NAZNEEN JEHANGIR
The very first time AD collaborated with Nazneen Jehangir, founder of the floral boutique agency Libellule and Dragonfly Events, we realized we had met someone special.
AD asked her to rethink the traditional Christmas wreath for our final issue last year, and she created a ‘Curry Wreath’, symbolic of Christmas in India, perched between two cultures. Her version of the wreath was filled with Kashmiri chillies, curry leaves and sticks of cinnamon. For AD’s first virtual festival, the AD Weekender, Nazneen took us on a walk through the forests of Alibag, foraging for flowers, while giving us a glimpse of her deep knowledge of wild blooms, herbs and the history of floral design.
MAYANK MANSINGH KAUL
Mayank Mansingh Kaul’s expertise in the post-independence histories of textiles and design in India have set him apart as one of the most eloquent voices in this field. A graduate from the National Institute of Design, the New Delhi-based writer, speaker and scholar has also curated a series of exhibits across the country that have given a form, scale and frame of reference to textiles like never before. To the pages of AD, he has brought lesser-known and alternative perspectives on textiles, for instance his essay on vintage tapestries that defined Geoffrey Bawa’s aesthetic in addition to his architecture and gardens. His talk at the 2019 AD Design Show had a riveted audience witnessing the use of textiles as architecture, from the historic to the contemporary.
Diese Geschichte stammt aus der October - November 2020-Ausgabe von AD Architectural Digest India.
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Diese Geschichte stammt aus der October - November 2020-Ausgabe von AD Architectural Digest India.
Starten Sie Ihre 7-tägige kostenlose Testversion von Magzter GOLD, um auf Tausende kuratierte Premium-Storys sowie über 8.000 Zeitschriften und Zeitungen zuzugreifen.
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MAY/JUNE DISCOVERIES
Reuse, repurpose, restore: Here is our dispatch from the world of design and architecture with a spotlight on sustainability. Danish brand Mater taps Patricia Urquiola to craft a line of sleek furniture from waste material. Bottega Veneta's Matthieu Blazy finds inspiration in a classic Le Corbusier design. Mumbai's 165-yearold Afghan Church gets restored to its original glory. Enjoy this summer issue.
50 YEARS OF MAHENDRA DOSHI
As a child I remember accompanying my parents on their collecting trips. Going to museums, art galleries and furniture warehouses is what we did on Sunday mornings in the 1980s in Bombay. There were no malls and my parents felt guilty leaving us home. We were welcomed into these treasure troves of art and design with equal élan by their humble owners, who were always there on the shop floor. Holiday or not. And that is how one spring morning, I met the doyen of period furniture, Mahendra Doshi. We would spend hours with him in his dusty cavern-like basement, nestled against the Arabian Sea with a view of the entire Queen's Necklace. I remember seeing stars in my father's eyes. He did that when he saw things he liked. My parents may or may not have picked up a piece, but I always took back a story. For amidst those dusty alleys of piled up \"junk\" and heaps of old furniture lay stories of history, homes and heritage. Stories we were regaled with by the gentle giant. He was simply Mahendra bhai to my parents and Mahendra uncle to me.
The Historian
For this summer issue, we admire the quintessential \"cooling\" jali-one of India's great contributions to global architecture and look at a lesser known but magnificent piece from the extraordinary madrasa of Ghaziuddin Khan from the Mughal era.
TERRA PAVILION
IS A STARK STRUCTURE OF EXPOSED CONCRETE AND GLASS, BUILT AS A SUSTAINABLE, RESTFUL SANCTUARY IN A WINDING FORESTED EXPANSE OUTSIDE OF AHMEDABAD, DESIGNED BY KHUSH NU PANTHAKI HOOF AND SÖNKE HOOF OF STUDIO SANGATH.
PALINDA KANNANGARA'S
FIRST RESIDENTIAL PROJECT IN INDIA IS A HOME IN BENGALURU DESIGNED WITH HIS SIGNATURE
SAMRAKSHAN INDIA
Architect Ajith Andagere often quotes Mexican poet Octavio Paz: \"To be truly modern, we must first reconcile ourselves with our traditions.\"That central thought is the crux of Andagere's mission. In 2017, he set up Samrakshan India-a not-for-profit focused on documenting India's vernacular architecture, considering the inherent wisdom in vernacular typologies and making them relevant to our modern lives. \"Documentation, conservation, adaptive reuse, and education\"-that's the role that this architect has taken on. AD visits Andagere's studio on the outskirts of Bengaluru as well Shurpali HouseSamrakshan India's first restoration project-a 150-year-old ancestral home close to the Krishna River, in the Bagalkot district of Karnataka, a nine-hour drive from his studio. Andagere took it on, along with his team of architects and craftsmen, and today what we see, post-restoration, is someone's ancestral family home given a new life.
Condé Nast Traveller THE LAST WORD IN TRAVEL
In the shadow of the historic Vijayanagara empire, HAMPI ART LABS is a new arts programme brought to life by the JS W Foundation. Designed by A D 100 firm SP+a, it takes design inspiration from the ruins and landscape of Hampi, situated 35 kilometres away. An exhibition centre along with residences for artists, creative studios devoted to various art forms like printmaking and ceramics, a quiet yet communal space for artists to create and explore, Hampi Art Labs is a sanctuary as well as a pivotal step forward for the growing community of art in India. A patron with all her heart in it, Sangita Jindal, Foundation, summarizes her intent: chairperson, JS W had been to Hampi 31 years ago and fell in love with it then. Ever since I have wanted to do something here. And my other lifelong love is art. So I thought, why not bring the two together contribution This is my ongoing to the sea of artistic talent in our country.\"
WHEN WAS MODERNISM?
WITH A TITLE REFERENCING A BOOK BY HISTORIAN HOME IN GEETA KAPUR, THIS MODERNIST AHMEDABAD, BUILT IN THE 1 9 7 0 S AND RESTORED RECENTLY BY AD 1 0 0 ARCHITECT KUNAL SHAH IS A REMINDER OF A CLASSIC DOMESTIC ARCHITECTURE THAT AN ENTIRE IN A GENERATION OF INDIANS GREW UP MODERNISM THAT IS TIMELESS, THAT WE ADAPTED TO SUIT OUR CULTURE, CLIMATE, MATERIALS AND OUR DOMESTIC RITUALS. THIS IS FOUZDAR, A GRANDFATHER'S HOME.
The Curator
AD’s Art issue would be incomplete without an essay on Peggy Guggenheim, the philanthropist and visionary who was collecting through the war years, and whose home-turned-museum in Venice has one of the most important holdings of modern art in the world.
Raw Mango Agama
TEXTILES HAVE BEEN INTEGRAL TO THE STORYTELLING AT AD IN PRINT. IN A NATURAL STEP AHEAD, FOR THE FIRST TIME EVER, THE AD DESIGN SHOW THIS YEAR OPENED WITH A GARMENT PRESENTATION. THE MOOD, THE MUSIC, THE PEOPLE, THE TEXTILES EVERYTHING WAS MAGIC.
