Boutique Gallery & Office
TFAC
2010
Khar West, Mumbai
Ms. Geetu Hinduja , a professional art consultant, approached me to transform a ground floor 1 bedroom apartment of approximately 455 sq.ft. in to an office/ gallery / storage space & if possible, a space in which she could practice her music (being an avid musician & vocalist).
A list or requirements in the brief included the viewing gallery for art works, a secured storage room for art works, 1 workstation for staff with computer/printer, 1 private workspace for the client, pantry, 2 washrooms (1 for the client & the other for staff) working storage for files/documents, storage for office supplies and of course ample surfaces and spaces for the clients own collection of paintings, drawings & sculptures which seemed to surround her personae at all times.
But before indulging myself in the process of design I asked myself a few simple questions. How would an artist try and resolve the problem at hand? How would and artist want his work to be seen and contemplated? How would an artist reinterpret and view what I, an architect, considered necessities and frivolities of design? What was the difference between art & architecture? They were not easy questions for myself to answer but art & architecture should choose to participate equally in the resolution of the space.
Hence, the concept of the design was based off the notion of juxtaposing a series of ‘sculptural insertions’ which would create ample & efficient spaces for working areas/storage units/mechanical services/etc. set against a generic shell or what I termed a‘blank canvas’. This ‘blank canvas’, is represented by the unfinished surfaces of the space which were aesthetically achieved by chipping away the existing paint & plaster and leaving the true nature of what existed underneath exposed and visible creating a duality in meaning, referencing both the concept of the background, to which I would relate the insertions, as well as acknowledging a notion of history, time and what existed prior to my intervention. The flooring, a version of the canvas was envisioned using polished concrete and using stainless steel spacers as a design tool to not only indicate movement patterns & programmatic zones but to also visually unify the small space by creating a monolithic surface which gave the illusion of a much larger gallery.
“ The unfinished surfaces of the ceiling & walls are like unpainted canvases which juxtapose the sculptural yet efficient working areas composed of wood & corian, the polished concrete flooring & the art works as well. “
The sculptural insertions were then designed individually coinciding with the programmatic brief. The first for the staff consisting of the workstation, storage elements & sculpture displays. the second for the storage elements, pantry, washrooms & displays, a third for the storage, bookshelves, glass partition, a fourth embodying Ms. Hinduja’s desk & workspace and a fifth being the entry canopy and exterior wooden trellising which conceals the external A/C compressors and building services. Each insertion has its own unique function and identifiable character and incorporate lighting elements and air conditioning grills so as not clutter the space additionally. Surfaces bend, fold & weave together to create unorthodox relationships between the visitor and subjects being engaged. Sculptures float suspended by surfaces which descend from above and flooring surfaces ascend the vertical surfaces of the walls creating a sensation that the space is somehow constantly shifting and changing
Although painted white and different from the other insertions, the gallery display walls use both a hanging channel/cable as well as an ‘easel type’ display system. The pattern of circular openings allows for several configurations in viewing the art works and when not in use becoming a sort of ‘art piece’ in itself, lending a character of dynamism and movement to the space.
The problem of providing privacy or separation between the cabin & gallery in 340 sq.ft. (the remaining 115 sq.ft. Being storage/restrooms/services/etc.) was resolved by using a sliding glass partition which divides the space when necessary. This gave the client the flexibility of organizing the space for different events or functions….as a gallery, a private office or possibly even a mini-studio for her to indulge in her musical talents as well.
As artwork is generally sensitive to direct sunlight, natural light usage was kept to a minimum and primarily used close to the work areas. Artificial lighting was considered an architectural/artistic element and therefore kept within the insertions themselves.
Wenge & walnut veneers, polished concrete & unfinished plaster ceilings & walls, steel grey granite washroom counters white corian working surfaces all lend to creating a muted atmosphere allowing the artwork to be perceived as the prominent characters of the space.
- Client: The Fine Art Company