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 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.

Located on Nyaya Marg Chanakyapuri, this elegant architectural gem is home to the Swedish Embassy of India, a country that offers a unique blend of architectural styles and artistic expressions. Inaugurated in November 1959 by Prime Minister Jawaharlal Nehru and designed by Sune Lindström and Jöran Curman, this 9.846 acre site makes the most of its serene, leafy location.

In the aftermath of India’s independence, strong business and political ties developed between India and Sweden, with Alva Myrdal’s appointment as the first Women Ambassador to India. The complex houses the ambassador’s residence, staff housing, and recreational facilities with most of the furnishings and decorations designed and manufactured in Sweden, and a few items remain within their original contexts till date. With its unique, minimalistic details designed by Malene Bjorn, Sune Lindström’s Danish wife, the interior design of the space attracts the most attention. There is a distinct Scandinavian feel to the dining area with this long table by Malene Bjorn table and chair design by Austrian-Swedish designer Josef Frank. Using a restrained material palette with white and light pink for the exterior and white for the interior, makes for a warm, welcoming space overall. 

In the main Residence and Deputy Head’s house are partially preserved original kitchen designs by Lars Ljunglöf and Hans Kempe. Having been restored and returned to its original position, the 1959 ‘Tulip’ round table designed by Finnish designer Eero Saarinen is the centerpiece of the Banqueting Hall.

Despite being designed 65 years ago, the furniture and the building still evoke a very contemporary feeling characterised by simple, minimalistic, clean lines. To truly appreciate the decoration, construction principles, and delicacy of Swedish furniture, one must experience this building in person

Ar. Kritika Juneja

Thus, the Embassy is an impressive example of timeless classic and minimalist Swedish design, combining the work of various designers and artists to produce something unique and distinctive.

Ciao Everyone! Ahh, slowly but steadily we are bringing out our pending episodes of Tete-a-Tete talks. We are pleased to welcome Ar. Rahul Kadri, Partner and Principal IMK Architects, for our next episode of Tete-a-Tete series powered by ArchValor in collaboration with Conscious Collective, an initiative by Godrej Design Lab and hosted by none other than Ar. Kritika Juneja. Rahul Kadri is a Partner & Principal Architect at IMK Architects, an architecture and urban design practice founded in 1957 with offices in Mumbai and Bengaluru. In his formative years, Rahul Kadri explored the forests of the Kumaon Himalayas while studying at Sherwood College, Nainital. A graduate of the Academy of Architecture, Mumbai, he earned a master’s degree in urban planning from the University of Michigan, Ann Arbor (1988).

(1) First of all, thank you for having this interview with us. So, to begin with, could you tell us about your early brush with architecture, how has your background influenced your journey with IMK Architects so far?

Having spent five years in boarding school in Nainital as a child, I have always loved nature and spent most of my time outside the classroom roaming the forests and the foothills of the Himalayas. I often wandered the forest in those early years. Just how much I loved it and how much it inspired me as an architect to make places that are beautiful and embedded in nature at the same time. And looking back, I think that’s where it all started.

(2) During this age of profit and productivity, we have overlooked the importance of human emotions, and the positive health effects that comes with nature by building concrete structures all around us the what you said. So how do you think that we should rebuild the relationship between architecture, nature and cities?

Well, let’s say it’s a school, the question we always ask before any development. How will the students in this school be happier? In what ways will they learn more naturally? When people are happy, they are more open, they can learn more. We then brainstorm with clients on what features people will really love over here. Typically, nature is always a part of that. The climate is always a part of nature, trees are always a part of nature, cross ventilation is always a part of nature. Hearing good sounds comes in so birds come in.

As with a developer, we usually want to cap the profit. How much money will you be happy with? Because it should not be endless? What if we satisfy your goal, then will you let us focus on what we have customers actually want? In other words, it’s usually their perception of what customers expect. So, we ask them what will make their day-to-day customers love? Then, by the end of it, everything starts to make sense when we talk about the happiness, the force, that we hope to bring people through this project.

It’s the question one asks that determines the answer.

Ar.Rahul Kadri

(3)Do you believe in spiritualism? What is your idea of spiritualism? And if yes, then how does it reflect in your buildings and the work you do?

It is my belief that there is no God. I am an atheist. I am open to the idea that there is a universe, a consciousness that we are all a part of.

However, I’m a simple person who just wants to live a happy life. I know that doing good makes me the happiest. I meditate because I want peace for myself. So, it’s all about making myself and others happy.

(4)What is one best and one worst piece of advice you ever got in life?

Well, it’s my mom who gave me the best advice. She usually said “Do not be overconfident that you are very good. Just be humble. The worst piece of advice I got was not to marry my wife, which I did. I went against all odds, and I am very happy I did.

Ciao Everyone! We are pleased to welcome Ar. Christian Dobrick for our next episode of Tete-a-Tete series powered by ArchValor in collaboration with Conscious Collective, an initiative by Godrej Design Lab and hosted by none other than Ar. Kritika Juneja. Christian Dobrick is a Partner at West 8, and with over 25 years of complex landscape design experience has led a large number of international and interdisciplinary projects. His management of winning competitions, exhibitions and completed designs in China from 2011 on-wards has been the foundation of the Asian portfolio of West 8.

KJ:-First of all, thank you so much for having this interview with us. To begin with, could you tell us about your early brush with landscape architecture? How has your background influenced your journey so far with West 8?

CD:-  I think I’ve always been testing or having trial and error with landscape. Growing up, whenever I saw a beautiful plant, I would dig them up and I was lucky enough that my mother would let me bring it into our garden and experiment. This background inspired my further study landscape architecture. When I started studying in Germany, at that time, the profession of Landscape Architecture was very limited in scope and less interdisciplinary. As a result, I moved to the Netherlands, where I found an environment where landscape architecture, urban design, and architecture collaborated across all levels of the process.

KJ:- What is the genesis of the name West 8, how it came up?
CD:- In the Netherlands, the force of the wind is named both in direction and in strength. Strength eight is a strong wind, but it doesn’t cause destruction — rather it alerts people that there could be a land-shaping storm. Naturally, there is a long tradition of safeguarding the coast, and, when the wind gets to West 8, those who are in charge of protecting the dikes will be called into action. In this way, we want to create landscape architecture that makes people alert: we are not about destroying, but rather – West 8 is about building with nature.

KJ:-During this age of profit and productivity, we sometimes overlook the importance of human emotions and the positive health effects that come with nature by building these concrete structures around us. So how do you think that we should rebuild this relationship between architecture needs to end the cities?
CD:- The more I learn about India, the more I discover we need to regain a lot of the past wisdom and knowledge. There is a wealth of historical and cultural traditions, but the overarching way that people relate to and respond with nature is unilateral. Furthermore, it is the logic of the family, the logic of the community, the logic of the village, and the logic of the city, lots of varied traditions that are being lost to time and for example, when raising children, you need this supportive infrastructure to do so. Through research and speaking with a broad range of people, we start a basis for designing beloved spaces that respond both to nature and the people who use them.

We notice that the process of architecture can take precedence over landscape – where the outside space is seen as an add-on or filler at the end of the design. Our approach is different. We believe it is important that, on a larger and multidisciplinary scale, we start with thinking about the logic of a site’s broader needs:  from the way the landscape and nature interact to how the human being feels and needs from the space. This systemic logic is a key aspect of what we do, and reflects on how the infrastructure and architecture interweave into our work, where people are re-centred as the primary agent in the narrative.

KJ:-What is your definition of luxury? Do you think that luxury and sustainability can coexist?
CD:- Indeed, one of my own personal luxuries is our edible garden at our family home. As a garden itself, it might seem unstructured, but almost all the plants in it can be eaten or used as a herbal tea. This ‘luxury’ allows our children to witness and understand the process of growth – from blossom to fruit, vegetable, or root. They can harvest and enjoy them, providing a personal connection with nature through nurturing and experimentation. In many ways, I still do trial and error in the garden. I try new species, I try plant something from abroad to test how it works in our changing climate and also how it performs the kitchen. My twins are my toughest critics, unafraid to tell me, “oh, I like this” or “I don’t like that”, too sour, too sweet, or just right.  In so many ways, inviting them to have this connection with nature has been one of the greatest luxuries.

I believe that we are reflected in everything we do because of what we are from within.

Ar. Christian Dobrick

KJ:-Could you tell me about any of your latest projects?
CD:- Our most recent site visit was to the biodiversity park in Chennai. It was beautiful to be back there and explore the vast biodiversity of the site and attend a kick-off meeting with the Additional Chief Secretary, Department of Environment, Climate Change, and Forests, Supriya Sahu. Our concept for the design is to incorporate and refer culturally to Ainthinai, the five regions of the Tamil Nadu landscapes, embedding and showcasing the rich diversity present in the region. Our team are fascinated by local botany and working with both soil and monsoon conditions, as well as poetics and narrative. Working in such a diverse cultural environment is always a wonderful opportunity and, as we come from abroad, we are excited to learn. We are partnering with a collective of local teams to incorporate their knowledge, and to produce a plan that brings the idea of a ‘Botanical Garden’ to a contemporary, accessible, and future-proof level.