Collaborative Architecture, Latheef the role architecture plays / Opolis, Idnany a return to the ground / skin as form RMA, CCBA, SKC, HCP, KDS, Cadence / 2A+P/A pays homage to Ettore Sottsass / Raghu Rai depth and darshan / the paths of Gabriele Basilico / Mattia Mognetti, Francesca Esposito architecture of the unconscious / 24-page supplement In Review: Kitchen inside

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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11. HİZMET VE TÜM YAYINLAR 'OLDUĞU GİBİ' VE 'MEVCUT OLDUĞU GİBİ' TEMELİNDE SUNULUR. MAGZTER, İŞTİRAKLERİ, TEDARİKÇİLERİ, LİSANS VERENLER VE TEMSİLCİLERİ, SATILABİLİRLİK, BELİRLİ BİR AMACA UYGUNLUK VE İHLAL ETMEME İLE İLGİLİ ZIMNİ GARANTİLER DAHİL ANCAK BUNLARLA SINIRLI OLMAMAK ÜZERE, AÇIK VEYA ZIMNİ HER TÜR GARANTİYİ AÇIKÇA REDDEDER. YUKARIDA BELİRTİLENLERİ SINIRLAMAKSIZIN, MAGZTER NE BAĞLI KURULUŞLARI, TEDARİKÇİLERİ, LİSANS VERENLER VEYA TEMSİLCİLERİ (I) HİZMETİN GEREKSİNİMLERİNİZİ KARŞILAYACAĞINA, (II) HİZMETİN KESİNTİSİZ, ZAMANINDA, GÜVENLİ VEYA HATASIZ OLACAĞINA, ( III) HİZMETİN KULLANIMINDAN ELDE EDİLECEK VEYA YAYINLARDA BULUNABİLECEK BİLGİLERİN DOĞRU VEYA GÜVENİLİR OLACAĞI VEYA (IV) HERHANGİ BİR YAYININ VEYA HİZMETİN KALİTESİ BEKLENTİLERİNİZİ KARŞILAYACAKTIR. GÜVENİLİR İNTERNET BAĞLANTISI VE CİHAZINIZI SAĞLAMAK VE SÜRDÜRMEKTEN YALNIZCA SİZ SORUMLUSUNUZ. MAGZTER, İÇERİĞİ İNDİREMEZSENİZDEN SORUMLU DEĞİLDİR. HİZMETİN KULLANIMIYLA İNDİRİLEN VEYA BAŞKA BİR ŞEKİLDE ELDE EDİLEN HERHANGİ BİR MALZEME, KENDİ TAKDİRİNİZDE VE RİSKİ SİZE AİTTİR VE BİLGİSAYAR SİSTEMİNİZDE VEYA MOBİL CİHAZINIZDA BU TÜR MATERYALİN İNDİRİLMESİNDEN KAYNAKLANAN HERHANGİ BİR HASARDAN VEYA VERİ KAYBINDAN YALNIZCA SİZ SORUMLU OLURSUNUZ. MAGZTER'DEN VEYA HİZMET ARACILIĞIYLA VEYA HİZMETTEN ELDE ETTİĞİNİZ SÖZLÜ VEYA YAZILI HİÇBİR TAVSİYE VEYA BİLGİ HERHANGİ BİR GARANTİ OLUŞTURMAZ.

2. Bu bilgileri doğru, doğru, güncel ve eksiksiz tutmak için koruyacak ve derhal güncelleyeceksiniz. Hesabınızın ve parolanızın gizliliğini korumaktan ve bilgisayarınıza erişimi kısıtlamaktan siz sorumlusunuz ve tüm içerik ve hizmetlerin seçimi ve kullanımı da dahil olmak üzere hesabınız altında gerçekleşen tüm faaliyetlerin sorumluluğunu kabul ediyorsunuz.

3. Magzter.com veya web sitesi ve uygulamadaki içeriğin oluşturulması, üretilmesi ve dağıtılmasında yer alan herhangi bir kişi veya kuruluş veya üçüncü taraf, aşağıdakiler dahil ve bunlarla sınırlı olmamak üzere hiçbir zarardan sözleşmede veya yasal olarak sorumlu tutulamaz: Magzter.com'u kullanırken veya kullanırken maruz kaldığınız doğrudan, dolaylı, tesadüfi, özel ve sonuç olarak ortaya çıkan. Web sitesine kayıt olarak veya uygulamayı indirerek, bu bölümde belirtilen hükümlerin web sitesi ve uygulamadaki tüm kullanım ve içerikler için geçerli olacağını kabul etmektesiniz.

3. Burada yayınlanan her şey Magzter'in veya lisans verenlerinin mülkiyetinde olduğundan, Magzter'in önceden yazılı veya yetkili izni olmaksızın, Magzter'den alınan hiçbir içeriği değiştirmemeli, kopyalamamalı, dağıtmamalı veya satmamalısınız. Bu tür yetkisiz kullanım, telif hakkı ve ticari marka yasaları dahil olmak üzere yürürlükteki yasaları da ihlal edebileceğinden, Magzter bunları kesinlikle yasaklar ve bu tür yasa dışı faaliyetlerin kanıtlanması veya tespit edilmesi durumunda erişiminizi ve hesabınızı sonlandırır. Bu yetkisiz faaliyetlerden kaynaklanan zararlardan da sorumlu olmalısınız. Yayının yasal sahibinin izin verdiği durumlar dışında, Hizmet aracılığıyla erişilen Yayınları indirerek herhangi bir mülkiyet hakkı elde etmediğinizi kabul edersiniz. Telif hakkı yasasının açıkça gerektirdiği veya Hizmetin özelliklerinin izin verdiği durumlar dışında, değiştiremez, tersine mühendislik uygulayamaz, yayınlayamaz, iletemez, görüntüleyemez, devir veya satışına katılamaz, türev çalışmalar oluşturamaz veya herhangi bir şekilde ticari olarak kullanamaz veya sağlayamazsınız. Magzter'in ve söz konusu içeriğin sahibinin açık izni olmaksızın Uygulamanın, Yayınların veya bunların herhangi bir bölümünün içeriğinin üçüncü taraflarca paylaşılması. Size, Magzter veya Magzter'e lisans verenlerin fikri mülkiyetine ilişkin açık veya zımni herhangi bir lisans vermiyoruz.

5. Magzter.com'un diğer kullanıcılara veya üçüncü taraflara veya içeriklerine yönelik herhangi bir iftira niteliğinde veya saldırgan veya yasa dışı davranıştan sorumlu olmadığını ve bunlardan kaynaklanan yaralanma riskinin tamamen size ait olduğunu özellikle kabul etmektesiniz.

 7. Magzter, bu hüküm ve koşullara ve Magzter tarafından belirlenen diğer işletim kurallarına uyup uymadığınızı belirlemek amacıyla sizin tarafınızdan yayınlanan ve girilen içeriği izleme hakkını saklı tutar. Magzter, içerikle ilgili kararlar alma ve bunları kendi isteğiyle silme hakkına sahiptir.

8. Magzter, Yayınların yayıncısı DEĞİLDİR, distribütörüdür ve bu nedenle Magzter'in, dergilerde temsil edilen görüşler, tavsiyeler, beyanlar, hizmetler, teklifler vb. dahil olmak üzere içerik üzerinde herhangi bir editoryal kontrolü yoktur. Bu nedenle Magzter, resmi sıfatlarıyla hareket eden yetkili Magzter çalışanları dışında herhangi biri tarafından sağlanan veya hizmet aracılığıyla sunulan herhangi bir bilgi veya olgunun doğruluğu veya güvenilirliği konusunda sorumluluk almayacaktır. Buna göre, Yayınlar üzerinde herhangi bir editoryal kontrolümüz yoktur. Hizmet tarafından sunulan Yayınlarda yapılanlar da dahil olmak üzere, üçüncü şahıslar tarafından ifade edilen veya kullanıma sunulan her türlü görüş, tavsiye, beyan, hizmet, teklif veya diğer bilgi veya içerik, ilgili yazar(lar)a veya yayıncı(lar)a aittir ve üçüncü taraflara ait değildir. Magzter. Magzter, Hizmet aracılığıyla veya Yayınlardan elde edilen bilgilere güvenmenizden kaynaklanan herhangi bir kayıp veya hasardan sorumlu olmayacaktır. Hizmet, diğer İnternet sitelerine ve üçüncü taraf kaynaklara bağlantılar içerebilir ve Magzter, bu tür bağlantılı sitelerde bulunan iletişim veya materyaller için herhangi bir sorumluluk veya yükümlülük kabul etmez. Bu bağlantılar yalnızca size kolaylık sağlamak için sağlanmıştır. Üçüncü taraf bir siteyi ziyaret ettiğinizde veya bu site aracılığıyla sipariş verdiğinizde geçerli olabilecek tüm hüküm ve koşulları anlamaktan yalnızca siz sorumlusunuz.

 Platformumuzdaki bağlantısı da dahil olmak üzere sakıncalı içeriğin ayrıntıları

 En sevdiğiniz kitapları indirin ve çevrimdışı, her zaman ve her yerde okuyun

 Sevdiklerinize anında bir Magzter Hediye Kartı hediye edin ve onlara en çok satan binlerce başlık arasından en sevdikleri dergi ve gazeteleri okuma özgürlüğü verin.

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.

Bir Magzter Hediye Kartı ile sevdiklerine anında hediye et ve onlara {{magCount}} en iyi satan uluslararası isimden favori dergilerini okuma özgürlüğü ver.

Girish Ramdas, küresel dijital yayıncılık işinde dalgalar yaratan New York merkezli bir girişim olan Magzter'in Kurucu Ortağı ve CEO'sudur. Magzter, kurulduğu 2011 yılından bu yana dünya çapında 4.500'den fazla yayıncıdan 1000'lerce dergi, gazete ve kitapla 150'den fazla ülkeden 80 milyon kullanıcıyı aştı. Basılı, mobil ve Web geliştirme dahil olmak üzere platformlar arası yayıncılıkta 25 yıldan fazla deneyime sahiptir. Bu süre zarfında, üç başarılı start-up şirketi kurdu ve yönetti. Dergi şirketlerinin dijitalleşmesini sağladı ve dijital dünyadaki içeriklerinden para kazanmalarına yardımcı oldu. Girish'in çevrimiçi, mobil ve yayıncılık ekosistemlerindeki derin sektör deneyimi, onu dünya çapındaki platformlarda dijital içerik edinme, pazarlama ve paraya çevirme konusunda uzman yaptı.

 Platformumuzda sakıncalı herhangi bir içerikle karşılaşmanız durumunda, endişelerinizi gidermek için bir şikayet giderme politikası oluşturduk.

Magzter Inc. (“Şirket”, “biz”, “bize” veya “bizim”) kişisel bilgilerinizin nasıl kullanıldığını ve paylaşıldığını önemsediğinizi bilir. Gizlilik uygulamalarımız hakkında daha fazla bilgi edinmek için lütfen aşağıdaki gizlilik politikasını (“Politika”) okuyun.Şirket tarafından işletilen web sitelerinden herhangi birini ve bunların alt alanlarını ziyaret ederek veya mobil uygulamalarımızdan ve diğer içerik dağıtım yöntemlerinden herhangi birini kullanarak(toplu olarak “Hizmet“), belirtilen uygulamaları ve politikaları kabul ettiğinizi kabul edersiniz.bu Politikada yer alır ve bilgilerinizi aşağıdaki şekillerde toplayacağımıza, kullanacağımıza ve paylaşacağımıza işbu vesile ile izin vermiş olursunuz.

Magzter Inc., kurulduğu 2011 yılından bu yana 80 milyondan fazla kullanıcısı ve 40'tan fazla kategoride ve 60'tan fazla dilde binlerce dergi ve gazeteyle dünyanın en büyük ve en hızlı büyüyen self servis, platformlar arası dijital gazete bayisidir. Merkezi New York'ta bulunan Magzter'in Amsterdam, Londra, Mexico City, Chennai, Mumbai, Yeni Delhi, Bengaluru, Singapur'da yerel varlığı bulunmaktadır ve yakında diğer ülkelere de yayılacaktır. Haziran 2011'de küresel girişimciler Girish Ramdas ve Vijay Radhakrishnan tarafından kurulan Magzter, dünyanın dört bir yanındaki dergi ve gazete yayıncılarının kitaplarının dijital baskılarını oluşturup küresel tüketicilere ulaştırmasına olanak tanıyor.

 Magzter, kullanıcılarımız için güvenli ve emniyetli bir platform sağlamaya kendini adamıştır. Lütfen Magzter'in yalnızca yayıncıların içeriklerini dağıtmaları için bir platform olduğunu unutmayın. Platformumuzda yayınlanan içeriği kontrol etmiyor veya desteklemiyoruz. Yayıncılarımızın eylemlerinden veya içeriklerinden sorumlu tutulamayız.

Magzter, haklarını ihlal eden herhangi bir içerik veya içeriğin bir kısmı nedeniyle zarar gören veya masrafa maruz kalan tarafları tazmin etmekten sorumlu değildir. Magzter, üçüncü şahısların haklarını ihlal eden herhangi bir içerikten veya içeriğin bir kısmından kaynaklanan herhangi bir hak ihlali nedeniyle hukuk mahkemesinde herhangi bir yasal işlem başlatmakla yükümlü değildir.

Magzter, dijital okuyuculara aylık abonelik ücreti karşılığında 8.000'den fazla dergi ve gazeteye sınırsız erişim sağlayan Magzter GOLD adlı dünyanın en büyük All- You - Can - Read abonelik hizmetini sunuyor.Magzter ayrıca, akıllı telefon ve küçük ekranlı mobil kullanıcıların dergi içeriğinin keyfini çıkarması gerektiği gibi, makale metniyle keyfini çıkarmasını sağlayan, uygulamaları için ezber bozan ezRead 2.0 özelliği ile dünyadaki en fazla sayıda hikayeye sahiptir.okunması kolay ve buna çarpıcı videolar ve yüksek çözünürlüklü fotoğraflar eşlik ediyor.

İsim

İçeriğini Magzter'da yayınlamakla ilgili herhangi bir yardıma ihtiyacın varsa lütfen bu formu doldur

 Magzter'den önce Dot Com Infoway (DCI) ve Galatta Media'nın Başkanlığını yapmıştır. Görevleri arasında stratejik pazarlama, ortaklık geliştirme ve küresel olarak içerikten para kazanma yer alıyordu. DCI, 2000'de 3 kişilik küçük bir ekipten 2011'de 300'e yükseldi ve dünya çapındaki müşterileri için web, yazılım ve uygulama geliştirme ile ilgileniyordu.

Hizmetimizi başlattığımızdan beri Magzter, müşterilerimize mümkün olan en yüksek gazete bayii teknolojisini ve hizmetini sunmak için kendini küresel kuruluşlarla ortak olmaya adadı. İster müşteri veritabanınıza dergi aboneliği sunma amacını güdün ya da isterse sadece daha fazla öğrenmeyi amaçlayın, Magzter kendisini ticaretinizin büyümesine yardım etmek için adadı. Daha fazla öğrenmek için lütfen aşağıdaki soru formunu doldur:

{{trialPackText}} İÇİN ÜCRETSİZ DENE

 Orijinal DMCA Bildirimini gönderen taraf, Karşı Bildiriminizin kopyasını aldıktan sonra on iş günü içinde size karşı bir dava açmazsa, DMCA, kaldırılan içeriği geri yüklememize izin verir.

Bu Politika, Şirketin kişisel olarak tanımlanabilir bilgileri(“Kişisel Bilgiler“) ve siz ve Hizmete eriştiğinizde Şirketin topladığı bilgisayarınız veya cihazınız hakkında diğer bilgileri nasıl ele aldığını kapsar.Aşağıda daha ayrıntılı olarak açıklandığı şekilde sizden Kişisel Bilgiler toplayabiliriz ve bu Kişisel Bilgileri, ürünlerimizi, hizmetlerimizi, içeriğimizi ve reklamlarımızı kişiselleştirmek, sağlamak ve iyileştirmek ve size izin vermek de dahil olmak üzere Hizmetlerimizle bağlantılı olarak dahili olarak kullanırız.kullanıcı hesabı ve profili oluşturmak, sizinle iletişime geçmek, belirli ürün ve hizmetlere yönelik taleplerinizi yerine getirmek ve Hizmetleri nasıl kullandığınızı analiz etmek.Belirli durumlarda, bazı Kişisel Bilgileri üçüncü taraflarla da paylaşabiliriz, ancak yalnızca 4. maddede açıklandığı şekilde.

Bu başlık, Magzter GOLD aboneliğinize dahildir

 İçeriğin kalitesini analiz etmek ve yayıncılara uygun geri bildirim sağlamak

 Sakıncalı içerikle ilgili şikayetleri ele almak için bir Şikayet Görevlisi görevlendirdik.

 Sakıncalı içerikle ilgili herhangi bir şikayetin, yukarıda belirtilen e-posta adresine e-posta yoluyla Şikayet Görevlisine gönderilmesini talep ediyoruz. Şikayette bulunurken aşağıdaki bilgileri de vermenizi rica ederiz.

ve size çeşitli dergi, kitap, haber ve dergi ve yayınla ilgili içeriği (toplu olarak 'Yayınlar' olarak bilinir) sipariş etme, abone olma ve teslimatını alma ve Yayınların bu dijital sürümlerinin size teslim edilmesini sağlayan Uygulama

C.Kişiselleştirilmiş önerilerde bulunmak için uygulamayı kullanımınızla ilgili bilgileri de topluyoruz.Üçüncü taraf hesap kimlik bilgilerinizi bize sağlarsanız, bu tür aktarımlara izin verirseniz, bu hesaplardaki bazı içerik ve / veya bilgilerin(“Üçüncü Taraf Hesap Bilgileri“) bizimle olan hesabınıza aktarılabileceğini ve bu Üçüncü Taraf Hesabını anlamış olursunuz.Hizmete iletilen bilgiler bu Politika kapsamındadır.

 F. Topladığımız Kişisel Bilgiler, isteklerinize yanıt vermemize, ürünlerimizi ve hizmetlerimizi iyileştirmemize, gördüğünüz reklamları ve içeriği özelleştirmemize ve sizinle yeni ürünler hakkında iletişim kurmamıza olanak tanır.

kurulduğu 2011'den bu yana 85 milyondan fazla kullanıcısı ve 40'tan fazla kategoride ve 60'tan fazla dilde binlerce dergi ve gazeteyle dünyanın en büyük ve en hızlı büyüyen self servis, platformlar arası dijital gazete bayisidir. Merkezi New York'ta bulunan Magzter'in Amsterdam, Londra, Mexico City, Chennai, Mumbai, Yeni Delhi, Bengaluru, Singapur'da yerel varlığı bulunmaktadır ve yakında diğer ülkelere de yayılacaktır. Haziran 2011'de küresel girişimciler Girish Ramdas ve Vijay Radhakrishnan tarafından kurulan Magzter, dünyanın dört bir yanındaki dergi ve gazete yayıncılarının kitaplarının dijital baskılarını oluşturup küresel tüketicilere ulaştırmasına olanak tanıyor.

 N. Kullanıcıların Kullanım Koşullarımıza uymasını sağlamak için kullanım bilgilerini de kullanacağız. Örneğin, bir kullanıcının kullanım bilgileri, bir kullanıcının bir dergiyi veya başka bir içeriği yalnızca izin verilen sayıda veya izin verilen sayıda cihaza indirdiğini doğrulamamıza yardımcı olur.

 dijital okuyuculara aylık abonelik ücreti karşılığında 8.000'den fazla dergi ve gazeteye sınırsız erişim sağlar. Magzter ayrıca, akıllı telefon ve küçük ekranlı mobil kullanıcıların dergi içeriğinin keyfini çıkarması gerektiği gibi, makale metniyle keyfini çıkarmasını sağlayan, uygulamaları için ezber bozan ezRead 2.0 özelliği ile dünyadaki en fazla sayıda hikayeye sahiptir. okunması kolay ve buna çarpıcı videolar ve yüksek çözünürlüklü fotoğraflar eşlik ediyor.

Domus India - June - 2013

Domus India - June - 2013

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