Искусство и архитектура
Architectural Digest India

Architectural Digest India November 2019

From the most beautiful celebrity homes to the smallest living spaces, AD India presents the very best of international and Indian architecture and design, inspiring readers to create the homes they’ve always dreamt of. The magazine contains photo spreads of the best homes, stories on the latest trends and people in design, plus advise practical solutions for home improvement. Our pages help readers visualize, plan, adapt, and innovate houses to reflect the personalities of the people who live in them. As a showcase of the best of contemporary India design and key international trends, it is an essential resource for refined home-owners planning luxurious spaces.

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1 мин.
the art issue

Things are rocky at home. My house is upside down. We get on like a house on fire. I immediately related to the five pretty and witty watercolours that Francesco Clemente painted specially for our cover. Oh, how smug I was, that I finally understood art. From this moment on, I thought, I would no longer be confronted by questions, even by the difficult-to-decipher performance art of Nikhil Chopra, but would instead be instilled with instant intellectual critique. Or so I hoped. When Francesco sent his accompanying artist statement, it came in the form of an ancient Sanskrit text, and I was more clueless than ever. When pushed for more clarity, he emailed from New York (the watercolours were painted there, rather than at his Chennai studio), to explain that…

6 мин.

SHOLEEN DAMARWALA WRITER Sholeen Damarwala is a New York-based writer whose work has appeared in Al Jazeera, Interior Design Magazine, Vanity Fair Espana, and GQ. In this issue, she writes about the Art + Design Salon in New York, ‘Moulding Ideas’ (pg 88). “It was lovely to learn about how Fernando Casasempere, a Chilean artist, uses clay as a medium to narrate his love for his South American roots.” DISNEY DAVIS AND NITIN BARCHHA DESIGNERS For AD’s collaborative ‘The Frame Project’ (pg 100), founders of Material Immaterial, Disney Davis and Nitin Barchha chose to work with a neutral material to keep the focus on the art. “This was a very enjoyable project to design a frame as a prototype, especially because its so different when we’re doing multiples. FRANCESCO CLEMENTE ARTIST Francesco Clemente is a painter who studied…

4 мин.
by royal appointment

Designer Raghavendra Rathore took all of four years to complete Obeetee’s 2019 Proud To Be Indian collection that is set to be launched next month. (The brand has previously collaborated with designers Tarun Tahiliani and Abraham & Thakore as well for a line-up of creations expressed in their distinct sensibilities for the same collection.) In a world thriving on instant turnarounds, Rathore’s prolonged contemplation on design and material is a class act of defiance, even an unfaltering refusal to rush a labour of love. And this collection embodies all the old-world aesthetics and regal grandeur that’s been long familiar to Rathore, a member of Jodhpur’s royal family. Since 2015, Rathore and Obeetee’s design team have been devouring references on history, culture, architecture, embroidery and choice of colours favoured by royalty. One…

6 мин.
context matters

At a panel discussion, a hypothetical question was posed to the curatorial team of the Chicago Architecture Biennial (CAB): “If you had to curate an art biennial using the same theme [of ‘...and other such stories’], would it have been any different?” This idea—of architecture being a secondary or tertiary element in an architecture biennial—surfaced on more than one occasion as the media toured the primary and off-site locations of the biennial. It also served as a lens through which this writer viewed each exhibit. The curatorial team of this edition comprises artistic director Yesomi Umolu, and co-curators Sepake Angiama and Paulo Tavares. Umolu is the director and curator, Logan Centre Exhibitions at the Reva and David Logan Center for the Arts, University of Chicago. Angiama, who is a curator and…

2 мин.
in one sitting

The idea behind this chair was to create a modern interpretation of the people’s chair,” says Tarini Jindal Handa, Managing Director, Forma. The brand from the JSW Group was launched early this year and focuses on contemporary steel furniture, with the aim of “providing function, quality, design and value with sustainability”. The chair it hopes to unseat, in a manner of speaking, is the monobloc—the one-piece, polypropylene plastic, injection-moulded chair that is as ubiquitous as it is reviled, for, perhaps, good reason. The monobloc was designed (to use the term loosely) in the 1970s, primarily for easy manufacturing. While its makers (unknown, since no one stepped up to take either credit, or blame) ensured that it was lightweight, weatherproof and easily stackable, aesthetics or environmental concerns never really entered the…

2 мин.
no light matter

Of all the activities an exploration of tantra inspires, experiments in contemporary lighting might be some of the most unexpected. But since 2018, when he first read The Art of Tantra, by the late artist and educator Philip Rawson, Nikhil Paul, founder of design studio Paul Matter, has been doing just that. But such explorations are not unprecedented; in fact, in this, Paul follows in the footsteps of icons like Ettore Sottsass and, more recently, Indian designers and architects like Divya Thakur (of Design Temple) and Ashiesh Shah. ‘Monolith’ was actually the first design in this series, but the ‘God’ and ‘Goddess’ sconces (featured in AD’s March-April 2019 issue) were the first products launched. Made in brass, they featured sinuously intertwined, slim, curvy metallic tubes. The ‘Monolith’ lamp, on the other hand, is…