As the year closes, a devastating and disturbing year to say the least, we visit a key fundamental concept of our existence - TIME - a concept that probably was most challenged in the periods of lockdowns that followed the Covid-19 pandemic. Time as season, Time as travel, Time as four walls of a home (if you have one), Time as city, the one you denied the most, Time as migration and death, Time as hunger and walking on hot roads back home, Time as citizenship, Time as sowing and reaping the land, Time as taxes and elections, Time as speed, Time as quarantine, Time as incubation, Time as loss, Time as hope, Time as screen, Time as words on a page...

The special section in the last month of 2020 is a humble memory of Time and the year, through various artistic and architectural persuasions we have always had with Time - measured, poetic, drawn, cast, rendered, ego, memory, review, and learning. The poems that follow the editorial in this issue are part of this section - we begin with Ghalib, and we close this issue with Barahmasa... and in between somewhere there are lines, forms, materials, and colours, and what you saw, and what you may have forgotten or never realised, and the written word.

A photoessay on Time brings together a series of contemporary architectural projects interpreting Time in different ways, while a photo-project by Chirodeep Chaudhury visits how clocks in buildings have shaped a sense of urbanity, technology, and memory. This issue we also visit the lifetime retrospective of artist Sudhir Patwardhan and his engagements with cities, citizenships, and the lives of individuals in a changing society and national-time.

With this issue, we enter our tenth annual cycle of DOMUS India. The last nine years have seen crucial dialogues and discussions around architecture and the built environment in India. This magazine has indeed played a crucial role in producing the many critical discussion, reflections, and theses on architecture in contemporary India, as well the nature of the contemporary in India vis-à-vis the visual and built environment especially. In unequal societies, how can we raise basic living standards? In a collapsing natural environment, how can we make planetary changes? In an increasingly globalised world, how do we define local identity? The ability to understand the role of the built environment at ever greater and ever finer scales is a skill our profession depends on for its survival. Saskia Sassen begins the “Agenda” section by considering how the abstract dynamics of the global economy are “rescaling” our spatial units.
 
We are using the “Practice” section to provoke a reflection on the ways in which the architectural profession can or should engage with the ever expanding issues of social inequality and environmental degradation – brought more sharply into focus by the pandemic – in our world today. In the context of this conversation and these questions, we specially visit two projects by architect Revathi Kamath, from our archives, as a tribute to an architect from India who really expanded the role of the architect and the reach of architecture through her practice and her beliefs in certain processes of working and thinking; Revathi Kamath passed away in July this year and there remains much for us to learn from her projects, her ways of working, and the way she approached architecture.

The period of lockdown, with suspended activities and business all across the world, made it difficult for us to produce and distribute the magazine since the April 2020 issue. We have missed five issues of Domus India in the lockdown and as we informed you, we will make up for this to all of you. 


We are delighted to share with you the digital copy of the DOMUS India October 2020 issue. For the time being, we are producing only digital issues until circulation systems and hygiene matters related to travelling print material are sorted. This will be a very short phase, and we will soon return with the printed issue, as we know all of you enjoy the size and quality that DOMUS promises to bring to your desk every month.

The March 2020 edition of Domus India discusses the complex life of planning and cities, the nature of practice and its avatars, as well as accounts for the many reflections on design and nature, or the world as we see it through architecture, art, design, and city studies. With this edition, we also join the Domus team worldwide in welcoming David Chipperfield as the special editor for the ten issues though 2020.
Aparna Andhare writes about Marjorie Hillis’ Live Alone and Like It (1936). Best read with a pinch of salt, it reminds women how the struggles as well as the perks of being single have not changed much in almost a century. 

In Indian Aesthetics, Anuradha Shankar and Sudha Ganapathi assess two recently concluded exhibitions in Mumbai which used the theme of miniaturisation distinctly yet effectively. 

We also feature the work of artist Nibha Sikander, who creates stunningly lifelike creatures — birds, insects and moths — all handmade from paper. It is her preternatural rendering of the natural in all its gorgeous detail that summons forth, in the viewer, a wave of rapture. 

Suprio Bhattacharjee writes about an office building in Bengaluru by architect Madhusudhan Shridhar and engineer Manjunath B L. Conceived as a base for Shridhar’s practice, it puts forth a convincing argument of the spatial wonders achievable when two practitioners from differing disciplines choose to turn the tables upon a historically fraught relationship. 

Through their new book ‘Smart City in India: Urban Laboratory, Paradigm or Trajectory?’, Binti Singh and Manoj Parmar reflect upon questions surrounding new planning initiatives and the role of urban design in creating spatial and cultural transformations in second-tier cities across India.


The pages of the February 2020 edition of Domus India focus on directions in which a robust community of arguments and histories can be built where design, culture and politics could engage towards a social sphere that is vibrant through good and bad times. 

Aparna Andhare reads through ‘Your Silence Will Not Protect You’, a collection of essays and poems by Audre Lorde — an icon for women of colour, the queer community, and those facing discrimination. The book acknowledges their struggles, offering love and self-respect as a means to protecting oneself and one’s identity. 

In Indian Aesthetics, Anuradha Shankar visits the Konark Museum in Odisha. Marked by its simplicity, the many galleries in the museum are dotted with sculptures of gods and goddesses, and apsaras and mythical creatures occupying pride of place. 

Tucked away on a dense street in Chennai with mixed-land use is the newly-built office for local practice KSM Architecture Studio. Built by the designers and engineers of the practice for themselves, the studio is a refreshing example of how ‘wisdom’ and ‘technique’ can find an amicable meeting point. 

The issue also highlights three art exhibitions — Fields of Eros and Enchantment, 1:2500 (One is to Twenty-Five Hundred) and Concrete Ciphers

We further look at the recently concluded edition of the Chicago Architecture Biennial where RMA Architects (Mumbai + Boston) presented a research project mapping the sanitation landscape in Mumbai and beyond. It explored the associated social, technical and cultural challenges and suggested potential design and planning solutions.

The January 2020 edition of Domus India brings together a range of features comprising both art as well as architecture. 

We look back on the designs of the covers of Domus India from the last three years — each cover specially designed by a designer, artist, architect or photographer in discussion with the editorial and design team of the magazine. 

Aparna Andhare reads The Lost Words by Robert Macfarlane and illustrated by Jackie Morris, a book that responds to the culling of language with a commitment to the natural world. Here, words and images inform each other, thus reflecting the poetic nature of the book. 

The archival material we present from Charles Correa is an indication towards the ability of the architect to think beyond sites and commissions towards the making of public and cultural spaces, politics and social environments, and is strikingly relevant in today’s day and age. 

Suprio Bhattacharjee writes about the Crescent School of Architecture in Chennai, designed by the studio architectureRED.

Through Sheetal Mallar’s photographs we learn that her protagonists — her human subjects as much as the environments she so memorably records—occupy a precarious threshold between the powers of vitality and the forces of extinction.

We also look at a recent exhibition, Can You Hear Me?, artist Nalini Malani’s first solo show in India in five years, marking her return home after she became the first Asian artist to win the prestigious Joan Miro Prize in 2019.

In Vadodara-based artist Utkarsh Makwana’s works, we look at how he navigates the tropes of philosophy as well as comedy and touches upon the wonder one derives from the mundane. Alluding to historical, architectural and mythological references, his visual interpretations are arresting, owing to his choice of colours, well-thought-out compositions, and use of geometry.

The December issue brings together a range of features comprising both art as well as architecture.

The cover of December edition features the work of French artist JR (Paris, 1983) comprising large murals that aggrandise the common man and engage with his often overlooked reality, not from a sense of responsibility inherent in ‘art activism’ but from a position of dignity and respect for others. JR’s artistic engagement reconfigures the trappings of our reality awash with images through new images calling for dialogue and transformation leading to freedom of expression and art.

In ‘Indian Aesthetics’, Anuradha Shankar explores the temples of the Yoginis. Circular and open to the skies, these temples are few and far between. While most of them are currently in Central India, extending to coastal Odisha in the east, and Rajasthan in the west, based on sculptural and literary evidence, it is clear that they must have, at one point, thrived across the country.

Architecturally, Suprio Bhattacharjee looks at  SPACES designed by MOAD, a cultural centre along Chennai’s famous Elliot’s Beach, which is home to the archives of two of India’s most important post-independence artists — dancer Chandralekha and painter, designer and sculptor Dashrath Patel.

The issue also highlights two recently concluded exhibitions — pieces earth left behind, featuring the work of insallation artist Sudarshan Shetty, and Opening Lines: Ebrahim Alkazi, Works 1948-1971 curated by Ranjit Hoskote.

In the ‘Poetry’ section — curated by Ranjit Hoskote — we present a set of poems by the distinguished Anglophone Indian poet, literary reviewer and anthologist Manohar Shetty. This selection of Shetty’s poems offers readers the first glimpse of his forthcoming collection, Borderlines, to be published in 2020 by the independent poetry imprint, Copper Coin.

The November edition of Domus India largely revolves around Jawaharlal Nehru and his sense of ‘discovery’ — discovery as a journey of explorations — exploring the world, its people, its history and locating the self within that world, history, and people. Under Books and Reading, we explore myriad titles: The Velocity of Being edited by Maria Popova & Claudia Bedrick; Letters from a Father to his Daughter by Jawaharlal Nehru; and Nehru’s iconic The Discovery of India, with an introduction by Sunil Khilnani. A photo essay by Mumbai-based lensman Chirodeep Chaudhuri on the exposition titled ‘Discovery of India’ on display at Mumbai’s Nehru Centre is almost a visual, physical  manifestation of Nehru’s eponymous magnum opus, and sets the tone for an inclusive, diverse nation. 

Architect, M Kadri’s design for Mumbai’s Nehru Centre — a rich symbolic interpretation in design of India, the country he inherited as the first Prime Minister of a free people, and his own personality. 

With a focus on a craft-based approach towards computation and its contribution to support artisans in India, we attempt to explore a solution aiming to establish a methodology which makes complex geometry constructible in the country today, even when access to digital fabrication methods are evolving and expensive. This project was conceptualised by students during a three-week-long course, Digital Crafts: Customised Bricks 1.1, conducted at the Faculty of Architecture, CEPT University, Ahmedabad in 2016. 

The cover of this edition, designed by Parshav Sheth, a recently graduated young architect, brings material culture and objects together. The brick shell pavilion in Ahmedabad is a discovery of ‘India-now’ and ‘India-past ‘— a combination of new technologies and existing skills, and direction for the future without positioning the now and past as antagonists but rather as mutually complementing; superimposed with journeys in a ‘discovery of India’, in a perpetual state of being.

The October edition of Domus India largely revolves around Mahatma Gandhi and how, as a symbol, the idea of Gandhi has been interpreted visually and philosophically across India. Architecturally, we look at memorials and museums built about or around Gandhi, along with a focus on the Gandhi Ashram in Ahmedabad. We also look at issues and concerns surrounding the concept of the preservation of postcolonial architecture in India, with a special mention of the Kala Academy in Panjim designed by Charles Correa. A three-part photo essay by Mumbai-based lensman Chirodeep Chaudhuri collects the Mahatma in his myriad sculptural afterlives. 
An excerpt from the Critical Edition of An Autobiography, or The Story of My Experiments with Truth, from Penguin Books (2018) by Tridip Suhrud looks at how the Ashram and its community were Gandhi’s greatest experiment and also the site for his experiments. In a country fixated on the notion of ‘big is better’, architects are perhaps in a position now to evolve and effect — more than ever before — antidotal efforts that negate the adverse effects of our obsession with magnitude. A feature on several such ‘small’ yet ‘meaningful’ architectural projects further explores this idea. 

The cover of this edition, designed by Mumbai-based artist Sameer Kulavoor, draws on the relationships architecture and design share with material cultures on the one hand and people and memories on the other, working with examples of architecture that believe in — and work with — ‘substance in smallness’. Kulavoor also includes key elements of design and memory, as well as people and behaviour, extracting from images of museums, places and ashrams connected with Gandhi’s life and history.

The September edition primarily speculates on design through exhibitions on architectural and artistic practices entwined with architectural engagements. In the Books section we dwell upon Monsoon Feelings, edited by Imke Rajamani, Margrit Pernau and Katherine Butler Schofield. Brimming with evocative essays, this volume explores the history of emotions in the monsoon in South Asia since the twelfth century through the many tropes of poetry, paintings, architecture, cinema, landscape, festivals, music and medicine. In Indian Aesthetics, we explore the Kolvi Caves in Rajasthan, cut around the entire circumference of a hillock. Once perhaps used by members of the monastic community for prayer or meditation, this complex of Buddhist rock-cut caves remains uninhabited today; only a deafening silence greets visitors. 

The issue includes detailed features on three important exhibitions. The first is Foy Nissen’s Bombay — at the Jehangir Nicholson Art Foundation, CSMVS, Mumbai — that brings together over fifty years of work by Foy Nissen, a lensmen of Danish descent who combined a keen sensibility with a quiet discipline. Secondly, an exhibition project titled We Colonised the Moon by Hagen Betzwieser and Sue Corke employs a range of DIY production techniques that roots their ‘Moon-project’ in absurdism, where installations and inquiries are characterised by slogans and catchphrases. Bringing together selected projects from more than a decade of the practice of studio MADe, a recently held exhibition comprised over a dozen projects, presented through models and drawings, focusing on conceptual ideas and their [generative] principles. 

Exploring urban continuity and transformation through his work, as both complement and counter to his experience building in contemporary India, New Delhi-based Martand Khosla has developed, over time — through the material and substance of his questions for architecture and architects — a rich, robust artistic practice.

The August edition of Domus India includes a blend of features on art and architecture. In the Books section, we review The Mughal Empire from Jahangir to Shah Jahan, a compilation of essays by one of the most widely regarded experts on Mughal art and architecture, Ebba Koch, in collaboration with Ali Anooshahr. The essays invite the reader to delve into a multidisciplinary analysis of Mughal India during the first half of the 17th century, during the reign of Emperor Shah Jahan and his predecessor Jahangir. An essay on modernist architecture especially pertaining to Delhi and Chandigarh raises questions of whether the architecture is adaptive or normative, if it can accommodate the expansions of desires and the accumulation of years, and if it fabricates buildings for people or people for the buildings.

The issue includes in-depth features on two important exhibitions — Connecting Threads: Textiles in Contemporary Practice held at Mumbai’s Dr. Bhau Daji Lad Museum, comprising the works of 17 artists which present textile as both a medium and process; and Negative Space: Trajectories of Sculpture at ZKM | Karlsruhe, Germany, surveying ideas from history as well as the contemporary, to build arguments regarding our notions of perception and reality, reflection and representation, illusions and experience. 

Following the release of the book Shaping Cities in an Urban Age (2018) authored by Ricky Burdett — professor of Urban Studies at the London School of Economics and Political Science and the director of LSE Cities and the Urban Age project — this edition of Domus includes an interview with Burdett, highlighting how any argument around sustainability must reintroduce planning as a political and a design discipline, at the heart of architects’ agendas.

Context, collections, and cartography dominate this issue of Domus India. The cartography of text, time, and nature builds up experiences and produces grounds for ruminations on life, politics, and people we meet or read. Cartography — that is often the notion of space and geography, and represented in two-dimensional languages — is actually debated here for its defiance of space, asking for a geography that is not bound by land freed by the flight of the mind across many places and through many libraries. The maps in our minds produce a way of living and experiencing our everyday life narratively. Walking in locales and places produces memories from far and wide, present in the context of now, where one is walking. The writer, the poet, charts across pages, notes towards a ‘world map of life’, that is then awakens the reader to a reality within as well as beyond the drawings on the map.

Civilizations are measured practically always by the buildings they make and the cities they build; but rarely have we written the histories of people and the cultures that destroy and demolish their built worlds. How could the building of French pride and history, and world heritage — the Notre Dame — burn down? But the French President Emmanuel Macron, at the site, announced its assured reconstruction and rebuilding, and support poured in from across the world. In India, in 1992, Ayodhya’s Babri Masjid was demolished by aggressive mobs driven by ideological imaginations and manufactured confusions regarding national histories and politically driven interpretations of mythologies. In 2017, the Hall of Nations and Hall of Industries at the Pragati Maidan, New Delhi, celebrated world over as an architectural engineering feat and marvel, was demolished by the ITPO (India Trade Promotions Organisation), an agency under the Ministry of Commerce and Industry. The history of contemporary architecture in India is marked between these two demolitions — Babri Masjid in 1992 to Pragati Maidan buildings in 2017 — and it well indicates the nature of the civilization and society we live and participate in.
History and the contemporary are both contested regions. The struggle constantly is not only to make sense of continuities and discontinuities between history and the contemporary but also to recover the multiple histories and stories of confluences that shape our present. The present needs to be recovered beyond its politicized narrowness to address richer and more complex histories. Our simplistic histories and readings of craft and regionalism have destroyed deeper debates on building civilizations and the complexities of creativity and citizenship, neighborhoods and relationships of everyday living.

While this issue of Domus India focuses on the ideas of infrastructure and the reorientation of relationships — politics and geography, land and sacredness, connectivity and cultures — we also review the neighbourhood and the spaces of the ‘inside’ as the arenas of infrastructure, globality, and humanity. In this issue, architecture is re-organised as landscape — landscapes of human endeavours and negotiations. The macro-scale and the micro-dimensions are difficult to separate into categories or be seen as two ends of a spectrum anymore. The macro and the micro are intertwined as networks of technology, as memories, as human labour. The pages of this magazine are currently in a phase where the magazine is a travelling archive — not in the sense that it has collected elements and is now moving, but that it moves in time, building and collecting on practices, material knowledge, and objects of creative and measured production. It is moving in the sense that it is a vehicle to churn the archive as new entrants arrive and sit side-by-side with revious occupants. Occupations are constantly adjusting to new migrants. The magazine works on collaborations beyond the borders of its covers; it is not restricted to the limits of time as bound geography. Much like culture, it is a repository of ideas in conversation and argument. The magazine traverses media of many types in its quest to comprehend the contemporary as we see it in the built and crafted material environments. Our material environments occupy our imaginations, but as much as materials and the objects they make are finite and tangible, never are the journeys and histories of these materials and their avatars limited to physical space or a line of time.

Architecture in contemporary India has not established a dynamic and argumentative relationship with politics of time and culture in a robust way yet. This is not to say architecture and the many studios of design practice in a vacuum of time and space — they do not. There is a substantial number of studios and designers that build in various proportions in India today, that are very sharply aware of the context they live and work in, and at times consciously, and sometimes subconsciously, respond to a politics of place and people. And in the large quantum of built environment that is being churned out in India, if there is a small but critical mass of studios and practices that engage with the politics of people and place, and times around them, it is enough for a field to keep a sensible discourse between poetics and politics going.

Feb 19 is a special issue as it brings to the centre not only the city – the site of everyday living and action for many of us, but also to the centre, and in focus, ‘you’. Drawing from the international edition of Domus 1031 guest-edited by Winy Maas, we take forward the theme ‘You are Urbanism’. One of the regrets today, either while talking about architects and architectural practice in India, or the question of cities, urban space, and civic sensibilities and responsibilities, is that we are constantly facing a sense of withdrawal from public space and public action. In that scenario to have a phrase such as ‘You are urbanism’ is extremely important as it throws a challenge right in your face. This is also the month of the Kala Ghoda Arts Festival in Mumbai, one of the biggest civic movements in India, and in many cases, in the world. The genesis of this festival came as a form of civic action against losing the city to thoughtless development and with a special focus on conservation of what exists. Today the festival is one of the largest urban gatherings in the world over ten days with much merriment, simultaneous with a range of intellectual and critical programming — cinema, theatre, art installations, readings, discussions, and workshops. It draws the city out of its many far flung neighbourhoods — and that is very important. As much as travel in the city has become a nightmare, and planners are always talking about reducing distances, travel-time, and so on, moving in a city and it many parts makes ‘you one with the city’. To be familiar with the city is to be in tune with the city – its chaos and its pleasures. So with the special editorial focus from Winy Maas, and the Kala Ghoda Arts Festival in our front yard, it is an important moment to talk about civic engagement and urban involvement.

January 19 issue of the magazine is focused in many ways on conversations around Design. Design as a broad field of practice has a strong presence in India today — besides architecture and cities, fashion and product design, or textile design and the multiple forms of Design Thinking, are all drawing attention one way or another from India. The practices and productions involved are at a large scale, not maybe in the size of establishments always, but in the number of studios and practices. At the same time there is an emerging and growing ‘creative class’ population involved in ‘design’ in one way or another. What is coming about in this scenario is a serious problem — there is no history or practice of critical research and review of design around, especially at the moment. And a parallel issue is the lack of educational institutions that offer formal and university education in design – there are hardly a handful of that impart sound and contemporary design education. Critical writing is totally missing and the glamour associated with many areas of design takes over the talk on design, minus the discourse. The field of design needs to be developed and shaped.

The informality in the practice of design is not as true as it appears, with a good quantity of production, material, and labour involved and all along there are financial exchanges at many levels. Yet in the discussions on design or design practice it is talked about as artistic flair, creative flows, star individuals, and often it is imagined as if all of this happened only yesterday!

There have been a few academic programmes of importance and have attempted experiments and drawing out debates for a contemporary practice  but much more work and active debates are needed here. Books and magazines are practically missing, and a creative leap will be required to build this space of ‘design discourse’ and ‘design debates’.

Domus, the iconic architecture and design magazine from Italy, is now in India. The eight-decade-old monthly magazine has a history of informed debate on architecture, interiors, art and design. The Indian edition, the first Domus exclusively in the English language, seeks to encourage and promote innovation in the built environment. 

Domus has been brought to India by Spenta Multimedia, India's largest custom publisher. It aims to track and review the latest architectural and artistic movements in India and the world through its exciting content and rich visuals.

Domus, the iconic architecture and design magazine from Italy, is now in India. The eight-decade-old monthly magazine has a history of informed debate on architecture, interiors, art and design. The Indian edition, the first Domus exclusively in the English language, seeks to encourage and promote innovation in the built environment. 
Domus has been brought to India by Spenta Multimedia, India's largest custom publisher. It aims to track and review the latest architectural and artistic movements in India and the world through its exciting content and rich visuals.

December 2020

November 2020

October 2020

March 2020 

February 2020

January 2020

December 2019

November 2019

October 2019

September 2019

August 2019

June-July 2019

May 2019

April 2019

March 2019

February 2019

Domus, the iconic architecture and design magazine from Italy, is now in India. The eight-decade-old monthly magazine has a history of informed debate on architecture, interiors, art and design. The Indian edition, the first Domus exclusively in the English language, seeks to encourage and promote innovation in the built environment. 
Domus has been brought to India by Spenta Multimedia, India's largest custom publisher. It aims to track and review the latest architectural and artistic movements in India and the world through its exciting content and rich visuals.

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3. Magzter からの事前の書面または許可がない限り、ここに公開されているものはすべて Magzter またはそのライセンサーの専有財産であるため、Magzter から取得したコンテンツを変更、コピー、配布、販売してはなりません。このような不正使用は、著作権法や商標法を含む適用法に違反する可能性があるため、Magzter はこれらを厳しく禁止し、そのような違法行為が証明または検出された場合は、アクセスとアカウントを停止します。また、これらの不正行為によって生じた損害についても責任を負う必要があります。出版物の法的所有者が許可する場合を除き、お客様は、サービスを通じてアクセスした出版物をダウンロードすることによって所有権を取得しないことを承認するものとします。著作権法で明示的に要求されている場合、またはサービスの機能によって許可されている場合を除き、変更、リバース エンジニアリング、公開、送信、表示、譲渡または販売への参加、派生作品の作成、またはいかなる形であっても商業的に利用または提供することはできません。 Magzter およびかかるコンテンツの所有者の明示的な許可なしに、アプリのコンテンツ、出版物、またはそれらの一部を第三者に提供すること。当社は、明示的か黙示的かを問わず、Magzter または Magzter のライセンサーの知的財産に対するライセンスを付与しません。

5. あなたは、Magzter.com が他のユーザーや第三者、またはそのコンテンツのいかなる種類の中傷的、攻撃的、または違法な行為に対して責任を負わないこと、および前述の行為による傷害のリスクは完全にあなたにあることを特に認めます。

8. Magzter は、お客様が本利用規約および Magzter が定めるその他の運用規則に準拠しているかどうかを判断する目的で、お客様が公開および入力したコンテンツを監視するすべての権利を留保します。 Magzter は、コンテンツについて決定を下し、独自の意志で削除する権利を有します。

9. Magzter は出版物の販売代理店であり発行者ではないため、Magzter は雑誌に掲載されている意見、アドバイス、声明、サービス、オファーなどを含むコンテンツに対する編集管理を行いません。したがって、Magzter は、そこで提供される情報や事実、または公式の資格に従って行動する Magzter の認定従業員以外の者がサービスを通じて利用できる情報や事実の正確性や信頼性について責任を負いません。したがって、当社には出版物に対する編集上の管理権がありません。本サービスが提供する出版物で行われた意見、アドバイス、声明、サービス、オファー、または第三者によって表明または利用可能にされたその他の情報またはコンテンツは、それぞれの著者または出版社のものであり、第三者のものではありません。マグザー。 Magzter は、サービスを通じてまたは出版物から得た情報への信頼によって生じた損失または損害に対して責任を負いません。本サービスには、他のインターネット サイトおよびサードパーティのリソースへのリンクが含まれている場合がありますが、Magzter は、そのようなリンクされたサイトで利用可能な通信またはマテリアルについては一切の責任を負いません。これらのリンクは便宜のためにのみ提供されています。サードパーティのサイトにアクセスしたり、サードパーティのサイトを通じて注文したりするときに適用される利用規約を理解するのは、お客様自身の責任です。

不快なコンテンツの詳細（プラットフォーム上のリンクを含む）

お気に入りの作品をダウンロードすれば、いつでもどこでもオフラインで読むことができます

愛する人に Magzter ギフト カードをすぐに贈り、何千ものベストセラー タイトルの中からお気に入りの雑誌や新聞を自由に読めるようにしましょう。

Gift your loved ones with a Magzter Gift Card instantly and give them the freedom to read their favorite magazines from thousands of best-selling titles.

{{magCount}}冊の人気のインターナショナル雑誌からお気に入りの雑誌を自由に選べるMagzterギフトカードを、大切な人に今すぐ贈りましょう。

Girish Ramdas は、世界的なデジタル出版ビジネスで話題を呼んでいる、ニューヨークを拠点とする新興企業 Magzter の共同創設者兼 CEO です。 Magzter は 2011 年のサービス開始以来、150 か国以上から 8,500 万人のユーザーを獲得しており、世界中の 4,500 以上の出版社から数千冊の雑誌、新聞、書籍が提供されています。彼は、印刷物、モバイル、Web 開発を含むクロスプラットフォーム出版において 25 年以上の経験があります。この期間中、彼は 3 つの新興企業を共同設立し、経営して成功を収めてきました。彼は雑誌社のデジタル化を可能にし、デジタル世界でコンテンツの収益化を支援してきました。ギリッシュは、オンライン、モバイル、出版エコシステムにおける深い業界経験により、世界中のプラットフォームにわたるデジタル コンテンツの取得、マーケティング、収益化の専門家となっています。

当社のプラットフォーム上で不快なコンテンツに遭遇した場合、当社はお客様の懸念に対処するために苦情救済ポリシーを導入しました。

Magzter Inc. (「当社」、「当社」、「当社」) は、お客様がご自身の個人情報がどのように使用および共有されるかについて関心を持っていることを承知しています。当社のプライバシー慣行の詳細については、次のプライバシー ポリシー(「ポリシー」) をお読みください。当社が運営するウェブサイトおよびそのサブドメインのいずれかにアクセスするか、当社のモバイル アプリケーションやその他のコンテンツ配信方法(総称して「サービス」) を使用することにより、概要が説明されている慣行およびポリシーに同意したことになります。本ポリシーに記載されており、お客様は、当社がお客様の情報を以下の方法で収集、使用、共有することに同意するものとします。

Magzter Inc. は、世界最大かつ急速に成長しているセルフサービスのクロスプラットフォーム デジタル ニューススタンドで、2011 年の創業以来 8,500 万人を超えるユーザーがおり、40 以上のカテゴリ、60 以上の言語にわたる数千の雑誌や新聞を扱っています。ニューヨークに本社を置く Magzter は、アムステルダム、ロンドン、メキシコシティ、チェンナイ、ムンバイ、ニューデリー、バンガロール、シンガポールに現地拠点を置いており、間もなく他の国にも拡大する予定です。 2011 年 6 月に世界的起業家であるギリッシュ ラムダス氏とビジェイ ラダクリシュナン氏によって設立された Magzter は、世界中の雑誌や新聞の出版社が自社のタイトルのデジタル版を作成し、世界中の消費者に配信できるようにします。

Magzter は、ユーザーに安全なプラットフォームを提供することに尽力しています。 Magzter は、パブリッシャーがコンテンツを配布するためのプラットフォームにすぎないことに注意してください。当社は、当社のプラットフォームで公開されるコンテンツを管理または推奨しません。当社は、発行者の行動またはそのコンテンツに対して責任を負いません。

Magzter は、コンテンツまたはコンテンツの一部が権利を侵害したために損害を被った、または費用が発生した当事者を補償する責任を負いません。 Magzter は、第三者の権利を侵害するコンテンツまたはコンテンツの一部に起因する権利侵害について、民事裁判所で法的措置を講じる責任を負いません。

Magzter は、Magzter GOLD と呼ばれる世界最大の「読み放題」サブスクリプション サービスを提供しています。これにより、デジタル読者は月額サブスクリプション料金で 8,500 以上の雑誌や新聞に無制限にアクセスできます。 Magzter はまた、アプリ向けの革新的な ezRead 2.0 機能により、世界最大の記事数を誇ります。これにより、スマートフォンや小さな画面のモバイル ユーザーは、本来の楽しみ方で雑誌コンテンツを楽しむことができます。読みやすく、素晴らしいビデオと高解像度の写真が付いています。

名前

Magzterでのコンテンツ発行に関するサポートが必要は場合は、このフォームに記入してください

 Magzter に入社する前は、Dot Com Infoway (DCI) および Galatta Media の社長を務めていました。彼の任務には、戦略的マーケティング、パートナーシップ開発、コンテンツの世界的な収益化が含まれていました。 DCI は、2000 年には 3 人だった小さなチームから、2011 年には 300 人にまで成長し、世界中のクライアント向けに Web、ソフトウェア、アプリの開発を手がけていました。

Magzterの開始以来、お客様に最高のニューススタンドテクノロジーとサービスを提供するため、世界各国の組織や機関と提携することに尽力してきました。雑誌の購読を顧客に提供したい場合や単に詳細に興味がある場合など、お気軽にお問い合わせください。Magzterはお客様のビジネスの成長を支援いたします。お問い合わせ内容について、以下の質問票にご記入ください：

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 DMCA では、元の DMCA 通知を提出した当事者が反対通知のコピーを受け取ってから 10 営業日以内にお客様に対して訴訟を起こさない場合、当社は削除されたコンテンツを復元することができます。

このポリシーは、お客様がサービスにアクセスする際に当社が収集する、個人を特定できる情報(「個人情報」) およびお客様およびお客様のコンピューターまたはデバイスに関するその他の情報の当社の取り扱いを対象としています。以下で詳しく説明するように、当社はお客様から個人情報を収集することがあります。当社はこの個人情報を、当社の製品、サービス、コンテンツ、広告をパーソナライズ、提供、改善するため、またお客様がユーザー アカウントとプロフィールを設定し、お客様に連絡し、特定の製品やサービスに対するお客様のリクエストを満たし、お客様によるサービスの使用状況を分析するため。場合によっては、当社は一部の個人情報を第三者と共有する場合もありますが、これはポイント 4 に記載されているとおりに限られます。

このタイトルは Magzter GOLD サブスクリプションに含まれています

コンテンツの品質を分析し、パブリッシャーに適切なフィードバックを提供するため

当社では、不快なコンテンツに関するあらゆる苦情に対応する苦情担当者を任命しています。

不快なコンテンツに関する苦情は、上記の電子メール アドレスに電子メールで苦情担当者に送信するようお願いします。また、苦情を申し立てる際には、以下の詳細を提供するようお願いします。

さまざまな雑誌、書籍、ニュース、雑誌および出版物関連コンテンツ (総称して「出版物」と呼ばれます) を注文、購読、配信を受け取り、これらの出版物のデジタル版を配信する機能を提供するアプリ

c.また、パーソナライズされた推奨事項を作成するために、アプリケーションの使用に関連する情報も収集します。お客様がサードパーティのアカウント資格情報を当社に提供した場合、お客様がそのような送信を許可した場合、それらのアカウント内の一部のコンテンツおよび / または情報(以下「サードパーティのアカウント情報」) がお客様のアカウントに送信される可能性があること、およびそのサードパーティのアカウントが当社のアカウントに送信される可能性があることを理解したものとします。サービスに送信される情報は、本ポリシーの対象となります。

 f.当社が収集する個人情報により、当社はお客様のリクエストに対応し、当社の製品とサービスを改善し、お客様に表示される広告とコンテンツをカスタマイズし、新製品についてお客様に連絡することができます。

は、2011 年の設立以来 8,500 万人を超えるユーザーがおり、40 以上のカテゴリと 60 以上の言語にわたる数千の雑誌や新聞を擁する、世界最大かつ急速に成長しているセルフサービスのクロスプラットフォーム デジタル ニューススタンドです。ニューヨークに本社を置く Magzter は、アムステルダム、ロンドン、メキシコシティ、チェンナイ、ムンバイ、ニューデリー、バンガロール、シンガポールに現地拠点を置いており、間もなく他の国にも拡大する予定です。 2011 年 6 月に世界的起業家であるギリッシュ ラムダス氏とビジェイ ラダクリシュナン氏によって設立された Magzter は、世界中の雑誌や新聞の出版社が自社のタイトルのデジタル版を作成し、世界中の消費者に配信できるようにします。

 n.また、ユーザーが当社の利用規約を遵守していることを確認するために、使用状況情報も使用されます。たとえば、ユーザーの使用状況情報は、ユーザーが雑誌やその他のコンテンツを許可された回数、または許可された数のデバイスにのみダウンロードしていることを確認するのに役立ちます。

これにより、デジタル読者は月額購読料で 8,500 以上の雑誌や新聞に無制限にアクセスできるようになります。 Magzter はまた、アプリ向けの革新的な ezRead 2.0 機能により、世界最大の記事数を誇ります。これにより、スマートフォンや小さな画面のモバイル ユーザーは、本来の楽しみ方で雑誌コンテンツを楽しむことができます。読みやすく、素晴らしいビデオと高解像度の写真が付いています。

Domus India - May - 2014

Domus India - May - 2014

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