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19:29

Taking A Design Brief For Interior Design


(This has been written from the point of view of the Client; you can modify the questions from your viewpoint , that is, questions that you will ask the client as a designer)
Here are some things for you to think about:
Kitchen
-          Who is the main cook and what sort of cooking do they like to do? (baking, stir-fry etc)

-          What sort of small appliances do you need to house?

-          How much storage will you need for china, plastics and cutlery? just to name a few

-          Will you entertain in the kitchen area? Do you need seating?

-          What oven, hob, dishwasher and fridge do you want to include?

-          Do you want a wine fridge?

-          What kind of lighting you will need

-          Bench top materials and heights

-          Floor to ceiling cabinetry or more modular

-          Styles - traditional, contemporary or art deco, etc.

Bathrooms

-          Do you want to incorporate a bathtub?

-          Will your children mainly be using a particular bathroom?

-          Will there be a specific guest bathroom or toilet?

-          Average or large size shower area?

-          Heights of the main people using the shower

-          Storage needed for towels and personal effects including hair dryers, GHD’s and shavers

-          Make-up lighting

And the big one...VENTILATION
Laundry

-          Who is the main person using this space?

-          Do you intend to iron in the laundry?

-          What size will your washer and dryer be

-          Storage needed for cleaning supplies and linen

-          Good access to the outside

-          Would you like a drying cupboard?

Rest of the interior

-          Do you need a lot of storage for children’s toys and personal effects?
-          Who are the main users of each space? For example, the formal living room may only be used by adults,whereas the dining and living area is for the whole family
-          How much entertaining do you do?
-          What sort of feel do you want each room to have? Luxurious, comfortable, relaxed, formal and the list goes on
-          Any inside pets?

Exterior
-          Is anyone in your family allergic to certain plants?
-          Do you want low care/easy maintenance or do you enjoy gardening?
-          Will you spend a fair bit of time outside? Will you entertain in the space?
-          What sort of BBQ area do you want?
-          Is there, or will there be a pool?
-          Do you have any pets?
-          Will you need a children’s play area?

There is so much more that could be added to this list; however we could be discussing this all day.  When I meet my clients I have a list of comprehensive questions that I go through.  I always ask my client to do some research on the things they like and more importantly what they don’t like.  This isn’t an expensive exercise as a lot of it can be done through the internet these days, and having visuals with you when you discuss your design brief, will help you to explain what look you are after to your designer.

A good designer will take your brief and come up with a plan that will see it come alive.  They also will ensure that colours and materials will add to the structure of your home, depending on its style.

Happy briefing.


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19:26

The Design Process For Interior Designers

1. Meeting the client 
You don’t get a second chance to make a first impression, remember that people make up their mind about you in the first 2-3 minutes.
The first thing to talk about? Don’t immediately start talking about interior design.
What should you talk about
Questions the client may ask you?
What possible answers could you say?
Dress and appearance:
You should adopt a style of clothing that doesn’t draw attention to itself or that is distracting. The client should notice your clothes, because you want her to focus on the interior design issues.


Listening skills
Defining the clients need
Identify the client’s style preferences
Next you need to understand the client’s style preferences.
Ask her about her lifestyle - Different lifestyles require different types of interior design.
Identifying the problems
Apply your expert eye to the problems of the room
In your notebook, write down any problems you see. Don’t necessarily tell the client these problems. Why would you do this?

Taking a Brief
Now you need to define the brief. The best way to define the brief is to repeat what you think she wants:
Ending the meeting
You have visited the potential client at their home.
You have ascertained their needs.
Tell the client what will happen next, if they want to proceed.
This may be the end of the job, or you may be involved in further developments.


2. Confirmation 
It is important that you get a formal arrangement with the client. Why do you think this is?

Clients are sometimes unhappy about signing a formal contract. A letter of agreement is more informal, so clients are usually happy to sign it.

So once you have emailed them, with an acknowledgement letter, telling them how much you are looking forward to working for them. You can also email/send letter of agreement that they should send back to you with payment.
Don’t do any work for a client who won’t sign the form or doesn’t send you a cheque.

The letter won’t guarantee that you’ll get paid, it merely increases the chances of getting money, and it also ensures that there is no misunderstanding as the sums involved.


3. Research/developing – develop a plan strategy 
At this point you will have to sit down and work out some design ideas. It’s a good idea, especially in the early days of your career, to do more than one sample board, in case the client doesn’t like your ideas, or you have just mis-judged what they want. Don’t however, give clients too much choice, otherwise they will never make a decision.

4. Develop Boards - Concept 
When you go back to your clients house, be professional, how do you think you should present yourself and ideas?
Don’t just put the sample board on the table and say there you go, what do you think?
Treat the event as though its theatre. Present your ideas at the dining room table, rather than on the sofa. Why do you think this works?
Do a preamble. Take your time over it. Treat it as a slow build up. Summarise the clients concerns and aspirations.
Hopefully, the client is nodding at the things you say. If you’ve got something wrong, you can smooth it over when you show the sample board.
Tell the client about the rooms weaknesses in a polite and positive way – explain how they can be improved.
Now bring out the sample board, you have paved the way and the client will be wound up with excitement. They will be more positive about your proposals if you work in this ordered way.

Give the client time to look at the sample board, answer any questions or doubts. They may be worried about being bold. Most non-professionals prefer?

Don’t be defensive if they don’t like it, find out what their concern is and offer an alternative
If the client is happy with the work, see if they want to proceed .


Even if there is work to be done, leave the board and information with the client – they have paid for it, and you should have written all the necessary details down for future use.

5. Refinement 
After presenting the ideas to your client, there may be some minor changes or alterations to be changed before going on. This is called refinement.
Once these have been changed and signed off then the job/project will become live.
Lets say the client is happy, and requires no further work, give the invoice, thank the client and leave


6. Job is live/product development 
Now that everything has been signed off, then it is the time to start the job, in order to do everything in order you need to prepare a scheme of works. Do you know what this is?
Once the work has been completed you can then install the furniture and dress the room.

7. Completion
Once the project is completed you can check with the client to make sure they are happy, you may have some snagging???
You may ask the client to photograph the work to help go towards your portfolio.
It would also be a good idea to ask for a testimonial.



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21:24

THE BAUHAUS MOVEMENT

The Bauhaus movement began in 1919 when Walter Gropius founded a school with a vision of bridging the gap between art and industry by combining crafts and fine arts. 
Prior to the Bauhaus movement, fine arts such as architecture and design were held in higher esteem than craftsmanship (i.e., painting, woodworking, etc.), but Gropius asserted that all crafts, including art, architecture and geometric design, could be brought together and mass-produced. Gropius argued that architecture and design should reflect the new period in history (post World War I), and adapt to the era of the machine. The Bauhaus movement is characterized by economic sensibility, simplicity and a focus on mass production. “Bauhaus” is an inversion of the German term “hausbau,” which means “building house” or house construction.
Image result for bauhaus interior design style


The Bauhaus movement teaches “truth to materials” as a core tenet, which means that material should be used in its most appropriate and “honest” form, and its nature should not be changed. For example, supportive materials such as steel should be exposed and not hidden within the interior framework of a piece of furniture.

The Bauhaus movement captured the attention of many respected artists, designers and architects such as Le Corbusier, Eileen Gray, Mies Van der Rohe, Marcel Breuer and Florence Bassett Knoll.

Image result for bauhaus interior design style

The Bauhaus movement transformed the design and production of modern furniture by incorporating the use of steel as frames and supports for tables, chairs, sofas and even lamps. The use of machine-made, mass-produced steel tubing created simple forms that required little handcrafting or upholstery and contributed to the streamlined, modern look of Bauhaus furniture.

Image result for bauhaus interior design style

The Bauhaus school founded by Gropius was one of the first to teach students modern design. The school closed in the 1930s under pressure from the Nazis, but the movement still influences modernist architecture and modern design today. While Bauhaus has influences in art, industry and technology, it has been most influential in modern furniture design. Bauhaus bridges the gap between art and industry, design and functionality.

Image result for bauhaus kandinsky
KANDINSKY

Image result for wassily kandinsky INTERIOR INSPIRATION FURNITURE
Colorful Kandinsky Inspired Home Interior by Brani & Desi - if it's hip, it's here

Image result for wassily kandinsky INTERIOR INSPIRATION

Image result for wassily kandinsky INTERIOR INSPIRATION FURNITURE


Image result for wassily kandinsky INTERIOR INSPIRATION FURNITURE

Left: Example of De Stijl desing applicable for interior design / Right: Gerrit Rietvel 











18:19

Sri Ranganathaswamy temple bags UNESCO award for cultural heritage.

Sri Ranganathaswamy temple in Srirangam, Tiruchirapalli, Tamil Nadu has won the UNESCO Asia Pacific Award of Merit 2017 for cultural heritage conservation. The international body praised the temple for undertaking renovation and beautification work worth over Rs 20 crore without harming its centuries-old heritage. Srirangam temple is often listed as the largest functioning Hindu temple in the world.


It is a matter of pride that out of over 43 applications spanning ten countries that competed for the 2017 UNESCO Asia-Pacific Awards for Cultural Heritage Conservation, the Sri Ranganathaswamy Temple is the only religious centre in the whole of South India to bag the award in 2017.

On a side note, the famous Christ Church in Mumbai and Royal Bombay Opera House are the other historic Indian monuments that received the Award of Merit this year, in addition to the temple. The temple was lauded by the international body for undertaking renovation and beautification work worth over Rs 20 crore without harming its centuries-old heritage According to the temple authorities the Sri Ranganathaswamy Temple, the first temple in Tamil Nadu to have ever received a mighty recognition and award from UNESCO. The honours and awards by the UNESCO for cultural heritage conservation were graded under four different categories including Award of Excellence, Awards of Distinction, Awards of Merit and Award for New Design in Heritage Context. The idea behind the award is to honour and boost the efforts of all stakeholders and the general public striving to conserve and promote heritage monuments and religious institutes across the Asia-Pacific region.

A quick historic view of the Sri Ranganathaswamy Temple: Mentioned Tamil literature as early as the Sangam era and the epic Silapadikaram, the archaeological inscriptions on the walls of the temple from 10th century AD, chronicle the stories of the Chola, Pandya, Hoysala and Vijayanagar dynasties. From the formation of agarams (agraharams- Brahmin settlements) at Gunasila Mangalam, a village owned by the temple as tax-free ‘thirunamathukkani’ to the role of the horse merchants of Kulamukku of Kerala in building these agarams, the temple is a treasure trove of India’s ancient history. The legends call it one of the eight self-manifested shrines of Lord Vishnu, and one the most important of the 108 main Vishnu temples. It is known by several names such as Thiruvaranga Tirupati, Periyakoil, Bhoologa Vaikundam, Bhogamandabam. The temple with its complex stretching over 156 acres with a perimeter of 4,116 m (10,710 feet), is the largest temple in India and one of the largest religious complexes in the world.

The temple has over seven prakaras or enclosures, which are formed by thick and huge defensive walls running around the holy shrine. With over 21 magnificent towers inside all prakaras, the visitors have an equally different and mesmerizing sight of the beauty around. This temple lies on an island formed by the twin rivers Cauvery and Coleroon. The annual 21-day festival conducted during the Tamil month of Margazhi (between December and January) attracts over 1 million visitors.

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18:06

StoryLTD presents First Editions, Signed and Limited Edition Books

Online Auction, 14 - 15 November, 2017

Mumbai, 9 November, 2017: From J K Rowling's Harry Potter books to James Joyce's Ulysses, StoryLTD's upcoming auction brings together a collection of rare first edition books, including signed and limited-edition copies of classics in Indian and world literature. First Editions, Signed and Limited Edition Books is StoryLTD's first book auction based on this theme. The auction will be held on storyltd.com on 14-15 November 2017. Books in the sale span the categories of art, photography, design, music, travel and sports.

       
Images courtesy of StoryLtd.

Highlight lots include
  • Harry Potter and The Goblet of Fire, signed by J K Rowling
  • Harry Potter and The Deathly Hallows, signed by J K Rowling on the slipcase
  • A Day in the Life, Photographs of the Beatles by Michael Ward; signed by Ward, numbered 29/750
  • Aristophanes' Lysistrata, signed and illustrated by Picasso
  • First Edition of Vladimir Nabokov's Lolita
  • First Edition James Bond books by Ian Fleming
  • Two Signed Books by Margaret Thatcher
Other categories include the World Travel Series, a set of 21 books; first edition books by Jim Corbett (set of 5), Ragamala; The Autobiography of Ravi Shankar, signed by the author and accompanied by two CDs with 80 minutes of exclusive footage; Religion and Society, authored and signed by former Indian president, S Radhakrishnan; a signed first edition of The Jubilee Book of Cricket by cricketing legend and ruler of Nawanagar, Ranjitsinhj; and two signed Books by Margaret Thatcher amongst many others.

The auction is preceded by viewings at Saffronart Mumbai till 15 November 2017.

Address
Viewings
Auction
Saffronart 
Industry Manor, Third Floor 
Appasaheb Marathe Marg, 
Prabhadevi, Mumbai 400025

Till 15 November  2017 
11 am – 7 pm, Monday to Saturday 
Sunday by appointment
14 - 15 November 2017
About StoryLTD:
Launched in 2013, StoryLTD is an e-commerce and auction service offered by Saffronart, India’s leading auction house. StoryLTD provides a unified and convenient shopping experience encompassing diverse categories. StoryLTD's fixed price collections include prints, paintings, photography, design and jewellery, offered at accessible price points. StoryLTD has held several successful auctions of modern and contemporary Indian art, antiquarian books and prints, ephemera on Indian art, folk and tribal art, and sports and film memorabilia.

Founded in 2000 by Minal and Dinesh Vazirani, Saffronart is a leading international auction house, and India’s most reputed, with over a hundred auctions to its credit. It is headquartered in Mumbai, with offices in New Delhi, London and New York. At the forefront of selling Indian art, Saffronart holds online and live auctions, exhibitions, and prime property sales throughout the year. Its focus is to bring transparency to the auction process, and providing easy access to bidders around the world. Saffronart’s services go beyond auctions to include private sales, art storage, appraisals and valuations for clients, and supporting the efforts of the Indian art world by holding fundraiser auctions. Saffronart has set several global benchmarks for online auctions, and was the subject of a case study at Harvard Business School in 2005.

Website:​ storyltd.com
Facebook:​ @storyltd
Instagram:​ @storyltd

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22:32

Jatin Das, Artists & Friends, Over Fifty Years.


At the Lalit Kala Akademi, New Delhi 17 - 22 November 2017

Preview 16 November 5.30pm

Eminent artist Jatin Das will exhibit a staggering 500 portraits, at the esteemed Lalit Kala Akademi this November, many of which have never been on display before. The
exhibition, Jatin Das: Artists & Friends. Over Fifty Years will be presented from 17 - 22 November 2017. The preview will be held on 16 November at 5.30pm.

Portraits have always been an important part of Das's artistic practice from sketching prolifically as a student at the Sir JJ School of Art to those of friends and passersby throughout his career - from artists Bhupen Khakhar, Souza and Krishen Khanna to photographer Raghu Rai and poets Dom Moraes and Gulzar, the diversity in sitters and variety of medium lends a fascinating insight into his Work.

In his own words:
“I grew up in Bombay. All artists, young or old, always did portrait sketches of friends in between work,over a drink; sketches on starched napkins at Sea Lounge. This was a regular practice of artists of theyesteryears... today many artists don’t sketch and some think doing a portrait is academic.
In the last 60 years and before, I recall doing portraits of my close friends, even in my early days at Mayurbhanj. My studio was in Shahpur Jat, next to my residence and 3 years back it shifted to Mehrauli,behind the 11th Century Qutub Minar. My assistant, Aalap Shah, an artist in his own right from Ahmedabad, found hundreds of portraits during this move. They were in oil, watercolour, ink and conté.

Many were surprises for me, like that of Ram Kinker Baij and Kumar Gandharva. Aalap planted the idea of a portrait exhibition and I got excited! I now have 700 sketches, done over 50 years, that are mounted and ready. And my dear friend, Pradip Das Gupta has photographed them. For the first time in my life I am cataloguing, archiving, and looking at my work done over all these years.”

The portraits in oil, watercolour, conté and ink will also be presented in a catalogue of the show.

Venue: Lalit Kala Akademi , Rabindra Bhavan, 35 Ferozeshah Road, New Delhi 11am - 7pm

About Jatin Das

Jatin Das has been painting for almost 60 years. Born in December 1941 in Mayurbhanj, Odisha, India, he studied at the Sir JJ School of Art, Bombay, under Professor S.B. Palsikar. He has held 68 one-man shows, in India and abroad and has participated in numerous national and international exhibitions and artist camps. He works in oil, watercolour, ink, graphics and Conté. From his mural

The Journey of India:

Mohenjo-Daro to Mahatma Gandhi in the Parliament of India, to his welded steel installation at the Bhilai Steel Plant in Madhya Pradesh and most recently his mural at Bangalore airport, Das has worked with a wide range of materials and created several landmark murals and sculpture installations. His works feature in several public and private collections in India and abroad.
He has lectured extensively at art and architectural colleges, museums and public forums, sharing his art and his understanding of contemporary and traditional art forms with wide audiences. His commitment to art and artists and towards creating a sensitivity for art and aesthetics led him to a dream almost 30 years ago. Jatin is the Founder and Chairman of the JD Centre of Art in Bhubaneswar, Odisha that will house classical, contemporary, traditional and folk art under one roof. During the last 35 years, he has built a personal collection of contemporary and traditional art, antiquity and crafts that includes the enormous ‘Pankha’ collection – which consists of more than 6000 hand-fans. 

In 2012, Jatin Das was the recipient of the prestigious Padma Bhushan award.

Murals and sculpture installations , include:

The Journey of India: Mohenjo-Daro to Mahatma Gandhi, oil on canvas, 7ftx68ft, Parliament of India, Delhi. Inaugurated in 2001 by the then Prime Minister.
Fresco, Birla Kreeda Kendra, egg tempera, Bombay, 1964
Welded steel installation, Bhilai Steel Plant, Madhya Pradesh 1996.
3 murals, metal sculpture, metal mobile; NCPGR, Delhi 2005
Façade mural, Chelsea Arts Club, London, UK 2009
Painted mural, international airport Bangalore, 2014

Das has held over 68 one-man shows in India and abroad and has participated in major national
and international shows, including:
Konstforum – Norrköping, Sweden 2012 with Eva Zettervall
2 nd Biennale, Cuba, Havana 1985, 3 rd Asian Biennale, Bangladesh 1985
Tokyo Biennale, the 15 th International Art Show, Japan 1984
VII British International Print Biennale, Bradford, UK 1982
2 nd , 3 rd and 4 th Triennial India, Delhi 1971, 1976 and 1978
Venice Biennale, Italy 1978
Septième Biennale de Paris, France 1971

Das is Professor of Art at Jamia Milia University and has lectured at many art and architectural colleges and museums in India and abroad including: National Institute of Design, Ahmedabad;
Victoria & Albert Museum, London; Pitt Rivers Museum, Cambridge; Harvard University, USA; Van
Gogh Museum, Amsterdam; Rietberg Museum, Zurich; Stanford University, USA.
Conferred D.Litt. from Indira Kala Sangeet Vishwavidyalaya, Khairagarh, 2015, Ravenshaw University, Orissa, 2010 and Utkal University of Culture, Orissa, 2007.
As well as the many graphic additions - etching, lithography and serigraph, Das has also designed postal stamps.
He writes poetry, member of the poetry group ‘Samovar’, 1963, Poetry Society of India, New Delhi.
As well as acting on Advisory Committees for many government, private art and cultural bodies, Das has donated work to many charities across India and played a key role in the reconstruction and rehabilitation work in an Orissa village after the super cyclone in 1999.
JD Centre of Art ( www.jdcentreofart.org ) was established in Orissa in 1997 to house Das’s collection of traditional and contemporary arts and antiquities, designed by eminent architect, B V Doshi.

‘Pankha’ : Hand fans ( www.indianhandfans.org ) Das has one of the largest private collections of Pankha in the world. Exhibitions have been held in National Craft Museum, New Delhi; Victoria Memorial, Kolkata; Fan Museum, London; National Art Gallery, Kuala Lumpur; Reitberg Museum,
Zurich; National Museum, Manila; and the National Museum, Philippines. The collection will be donated to a proposed National Pankha Museum, New Delhi.

In 2012, Das was conferred the Padma Bhushan, India’s highest civilian award by the President of India.

About Lalit Kala Akademi
Lalit Kala Akademi, the National Academy of Art, was set up by the Government of India on 5 August
1954, and registered under the Societies Registration Act 1860, on 11 March 1957. In pursuance of the objectives set out in the constitution, the organisation functions through its General Council, Executive Board and other Committees. Lalit Kala Akademi is the Government’s apex cultural body in the field of visual arts in India. It is an autonomous body, which is fully funded by the Ministry of Culture though the Akademi is an independent organisation and has substantial independence in making decisions related to national and international exhibitions, events and providing financial assistance to artists and art organisations through scholarships and grants. Throughout the year LKA presents exhibitions and educational programmes, sustains a library, art collection, archives, conservation laboratory, and supports scholars and publications of pre-eminent intellectual merit all over the country. Central to the Akademi’s mission is the encouragement of a deeper understanding and enjoyment of modern and contemporary art by a diverse local, national and international audience that it serves. 



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20:57

Kiran Nadar Museum Of Art Presents Amruta Kalasha

Kiran Nadar Museum of Art presents from the collection of Architect Kuldip Singh...

Amruta Kalasha,Thanjavur and other South Indian Paintings...

Conceptualised by Roobina Karode..

PREVIEW: 13 th November 2017, Monday, 6.30 pm onwards

EXHIBITION DATES: 14 th November - 13 th December 2017
KNMA, 145 South Court Mall, Saket, New Delhi, 110017

The Kiran Nadar Museum of Art (KNMA) as an institution has been dedicated to optimize the
visibility and engagement with the modern and contemporary art and the plurality of its practice across India and South Asia. This time, as the winter sets in and the art season begins to blossom, KNMA is bringing to Delhi, to viewers in North India, a month- long special exhibition of South Indian paintings focused on Thanjavur, Mysore and Andhra, presenting 200 works from the extraordinary collection of renowned Delhi-based architect Kuldip Singh.



This exhibition celebrates and compliments the passion of another private collector, who solely
driven by his energy and savings travelled extensively in the South, to locate works, document and research them and over the last forty five years or so, collected the rarest paintings from this popular and prevalent tradition from the 19 th and early 20 th century. Moved by what he chanced upon while doing his building projects in the South, through an academic approach, he entered a territory that was unknown to him, but moved ahead to make his home a living museum, where the ambience of the wooden architecture with pillars and other props become the perfect setting for these works.

As a symbol, Amruta Kalasha embodies the ceremonial aspect of this exhibition that unfolds
mythological narratives, distinctive pictorial aesthetic and drawn temple and city architecture that frames the setting where rituals, art and people converge. The rich traditions of Thanjavur, Mysore and Andhra paintings, visually offer a repertoire of techniques and iconography, usage of colour pigments and materials often designed and dictated by the performativity of the rituals. The elaborate temple plans and circumambulatory paths act as abstract navigational maps both for the devotee and the donor. The use of emotional scaling defies naturalistic rendering discounting the laws of the optics to allow for the most improbable and awkward but equally fascinating compositions, for instance the huge Krishna that covers three-fourth of the picture-space on a dwarfed cow. Largely recognized as votive paintings, that represents divine icons for temples and domestic shrines for those sections of Indian society that strove to preserve religious identity against extraneous influences.

On this occasion Kiran Nadar, Founder and Chairperson, KNMA says, “A introvert man, Singh’s
Collection is being shown for the first time at KNMA, India, and as a museum we are delighted to
bring into public viewing his persistent and quiet efforts of putting together an array of Thanjavur and other south Indian paintings of India.”

According to Roobina Karode, Director & Chief-Curator, KNMA, “Curatorially, this has been
challenging at the conceptual level, because of the nature of the material and its relatively
unfamiliar content. How does a collection lend itself to be conceived as an exhibition? The
collaboration with the owner/architect has been a rewarding one, as the visual, textual and spatial have been configured to enhance the viewer’s experience and create a contemplative
space/ambience.”

A modernist with interest in a vernacular painting tradition, Kuldip Singh is well known for his
active participation in the preparation of Delhi’s Perspective Plan – 2000 for the Delhi Urban Arts Commission and designing several public structures such as the District Centre in Saket and the NCDC building. About the journey of collecting this ambitious and rare repository he says, “About 50 years ago, I was travelling in Chennai, Thiruvananthapuram and Kochi. I was interested in architectural artefacts — doors, furniture and wooden sculpture. A friend asked me to get him two Tanjore paintings, but later didn’t like them. So they lay in front of me for two months. I was to return them to the dealer on my next trip South, but I forgot them. When I went to the dealer, I don’t know what overcame me but I asked to be shown more and here I am — the curiosity became a hobby and now it is an obsession.”

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