Ciao Everyone! We are pleased to welcome Ar. Dianna Kellogg for our next episode of Tete-a-Tete series hosted by none other than Ar. Kritika Juneja.

So, hi Dianna, to begin with, could you tell us about your early brush with architecture? How has your background and upbringing influenced your design principles?

I grew up in a vibrant, multi-generational household. Every summer, my grandmother’s house became a massive family hub. That closeness is something you don’t see often in the U.S households, and it left a mark on me. My grandmother, in particular, taught me that giving back to the community is a core responsibility, and I am grateful to be able to fulfill that mission in my current role.

As a women architect and designer, if you were to have a superpower, what would it be?

Women often possess hidden superpowers that go unrecognized. One of the most effective is the ability to be underestimated, when you aren’t the center of attention, you gain the freedom to work toward your goals undisturbed. Growing up in a house full of boys, I learned to navigate my own path away from the spotlight. Furthermore, women possess a unique, non-linear patience. As Zaha Hadid once noted, our minds are naturally suited for gestation allowing ideas to bubble up and develop through circular thinking rather than rushing toward a rigid, linear conclusion.

Do you think this quality reflects in your work as well?

My work is profoundly shaped by a non-linear approach. I rarely stick to a first draft; instead, I prefer to circle back to ideas, allowing them to evolve. Art is central to this, I use sketching, painting, and watercolors to initiate the broader concept of a project. These works aren’t buildings in a literal sense, they are abstract guiding principles. Even as a project becomes more concrete and technical, I constantly refer back to that original artistic spark to ensure the final design remains true to its initial essence.

As you did associate with Conscious Collective, can we get a bit sneak peek on the manifesto you shared with the audience?

I shared my experience and journey while designing the Rajkumari Ratnavati School. The process of designing this school was one of unlearning. I arrived with a background shaped by the West, coming from a relatively young country. But in India and specifically Jaisalmer, I encountered a depth of ancient knowledge that challenged my perspective. While the building is modern, its soul is historic. The cooling systems and thermal resilience aren’t innovations I brought from the West, they are techniques I discovered by observing local craftsmen and ancestors who haven’t just survived the desert for centuries, they’ve mastered it.

What is your idea of a good design in general?

In my view, design must first master the function, it has to be seamless and reliable. But that is only the starting point. Once the physical needs are met, we can aspire to a version of beauty that provides genuine healing.

As our world grows warmer and more chaotic, architecture shouldn’t just shield us, it should settle us. It’s about moving from simple temperature control to a deeper, psychological comfort where the inhabitant feels truly at home in their environment.

What has been the driving concept behind the famous Rajkumari Ratnavati Girls’ School in Jaisalmer, Rajasthan? Was this your first project here in India or have you worked on some other projects in India before?

I am incredibly surprised and grateful for the immense attention this building has received. Because it was located in a remote area well outside of Jaisalmer, I assumed it would go unnoticed. This was my very first project and my first time in India, which was an overwhelming but beautiful experience filled with vibrant sights, smells, and colors. The way people interacted there was entirely new to me. Visiting the local villages and meeting the mothers and daughters profoundly moved me. I think society often forgets the value of ancient wisdom, but seeing these women in their homes, so eager to learn, explore, and openly welcome a foreigner like me was deeply inspiring.

Where did that shape came from?

The shape was inspired by universal symbols that resonate across cultures, particularly the egg, which symbolizes femininity, the womb, and a cradle. In fact, I refer to the three buildings in the complex as the cradle, the eye, and the womb to reflect their respective functions. The shape felt like a natural evolution of the traditional courtyard layout, a familiar prototype for local children. It was crucial to incorporate recognizable regional elements so the students would feel comfortable and at ease.

Additionally, this form offers surprising functional benefits, it optimizes wind circulation and frames the sky. In a vast desert where the horizon feels endless, the building intentionally draws the focus inward, fostering a deep sense of community within the space.

Moving to the next project, the Dinosaur Museum on the flaming cliffs in the Gobi Desert Mongolia is stunning, I have seen. So, has the project already been completed? If yes, then what is the concept behind it?

The project is currently in its conceptual phase, coinciding with a major fundraising push for the museum. I am collaborating with a passionate Mongolian paleontologist who reached out to me three years ago. Our team is spent the next few months deep in the design process, building on concepts that recently won the Innovative Board Awards.

The primary vision is to create a dynamic teaching museum that returns Mongolia’s rich dinosaur heritage to its people. Mongolia has the second-largest concentration of dinosaur fossils outside the United States, yet many locals are unaware of this, leaving the land vulnerable to illegal poaching and auctions. The founder began her mission 20 years ago, traveling school-to-school with a trunk of fossils. Later, an American donor helped ship a retired American Museum of Natural History ‘Dinosaur Bus’ to Mongolia. Navigating this massive bus across roadless terrain often driving along dried summer riverbeds is a masterclass in determination. Witnessing the magic of schoolchildren chasing the bus inspired our mission to realize her dream of a world-class institution.

Unlike traditional urban museums, this facility will be built directly on-site at the Flaming Cliffs, allowing visitors to view museum exhibits while witnessing live paleontological digs. Architecturally, the building will echo the local geology and the earth’s evolutionary timeline. By utilizing stratified, multi-colored local rocks, the materials themselves will tell the story of the earth’s mineral ages alongside the dinosaur exhibits.

Furthermore, the museum will feature a climate change center to spark critical dialogue about species extinction, contrasting the sudden, external meteorite event that wiped out the dinosaurs with our modern, self-inflicted climate crisis. Experiencing Mongolia’s vast, unblemished landscape free of roads, power lines, and human infrastructure instills a profound connection to the planet. To honor this environment, the architectural strategy is to tread lightly, the above-ground structure will serve as a minimal enclosure for the specimens, while the heavy educational programming and digital infrastructure will be tucked seamlessly underground.

So as compared to your other projects, which often feature dynamic forms, the New York apartment, Tribeca seems to have more clean, straight lines, nude colors. So, what was your play behind it?

I began my career doing residential work in Manhattan, primarily focusing on downtown lofts, which offer a richer architectural canvas than standard apartments. I always handle both the architecture and interior design, as I believe they are inseparable.

In the New York apartment you saw, the structural bones are remarkably strong. When approaching a renovation, my goal is always to uncover and elevate the inherent essence of the space rather than imposing a completely separate, artificial concept. This philosophy remains identical whether I am designing a home for people or an enclosure for dinosaurs. It actually led to a funny conversation with my team regarding the Mongolian museum project, I reminded them that we had to establish the exact dimensions of these prehistoric creatures. We instinctively know how to scale a room for human beings, but designing a space with proper clearance for these massive animals required a completely different approach to volume and ceiling heights.

You connect to art is quite old as you have designed some art projects in your early days, how would you quantify the non-negotiable role of art in granting a physical space its unique character and narrative soul?

To me, art is completely non-negotiable. One of the most amazing things I discovered in Jaisalmer and other cities is the concept of beauty as an act of survival; there is an innate essence in all of us that aspires toward it. By beauty, I don’t mean an superficial ideal, but rather a sense of harmony that brings ease and peace. Art has always been central to my life because I am a deeply visual person, i understand a place by seeing it, not just reading about it. I view the world through the lens of architecture and, by extension, art. While it is often a contested point, I firmly believe that architecture is an art form, a complex one, certainly, but an art form nonetheless.

After practicing in New York, where design often prioritizes modernity and market forces, how did this India project, driven by social mission and traditional sustainability shifted your primary architectural focus? What is the most telling difference between the two cities?

New York and Jaisalmer are dramatically different urban environments. While New York is a massive, bustling metropolis, Jaisalmer is a much smaller city, yet it possesses a vibrant street life centered around community whether through shared music, food, or local commerce. In contrast, New York can be surprisingly isolating; people tend to brush past one another on the sidewalk rather than engage.

Cities are fundamentally meant to be spaces for community. The warmth and proximity experienced in India with all the harmonious and challenging friction of people living closely alongside one another ultimately brings out our shared humanity. That level of deep, daily human connection is something you rarely find on the streets of New York.

Could you please elucidate on your project TARA for Change?

The idea for Tara for Change emerged after the completion of the school, when I began receiving requests for projects globally. I wanted to establish an NGO that could channel donations toward underfunded initiatives, using design to prove that high-quality architecture is essential, not a secondary luxury sidelined by profit. Through my work, I developed deep connections with Indian artisans, collaborating hands-on to create lighting, furniture, and textiles. I am a major proponent of showcasing India’s incredible craftsmanship to the world.

I established the foundation alongside my two adult children, who serve as my sole board members. I believe deeply in their generation’s potential to drive change. Organizations like the Godrej Labs are doing critical work regarding sustainability and heat-resistant construction. Unlike previous generations, today’s youth were raised with climate change as a core reality, making sustainability an immediate priority rather than an afterthought. While my schedule has kept me too busy to focus on the NGO as much as I would like, it remains a vital goal for the future.

What is the one best and one worst piece of advice you ever got in your life?

The worst piece of advice I ever received came from my godmother, a highly influential working woman who had carved out a rare career in television for her time. She warned me never to learn how to type, fearing I would get stuck in a secretarial pool. Of course, she couldn’t have anticipated the advent of computers and how typing would become a universal, essential form of communication, rendering secretarial pools obsolete. Overcoming that hurdle required a shift in mindset.

Conversely, the best overriding advice I have lived by is to simply keep moving forward. In architecture, you must accept that obstacles and challenges are inevitable whether it’s shifting zoning laws or material shortages. Instead of viewing these disruptions as roadblocks, I see them as catalysts for creativity. When a project deviates entirely from your original plan, you have to stay the course with patience, resilience, and a refusal to give up.

Hej alla! We are pleased to welcome John Löwbäck, Founder Swift Lifts, a Swedish brand for our next episode of Tete-a-Tete series hosted by none other than Ar. Kritika Juneja.

KJ:-Could you first of all tell us what this technology is all about, and how do you think it will bring revolution to the Indian market?

JL:- Swift lifts were developed to address a relatively new but significant market demand for elevators in private homes. This unique application places a set of specific requirements on the product itself. Unlike commercial elevators, this home lift is extremely compact to fit into existing structures, user-friendly for all members of the family including children, and easily adaptable for elderly individuals.

To meet these needs, Swift has engineered its lift with a primary focus on safety and energy efficiency. A key technological feature is a special battery system that recharges itself every time the lift descends. This innovative design ensures that in the event of a power outage, the lift remains fully operational, guaranteeing that a user will never be stranded inside.

The installation process is intentionally designed to be a simple procedure rather than a complex construction project. The lift and its shaft are delivered as a single, complete unit. This integrated design is a major advantage because it completely eliminates the need to dig a pit in the floor or to construct additional space above the lift’s top floor. The lift can be placed in any suitable location within a home, such as an existing staircase, making the process quick and hassle-free.

Beyond its core technology, the Swift lift is highly customizable to blend seamlessly with a home’s aesthetic. Customers can choose from various options for colors, doors, and design themes. The lift is also equipped with smart and intuitive features to accommodate all users. The lift is designed to be smart and user-friendly, with a “kids mode” that plays music and a special mode that simplifies controls and offers voice assistance for elderly. The entire system is connected, allowing the company to remotely monitor the lift and provide proactive support.

Finally, while the company acknowledges that the Indian market is a complex environment with numerous more affordable, local competitors, it maintains a very positive outlook. They believe a significant opportunity exists with a specific customer segment: families who are actively investing in their homes and are looking for a safe, durable, and premium product that will serve the needs of their children and visiting parents for years to come.

Swift Lifts is committed to providing compact, design-focused solutions. We believe our strength lies in serving families and residential clients.

KJ:-So how did the name came about, Swift Lifts?

JL:-The name Swift was chosen after an extensive process to find a short name that would reflect the product’s origin. It is a deliberate play on the words “Sweden” and “Lift.” The name also highlights the lift’s key attributes, as “Swift” implies that the product is fast, quick, and smart. While naming was a complicated process, the final name effectively communicates both the brand’s origin and its performance qualities.

KJ:-So how did the name came about, Swift Lifts?

JL:-The name Swift was chosen after an extensive process to find a short name that would reflect the product’s origin. It is a deliberate play on the words “Sweden” and “Lift.” The name also highlights the lift’s key attributes, as “Swift” implies that the product is fast, quick, and smart. While naming was a complicated process, the final name effectively communicates both the brand’s origin and its performance qualities.

KJ:-So are there any limitation to this?

JL:-Our lifts are designed for residential use and have a maximum limit of six floors. They are available in six different sizes to accommodate most home scenarios. However, they are not intended for transporting heavy goods or large items like beds, which require a different type of product. In addition to homes, our product is also suitable for settings like boutique hotels and designer offices. However, we would recommend a different solution for locations with a high volume of passenger traffic.

KJ:-Would you like to scale it up or not?

JL:-Our entire business model is built around delivering compact, aesthetically brilliant solutions. We are optimized to thrive in the residential ecosystem, focusing solely on the needs of families. Entering the vast commercial space would dilute our purpose and threaten the very cool and unique identity that defines the brand.

Dive with us into the heart of Chesapeake Shores, not just a drama, but a sensory immersion crafted from Sherryl Woods’ words, brought to life by Hallmark Channel. Our editor, Ar. Kritika Juneja, has just surfaced from its final season, emerging with a singular truth, this romantic family saga, meticulously staged amidst the soul-stirring panoramas of Vancouver, Canada, is an absolute essential.

The series whispers a timeless truth: the profound serenity of returning home. It’s a poignant testament that no matter how far life’s currents carry us, there’s always a shore, a sanctuary, where someone patiently awaits for us. Beyond its captivating emotional core, the show’s artistry extends to its inspired choice of locations with wonderful interiors we might add.

The O’Brien family home, a private haven nestled at 1574 Stewart Road, Nanoose Bay, British Columbia, Canada, is more than just a house; it’s a character in itself. From its exterior, it perfectly mirrors the quintessential Maryland coast dream—a vision of warm wood, subtle hues, and an undeniable embrace. It beckons, promising quiet afternoons lost in a book, a generous pour of wine, and boundless relaxation.

One might anticipate a rustic, sea-worn interior, yet stepping inside reveals a sophisticated fusion. The essence of a rural cottage, woven through its rich wooden furnishings, subtly dances with contemporary whispers. Even the kitchen, with its breathtaking beach panorama, defies expectation, presenting a modern aesthetic within this classic shell.

The O’Brien kitchen is the undeniable hub of family life. The space is a seamless blend of classic and modern, featuring rich wooden cabinetry and a central island that serves as the command center for the O’Brien clan.

This is where Mick delivers pep talks, where the siblings grab coffee, and where countless family meetings both planned and impromptu take place. It’s a space built for interaction, a testament to the family’s deep-seated bonds. The thoughtful layout and warm, inviting color palette ensure that the room feels like the very heart of the home, connected to every family member and their daily rhythm.

Adjacent to the kitchen, the dining area continues this seamless blend of old and new. A large, sturdy wooden table anchors the room, a clear nod to traditional cottage design. This isn’t a showpiece table; it’s a centerpiece for shared meals and heartfelt conversations. The chairs, however, often feature a more contemporary design, providing a subtle contrast that prevents the space from feeling dated.he decor is thoughtfully curated, with pieces that speak to the O’Brien family’s history and their deep connection to the sea.The warmth of the wood-paneled walls and the simple elegance of the lighting fixtures create an inviting atmosphere that is both grand and intimate.

Then there’s the enchanting Inn at Eagle Point, Jess and David’s fictional bed and breakfast—a stage for countless romantic crescendos. While its on-screen narrative is fiction, its real-world counterpart, the Milner House, within the sprawling Milner Gardens & Woodland in Qualicum Beach, British Columbia, Canada, is steeped in history.

Then there’s the enchanting Inn at Eagle Point, Jess and David’s fictional bed and breakfast, a stage for countless romantic crescendos. While its on-screen narrative is fiction, its real-world counterpart, the Milner House, within the sprawling Milner Gardens & Woodland in Qualicum Beach, British Columbia, Canada, is steeped in history.

Conceived and brought to life in 1931 by A. N. Fraser of Qualicum Construction, Milner House is a marvel, its architecture drawing inspiration from the grandeur of Ceylonese tea plantation estates.

This expansive, historic edifice invites exploration through its various chambers, the dining room, sitting room, library, and drawing room, each echoing tales of old. Here, historical photographs and artifacts, including treasured mementos from royal visits, offer a tangible connection to a bygone era.

May this journey through the scenic and architectural splendors of Chesapeake Shores ignite your own spark of design inspiration. Cheers!

Ciao Everyone! We are pleased to welcome Ar. Phillippe Fouché for our next episode of Tete-a-Tete series and hosted by none other than Ar. Kritika Juneja.

KJ:-So, to begin with, could you tell us about your early brush with architecture? How has your background and upbringing influenced your design principles?

PF:-From a young age, I developed an interest in design, which found expression in various ways but probably most profoundly through Lego. Growing up in a small town in the northern province of South Africa in the 80’s and 90’s we had no option but to keep ourselves entertained. I always enjoyed drawing and building things but also taking them apart to understand how it worked. Later, when it was time to choose what to study, I applied to the engineering faculty, with the objective of becoming an aeronautical engineer. At the time, it was easier to get into the engineering school than it was to get into architecture. So, when I was accepted to the architecture school, I thought it was the right thing for me. I have however remained fascinated with aeronautical design, vehicle design, and industrial design, it’s kind of ingrained in the way that I see design and architecture.

KJ:-What is your idea of good design?

PF:-Ideally, a good design, within an architectural context, should be fit for its purpose, make the most of what the site offers, and not ignore any opportunities innate to the location. Design must be practical, of course, but when you begin to go beyond just practicality, that’s when it really starts to get interesting for architects, because we’re not just talking about climate and functionality, but also about culture and the choreography, one’s experiences when moving through space.

KJ:-How can you create designs that are timeless?

PF:-My take is that it has a lot to do with taste, which sounds superficial, but I think if you are informed about what is going on in the world and have a good sense of  architectural history, you develop a sense of what’s a fleeting fad or a stylistic idea that will pass, and what’s more timeless. Proportion however remains the cornerstone, we spend a lot of time testing designs in 3D and exploring the impact of proportion.

KJ:-So are you a spiritual person? If yes, is that spirituality reflected in the designs you create?

PF:-Our ambition to move someone through design, sometimes feels like it has a spiritual side to it as there’s no formula to it, it’s very intuitive and sometimes unexpected. As architects, we have the opportunity to choreograph experiences; when we talk about spirituality, we often mention senses and elements that surround us and how we as humans connect and relate to the universe. So, it’s not just light and form and texture, it’s also sounds and smells and the connection with nature, which I believe is one of the key principles in many spiritual endeavours. We seem to be constantly seeking to find our place as human beings on this planet. Architecture is, after all, in a very basic sense, a transformation of the outer skin of our planet, re-organised with the objective of creating shelter. In a way, that talks to the idea of having a spiritual connection to a place, if you are respectful of that, making it part of your experience of a place, but also using material selectively and respectfully.

KJ:-As I recall, you mentioned trees playing a part in your design. Could you tell us more about that?

PF:-My observation is that when we started working, especially in West Africa and throughout South Africa, trees played a very important role; they are the traditional meeting places, people gravitate to the shelter they provide and according to traditional beliefs, they connect us to the elders/ancestors. In these places a tree is often a wonderful analogy to connect to our work, in some cases it’s more direct, like in the example of Cheetah Plains, sometimes it’s in a detail component, like the shadow patterns through a screen that evokes the feeling of being in the dappled shade of a tree and sometimes it’s much more abstract; a feeling of shelter and gathering.  

Good design should, I think, move you in some way, and have a sense of timelessness, so that years from now, it still feels substantial, of quality, and something that will stand the test of time.

KJ:-Would you mind telling me about your latest projects?

PF:-Let’s talk about the projects we’re currently busy with in India; we are working on two villas in Bangalore, as well as in Hyderabad, Indore and Delhi. We’re also designing a 100m tall tower in Pune where we’ve also previously completed a mid-rise apartment building. Mumbai, together with Alibaug, are probably our most active areas in India now, we’re busy with several Villa projects, a spa and a large apartment building. It’s been really exciting, and we’ve had the privilege of working with extraordinary clients and consultants.

KJ:-Since you have been working in India quite a bit, how has the experience been different from Cape Town?

PF:- From my perspective there are many similarities between India and South Africa;besides the love for cricket, there’s a familiarity for us when we work here- perhaps it’s the friendly people, our shared colonial past, the fertile soil, or the warm climate that speaks to this connection.  As in South Africa, there’s also a strong connection with nature and gardens and one can create outside spaces that people can enjoy almost all year round.  The company has over 39 years of experience, initially focused largely on single residential villas on the Atlantic coast of Cape Town. Thus, the architecture we created in Cape Town became quite closely intertwined with the lifestyle there. No matter where you live, this kind of laid back, barefoot lifestyle appeals to people, whether you are in India or Switzerland. Many of these ideas translate into our work in India, where we strive to create that kind of barefoot luxury where one can feel it’s a contemporary space, welcoming, sophisticated and well proportioned, but at the same time quite relaxed.

KJ:-How could you define luxury? In your opinion, can luxury and sustainability coexist?

PF:-There are a few aspects of luxury that, in my opinion, coexist with sustainability. The first of which is the principle that space is the ultimate luxury. In many projects, especially in Europe and Japan, we work on smaller sites and try to maximise the perception of space. By simply doing that, you already feel a sense of luxury, since the spaces feel much larger than they are in terms of square meters. This sense of respect for space and resultantly an inherent efficiency means that less building is required to get a sense of luxury. In our opinion, there’s value in design that has a sense of character, permanence, quality and timelessness which over time means that buildings age better and don’t have to be replaced prematurely. Many of our older projects have undergone interior renovation but so far, none of them have been demolished. Not having to build/ re-build, remains the most sustainable way of building.

Ciao Everyone! We are pleased to welcome Dr.Taras Filenko, an ethnomusicologist and concert pianist, for our next episode of Tete-a-Tete series powered by ArchValor and hosted by none other than our wonderful host, Ar. Kritika Juneja.

KJ:-To begin with, could you tell us something about your early brush with music, culture, and art? What inspired you to get started with?

TF:-I initially planned to become an archaeologist and historian, not a musician. All of my friends at school had some sort of musical background, from theatre to drama, piano, and flute. My parents insisted that every intelligent person should speak English and play piano, violin, or cello. Music was my destiny. In addition, my mother was a musicologist — she wrote about music and culture. My parents and many friends of our family were deeply involved in a cultural revival of Ukrainian music, literature, visual art, and national identity in general.

Consequently, you see culture has always been an important element of my life, a huge part of my identity from early childhood. In fact, during my early years in Kyiv, I sang at the Opera House, which was within two blocks of my apartment, and I participated in theatre productions and choral festivals.

KJ:-In my opinion, art and music always comes from within, influenced, in part, by the culture and history of the region you live in, which itself further influences the architecture of that region. What influence has Ukrainian culture had on your work?

TF:-Having been originally trained as a professional pianist, I later decided to study and obtain a degree in musicology. I earned a PhD in historical musicology, specialising in poetry in music. Moreover, Ukrainian poetry is very melodic and lyrical, so I decided to choose Ukrainian poetry and music. I was also interested in the combination of musical forms and poetic structure, which was not a typical topic of study at that time. Often in my concerts, I am trying to integrate poetry, works by prominent Ukrainian poets, between the piano pieces, interweaving text with music. The visual component of the concerts includes projected slides of artwork, illustrating the themes of the music and poetry, creating a profound blend of music, visual art, literature, and to some extent even architecture. I don’t want to repeat the well-known phrase that architecture is frozen music, but the connections between structural elements in the musical pieces is reflected in architectural representation and overall cultural aesthetics. This combination facilitates perception and provides a layered experience of Ukrainian cultural expressions.

KJ:-I believe everything is interconnected. However, the culture is what is reflected in the architecture. What are your thoughts?

TF:-For Ukrainians, architecture is a very sensitive subject, since many of architecturally distinctive Ukrainian monuments and buildings were destroyed during World War II. Great numbers of artistically unique and significant buildings dating from the 18^th and 19^th century disappeared.

The Soviet utilitarian approach, in conjunction with politically loaded concept of “social realism,” had a tremendous impact on the visual arts, music in general, and architecture in particular. Despite this, many cities in eastern and particularly in western Ukraine have retained specimens of architectural significance. In western Ukraine, architecture combines both Western and European elements, primarily Austrian, since the western part of the country was once a part of the Austro-Hungarian empire. For instance, if you look at opera houses in Lviv, Kyiv, and Odesa, you’ll find architectural similarities with opera houses in Austria, Poland, and other European locations. So, you realize that Viennese or Austrian architecture was quite prominent during that time. Late classicism and late baroque elements are also quite evident. Historically, Ukraine has been a multi-cultural country, with many traditions blended together. In the south of Ukraine, some elements of Greek and Roman civilizations, traditional building by Crimean Tatars, and remnants of the Ottoman Empire are visible.

Don’t be scared to knock on the doors, people would open. In general, people are good.

-Dr. Taras Filenko

KJ:-Given your affinity for Ukrainian history, as well as your ability to meld visuals with music, how do you think music can serve as a tool to unite people?

TF:- In addition to piano performance, I have written more than one hundred scholarly articles and several books. As such, I feel I have a multi-faceted professional personality. Initially, I wanted to play organ. During the Soviet era, playing the organ was restricted, because it was associated with religion, so I couldn’t take classes in the Academy of Music. My first exposure to organ was sneaking to the concert hall at five o’clock in the morning, just to get a sense of what that instrument looked like. Because the organ uses multiple petals, it’s quite different from piano.

When I moved to the US, I never imagined I would be playing the organ almost every second day for church and for other occasions. It is hard to predict what will prove useful and when. So, I would advise you to never reject anything.

KJ:-Is there any Indian artist whom you adore? In your opinion, are there any cultural similarities between Indian and Ukrainian music?

TF:-First of all, there aren’t many people who even look into this kind of connection. It was quite an interesting subject for me as an ethnomusicologist. I think that this will be a fascinating topic for a research, especially for Indian musicologists to ethnomusicologists.

What is Ethnomusicology?

TF:-Ethnomusicology is the study of non-western music. The core of that discipline is an exploration of the connections between music and culture, music and religion, music and gender studies, politics, visual art, oral tradition etc. There is a study of folklore and musical instruments (organology), in general is about music within cultural context or music and cultural anthropology, I would put it this way. At some point, in my professional life took a course in Indian music and Indian cultural anthropology. 

As you understand, it is very difficult to obtain comprehensive knowledge of a culture without speaking the language, without being on the ground, without traveling the terrain. The best way to experience culture is by talking to your colleagues on the ground, to interact with regular people  —talk to people in the local market, or to taxi drivers, or to attend a local festival.

Being to some extend familiar with Indian culture, I can now say that the Ukrainian and Indian cultures have some common cultural traits or traditions. In fact, there is some connection in music. In Ukraine there is an instrument called Bandura. It is quite possible that it originated somewhere in Indian culture, not only in a current shape of the instrument but also on the modes (scales), that musicians used. These scales which are very similar to Indian modes used in different ragas.

Special thanks to the Ukrainian Embassy in the Republic of India for facilitating the conversation.
Also, here is a link to Dr. Filenko’s concert at the Baha’i House of Worship in New Delhi held back on 29th March, 2025 entitled “A Bridge for Peace & Compassion,” an evening of Ukrainian music presented as part of #EuropeWeeks2025.

Ciao Everyone! We are pleased to welcome Maria Porro for our next episode of Tete-a-Tete series powered by ArchValor and hosted by none other than Ar. Kritika Juneja. Photographer of Maria’s portraits:-Guido Stazzoni

So, to begin with, could you tell us about your early brush with Salone Milano, as you mentioned in one of your interviews that you have been attending Salone since your childhood days, could you tell us about some early encounter that inspired your passion for design?

My company is one of the 15 companies that have been a part of Salone since it began. My memories as a child with my grandfather go just beyond interacting with people at Salone. In my memory, I mostly remember the spaces I saw while I was a child. As I walked up the escalator at the first fairground, I saw all the different spaces of different companies, each one expressing a different perspective. Some were eclectic, some were crazy and minimalist spaces. Some were luxurious. Others were conservative. It is this diversity that I still remember.

I became curious about and then found products that somehow were not just products, but ideas that were very important to me and as a teenager at the time. My father used to bring me to satellite so we could see the young talents and we also produced pieces designed by young designers from satellite. Having that conversation with them and learning about international design schools was much important to me.

How will the Salone model evolve in 2025, and what changes will we be looking at?

Salone evolves because the companies participating evolve, and that is the first thing. In addition to the Salone’s evolution as an organizer, it has been creating new ways for the fair to be organized, a new way to exhibit companies, and a new space for discussions, panels, round tables about Salone culture in the public sphere. Since 1997, we have invested in the city by creating special events inside Milano and boosting what the city is doing.

This year, we will see a special installation by Robert Wilson on Pietà Rondanini in Sforza Castle. Paolo Sorrentino, an amazing Oscar-winning director, will create a space about on the timeless waiting area. In addition, will be discussing heritage and designing a heritage space among the companies, emphasizing how valuable what companies are producing is and opening up new frontiers for them. There will be amazing speakers, designers, and directors talking and building up incredible things.

Since we are talking so much about design, what is your idea of good design?

Based on my approach, my family background, and also the fact that I studied and graduated in set design, I have worked in the theater field for many years. Therefore, for me, it’s a combination of all this culture and good design. It’s a 360-degree approach. The final product is the focus. Objects of design are about how they are built. They are about the people behind them. They are about how the people can live their lives with them. Is it more valuable while the time passes? How long is gonna last? For me, the best judge of design is time.

As Salone has forged new strategic alliances with the United States, China, and most lately with Saudi Arabia. Can we expect any plans for India maybe next year?

As we are here for the second time this year, it’s because, of course, there is an interesting design community here. Interior designers and architects are delivering and producing amazing projects to India with a very original local perspective, and Salone finds this extremely interesting. It’s also very interesting for the companies exhibiting at Salone to have the opportunity to interact with these people. Our furniture industry here in India is constantly evolving, so we are looking forward to having more exhibitors from this country, to have a real exchange, not just monodirectional, one-way communication. Furthermore, we are in touch with the embassy, the Italian Institute for culture, as well as the local press magazines, in order to understand how Salone can help and support the local community.

Your recent communication campaign ‘Thoughts for Humans’ fascinates me. Could you elaborate on it?

It is the first time that Salone does a campaign using the medium of photography. This has always been a graphic campaign since 62 years ago. We decided to use photography but put the focus on the human being in relation to objects and or light, since it is ultimately a human centric campaign. At the end, there is rage that has to deal with our skin. We sit on chairs. We lay on beds. The bed is where your children are conceived.

How could you define luxury? In your opinion, can luxury and sustainability coexist?

There is no question that real luxury is mandatory, it is sustainable, and it’s a great challenge right now, because most of the time, it’s misunderstood. Luxury comes from well-paid workers and responsibly sourced materials. Must be built to last for generations. Must respect the environment. The biggest challenge nowadays is the product to arrive in the market with the right price, and make sure the people understand what they’re paying for. I believe Salone and the press have a role to play today in making the public aware of what’s behind and what lies ahead. In fact, we don’t hesitate to spend 1000 euro on an iPhone or any technological device, and because technology has a very short life and we spend a lot on it. In one year, it expires, and very quickly, it becomes obsolete.So it’s a challenge to respect all the sustainable chain and arrive at the right price. There is also the challenge of explaining why that price is so high, and I think this is the real challenge with the food we see today, more and more understanding that maybe it is better to eat less, but to search for the right ingredients, etc. The approach for furniture and design should be quality over quantity definitely.

If something is timeless, then it must be a good design.

I won’t ask how you balance your roles as the President of Salone and Marketing head of Porro, since I know women definitely can do anything. However, since you have been the first woman to take on the role as the president of Salone in 2020, which significant changes have you bought since your involvement?

My goal was not to bring change to Salone, but to allow the incredible team to understand that there is a way to do things differently. COVID was a shock, because Salone did not happen in 2020, and in 2021, I was to present the super ceremony, a new format, proving to the world that design can come back with a new approach again, bringing together all the design community in Milan with a new approach.

So we prove that there’s a design thinking that can be, can be applied to the construction building project of a fair. We try together, not this, not me, but it’s a big organization with many different people involved, to let Salone evolve, just as Salone has been doing since it was born, since it was originally a product fair for Italian companies and clients. So the way it reshaped itself, constantly facing challenges, crises, and the like, was incredible, and we’re doing the same now, together with companies, the press, and all our international partners.

What is the one best and one worst piece of advice you ever got in your life?

When I was a teenager, my father told me, “Don’t study architecture. I’m already an architect. Don’t work with me.”. It was probably both the worst and the best advice given to me by one person because it gave me the freedom to choose, let me find my own way. I studied set design. I worked in theater big events for a decade, but at the end, I went back to business entirely. However, at the end, I thought I was for the first question you asked. No, I was so attached to this world, so I came back, yes, I did that.

• To begin with, could you tell us about your early brush with art and sculptures? In what way did it inspire you to get started with?

Besides my father, who was a concert pianist and my mother also had a musical background, used to sing in choirs, and came from an artistic family, and I think her great-grandfather was an ironworker. I began taking ceramics classes when I was four, or drawing and painting classes for kids, likely because I had the genes for it.

Probably because I was always drawing a great deal and doing things, and now that my mom has died, and that my father has also passed away, but in the basement, they keep all my ceramics, all my drawings and paintings from when I was a kid. The idea that I would be an artist was probably what they thought I would become, or I thought that was, maybe, well, that’s also possible, and I also learned to play the cello. After I finished high school, I thought, “I will continue to play the cello, or do art.” I am fortunate that it happened.

• I have noticed your love for staircases and doors along with symmetrical forms, and I was quite fascinated by your sculpture featuring doorways in the plan of Asmundur House? Could you tell us the story behind that particular piece?

I was invited to exhibit at Asmundur Museum, which normally hosts one sculptor to display their work or make pieces related to that artist. He was, like, a modernist, very active, and built this home as his workplace around 1950 back when he was doing very well making these robust figures out of abstract iron.

Since I am not much into figures, bodies, faces, instead I am more into forms, and most of my works are symmetrical. Then the house came as my inspiration. As I was looking, I discovered his book. It was a book that was written about him after he died, or a few years ago, or whatever. As soon as I saw the circular plan, I immediately thought, this is where you are going to come down as there, this is what you are going to see. Also, I thought it was awesome to make the openings and the staircase up and everything.

• In my opinion, art always comes from within, influenced, in part, by the culture and history of the region you reside in, which itself further influences the architecture of that region. What influence has Icelandic culture had on your work?

It is difficult for me to say I have created the man-made landscape, but it has always played a significant role in some of my artwork, and within this context, I actually wanted to depict what you would see outside the many mountains on that scene, yeah, as a panorama in that direction. It all began with sculptures. I made all the mountains that I had in mind, the main mountains seen from Reykjavik, so I made the whole panorama throughout Reykjavik, and that seemed to work.

• Which materials do you use most often while sculpting? Would you like to highlight any particular piece from your latest collection?

I have worked with clay a lot lately. To make things out of clay and make a mold out of plaster, and then cast them in plaster. It’s well, of course, I would like to, one day maybe make it out of marble or, you know, something like that. There aren’t many things like that in Iceland, and I don’t know if I am really good at sculpting, but what matters is that I am a good with clay and know well what I am doing.

The book “Great Expectations-Notes to an Architect” is a legacy, a story that speaks to the experiences and learnings of architect Christopher Benninger. From his childhood days in Gainesville, when he discovered all the creativity everywhere around him and he became fascinated, he learned. A mention is made of the Ponce de Leon Hotel designed by Louis Comfort Tiffany which also happened to be the first electrified building in America with the man behind it being Thomas Edison.

It’s fascinating how a young boy looks at everything around him with curiosity. I love how he says, I was a traveller not a tourist. I can totally relate to that as whenever I travel, I try to blend in, stay there for a period of time, and not just be a tourist. Seeing his experience become an autobiography is so wonderful.

In addition, he discusses how various architects have come to India to plant their seeds while young Indian architects are going to America and Europe when their own court has so much potential to develop. His belief is that the architects of today and tomorrow are uniquely positioned to better the world, and he holds great expectations for us all.

This book is a journey of a true architect, the people he met, the influences they had on him and perhaps that is what made him what he was. A beautifully curated series of four chapters chronicles Ar. Christopher’s life in which architecture wasn’t showcased as just his occupation but an avenue to spirituality. I, Ar. Kritika Juneja would personally recommend every architect and student to read it, to be inspired by it, and find one’s own path to spirituality based on his inspirations. In addition, I would like to take the opportunity to express my gratitude to Mr. Ramprasad Akkisetti for giving me this wonderful opportunity to review this book.

Reviewed By:- Ar.Kritika Juneja

Conceptual Render by Simone Micheli Architectural Hero

A four-day workshop was organised for Cindrebay School of Design allowing the students to “walk through the front door” of Simone Micheli Architectural Hero, founded by Architect Simone Micheli and Roberta Colla.

The workshop focused on renovating and redesigning a historic Haveli in Mandawa, Rajasthan. The Haveli belong to the esteemed Italian client, Gabriela, who wanted to integrate traditional architecture with modern luxury, specifically using Noken products from the Porcelanosa Group.

Conceptual Render by the winning entry of Group No.1, Lunette Hotel

The aim was to conceptualise and design a bathroom space within a historic Haveli using Noken products. In addition, it should develop a comprehensive brand identity for the Haveli, including a logo and merchandising items. Each group of students had to prepare and present a detailed and engaging presentation showcasing the design proposal they developed.

Conceptual Render by the winning entry of Group No.5, Palazzo Mandawa

Among the jury members were Ar.Simone Micheli, Roberta Colla, Founders Simone Micheli Architectural Hero, Gabriela Strazzeri, the client, Ar. Kritika Juneja, Editor and Architect, and Adelino Martinez, CEO of Noken Porcelanosa Bathrooms.

The students were tasked with conceptualizing and designing a bathroom space by integrating Noken products into a historical Haveli Mandawa. The outcomes were no less than amazing…

Ar.Kritika Juneja

Thereby, using the guidelines, students developed a design and communication project with an eye towards process. Among the other winning entries were Lunette Hotel, Group No.1, and Palazzo Mandawa, Group No.5, which were credited with clean, chic, minimalistic, and sophisticated aesthetics, developed by their respective groups of students.

Cameron Warwick, Partner Warwick in conversation with Ar. Kritika Juneja, Editor ArchValor

• To begin with, please tell us about your early brush with Warwick Fabrics? How has your journey been so far?

My journey with Warwick has been great. I started there when I was in my early 20s, I moved to advertising and marketing after finishing university. In my first role, I helped coordinate the development of Warwick in the UK when I was just 23 years old. For me, living in the UK for nine years was a great experience because that gave me the chance to cut my teeth and learn more about the industry in a very traditional textile region.

In my early 30s, I moved back to Australia from the UK. At that time, Warwick Australia operated on a two-dimensional model. The business was solely focused on selling fabrics to the upholstery and furniture manufacturing industries. My belief was to develop new sectors.  First, we developed drapery, then we moved into the commercial and contract sector and developed that. Once that was working successfully, we focused on export categories. So, I suppose what I’ve contributed to over the years is more about bringing different dimensions to the business, which has in turn made it more sustainable and broader, and also strengthened its market position.

• I imagine taking the family business to a global level must have been quite challenging. What strategy did you adopt to achieve this goal?

To start with, I had no set strategy. I was simply getting out and building relationships in your markets. By attending the national trade shows and building relationships, we have been able to expand the export business. And these have been a wonderful opportunity for us to build connections all across the globe.

So, I leveraged those relationships and focused on exports out of Australia. Our UK business always had a strong export focus. My first focus was South-east Asia.

We then investigated markets such as Japan, South Korea, Thailand, Indonesia and Malaysia. In recent years, we developed a relationship with Maldives and started committing work to India. It’s just evolved over time, really. Now we have fully designated showrooms in Dubai, Delhi, Shanghai, and distributors that work for us in smaller markets.

Our showrooms look and feel exactly like those you’d find in Melbourne, Sydney, Brisbane, Adelaide, Perth, Auckland, London, or Dubai. So we really want the experience to be consistent.

Cam Warwick

• A deeper look into the manufacturing process of Warwick fabrics would be of interest to me. Could you take me through that?

We don’t have our own manufacturing processes. We subcontract mills and we have supply lines across three main supply regions. We buy a lot of goods from Turkey, India and China. Most of our commercial fabrics come from China because they are high performance and well priced. Our natural fibre blends and products are mostly sourced from India.

• How do you maintain design and quality across all the Warwick country branches while ensuring efficiency?

Our Melbourne office has a full-fledged design studio with seven designers working for us full-time. Additionally, we have two other brands dealing in natural fibres, cushions and rugs etc.

• Can you tell us something about the design of this experience centre? Whether you hired a specific architect for the project or took it on in-house.

This was an in-house effort. It’s basically a showroom concept that we use throughout all of our showrooms.As with our showrooms in Melbourne, Sydney, Brisbane, Adelaide, Perth, Auckland, London, and Dubai, there is no difference in the look or feel. We want the experience to be consistent. Moreover, the design is minimalist, clean emphasising the fabric. It puts the focus directly there.

• Could you tell us more about Warwick’s outdoor fabrics? How is it made to withstand the extreme temperatures, dust, and heat outdoors?

Well, I think if you could ever be confident with an outdoor fabric, it would probably come from an Australian distributor, right? Australian weather conditions aren’t as fierce as those here in India, but they are comparable.

In Australia, we face high UV levels because the ozone hole laps over southern parts of the country. As a result, the UV levels in Australia are vastly different from those in India or the Mediterranean.In response to your question, we manufacture outdoor products using very high performance yarn. The fabrics are also treated with anti-mold and mildew finishes. This ensures that they will not get mold in humid climates.