Samira Rathod, Principal, Samira Rathod Design Atelier [SRDA] writes about the predicaments and opportunities of practising interior architecture in India – a context where the discipline is disorganised and there is lack of clarity on the role of design consulting in the interior space.
To write about interior design as a practice is very tough since we do not see Interior design as a formal, organised discipline in India. When we were studying architecture, there was no independent/separate interior design practice in India and no interior designers that were respected or known enough. Continue reading SAMIRA RATHOD ON PRACTICE OF INTERIOR DESIGN→
In conversation with Ratan Batliboi, Principal, Ratan J. Batliboi Consultants, we discuss exhibition design as a discipline and an area of his creative endeavour, drawing from his exhaustive portfolio in design of an array of temporary and permanent exhibitions and his insight into the processes that work on the front and back-end of the experience.
Published by SID Research Cell at the CEPT University, Rishav Jain’s book on ‘Crafts in Interior Architecture’ takes a critical view of the history of building crafts in the context of space-making while analysing recent attitudes towards their integration in contemporary work.
Historically, building crafts have been an intrinsic part of making architecture in India. We have all known and been intimate with the practice. In the Indian context, the idea of ‘kala’ is rooted in many ways of working with materials and mediums. There is a great significance to the relationship of the artisan with the architecture of our subcontinent. There are, of course, many and complex layers of this relationship. That is where this book dwells. Continue reading Crafts in Interior Architecture: India. 1990 Onwards.→
Working with an intuitive palette of materials and minimal interventions, Pune-based Khushru Irani Design Studio (KIDS) artfully restore an old structure combining contemporary detailing with much of its original splendour, partly to be used as their studio and a space for events open to the community.
Occupying an idyllic corner of a busy thoroughfare within the Pune Cantonment area is a 100 year old building. An unassuming verandah peeps down on to the street midway from its three-storeyed façade – the entrance to the studio of Pune-based architectural practice Khushru Irani Design Studio(KIDS). With its sloping roofs, a verandah with wooden railings, seasoned doors & windows, a stone staircase and plastered brick walls, the building bears a distinct characteristic. It may feel akin to chancing upon on a long-forgotten secret. Continue reading Studio 877: Khushru Irani Design Studio→
Through the illustration of the usage of oxide in making of floors and surfaces, this is an attempt to revisit the firmly rooted existence of this valuable building art. It is an elaboration on the uniqueness of a material which expresses through its end product a narrative of its locally crafted creation and the growth of a skill over centuries, which makes it exclusive for an informed pick in design practice.
Oxide, as a raw material, has contributed significantly to the manifested choices of finishes for the built surfaces in architectural spaces. Its earthy, warm and tantalising texture has time immemorially instigated masses and not just practitioners, to reconnect with myriad associations of traditional charm and value of building craftsmanship. By being used as an agent in preparation of floors, walls and other surfaces in typical shades as cherry, crimson, ruby or scarlet, its practice has been polished and perfected to become a selective building process in concentrated parts of India like Kerala, coastal Karnataka and interior Tamil Nadu. Continue reading Oxide: Beyond a material→