Showing posts with label Design. Show all posts


Retail interior design has re-launched itself in a big way over the past few years in the country. The growth of this particular industry shows a vertical trend and from seasoned to young architects and interior designers all have left their mark in this burgeoning design industry. ADA in its fifth episode of annual Theme issue dedicated 2013 as the Retails year. The mushrooming growth of shopping plazas, the cultivation of shopping districts, the ever conscious consumer market and the proprietor’s prestige from Karachi to Islamabad have changed the face of Retails throughout the country.
Retail design is primarily a specialized field of interior design with some scope of interior decoration, industrial design, graphic design and ergonomics composed together by architects and interior designers. Retail projects have a short timeline of execution yet with a longer shelf-life hence all aspects of design spatial, electrical, HVAC, operational are factors that have to be woven intelligently and aesthetically.  A retail designer is faced with many challenges; to design a space which invites and entices the consumer to enter, enjoy the thematic experience of the interior which must grasp the consumers interest and entertain visually for them to connect with the space. The success of their designs are not measured by design critics but rather the records of the store which compare amount of foot traffic against the overall productivity. Retail designers have an acute awareness that the store and their designs are the background to the merchandise and are only there to represent and create the best possible environment in which to reflect the merchandise to the target consumer group. (www.wikipedia.com)

Text: Maria A
Photography: Project: The Oriental Restaurant
Architect: Ayesha Aziz
Design team: Umar, Jasim, Sidra
Area: 5000 sq ft
Location: Faisalabad

The restaurant and bar industry is one of the largest profit centers of all service operations and not surprisingly it is a sector in which there is a lot of jostling going on between small and large scale businesses to get more customers. Decor and ambiance play a huge role in getting people through the door and the food is what keeps them returning- or not. With that said, we tend to see the most instrumental and over-the-top investments put into creatively designing the interiors of some of the top metropolitan trendy restaurant spaces or eatery joints. And these efforts almost never go in vain because most of us love and will always pay for great design and an even grander experience, won’t we!

Perhaps there is nothing more therapeutic than a fine dining experience. Culinary sophistication and high standards make for a memorable time for anyone in a restaurant. But we design freaks seek more and often end up lusting over great interiors at places like these. Challenges in design, is big adrenalin; to let all the creative juices flow. Restaurants are no big deal designing in the design world considering the number of eatery outlets that keep popping in the major cities of Pakistan. But a Restaurant in Faisalabad and designed on a theme, and this is not all, a restaurant in a basement sharing the space with a fast food eatery outlet is a definitely a challenge.

The name Kamran sheikh from Lahore is much acclaimed in hospitality design right from the north to the south of the country. KS has many known brands of restaurants to his credit where from the décor/ theme, cutlery, kitchen and the menu have been designed by the maestro to the minutest of details. Seems like a lot of time and money has gone into making these spaces perfect for food and conversations; not only do they manage to lure a large number of food junkies, their interiors serve as good inspiration for home dining spaces too.

Text: Ayeza R Qureshi
Photography:

The Big Issue
As the impact of development emerges from science fiction into our daily lives, designing for sustainability has become an important discourse in research, design & production.

An understood and widely accepted definition of sustainable development was circulated in 1986 through the Brutland Report.

‘Sustainable development is development that meets the needs of the present without compromising the ability of future generations to meet their own needs.' There are a number of scales and standards established in the world to measure whether or not a particular structure is sustainable. The basis is to protect and preserve the resources, trade and culture of any particular place.

Sustainable architecture meets with much scrutiny and bias due to how it has been traditionally presented and promoted. Although there is no dearth of sustainable buildings that nurture cultural practice, address economic situation and conserve resources, there remain some pervasive misconceptions about the process and outcome.

Sustainable by Example

Tariq Qaiser’s, Ghori Infectious Diseases Clinic is a building that dispels a lot of misunderstanding about the design and making of sustainable structures.

The GhoriClinic, is a TB and infectious diseases outpatient facility commissioned by the Indus Hospital Trust. The single storey Clinic supports operations for the Indus Hospital TB Program. To walk one through the plan, the patient arrives at the registration office and is then directed to the patient waiting area. The patient’s weight, height and blood pressure is recorded in a semi private and outdoor niche. Next the patient waits in the designated waiting area, for each clinic, to be seen by a doctor. The building contains the clinics, a research office, medicine store, ration distribution store and public toilets. Removed from the building and waiting areas, the sputum collection booth is tucked away in a private corner of the site.

Sensible by Design

The master plan for Indus Hospital in Korangi Town has been designed and executed by Tariq Qaiser. The key principle in designing for the hospital facility is to provide quality healthcare while protecting and preserving the patients’ sense of self respect and dignity.

Each building constructed is scrutinized by a conscientious board that is scrupulous in the allocation of funding and resources. The cost of making and maintaining buildings, in the course of their life, must be minimal without compromising on the quality of design, execution, functionality and patient experience.

‘We wanted the users to feel special, protected and well catered to.’ Tariq Alexander Qaiser

One of the most important features and challenges in the making of this facility is to control airborne infection in patient waiting areas and clinics. Typically achieved by the installation of HVAC services, Tariq Qaiser has designed in infection control through naturally ventilated technology. This intervention has significantly reduced the running cost for the facility without compromising on functionality and experience. A value resonated by the architects and the hospital board.

‘The initial design principles of economy, sustainability and human dignity have been followed though into this component of the hospital.’ Tariq Alexander Qaiser

In addition to this, by careful consideration of the program of the facility, built form has been inserted and reinforced only where necessary. The natural landscape has thus been creatively engaged to provide enclosed and comfortable spaces; another design decision that has allowed the architects to allocate funding appropriately to the programmatic requirements from the built environment.

Kirtee Shah
Practicing Architect
Hon. Director, Ahmedabad Study Action Group (ASAG)
President, Habitat Forum (INHAF)

This article is not for the Indian architect alone. We all share the same problems. Issues are the same whether it is India or Pakistan or Bangladesh or Srilanka. In the context of the peculiarities of our societies, ecological crisis and globalization, the rethink that the article talks about is inescapable. The professional may survive but will be under perpetual threat of extinction and till it happens will operate in the fringes and margins.
In Trichy recently on work, the local chapter of the Institute of Architects invited me to address the group and meet with its members. The town, approaching a million people mark, has over hundred practicing architects. While discussing state of the architectural practice in a small town in general and Trichy in particular, a senior local architect’s comments on the architect’s role generated a passionate debate. He observed that he felt a fringe player, a marginal actor, in his own building projects, as his contribution remained confined mainly to a non-tangible area of `aesthetics’ and ‘beauty’, while other specialists offered hard core services– such as structural engineering, plumbing, electrification, air-conditioning, costing, etc—that the clients valued more. He added that the architects had become ‘light weight’ having handed over everything except the ‘aesthetics’ to others, and consequently did not enjoy as much confidence and respect of the client.

The introspective architect was probably a bit too honest, a bit too harsh in his judgment on himself and a bit too critical of his professional contribution. He did not account for the space planning, co-ordination and other services an architect provides in a building project, as also the architect’s leader- of – the team – status. No architect ever thinks that he or she is light weight and hardly anyone carries the burden of ‘content’ inadequacy or ‘substance’ lightness. It is also true that unlike the small town client mindset that the architect friend referred to, majority clients in the metro cities have a much charitable view on the role and contribution of their architects. However, with the unprecedented real estate boom and increasingly prominent role that the architects are called upon to play in the changing skyline of the globalizing Indian cities, there is a real need to look at the profession and the professional practice somewhat objectively. In order to get the balance correct, it is also necessary to see the architectural practice in the context of fast deteriorating quality of built environment and deplorable housing and living conditions of the less fortunate ones in these same cities. Though the architects never consider villages to be a part of their ‘work constituency’, to put the matter in perspective, it is helpful to see the architects and their work in the context of rural habitat, the built environment in the villages, where a majority of the country’s thousand million plus people still live and work and , believe it or not, would stand to benefit if some of the architects’ skills, know-how and technology are available in preserving and improving quality of physical environment.
In analyzing the profession the first set of questions is on the clients: for whom the architects are working—or not working. For whose benefit, to meet whose needs, are they using their skills, knowledge and expertise? Which segment of the Indian society they are reaching their services? Certainly not the villagers, as hardly any architect practices in a village. That eliminates 75 percent of the people and their building needs from the work sphere of the architects. How many and who are practicing in small and medium sized towns which, despite a growth momentum, are growing chaotically and haphazardly and where the “clients” and the “projects’ exist, with capacity and willingness to pay, but are not getting the professional’s services? Very few. Architects are concentrated in big cities. And who are their clients there? Not the lower middle class, also not many in the middle-middle class. Their clients are the rich, businessmen, industrialists and public and private institution builders: mostly the upper crust of the society. And in today’s times the builders, the real-estate developers as well. As a class, the upper echelon are about one or two percent of the society; what about others? Aren’t they building? Aren’t they investing? Don’t they need services of an architect, a designer? Wouldn’t an architect’s skill and expertise, if available to them, make a difference to what they are building on their own or using para-professionals? Why aren’t they seeking a professional architect’s services? Why aren’t the professionals reaching their skills and services to them? Leave aside the ‘social good’ or addressing their unmet needs, don’t they constitute a ‘market’? Aren’t they potential clients and a business opportunity? Isn’t meeting their needs, within limited space and resources; can architects/ designers not delve into a professional and a design challenge, a creative opportunity? With the over-crowding of architects that big cities are witnessing, subsequent competition for jobs and projects and resultant survival struggle, why aren’t they seeking new pastures? Why are they not exploring un-chartered territories? What is preventing this from happening? Why are they not entrepreneurial in that sense? If that happens, more architects will have more work, newer challenges and better, bigger opportunities. Equally important, smaller people, less affluent and resourced people, would get the services they need and deserve. It will be a win-win situation for all.

Why is that not happening? Has it something to do with the mindset of the architects, definition of what constitutes ‘architecture’, his/her perceived role as an architect, their education and training? What is that prevents a professional architect from engaging in and contributing to the larger, ‘popular’ world of built environment? Is it selectivity, exclusivity, a misplaced notion of ‘professionalism’, professional ego, stats concerns, or elitism’ of which the architects are often criticized? The main questions are: why are there no architects for not so rich? Why are there no village architects, architects for rural India? Why don’t we have architects specializing in repair, upgrading, retrofitting, rural habitat and disaster reconstruction? Aren’t these services required, isn’t there a market for it? Equally important, why are those few, exceptional ones, who work in villages, in slums and for the poor, looked down upon? Why are they seen as an inferior race, a lesser god’s children? If this is reflected on, the chance is that an unexplored world could open up.
The second set of observations and questions relate to an extremely narrow client base the architect’s service and the limited work universe they operate in. It would be a revelation, if not a shock, to many that out of all ‘formal’ buildings that get built in India not more than six to seven percent are designed by the trained, professional architects. They need to ask why, rather than canvassing for legislation that only the ‘qualified’ that only a ‘member’ of the professional association should be permitted to practice as an architect. How does the remaining construct their buildings? Why are they not using their services? Is that the architects are not available, not accessible? Is that their services are expensive and buildings costly? Is that their services, skills and whatever else they can offer are not relevant for them, don’t fit into their plans and budgets? Or is that the other set of service providers–the non-architects, non-qualified, non-members of the practicing architects’ association- more accessible, more client friendly and more relevant? Is health care service without doctors, legal service without lawyers, accounting service without accountants and primary education without teachers conceivable, proper? The marginalized role of the professional architect in the on-going construction activity deserves some thought and reflection. In a larger societal context, the quality of overall built environment, not only an isolated building design should be the concern of the architect. And in a narrow business sense, a less equipped and qualified competitor taking away a large volume of potential business, should be their business concern too.

That brings the third point. And that is: is that a major issue that a professional architect’s operational universe is so highly restricted and that his/her services reach to only a select few? In India, architecture without architects is a glaring, an undeniable reality. The figure quoted earlier, the 94 to 6 division of work, is a reality. Take housing for instance. Roughly speaking, in big cities, out of ten houses that get constructed, just one is by the public sector, two are by the private sector and the remaining seven are by the slum-dwellers and/or by other non-formal builders/suppliers. In rural India, the entire existing housing stock and a substantial part of the newly built housing is by the people– by ordinary, common people. By a thumb rule, out of the housing stock of some 180 million units in the country, more than 70 percent is through the “people process”, what the Latin Americans call “social production of housing”—no architects, no engineers, no real estate developers, no HUDCO, no HDFC and no building bye-laws.

Can this trend be changed? Can this equation be altered? This ‘people’s movement’ in settlements development; do they not deserve greater recognition, facilitation and more creative response? Should we not take a more constructive, accommodative and positive view of this people process? Should we not recognize these bare-foot architects? Should we not see them as different kind of professionals? Would it not be proper to recognize their role and give them a space to operate? And would that not be a service to the community to organize skill upgrading for them, their capacity building? HUDCO’s Building Center initiative, though proper in conception, is only a limited and feeble response to that need. Diverting a portion of the public investment that goes into training formal architects- and civil engineers – in skill upgrading of these `bare-foot `architects’ will go a long way in improving their performance and thereby quality of the built environment they create .

Let me now turn inwards, from a wider societal– and somewhat nebulous– concern of meeting unmet needs of the non-clients to how architects service their chosen clients, the clients they already have, to the working of the professional practice on the ground. Here too, a good way to dig in, without hurting feelings and disturbing sensitivities, is to ask questions. Isn’t it true that the practicing architects understand little– and care even less– for the external environmental factors, such as climate, energy, water, etc., while designing buildings? Aren’t they victims of external– mostly western–influences and practitioners of unsuited, inappropriate ‘stylization’? Isn’t a ‘curtain wall’ and full glass façade in a blazing sun and an over-working air-conditioning system to cool it, an insult to the local climate and the energy crisis? Isn’t it true that most architects are not cost conscious in their design solutions; that, generally speaking, cost consciousness is looked down upon as a concern of the inferior, the struggler among the architects? In some ways, aren’t the architects alien in their own environment, in their own place and in understanding and responding to the demands of climate, energy and resource crisis, social complexities, life style choices and rich traditional practices in building construction? Aren’t the architects’ stylistic preferences, their `isms’ over-riding functional needs of their clients? An established and renowned architect once told me that the clients were ‘incidental’. Put crudely- and fellow architects may kindly excuse my saying this– aren’t architects taking their clients for a ride— partly through ignorance, partly through arrogance, partly through alienation, partly through design and partly through default?

While examining the profession and the professionals it is essential to recognize the influences that make and shape them. Does not the architectural education we impart and learn, carry a hangover of the colonial past? Aren’t our systems and institutions still burdened and influenced by the British systems and institutions? Isn’t our planning education and practice under big influence of the past? How much has really changed? How much has been indigenization? Earlier, a ‘foreign’ tag had premium, the foreigner and the foreign trained architect carried weight, called the shots. Has that weight lessened or reduced? Has that mindset, mentality changed? How much is local, indigenous in our architectural and planning education incorporated? Aren’t architects still looking westwards for ideas, inspiration, examples and masters? In a globalizing world there is nothing wrong in looking westwards—or to Singapore, China and Malaysia– for inspiration or ideas or technology. What is crucial, however; is to be firmly rooted to ones own land and environment to avoid being swept away; having a reference frame to make correct judgment. It is also a well-appreciated wisdom that those solutions and ideas—the ‘foreign’ ones– are not the most relevant, not the most workable in solving our local problems and meeting our local needs.

Not much is said –and done- about another aspect of the operating environment, which is highly restrictive and constraining but for that to change; the architects are doing nothing or precious little. The reference is to the regulatory framework that includes building byelaws and regulations, building permit system and the compliance mechanisms, put in place and operated by the local bodies and/or the city development authorities. The way they are, they seem to have been designed to kill design, creativity and innovation. The stipulations and provisions are kept deliberately vague. Interpretation varies from officer to officer, desk to desk, time to time. Arbitrariness is the order of the day. And corruption is rampant. The system stinks. Yet, one sees little pubic articulation of concern and little joint action with other stakeholders, on part of the architects’ community, to protest, to fight wrong, to mobilize opinion, to present alternatives, and to work for and influence change. Subservience and accommodation to the system’s irrationality and tyranny, and acceptance of its creativity killing power, is simply amazing. And it is beyond doubt that the architects are the most qualified- and most equipped — to bring it to the notice of the bye-law framers and the administrators that making supportive, positive, facilitating and enabling by-laws and building regulations costs nothing in money terms–that it only demands some imagination and openness to learning– but they go a long way in making our cities beautiful, their sky-line exciting and the urban form richer—something the administrators admire so much in foreign cities, the western cities, but do nothing to promote and ensure here. The architects are the principal stakeholders in this matter. They and their associations need to take position on this issue and organize efforts to bring about the needed change. If this does not change, the architects and their creativity are the principal losers besides, of course, the cities and even towns.

The agenda for institutional reform is much wider- and deeper- than rationalizing and improving building byelaws and regulatory framework. The architects need to muster courage and stand with conviction against unethical practices and corruption. Shortly after the earthquake in Gujarat in 2001, the Home Minister of the State publicly confessed that a majority of the buildings built in Ahmedabad in the previous decade —a staggering 90 percent, according to him– were either illegal or unauthorized or violated building codes or norms in some form or the other. The reference was primarily to the builder promoted construction. The earthquake also exposed large scale irresponsible practices loaded against public safety. If architects raise their voice against such practices—public and private– chance is that they would be probably heard. Even if results do not materialize instantly, the process will build a new solidarity, a fresh togetherness, a new awareness on part of the authorities of their public accountability and a new identity for the architects among their present and potential clients.

Identifying systemic deficiencies and bringing about institutional change demand a committed leadership with a vision. What kind of leadership does the profession has? Who are the leaders and what are they doing? I have never understood this matter sufficiently but I am told that the star architects are the leaders of the profession. The professional associations also play the leadership role. Do they? What and who are they leading? What initiatives? What sharing? What mobilization? Which issues are championed? What remedies, options and strategies are suggested? A leader must lead, give, inspire, set example, even sacrifice. Whom are they inspiring? What are they giving? Is the word `sacrifice’ heard anywhere at that level? Is not the public good versus private interest the most obvious feature of the leadership issue?

This seemingly critical and what could so easily be seen as ‘negative’ portrayal of the profession is not out of negativity or frustration or anything of that sort. It is also not an outsider’s view based on ignorance, prejudice or ideological baggage. It is an ‘insider’s view, based on experience and born out of a concern that the architects, as a community, as professionals, as privileged citizens could do much more, serve many more and contribute so much more meaningfully. This stems from an understanding that given the attitudinal and orientational changes, they could be leaders in making our cities and settlements better places to live and work.

Architecture is a noble profession. In the hands of its conscientious practitioners it is a medium to serve the people and also the environment. It combines both art and science. Culture and technology are its pillars. It is a vehicle to translate ideas and dreams into reality. It embraces both: reality and vision, creativity and practicality. It has been there from the dawn of the civilization and will always be there. However, the way it is perceived and practiced, it needs to move from monuments to people, from magazine pages to practical life, from the elite to the common people and, in a way, from top to bottom, from a pedestal to the ground. That would take nothing from its halo, its mystique and its nobility. It will only be richer.

Architecture as a subject, as an art form, as Shashtra, is too big and ancient to be treated casually. But the architecture profession, as perceive and practiced now, certainly needs a rethink, a paradigm shift. The multiple crisis—energy, water, space, resources, ecology and governance—, new technologies, changing social equations and emerging realities in the globalizing cities make it imperative that the building professionals re-educate — both de-learning and re-learning are called for—and reequip themselves. And a degree of de-professionalization of the conventional professional, in terms of attitudinal shift, client choices and priorities, is a necessary part of the change.

22 January – 17 May 2009
Design Museum, London

Hussein Chalayan’s importance has now been recognized to be at the forefront of contemporary fashion design at the Design Museum in London. After all he has been twice named “British Designer of the Year” and has created an elegant reputation for his innovative use of materials, meticulous pattern cutting and progressive and incorporating new technology, as well as eccentric pieces which border on installation art. He has even made some short films!

This exhibition is the first comprehensive presentation of Hussein Chalayan’s work in the UK. Spanning fifteen years of experimental projects, the exhibition explores Hussein Chalayan’s creative approach, his inspirations and the many themes which influence his work such as cultural identity, displacement and migration. Overall he has a sense of material in an inventive and humorous way, although the references to the orient are there, (his heritage is eastern Mediterranean, Turkish-Cypriot, and educated in North London) they are not overplayed or made indulgently explicit, arguably more subliminal than obvious, and not clichéd (no its not East meets West, once again!).

Hussein Chalayan states that his creative work “borrows from architecture, design, philosophy, anthropology, science and technology”. Eclectic mix, one could say, but actually anyone who is creative straddles different disciplines, has to look sideways not only for inspiration but also to place one-self in context. Chalyan’s references are not used as badges, but arise from him assimilating and processing, he doesn’t apply a layer of “cultural theory” to give it some kind of intellectual legitimisation.

The impressive exhibition layout is a series of installations, which are discreet in their own way, allowing the pieces to speak, without trying to give it an overall brand, after all it is a retrospective. The exhibition has very memorable pieces in an installation format and includes:

‘Afterwords’ which explores the notion of ‘wearable, portable architecture’ in which chairs and tables literally transforms itself into garments, eccentric and bordering on the ridiculous, but managed to get Chalayan some vast media coverage. A dress becoming a table or vice versa would get noticed!
‘Airborne’ bringing the latest LED technology to fashion design with a spectacular dress consisting of dazzling crystals and over 15,000 flickering LED lights. Interesting, and actually seems more at home in a film set. Fashion and film being so close is no accident in this exhibition.

‘Readings’ a dress comprising of over 200 moving lasers presenting an extraordinary spectacle of light. The idea is absurd, the execution actually quite menacing!

‘Airmail clothes’, dating from 1999, Chalayan sewed a papery material into a foldable “airmail letter” complete with red and blue striped borders and string, it is humorous, witty, and actually very elegant!
He is said to present “fashion as a site of exploration and as expressions of concepts”, Hussein Chalayan challenges “preconceived notions of what clothing can mean, rather than as garments with only functionality in mind” (Quotes from the press release). In my mind the female body is occasionally subordinated into a complete wrapped object, de-sensitizing the body into an object, at the same time creating a beautiful textural form. I was struck by the mannequins that he uses, they are made from one model, which is not in anyway an idealized woman, nor an everyday woman, and she is not a cast from a super model, neither in features nor in size. The presentation moves away from falling into being a stylized fashion exhibition, but engages with actually making a very good series of experiences for the viewer. This repetition unifies the clothes, and makes for a familiarization with one face.

In addition Hussein Chalayan presents a series of video pieces, “directing art projects”, the short films titled with distinctly evocative titles such as “Temporal Meditations”, “Place to Passage” and “Anaesthetics”. In 2005, he represented Turkey at the 51st Venice Biennale with “Absent Presence”, a short film pieces featuring the talented and physically unusual actress Tilda Swinton (also a muse of the influential Derek Jarman – a former influential teacher at St Martins, who made the amazing film “Carravagio”).
The piece “Place to Passage” is an imaginary haunting journey from London to Istanbul, presented on multiple screens which captures his label “future minimalism”, is beautifully choreographed, filmed and presented. It captures the reality of a homogenized travel, which starts and ends with the banality of an underground car-park. Even the androgyny of the protagonist highlights the fact that everything is at a constant which suggests that the place that you leave and the place that you arrive at are actually the same, a basement car-park.

Hussein Chalayan was born in Nicosia (Lefkoşa in Turkish), Cyprus. At the age of 12, he came to England to study and later graduated from Central St Martin’s College of Art and Design, London in 1993. His graduate collection in 1993, titled “The Tangent Flows”, contained clothes which he had buried in his back yard and dug up again. This got him noticed! The collection was seen by Joan Burstein of the reputable London retailer, Browns, who consequently viewed his work in full.

In 1995, Chalayan beat 100 competitors to clinch a top London fashion design award. In the contest, organised by the company “Absolut”, Chalayan, aged 25, he won the prize money (said to be a sum of £28,000) his remit was to develop creations for the British capital’s Fashion Week in October 1995, which also won him critical acclaim. It is noteworthy that a “fashion prize” may be traced to changing a young creative person’s fortune, giving them seed money to focus on their work.

Also in 1995 Chalayan worked with Icelandic the eccentric pop diva Björk. The jacket that Björk wears on the cover of her album Post was designed by Hussein Chalayan. The collaboration went further; Björk’s Post music tour also featured several creations by Chalayan. Björk also subsequently modelled for Chalayan in October 1995 for London Fashion week.

Chalayan work has been described as “future minimalism”. He has also been controversial, where he took “inspiration” from the traditional Muslim dress (naked models paraded down the catwalk with their heads draped in traditional scarves); other creations include long knitted dresses with built-in walking sticks, starkly pleated ‘concertina’ dresses and course. This crossover between arts, theatre, and social commentary has got him great notice and press coverage. Although as a person he is said to be private, and not haunting “hip” clubs inhabited by rocket fuelled fahionistas.

His “art” connections are proven by the fact that his work has been exhibited in a variety of premiere locations, including, the Victoria and Albert Museum, Institute of Contemporary Arts, Tate Modern in London, as well as the Louvre in Paris. Chalayan is definitely aligned with the art world, just as much as the fashion world. Exhibitions worldwide include Radical Fashion at the V&A, London (1997), Fashion at the Kyoto Costume Institute in Japan (1999), Airmail Clothing at the Musee de la Mode, Paris (1999), Century City at Tate Modern (2001), Godess: The Classical Mode at Moma, New York (2003) and Skin + Bones: Parallel Practices in Fashion and Architecture at Somerset House, London (2008). His first solo exhibition took place at the Groninger Museum, The Netherlands in 2005. In the same year, he represented Turkey at the 51st Art Biennale in Venice.

Hussein Chalayan sells internationally and shows bi-annually in Paris. He has succeeded in working simultaneously in a commercial and conceptual vein, designing costumes for opera and dance performances and developing his ideas in film and installation work as well as in the fashion industry. He has recently been named as the ‘Creative Director for Sport Fashion” for Puma, further expanding his range of practice.
He has routinely collaborated across disciplines with industrial designers, musicians, jewellers and textile designers. In 2006 Chalayan was awarded an MBE (Member of the British Empire) for services to the fashion industry. Hussein Chalayan won a prestigious Brit Insurance Designs of the Year Award 2008 for his Airborne, Autumn/Winter collection.

This exhibition captures an impressive body of work and is a great insight to a creative genius who takes his work seriously, is generating work which is thought provoking, generous and beautiful. In a world which has undermined beauty to pantomime figures in paparazzi photos of the banal un-interesting celebrity culture, Chalayan’s attempts to bridge between disciplines creating a challenging commentary on the female body.
These borrowings from various sources may seem to make him a little slippery to pin down, but actually there is memorable inventiveness which stays with you after the show. This first retrospective in London is impressive, from content and presentation; it confirms that there is so much more to come from the impressive and curious mind of Hussein Chalayan.

The exhibition Hussein Chalayan, “From fashion and back” runs from 22 January – 17 May 2009 at the Design Museum, London

Text: Ar. Ramiz Baig
Photography: DAZ Studio
Client: Late Mr. Khalid Shafique
Designer: Danish Azar Zuby
Area: 900 sq. ft.
Year of completion: Nov 2004

A successful designer has a unique ability to connect with their clients. The designer in this case would have had to understand the workings of the jewelry business. This knowledge would have allowed them pinpoint the exact needs of each jeweler and bring out their skills to bear on their specific and individual requirements.
Jewelry stores are different from most other retailers that is they depend on higher profit margins instead of more sales as their products are generally pricy. Architecture has quite a role to play in implementing this sale strategy. The environment designed thus has to be conducive for the client to be able to comfortably spend time in the space. Sometimes clients come in large groups and thus the space should accommodate that activity.

The designer had an enriching experience in mind while developing this project conceptually. One gets the feel of fluidity, colour and “lounge” like space. The façade is independent of the existing buildings structure and is kept free flowing. The dynamic skin wraps around the form, almost draping. This gesture creates a soft curvilinear approach to the shop; inviting the customer in. the façade also gives the customer hints of the products and the interior to interestingly shaped openings almost reminiscent of kaleidoscopes.

“The motif was used as a decorative entity on the column on the front corner. Originally this was the biggest problems to resolve in the shop design but later it became the main feature of the façade. The serpentine and organic theme in the interiors was a conscious decision but a few straight line were unavoidable. The curvy tendrils in forefront were coincidental at the photo session.” Danish A Zuby

Security is always a major concern when designing jewelry stores. Due to Karachi’s sensitive law and order situation the jewelers have mostly taken to the new “mall” concept. The client also feels secure as no one on the street can tell where they have shopped. Here though we see a “flagship” store located at one of the junctions where the two upscale locales of the city meet. With the existing market presently catering mostly to the womenfolk in general it is a good location for such a business activity.

The exciting form and space conceptually is somewhat diminished due to the choice of materials, colour and tone which pre dominates the store. In the design stage the internal space had an almost unreal feel to it, reminiscent of architecture depicted on Tatooine from the universe of star wars. One feels there was a strong desire to take the shop in a different direction to what it ends up with. The language with which the design is executed is similar to what is used in designing mainstream jewelry. The architectural detailing is thus an offshoot of the product for which it is designed for.

This store is spread on two levels with openings designed in the slab. This helps in visually and experientially opening up the space. The visual connection it makes amongst the floors also creates a convenient opportunity for continuous vigilance which aides in security without it being imposed.

Every jeweler is different – from the way they merchandise, to the way they sell, to the way they service their customers. It is in these characteristics that the designer has to find the elements that give them the insight and direction needed to design and build a store that reflects their personality and their own unique way of doing business.

Text: Ar. Maria A
Photography: Bashesnef

Some cities embrace and preserve centuries of culture and pays poetic tribute to the layers of civilization unearthed on its site. But not Dubai, Dubai is cosmopolitan in its own way, the very best example that the world has to offer on globalization. Culture and its remnants have taken a back stage to the multitude of sky scrapers popping into its horizon. Dubai the world’s fastest changing city, an urban landscape that has come to be characterized by quick development in architecture ‘without identity’ and with an anonymous core. This is a place in race with itself in all compartments, a place where all cities of the world meet and collide with a result of no identity. These are the premises of ‘Dubai- scape’. Yet Dubai has it all.

The sound and sights of places is unforgettable and this is the stuff that our memories are made off. Van Gogh and Amsterdam are synonymous; anyone who has been to the quaint city of Amsterdam knows the numerous Museums and Van Gogh’s lifelong work on display in one space. Amsterdam has 37 museums, each of which offers very diverse permanent collections and temporary exhibitions. The largest and most renowned institutions include: Van Gogh Museum, Rijksmuseum, Stedelijk Museum, Hermitage, Anne Frank House and Rembrandthuis. There is also a surprising amount of smaller museums, each of which brings very different types of art and collections to Amsterdam. In recent years, photography and multimedia exhibitions have also been booming.

A visit to the Van Gogh Museum is a unique experience. The museum contains the largest collection of paintings by Vincent van Gogh in the world. It provides the opportunity to keep track of the artist’s developments, or compare his paintings to works by other artists from the 19th century in the collection. The museum also holds an extensive offer of exhibitions on various subjects from 19th-century art history.
The museum’s permanent collection includes more than 200 paintings by Van Gogh and many drawings and letters. In addition to work by Van Gogh, the museum has a rich and varied collection of other 19th-century art. The artists represented include Impressionists, Post-Impressionists and others: Van Gogh’s friends and contemporaries, those who inspired him, and those who drew inspiration from him.

One must be wondering what is the connection between Dubai and Amsterdam and Van Gogh? But somewhere, somehow Dubai does surprise you and Van Gogh restaurant WAS one such place. Some years back in its sweltering heat I had by fait accompli searching for any eatery to qualm the pangs of hunger and thirst stumbled onto Van Gogh restaurant, and was entranced.

The restaurant an inspiration of the artist and also homage to his great work is a sensitive approach. A space which for the Van Gogh lovers in this desert turned green city far away from the artists place is indeed a worthy attempt. The general interiors though spacious have been worked out on a neutral note, no strong facades, stone or iron elements but tall mirrors which reflect the work of Van Gogh from all vantage points. The walls which are resplendent of Van Gogh’s works are the main highlight of the space. The simple furniture in contemporary lines and flooring all take a deliberate back seat to the actual display.

The project posed a number of challenges to its designer Basheer of Bashesnef. In addition to creating an exhibit gallery, Basheer was charged with relating the new restaurant to diverse existing elements on the site (read neighborhood). In a nod to the area’s shopping crowd, the architects designed the restaurant as a stage composed of a series of foreshortened frames. The experience begins with a blank façade that does not betray much to the outside world. Restaurant visitors enter a brightly lit reception area into a space washed with varying shades of reds. The entrance facade is obscure with no hint of what lies inside. Passing through the reception, one is plunged into the shifting darkness of a vast and spacious ground-floor space. This spacious interior is clearly bifurcated with flooring and wall as exhibition space of Van Gogh’s works.
Light and sound penetrate the pseudo perforated brick walls. The street noise reinforces an awareness of the exterior, and a recording of instrumental fills the space with the haunting stirrings and cooings of pigeons that once nested and played among the ancient walls of the artist Van Gogh. There is an absurd of sorts. The walls are encased with bricks, sheathed in wood, reflected by colored glass and this crowd of materials frames works of the artist. It is a question and yet an answer to the multitude layering of our lives itself
The glass façade and entry belies the interior except for the name. The interior is segregated in two sections. One corresponds to Van Gogh and his works and the other as a regular hi profile eatery outlet. The muted varying shades of oranges reminding one of ‘Sunflowers’? with stone flooring. The furniture inspired from his paintings of that particular period and the table settings are reflections of the flower series. The other section is a savvy layout of any restaurant interior and décor; the polished wooden flooring with modern style leather like seaters in stainless steel. But the highlight is the juxtaposition of Van Gogh’s works on the featured walls of the contemporary décor. It is a stage setting a mirror of Van Gogh’s works thrown into the interiors, a make believe world.

Make believe, transitory, reflection, a mirage and a memory. As our readers might have noted the project data and its details are missing. The reason being the project is not there any more, simply put. It was a brief journey of Van Gogh in a different world, when it existed there was a milling crowd of artists and art lovers but now there is nothing; Nothing to remind us that the place ever existed. In this ever changing consumeric, migratory world how can art which has sustained for centuries compete with the time warped effervescence of today’s life? Architecture and to some extent interior design is for posterity, the only art form with a huge span of survival and service but the influx of technology has transcended it into time warps with specific span of life.

Text: Ar. M. Sayem Ghayur
Photography: IDS Studio & Ar. M. Sayem Ghayur
Project – Interior Design Development
Client – Nirvana Day Spa & Salon
Architect – Impact Design Studio (IDS)
Design Team:
Usman S. Khan
Ibrahim Khan
Amer Shakoor
Electrical Consultant – SEM Engineers
HVAC Consultant – Universal Consultants
Covered Area – 7,500 square feet
Year of Completion – June 2006

Different degrees of modernity have become the raison d’être of the ever widening rift between the lifestyles of the East and the West. West has isolated itself from the religions of the world in essence with the ever-progressive quest of modernity. Eastern civilizations, on the other hand, don’t quite let go of their religious affiliations, despite being besieged by the very charms of modernity too.
Irrespective of geographical and cultural differences, the entire globe comes under the same spell of an indefinable confusion and spiritual emptiness which makes them all look for solutions, influences and inspirations in religions they don’t take much seriously otherwise. However, having a much modernized frame of mind, finding solutions and influences in age old perceptions, doesn’t remain all that simple, ending one up further more bamboozled.

Faster changes, in this age of ever advancing technology, have made human perception as superficial as the effect of such technology on our lives. Thus, we perceive religion with such modernity (read superficiality) too. Designers, musicians, and artists believe that simply replicating, or according to modern terminology: “copy-pasting”, the past, embodies spirituality.

Different degrees of modernity have become the raison d’être of the ever widening rift between the lifestyles of the East and the West. West has isolated itself from the religions of the world in essence with the ever-progressive quest of modernity. Eastern civilizations, on the other hand, don’t quite let go of their religious affiliations, despite being besieged by the very charms of modernity too.

Irrespective of geographical and cultural differences, the entire globe comes under the same spell of an indefinable confusion and spiritual emptiness which makes them all look for solutions, influences and inspirations in religions they don’t take much seriously otherwise. However, having a much modernized frame of mind, finding solutions and influences in age old perceptions, doesn’t remain all that simple, ending one up further more bamboozled.

Faster changes, in this age of ever advancing technology, have made human perception as superficial as the effect of such technology on our lives. Thus, we perceive religion with such modernity (read superficiality) too. Designers, musicians, and artists believe that simply replicating, or according to modern terminology: “copy-pasting”, the past, embodies spirituality.

Superficial admiration ends up proving blasphemous, religions are too complicated to be understood with a modern mode of thinking. Taking influence in religions demands respect, which can only be possible if they are understood properly and not superficially. Understanding a religion is a lot different from keeping oneself informed with updated technology. Religions are meant to be followed, not to get influenced with for the mere purpose of reflection in commercial art forms.

A lot less subversive but ill understood and unjust use of religious symbolism exists all around us (especially in Dubai) in the form of shopping malls using arches, domes, and calligraphy to merely represent Islamic architecture for commercial benefit of the built space. Architects from around the world think that different elements, symbolic of Islamic architecture, make mosques. When the religion itself specifies no physical prerequisites to offer daily prayers, all you need to have to offer prayers, are pure intentions, faith and a clean place. But having grand and ornate mosques doesn’t end up being blasphemous also, they just don’t resonate with the act of bending before god in humility, and don’t stand true to the teachings of the religion they intend to serve, thus proving to be a weak representation of a strong faith.

Much recently I had the opportunity to visit an architecture office in Islamabad and to my surprise the office had to have a name completely true to its personality. The Impact Design Studio (IDS) did not fail to leave an everlasting impact with the studio’s own interior and that of the project I was supposed to review. The interior design of Nirvana Day Spa and Salon couldn’t have been mistaken by IDS as any other project due to the highly motivating nature of the spa and its befitting concept-deriving name.

In Buddhism, Nirvana is the happiest state of mind attained through enlightenment or “bodhi” and not through impermanent things. The IDS started thinking on the lines of taking influence in Zen Aesthetics, and the project doesn’t let the spirit of the Japanese aesthetics down, to say the least. Trying to manipulate how it did justice to the Zen religion is pointless because the spa business is not concerned with the spread of the religion; it uses the religion as a mere commercial gimmick and in any case Zen focuses on the spiritual reality of life and not the commercial. The IDS has tackled the contradiction quite brilliantly, if you want to attain Nirvana in this age you surely won’t have to go to a monk in a monastery, make it to the spa and forget about learning and meditating, and luckily, the spa has a very well-trained staff to do the job quite dexterously.

Zen is one of the oldest traditional schools of Buddhism, it evolved from Buddhism due to an Indian monk, Bohdidharma, who had gone to China around 500 A.D. to spread the Dharma (word of Buddha). There, getting acquainted with the strict self reliance of Taoism gave the meditative practices of Buddhism a new wearing; Chinese called it Cha’an, Koreans called it Son, and Japanese identified it as Zen.

ZEN BUDDHISM
Zen Buddhism focuses on the attainment of Nirvana, or enlightenment, while living in the same routine as of before living Zen. Zen is about knowing your inner self, the environment and the nature better. It’s about doing whatever you do in the best way possible, with cleanliness, usability and simplicity in mind. Whatever is not useful is not required. Enlightenment has no physical change associated with it but ultimate inner peace; it has no affect on the daily life of the follower, as Wu Li puts it,
“Before enlightenment chop wood and carry water. After enlightenment, chop wood and carry water.” 

According to Eihei Dogen, “enlightenment is like the moon reflected on water. The moon does not get wet, nor is the water broken. Although its light is wide and great, the moon is reflected even in a puddle an inch wide. The whole moon and entire sky are reflected in dewdrops on the grass, or even in one drop of water.”
The most popular aspect of the religion is meditation, which is the practice of focusing on a single thought, “koan”, until the outside world seems to disappear completely. Zen has often been confused with other Asian cultural phenomenona like, T’ai Chi, Feng Shui, and Taoism. For long Zen gardens have been used to fill in leftover space inside office buildings and shopping malls, and a lot of stores offer little Zen fountains, little Buddha statues made of china, silk kimonos, or other things that represent Buddhism, but Zen has nothing much to do with its modern (read superficial) interpretation. And in addition to that, materialism and commercialism kill the idea of Zen-simplicity.

At the time when temples of the faith were required to be constructed came the question of designing in the Zen way as well, like doing all the other daily jobs with the same spirit. The underlining design directives do follow Zen principles but do not represent the religion itself. As a British Zen scholar R.H Blyth suggested that Zen is the unsymbolization of the world and all the things in it. No object, or commodity can make a space Zen-like, the experience of living and working in a space with the perception and awareness of an eternal you, your part in the universe, belief in cleanliness, simplicity, usefulness and unity of all things is Zen.
Based on the teachings of Zen philosophy, six basic aesthetic principles were formulated. “Fukinsei” or Assymetry realized that nothing is perfect in this world and therefore this imbalance creates all movement and energy. Stiff, formal symmetry, suggesting frozen finality and artificial perfection, can be fatal to the imagination. Asymmetry lets us be loose and spontaneous—more human than godlike. It means we can get by with one—or three—candlesticks, and all the china doesn’t have to match.

“Kanso” or simplicity is a key tenet of Zen. Embracing the everyday, unadorned things in life is to embrace truth.

“Koko” reflects vernanbility. Maturity with an edge of austerity is a hallmark for Zen thought. The patina on an old stone lantern, the feeling that a stone has always been in the garden, or the bleaching of weathered wood are all examples of this principle.

“Yugen” that is subtlety and mystery is found throughout Zen. The most prevalent element of yugen in a Zen garden is the use of miegakure, or “hide and reveal”, where the whole garden is not shown through a window, just a small piece. Or a bend in the path offers just the barest of hints of what waits around the corner. The play of shadows on the garden is another display of yugen “darkness”.

“Datsoku”, meaning otherworldliness, is the sense of a fantasy realm, a transcendence of this plane of existence that is so much part of the Japanese garden. As Zen maintains that everything is illusion, this is a very important concept.

And finally, “Seijak”, silence or stillness is probably the most central tenet of Zen. From silent meditation, to arrival at the “still point” or enlightenment, Seijak gives Zen spaces an inward orientation.

Bringing all these different landscape features into harmony is the true secret of this art which is made possible by quite a few symbolic elements. Stones act as reminders of the immovable mountain which made the centre of the world according to early Buddha thought. Stones are arranged in sets to symbolize early myths of the Buddha, the lesser buddhas and mythical carps such as the birth of dragon. Dripping water acts as a measure of time, each clack a reminder of the moment, besides being a symbol for cleansing and purification.

Plantations such as large bamboos, plums and pines are often found in Zen gardens. Canes are a perfect example of the principle of mushin or “empty heart” (the empty heart provides strength through flexibility). Plums flower without leaves, often while snow is still on the ground, symbolizing resilience and rebirth. Pine is set in a Zen garden as a symbol of strength and patience. Paths are used to represent life in general while “Hashi”, bridges, symbolize transition from the world of man into the world of nature.

“Tenkeibutsu”, ornaments, are profoundly used in Zen spaces; lanterns with the “hoju”, jewel, on its top symbolize enlightenment, and many use a lotus motif at the base or just under the firebox. Stupas are also found in gardens and point to heaven to show the way to dead souls. The tea basin is the repository for purifying water, again a symbol of life. Occasionally you may see a Frog figurine in gardens.

The Nirvana Day Spa & Salon is placed in a typical posh residential area of Islamabad. From the first look of the residence, inside which IDS has carved out a therapeutic retreat, it is quite evident that the spa doesn’t believe much in advertisement. There was no sign board of any sorts anywhere; you have to know the address personally to get to the spa. Once there, it was hard to be confident enough to enter it, because even the entrance wasn’t visible. Was this to a part of the concept? To add mystery from the point a customer enters? But once you get inside the spa, it’s a journey worth being referred to as Nirvana!

We were told to come before spa opens up for the customers, so we actually witnessed how the spa wakes up. We waited for the candles and lanterns to be lit, water bodies and music system to be turned on, and it took enough time to let us have morning coffee in the Nirvana café which happens to be at the backside of the spa.

The entire project is a medley of different materials, textures, lighting conditions, sounds and art pieces, making the whole space encourage the renewal of mind, body and spirit. The spa is spread on two floors, what remains the same throughout are the candles, diffused-lit wall and roof planes, the wooden and metal sculptures, the gravel and white pebble ponds, the bamboo installations and the water fountains. The two floors and the cafeteria of the very sensitively detailed spa are woven together into an everlasting journey of Japanese origin and quite respectfully Zen.

There is not much asymmetry in the candle and stone arrangements, neither are there any bridges inside the spa. However the space where the two floors connect through a staircase, reads very much like a bridge of sorts, symbolically speaking. The ground floor has hard tiled flooring and the upper floor has rustic wooden flooring. There is a shared Nail Bar on the ground floor and single-bed rooms (Vichi Room, Massage Rooms and Facial Rooms) on the first floor. The program difference is enhanced by the difference in architectural detailing and the transitions of mental state (of relaxation) feel highlighted. The more time you spend, the further experience you get inside the spa with focused attention coming as an obligation.

The staircase area has a lot of detailing worth mentioning, including the diffused plane with a water fountain in the middle on the mid-landing, the candle stand on the floor below the centralized water fountain, the ornate mirror on the side wall reflecting the ‘zenomania’ of this space, and the candles adorned screen-wall with a floral mesh of metal and a pebble pond skirting beneath.

To get to the cafeteria, once you step out of the spa you see sculptures positioned inside a large water body with signs of moss and wearing out stone. You have to take a meandering graveled path with slate stepping stones to get to a wooden portal that enters you into the cafeteria. The cafeteria has table tops with white pebbles in them and cane sofas. Besides the interior, the cafeteria offers delectable coffee also.
Designing religious spaces is one of the hardest jobs for an architect; this project was a bit complicated for that category also because it was a commercial project with a concept based in religion. The architects did a good job by taking a conservative approach towards Zen, in the case that designers take a personally sparked modern approach towards a primitive religion, they end up offending it.

An old Zen story tells of a traveling monk who came to a monastery on a chilly evening. He was cold, so he took one of the Wooden Buddha statues to make fire. The head monk caught him in the act and inquired in horror about why he was burning the statue, the monk replied “to get the holy essence”, listening to this the head monk objected about how a statue would give him the holy essence, to which the traveler monk suggested, “if the holy essence is not in it, then why shouldn’t I burn it?” The moral of the story emphasizes the value of things to be gauged with their usability and not their representation and all of us have to learn.

   
Copyright © 2012 ADA: Architecture Design Art.