This Mumbai apartment exudes understated opulence through its diverse material palette – Architectural Digest India

Take a look at this woody, warm apartment that shows a confluence of materiality and subtle tones

Eight years ago, ADND, a Mumbai-based Architecture and Interior Design firm, worked on an apartment which they furnished in a predominantly monochrome palette and dark veneer tones. Pleased with the result, the owners of the home approached the firm yet again to do the interiors of their new flat in Andheri, Mumbai. “Their brief was for a home that would give them a sense of freshness, a conscious take away from their existing home that had been designed with a more monochromatic aesthetic,” informs Anand Menon, the principal architect on this project. Taking a different approach this time, the firm conceptualised the interiors of this 2,400-square-feet (built-up area) apartment with a fairly subtle and soft colour palette and accentuated it with metal and wooden elements.


The entrance lobby leads into the spacious kitchen-cum-dining area. “The primary challenge in the existing layout was a bottleneck scenario to enter into the living room from the entrance lobby whilst going past the kitchen. The resulting corridor not only was a waste of space but defeated the sense of grandeur. While various possibilities were tried out in space planning we finally came to the conclusion that if the dining and kitchen facility could be combined into an open experience the bottleneck condition would get resolved,” says Menon. An island counter, made up of Statuario marble and brass, has been incorporated in the kitchen, functioning as the family’s dining space. Deep blue chairs and a set of four pendant lights suspended above complement it while the rest of the kitchen dons a colour palette of brown and white.

Living room

Adjacent to the kitchen-cum-dining is the living room. The language of fluted surfaces, visible in the upper half of the entrance foyer and one of the kitchen walls, finds its way into the living room where the heavily fluted oakwood clad walls impart a warm ambience and a tactile surface finish. In contrast to this, the bare, white-washed wall in the living room is adorned with an abstract artwork that stands out vividly against its neutral backdrop. The upholstery exudes hues of blue and brown combined with lighter tones while full-length glazing allows plenty of natural light to stream in through the day.


The master bedroom with its suite-like appeal is replete with plush finishes. While the walls are defined by light oakwood veneer and beige leather panelling, a soft rose gold hue manifests in the wall trims and bedside lighting. Metallic and tinted glass shutters afford a sophisticated touch to the walk-in wardrobe. “The indigo chaise in the middle with suspended rose gold trim ceiling lights above and a custom made dresser unit from Loco Designs underline our intent to create a bespoke experience,” says Menon. The master bathroom is furnished with black minimalist bath fittings from Gessi.

The son’s bedroom constitutes walls enveloped in grey hues, paired with wooden flooring. Black metal frames with wooden display shelves holding a variety of objects serve to enliven the bed back wall. The attached bathroom features a speckle white terrazzo like composite marble with shelves in shades of blue and yellow.

Oakwood flooring in fishbone pattern takes over the guest bedroom. A silver-toned wallpaper dominates the wall behind the sofa-cum-bed which holds a metal wireframe world map, surrounded by numerous family photos.


This chic Mumbai apartment can give other New York lofts a run for their money

In This Story: Apartment  Architect  Bathroom  Bedroom  Chairs  Design  Dining  Grandeur  Home  Indigo  Interior Design  Lighting  Living Room  Mumbai  Rose  Upholstery 

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Meet the Natufia Kitchen Garden, the $13,000 Home Garden System from Estonia – The Spoon

After spending almost an entire week in Las Vegas earlier this month for CES, I reluctantly returned to the desert on Monday for the Kitchen and Bath Show.

And just like I did at the big consumer tech show, I found an oasis inside the convention center in the form of an indoor gardening system. Only this time the leafy greens were not featured as part of a proof-of-concept from the likes of GE, LG or Samsung, but instead from a product already on the market from a scrappy startup out of Estonia.

The company is Natufia Labs, a venture backed startup, and the product is the Natufia Kitchen Garden, a $13 thousand home garden that has been shipping in Europe for a year and has just landed in the U.S.

I stopped by Natufia’s booth at KBIS where the company’s CEO Gregory Lu gave me a quick video tour of the Kitchen Garden. As you can see in the video, the product is a self-contained cabinet that creates an optimal recipe of water, lighting and nutrients to help grow, according to Lu, enough output to product “one to two salads per day.”

Water and nutrients are dispensed automatically through the central monitoring system that is controlled via a touchscreen display in the bottom cabinet. Alongside the control system in the lower cabinet is a seedling chamber where the user puts seeds for 10 days in a small seedpod unit to allow them to germinate. From there, the seedlings are transferred into one of the ceramic looking pots in the upper glass chamber where they will grow and eventually be harvested.

Like the Samsung BeSpoke system, I liked the look and idea of a fully contained standup cabinet gardening system with the Natufia. It looked good and I could envision this type of garden system finding a home within my kitchen some day.

However, I have to admit the $13,000 price tag gave me pause. I wondered if I’d be willing to pay that much to add a home grow system, particularly one that — like most of these systems — is largely restricted to growing leafy greens and for the most part does not produce non-leafy green vegetables like cucumbers or ground vegetables like potatoes or onions.

In the end, these types of systems are a lifestyle and design choice that will be made by the home owner. If you’re buying a new house or committing $80,000 or more to a kitchen remodel, adding in one of these systems makes sense if you love the idea of shortening the distance between farm and fork to just a few meters, even if it’s for only a partial list of the items that go in your salad.

There’s also no doubt that these systems make a visual statement, standing out from the usual wall of metal or wood typically found in high-end kitchens.

The Natufia Kitchen Garden is available in the U.S. through select resellers. You can see the guided tour of the Natufia Kitchen Garden below in the video.

Paris Exhibition Gives Charlotte Perriand Her Due – Metropolis Magazine

Charlotte Perriand Travail et Sport (Work and Sport), 1927-1929 Courtesy © Adagp, Paris, 2019, © AChP

In 1936, Charlotte Perriand wrote a letter to Pierre Jeanneret, a frequent collaborator of hers, and his cousin Le Corbusier. “If I abandon the ‘profession of architecture’ in order to focus on problems more directly connected with life,” she wrote, “it is to be able to see more clearly into these problems, and also above all else it is because there was a barrier, a wall in our work…. The wall is cracked, and there is a whole new world that absorbs our interest, because ultimately, the Profession of Architecture is work in the service of humanity.”

This quotation appears fairly early on in Charlotte Perriand: Inventing a New World, the excellent exhibition on the French polymath that currently occupies all four floors of the Fondation Louis Vuitton (FLV) in Paris. Signaling a break from the Machine Age aesthetic she cultivated with her male associates, it reveals a lot about Perriand’s professional trajectory. Over the course of her long life, Perriand crisscrossed disciplinary boundaries—architecture, photography, textiles, furniture design—while retaining a seemingly voracious appetite for life.

Beginning on the ground floor, the show is organized in roughly chronological order and proceeds from Perriand’s most recognizable works from the 1920s. The interior architecture of her Parisian studio at Saint-Sulpice, for example, exhibits early chair designs, with their distinctive bent-steel frames, and a somewhat obscure extendable table which appears to protrude directly out of its adjacent wall. It’s well-acknowledged that Perriand and other Modernists were ahead of their time, but still, more than 90 years after their invention, these objects appear revolutionary.

Moving into the ’30s, Inventing a New World illustrates Perriand’s deft work with images. There is La Grande Misère de Paris (1936), an extraordinary 52-foot photomontage depicting the arc of progress the Machine Age had ostensibly initiated, moving from the desolate housing conditions in interwar Paris toward a bright pastoral future. Tracking from left to right, photographs of wailing children in abject corridors gradually give way to a couple in embrace, walking through a landscaped garden. Stylistically, it’s akin to the Constructivist propaganda of the married couple Valentina Kulagina and Gustav Klutsis, or the cinematic murals of David Alfaro Siqueiros in Mexico City—and is just as striking.

 Charlotte Perriand, Sandstone from the Bourron quarry, Fontainebleau forest, 1935 Courtesy © Adagp, Paris, 2019, © AChP

The focus on photography extends into the next section, which charts Perriand’s turn to the natural world for inspiration. Her minimalist “art brut” compositions—black-and-white studio images of animal bones, rocks, and metal scrap—are an unexpected highlight. This recourse to the naturalistic conditions her furniture works from the same decade, with thick timber replacing slender steel. Yet the same sinuous tactility remains intact.

From here, we move up a floor and on to Japan, a country with which Perriand maintained a productive relationship from the 1940s to her death in the late-1990s. Reproductions of pieces including the 522 Tokyo Chaise Longue demonstrate how she reinterpreted her classic works using bamboo and other locally available materials. Perriand’s prowess for timber engineering in combination with innovative spatial form comes through in pieces like the Banquette meander, or meandering bench, which comprises three connected seats. Displayed next to it is a rug bearing a fish motif; she transposed it from a sailor’s chalk drawing.

Into the ’50s, Perriand returned to Paris and trained her focus on “the art of dwelling,” the summa of architecture, furniture, and interior fittings. The furnishings of the Unité d’Habitation in Marseille by her former colleague Le Corbusier, for example, feature integrated storage and an open plan kitchen-cum-living room, allowing for the person cooking (then most likely to be a woman) to remain connected to the rest of the family.

Having grown restless in Paris, Perriand accompanied her husband Jacques Martin, a representative for Air France in Latin America, to Rio de Janeiro in the 1960s. Her furniture designs for their Rio home are familiar in their form—among them a rectilinear shelving unit and stylish low coffee table that are displayed at FLV—but are rendered in more expressive materials such as woven rattan. Later in her life, Perriand would complete more idiosyncratic works, which are on show at the exhibition. A bespoke ticket desk for the Palais de Tokyo is displayed in its full glory; an experimental modular bathroom and kitchen appear to anticipate domestic life on Mars; and her planning and full-scale residential works for the Les Arcs winter sport resort in the French Alps represent her most significant architectural projects.

Le Corbusier, P. Jeanneret, Ch. Perriand Chaise Longue Basculante, 1928 Courtesy Vitra Design Museum

Back on the ground floor, we might stop at the Chaise Longue B306. With its curved steel frame and black leather finish, the chair is a true icon of Modernism. At FLV it is displayed proudly alongside working drawings and the (perhaps equally iconic) photograph of Perriand lounging, gazing away from the camera and toward her projected silhouette.

Today, the authorship of the chair is credited to Le Corbusier, Pierre Jeanneret, and Charlotte Perriand, three apparently equal members of Le Corbusier’s studio. Indeed, throughout the exhibition, Perriand’s work is couched in the language of collaboration. Corbusier is, unsurprisingly, heavily present, not just in the architectural projects he completed with Perriand, but also in standalone tapestries and paintings that accentuate her furniture pieces. Works by Fernand Léger and Alexander Calder are also prominent. In fact, such is the Modernist emphasis on collaboration that the billboards advertising the exhibition around Paris depict the back of a topless Perriand surrounded by the names of famous men: Picasso, Miró, Braque, Delauney. Glimpsing the advertisement from the street, you’d be forgiven for misidentifying the exhibition’s subject.

Misdirected design and marketing aside, the curatorial focus on collaboration does actually make for a very good exhibition. Perriand was a highly sociable professional who worked well with others. In addition, her projects are imbued with that “service of humanity” she described more sensibly than her colleagues; what, after all, would the Unité d’Habitation be without those interiors? What’s more, a life’s work as rich as Perriand’s is inevitably entangled with many creative contexts and collaborators. Particularly in this context of high Modernism it’s a pleasure to see the co-mingling of her shelving units with, say, a Léger tapestry; neither need exist in isolation.

The question remains, however, whether the generous space afforded to other artists in a show devoted to a woman would be similarly given to women in a show about a man. The celebration of the solo male genius is a prominent trope that has had the effect of erasing dozens of important women designers and architects from the canon. Perriand is one of the more notable among them; for decades her role in the design of the B306 Chaise Longue was hidden behind the monolithic name of Le Corbusier. This pattern is rightly being dismantled, in part through the staging of monumental exhibitions, such as Inventing a New World, about exceptional women, such as Charlotte Perriand.

Charlotte Perriand: Inventing a New World is on view at the Fondation Louis Vuitton in Paris through February 24, 2020.

You may also enjoy “You Can’t Spell SOM Without Gordon Bunshaft.

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Abigail Ahern launches affordable kitchen range with Herringbone Kitchens –

Herringbone Kitchens

Interior designer Abigail Ahern has joined forces with bespoke furniture and design company Herringbone Kitchens to create an affordable range of modular kitchen cabinets that can be designed and ordered entirely online.

The Abigail Ahern x Herringbone Kitchens range

Known for their high-end style and bold designs, both Abigail and the team at wanted to offer a unique handmade experience online and bridge a gap in the market by making it more accessible to customers across the country.

The beautifully designed cabinetry – boasting sleek, flat front units with fuss-free lines – is a modern take on the traditional English shaker kitchen, with a classic feel that will last for years to come. Bonus points: It’s also made in the UK from sustainable materials.

Each individual cabinet can be ordered online without any added fuss and is available in standard sizes, enabling you to design the space yourself. You can also choose extras such as a cutlery insert, pull-out bin or spice rack. The cabinetry will be primed, ready to be painted in any colour, so you can create the kitchen of your dreams whether you want daring Insta-approved navy or something more subtle.

Herringbone Kitchens

The kitchen cabinets are delivered fully assembled so any kitchen installer, joiner or builder will be able to fit it for you.

‘I have known Abigail Ahern for over 10 years and took part in her Interior Design Class when I was at university,’ said Elly Simmons, Director of Herringbone Kitchens. ‘We are incredibly excited to be able to partner with her on such a unique project and to bring UK handmade cabinetry to more homes across the UK.’

Abigail’s kitchen

Abigail’s very own kitchen showcases the new collaboration. Her kitchen is described as ‘timeless and chic whilst simultaneously offering up an au courant mix of materials’, achieved with slabs of natural quartz on the island and work benches, to dark cabinetry painted in her infamous inky saturated palette.

Elsewhere, aged brass hardware, black plumbing fixtures and a concrete floor covered with vintage rugs sourced in souks across Morocco complete the unique look.

Herringbone Kitchens

Herringbone Kitchens

Herringbone Kitchens

Because of her large kitchen island, Abigail chose to omit upper cabinets giving the large island, which houses the induction hob, a chance to shine.

One of the most lusted-after parts of the kitchen is the pantry, tinned goods sit alongside large serving dishes, jugs and glasses – practical but still styled in Abigail’s unique way.

Herringbone Kitchens

Also commenting on the collaboration, Abigail said: ‘I am hugely excited to be partnering with Herringbone Kitchens in launching the most beautiful kitchen on the planet!

‘My kitchen really is the heart of my home and the most used room in the house. With cabinets being one of the most integral decisions to make it was hugely important for me to partner with a company where craftsmanship is key, that considers its materials (all woods are sourced from sustainable managed forests and a tree is planted for every kitchen sold), and excels in quality and design. These are all factors that makes this one of the most exciting collaborations I have done to date.’

To begin designing your own kitchen, visit .

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17-room Dubbel Dutch boutique hotel will be open in time for DNC –

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