03-62504182
0039-031-70757 (JUMBO.IT) MUUTO: (MUUTO.COM); KOLKATA 033-22814466; (TACCHINI.IT);
AT ANGEL VENTURES: HYDERABAD 040-23558663 AT BEYONDNMORE:
KIRK STUDIO: DENMARK 0045- MUMBAI 022-22019414 RAJESH PRATAP SINGH: MUMBAI 09892318881
29-803124 (KIRK-STUDIO.COM) (ANGEL-VENTURES.IN) GURUGRAM 129-4092300 (BEYONDNMORE.COM)
KOY: INDIA 09890800007 (RAJESHPRATAPSINGH.COM) TAI PING: PARIS
(KOY.STORE) NATTY.IN: INDIA 08296746143 RIMADESIO: ITALY 0033-01-42229654
KVADRAT: DENMARK NILAYA: MUMBAI 022-26431074; 0039-03-623171 (RIMADESIO.IT); (TAIPINGTENT.COM)
0045-89-531866 (KVADRAT.DK) NEW DELHI 011-41501676; SEE SCASA THE INVISIBLE COLLECTION:
KOLKATA 09681059426 ROCHE BOBOIS: ENGLAND 0044-73-40002928
LA FRENCH STUDIO: (NILAYA.ASIANPAINTS.COM) MUMBAI 022-49237772; (THEINVISIBLECOLLECTION.COM)
INDIA 07447388653 NILUFAR DEPOT: NEW DELHI 011-41407772 THE QUARRY GALLERY:
(LAFRENCHSTUDIO.COM) (NILUFAR.COM) (ROCHE-BOBOIS.COM) MUMBAI 09930544444
LACIVIDINA: ITALY 0039-04- ROLEX: DIA, MUMBAI 022- (QUARRY.ASIA)
32677433 (LACIVIDINA.COM) OMEGA: MUMBAI 022-30602002; 22042299; KAPOOR WATCH, TURRI: (TURRI.IT)
LEMA: ITALY 0039-03-1630990 NEW DELHI 011-41513255; NEW DELHI 011-46536667;
(LEMAMOBILI.COM); BENGALURU 080-40982106; CHENNAI 044-28257070; ULYSSE NARDIN: RODEO DRIVE,
SEE SPAZIO CHENNAI 044-28464092; LUXURY TIME, AHMEDABAD, BENGALURU 080-22271977;
LIGNE ROSET: HYDERABAD 040-23331144 079-26469797 THE HELVETICA, CHENNAI 044-
(LIGNE-ROSET.COM); 28464096
SEE AND MORE STORIES; PETITE FRITURE: SAHIL & SARTHAK:
PHOTOS: ASHISH SHAH; ASHISH SAHI.

SEE VENTURA INTERIORS PARIS 0033-01-44541395 NEW DELHI 011-41354211 VERSACE HOME:
LIVING ART INTERIORS: (PETITEFRITURE.COM) (SAHILSARTHAK.COM) (VERSACE.COM);
INDIA 09481112340 PHANTOM HANDS: SANS SOUCI: INDIA AT MIND INNOVATIONS:
(LIVINGARTINTERIORS.IN) INDIA 07760329900 09818995920 (SS-GD.COM) (MINDSTUDIO.IN)
LONGHI: ITALY 0039-03- (PHANTOMHANDS.IN) SAWAYA & MORONI: VENTURA INTERIORS:
62341074 (LONGHI.IT) POLTRONA FRAU: MILAN 0039-02-86395201 HYDERABAD 040-42212368
LOUIS VUITTON: MUMBAI 022-22614848; (SAWAYAMORONI.COM) (VENTURAINTERIORS.COM)
NEW DELHI 011-46690000 NEW DELHI 011-40817357 SCASA: INDIA 09032456688 VIA DESIGN: (VIA.DK)
(LOUISVUITTON.COM) (POLTRONAFRAU.COM); (SCASA.IN) VISIONNAIRE:
LYK CARPET: BERLIN 0049-30- SEE SPAZIO SEETU KOHLI HOME: ITALY 0039-05-16186322
32515441 (LYK-CARPET.DE) PORRO: MILAN 0039-02- INDIA 09999966702 (VISIONNAIRE-HOME.COM)
The chairperson of the Geoffrey Bawa Trust and the Galle Heritage
Foundation, and a practising architect, Channa Daswatte worked with
and learned from the legendary architect himself
“This photograph
by Lionel Wendt
of a Colombo back “This picture was
street was a gift taken by Dominic
from Anjalendran, Sansoni during an
the first architect early site visit of
I worked for. It is the House on the
a very unusual Red Cliffs (which
Wendt, which was the last
records a Colombo house Geoffrey
slum with decrepit completed). It
old buildings shows Geoffrey,
and temporary the client Pradeep
construction Jayawardene
materials.” and myself. The
photo was part
of Dominic’s 1998
exhibition, titled
“This cartoon of Relatives and
me was made Friends.”
by a former
student Sumudu
Athukorale—now “These samples
an architect and of cement tiles
film-maker. He designed by Laki
lampooned almost Senanayake were
everyone in the made by Bharat
office with his Flooring and
cartoons and this Tiles for a house
is one of five he in Porbandar. A
did of me for each series of nine tiles
of my birthdays laid at random
during the years create a non-
he worked in repetitive effect on
the office.” the floor.”

“This second-
edition copy from
1915 of Gitanjali
by Rabindranath
Tagore once
belonged to a late
“The silver friend. Tagore’s
cigarette paper great poem has
holder is from the always been
art deco period. inspirational and
This elegant piece easy to dip into
with no practical anywhere.”
use is simply a
beauty to behold—
and to hold!”
“The copper table
lamp designed
“Since many by Geoffrey

AS TOLD TO SAMIR WADEKAR. PHOTO: MANODHA DE SILVA.

years before the Bawa in 1974 was
advent of the iPad, given as a house
these notebooks warming gift by
by Barefoot Mr Premaratne,
and Lamy pens who along with
have been the his father made
locus of all my many of the metal
thoughts, ideas objects designed
and drawings. by Bawa. This
I add ticket lamp was made
stubs, messages for the Neptune
and occasional Hotel (now
meeting notes to the Heritance
it; these make for Ayurveda Maha
veritable diaries Gedara).”
for one who is
far too lazy to be
a diarist.”

“A circa-1920 architectural drawing of the “Canary architectural “The glass frame designed by
pulpit of St Michael’s church in Colombo detail paper is still the Álvaro Siza was given by a former
from the office of Edwards Reid & Begg surface on which most intern; who later went on to work
(later taken over by Geoffrey Bawa). This of my designs originate. with Siza. The sheer simplicity
drawing is one of three and was gifted It has a delightful feel with which it is conceived
to me by Bawa during a mass clearing of when unsuccessful ideas represents the great Portuguese
his office in 1998.” need to be crushed up!” architect’s brilliance as a designer.”

294| ARCHITECTURAL DIGEST|JULY-AUGUST 2019