Découverte du studio Busride qui a pu penser le design intérieur du restaurant The Smokehouse Room à New Delhi (Inde). Avec une ambiance très inspirée par la science-fiction, ce lieu à la décoration étonnante et futuriste est à découvrir dans la suite de l’article.
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Architect Filipe Balestra of Urban Nouveau has sent us his proposal for a series of towers built in the swamps surrounding Mumbai, sketched out on a napkin.
Balestra’s idea is to allow expansion of the city without displacing the rubbish dump, recycling centre and homes at the city’s centre.
Urban Nouveau previously developed a proposal for sensitively revitalising slums, which was featured in the Dezeen Book of Ideas – on sale now for just £12.
Here’s some text about the concept from Urban Nouveau:
Bombay – maximum city, surrounded by water – is just in time to pick up an evolutionary strategy for the benefit of all. Dharavi – in the heart of Bombay – is one of the world’s largest urban villages. It contains the city’s garbage recycling centre and is the home of the cleaners, the taxi drivers and the people without whom the current urban processes are unfeasible.
What if, instead of moving the people of Dharavi to the outskirts of the city and using that land to build new housing, offices and leisure… all the necessary program would be built inside towers which rise from the shallow swamps that surround the city, branding Bombay with a new perspective: from the water. Existing Bombay remains as it is, and is incremented naturally. Pressure withdraws from the city centre. Dharavi stays.
Boats and bridges connect the shore with the new islands. The islands are easy to build because the water level is low. The respect for local flora and fauna is the starting point of this environmental and socially sustainable process.
Urban Nouveau is an interdisciplinary platform which supports an open network of human beings solving problems of everyday life. Urban Nouveau declares itself elastic to bridge formal-informal, legal-illegal, city-countryside in order to achieve appropriate balance in every challenge. Combining improvisation and intuition with research and expertise while performing on local and global issues, Urban Nouveau thrives on collective evolution.
Dezeen Wire: The New York Times claims that Antilia, the 27-storey house in Mumbai owned by India’s richest man Mukesh Ambani, is still acting as a pricey pied-à-terre, with Ambani’s family choosing to spend their time in a more modest 14-storey converted apartment block in the south of the city – The New York Times
Dezeen Wire: historians and campaigners are warning that the 358-year-old Taj Mahal near the city of Agra in northern India will collapse in two to five years if urgent action is not taken to maintain rotting wooden foundations – The Daily Mail
A scooping concrete roof cantilevers over the rear entrance to a house by the Ganges River in northern India.
Mumbai architects Rajiv Saini + Associates designed the single-storey residence, which burrows into the sloping riverside terrain.
A spa is located where the building tunnels into the hill and a tree-lined courtyard is concealed between the house and landscape.
Rough masonry walls define the main entrance, while both angular and curved concrete walls separate individual rooms.
Slatted timber columns surround an oval dining room at the heart of the house.
Three bedrooms and two living rooms are also provided.
Concrete, brick and stone walls are exposed throughout the interior, whilst floors are finished in sandstone.
Photography is by Sebastian Zachariah.
The following text was provided by the architects:
Rishikesh House
The first visit I made to see the site changed all pre conceived ideas one had carried about the form this house should take.
Located on an elevated hill slope, over looking the ‘Ganges’ river as it turned around a bend, the unbridled energy of the gushing river became the one constant inspiration and the form of the house attempts to reflect some of that raw energy.
Designed as a holiday house/retreat on the haridwar-rishikesh route, it helped to be working with old clients who shared a passion for design, and also trusted us enough to embark on this radical design. The requirements of the house were simple-three bedroom suites and enough casual /informal spaces to lounge around with family and friends and soak in the virgin territory all around.
Driving along the long winding drive way (that does not reveal the spectacle of the magnificent river view) leading to the house, one approaches the structure between two 12 feet high, tightly placed almost parallel walls of random stone masonry (all stone used for random masonry walls in the house was quarried locally) that lead you into an enclosed court bound with walls on 3 sides.
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Only on stepping inside through the teak wood doors does one comprehend the expansive river views. The large entrance space, along with the deck outside, functions as an informal lounging zone. It also encloses an elliptical, glass and teak framed dining enclosure. Crossing over a bridge from here, one passes through an internal court before descending into the lowered living room.
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The master suite along with its en suite bathroom (and outdoor court with outdoor shower) is located to one side of the living room. Through a long glazed corridor lined with a grove of bamboo trees, one accesses the bedrooms and TV lounge on the other side. This glazed corridor is contained between the river facing bedrooms on one side, and the retaining wall holding up the bermed soil that conceals the presence of the spa tucked to one side of the entrance walls. A small court ensures enough natural light, while offering total privacy to its users.
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In keeping with the location and form of the house, we played along with natural materials and finishes inside. Ceilings throughout are in form finished concrete, as are most retaining walls. Remaining internal walls are in white painted unplastered bricks or random rubble masonry.
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The flooring throughout the public and circulation areas is in textured ochre coloured sandstone, while the bedrooms are finished in timber. Bathrooms too are clad in local stones or teak timber, and custom solid teak wood furniture along with linen and cotton furnishings was used throughout the house.
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| Clifton Hill House by Sharif Abraham Architects | House 20 by Jolson | LandyM by andOFFICE |
A terracotta-coloured earth wall bounding the edge of a research complex in Pune, India, vanishes into a hillside.
Designed by Malik Architecture, the research centre for pharmaceutical company Lupin also features an open amphitheatre, water fountains and an auditorium inside an aluminium cube.
The complex surrounds a central courtyard, while a connecting block for administration is located slightly further up the hill.
Pergola-like structures shelter pathways between buildings, as well as a terrace at the centre of the courtyard where a library, fitness centre and cafe are situated.
An overflowing table of water beside the main entrance is one of many fountains and pools distributed around the complex.
The research park is the third building on Dezeen this month by Malik architecture, following an office block beside a slum and a jumbled house with an elevated steel tunnel and a rooftop swimming pool on stilts – see both stories here.
Other buildings from the Dezeen archive to feature earth walls include a house buried in the ground and a school in Cambodia.
Photography is by Bharath Ramamrutham.
Here’s a more detailed description from Malik Architecture:
Lupin Research Park, Pune
The act of research and discovery is essentially an intuitive function. This complex therefore explores those elements, that to my mind, foster and inspire intuitive thought, which is the core of the creative process.
Nature has therefore become the nucleus both at the micro and the macro levels and serves as a backdrop for two almost paradoxical elements: eastern philosophy and western technology.
The inspiration for the complex is the timeless ‘mandala’ with the administration complex representing the head (at the highest point of the hill) and the main research park flowing south to north, wrapped around a central courtyard.
From the simple ‘earth’ wall that vanishes into the hill, the gushing spout of water that heralds the entrance, the tilted aluminum cube floating in the water and silhouetted against the sky, the play of light and shade in the myriad pergola covered streets and courts, the sculptured vault of the cafeteria sitting on the tranquil ‘kund’ to the ageless amphitheater set into the hillock.
The complex is intended to provide a multitude of spaces that both inspire a scientist and also serve as a meeting point for groups to jointly interact, explore and discover.
At first glance the complex is reminiscent of and echoes the timelessness of an ancient habitat or a human settlement that it is almost a ‘rock’ out-crop at the base of the hill, of clay masses juxtaposed and emanating from the hill, merging into the hill both in the arid and hot parched season as well as the lush green forest of the monsoons.
As one approaches closer this cluster of ‘terra cotta’ massing gives way to more orderly and identifiable form as is represented by the single long ‘wall’ that generates itself from the hill and flows downwards.
‘Light’ to our ancestors was a manifestation of the ‘infinite’. Light is never constant, ever changing, reflecting the movement of the sun, echoing the passage of time, joining the cycle of the day and night and metaphorically representing the very cycle of life itself. The inspiration of a sun-rise the contemplation of a sun-set or the changes that the play of light brings through the above two cardinal points have been issues of immense fascination to me.
Light and shadow, like day and night, are inter-twined, one cannot exist without the other, and it is these two elements that have been juxtaposed in a myriad number of permutations to produce a rhapsody: from the ethereal play of light on the walls, ramp and steps leading to the animal house: the surrealistic imposition of the pergolas socio-graphy onto the floor, the silver prism of the auditorium and the dark silhouette of the ‘cube’ sculpture: the splintering of light from tiny points to lengthening stippled bands moving like a sun-dial echoing the passage of time: the dappled play of light and shade in the main library / dining court: the gradual increase of light intensity as one moves-up the north / south axis (echoing the very act of regeneration / re-birth): are all representative of the dialogue and rapport that the built forms have with the sun.
Needless to say, that major openings are in the north and east and layer solid masses on the south & west. With natural light permeating every nook of the complex, the interaction with this element appears total.
“Water” the life sustaining element has been expressed in a multitude of moods and functions.
The ‘macro’ concept deals with the harvesting of water through a well planned array of drains and channels that flow down the hill and feed the two major artificially created lakes at foot of the hill. In fact the very drive into the complex bisects these lakes providing the visitor with the vista of a large sheet of water (in an otherwise arid landscape).
The main entrance to the complex is punctuated by a raised water channel gushing water from a gargoyle, representative of one of the earliest forms of carrying water. This silvery arc sets itself magically against the back-drop of the hill.
The main entrance court has two interesting water bodies: the first a 50 feet long transparent sheet of water flowing both sides of the entrance court and punctuated by a smaller water gargoyle (representing the tranquil mood of water) and the latter being a two level stepped pool from which rises the sculptured mass of the aluminium cube that is the auditorium (symbolized the reflective quality of water).
By far the most fascinating water body is the ‘kund’. An enormous sheet of water (on which floats the vault of the dining space) accessed on one face as a dramatic flight of steps and on the other by the verdant green of the lawn.
The kund gives birth to a smaller shallow channel that induces the scientists to walk on the pebbles bare-foot. The channel itself ends in a ‘well’. This major body of water echoes the time-less kunds and tanks that are a hall-mark of our traditional architecture and are representative of a ‘daily’ cycle and an entire way of life.
The main north-south axis culminates in the hill vista and the auditorium foyer on one end and the integrated common facilities complex and valley on the other. At mid-point, this axis gives birth to the east-west axis that links the nce and formulation research blocks. Both axes constantly interface with nature and the surrounding hills.
The library, fitness center and dining areas are an integral part of the main pergola covered court that opens out into a huge garden and views of the valley on one side, the amphitheater on another and a sharp bank of terraced steps leading to the hill on the third.
To conclude, i have attempted to bring together two parallel streams of thought: that of the scientist – who measures that which exists and that of the artist – whose realm is in the immeasurable.
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| Casa das Histórias by Eduardo Souto de Moura | Dar Hi by Matali Crasset | Galeria.Solar.S.Roque by Manuel Maia Gomes |
This jumbled house in India features an elevated steel tunnel, bridged corridors and a rooftop swimming pool on stilts.
Designed by Indian studio Malik Architecture, House at Alibag is located on a hilltop facing the Mumbai skyline.
Faceted walls and ceilings line rooms throughout the house and are perforated by both rectangular and triangular windows.
At the centre of the three-storey building is an open courtyard, over-sailed by bridges connecting rooms on the first and second floors.
The angled tunnel that drives through the upper storeys of the house encloses a bedroom at each end, joined by another of these bridges.
The rooftop swimming pool shelters an external terrace at the rear of the house.
This is the second project by Malik Architecture on Dezeen in the last few days – see our earlier story here about a cantilevering office block next to a slum.
See also: more stories about projects in India.
Photography is by Bharath Ramamrutham.
Here are some more details from Malik Architecture:
House at Alibag
The Site:
The site for this home is a hill in Alibag, one which enjoys a stunning view, not only of the rolling contours surrounding it, but of the sea and the skyline of Mumbai in the distance. Conceptually, the design of the home is a departure from the “stepped terrace” typology that one would conventionally employ on a heavily contoured site.
Instead, we chose to deconstruct a cuboid that is tilted and suspended over the ground and seems to simultaneously ‘float’ and ‘flow’ down the hill.The contours of the hill have been used to organize the structure over 3 levels.
The ‘tube’ contains 2 large bedroom suites at different levels with a large interstitial void that is inhabited by floating connections.The creation of singular sensory experiences has been the primary organizing and sculpting vector.
Numerous geometric inflections and articulations are designed to engage the senses in unconventional ways. A walk through the house is meant to yield unique moments of being suspended in space, of intimate enclosure, of vertiginous assaults but most importantly, of being connected to nature. The structure follows the design philosophy with concrete planes making contact with the ground, while steel floats above it. The home seems to conduct a constant dialogue with the ground on which it rests; it is informed by the earth but chooses at certain junctures to thrust over a precipice, completely oblivious of it.
The hilltop location of this house makes its occupants privy to some spectacular views of the sea as well as of the surrounding terrain. It is the fact that every space is designed to partake of these views that renders the house unique. The transition form panoramic to framed portraits and the constant three dimensional articulation of the viewing platform is what generates an experience that transcends the pure visual and ventures into a multi-sensory realm. The only restriction was the self imposed one with regards to retaining the integrity of the hill and maximizing the sustainability of the development.
A second home on the same site as house no. 1 was commissioned only weeks after construction began on the first house. We were now faced with the conundrum of creating a complementary foil to the distinctly extroverted structure that was perched on the apex of the hill. On the one hand we felt that the second home ought to partake of the same stunning views that presented themselves to the first house, but any significant built up mass would not only compete with but also vitiate the geometric singularity of the first home.
The solution presented self in the form of an existing degraded concrete structure that was intended to be a home for the land’s previous owner. By locating the second home on this footprint and by making use of the already excavated area, we were able to submerge the house beneath the ground. The only trace of development, when viewed from the first home, was a crystalline fragment emerging from the earth. The home is self effacing, a more discrete and introverted alter-ego of its hilltop sibling.
Faceted Roof Design:
The main roof of the living room and verandah is a re-interpretation of the traditional clay tiled roof, but re-designed for better performance. It has been parametrically manipulated to dip and extend to provide weather protection for the main pool deck, the entrance verandah and the car porch. In addition it sweeps upwards to allow headroom for the stair leading to the upper level.High wind speeds and heavy rains necessitated re-analysis of the traditional pitched roof which while performing well in homogenous spatial conditions, failed to meet the multiple performance criteria we required.
Floating Infinity Pool with Verandah Below:
Part of the client’s brief was the desire to have the primary living space (living room) and verandah in close proximity to the swimming pool. We used the contours of the hill to design a stilted pool that satisfied the client’s requirements and also provided an auxiliary shaded verandah below it opened onto a large garden and which could be used in inclement weather.The knife edge was created to merge the pool foreground with the background of the Arabian Sea.
Tubular Steel Truss
The ‘Tube’ that rests on the two blocks is tilted at an angle that is almost identical to the natural slope of the ground and with a single gesture, a tangible link to the hill is created, whilst simultaneously generating a physically liberated space. The earth is forced into the centre of the home, whose vertical proportions complement the intrinsic horizontality of the geometry. Similar programs are linked by the volume and its skins provide weather protection to the bridge connections hovering within the courtyard.
The concept of the floating tube allowed for the elevated perch which was desired to give the occupant the best possible view of the surroundings without creating large obtrusive footprints on the ground.The house functions as a tool to interpret the landscape. At numerous junctures, the object dematerializes to create a sense of floating amongst the elements, and its unique strength is the varying experiential conditions it creates at different points in space and time.
Category: Residential
Location: Alibag, Maharashtra, India
Client: Private
Plot area: 7 acres
Built-up area: 11500 sq. ft.
Project cost: 5,00,00,000 (5 Cr.)
Commencement date: March 2007
Completion date: September 2009
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| GMS Grande Palladium by Malik Architecture | Cloud Tower by the next ENTERprise | Sapphire Gallery by XTEN Architecture 2 |
Pointed cantilevers project above an office block that is sandwiched between a corporate complex and a slum in Mumbai (photographs by Edmund Sumner).
Designed by Indian studio Malik Architecture, the GMS Grande Palladium building has a faceted exterior of tessellated glass and ridged aluminium.
Six floors of office accommodation are raised onto a podium eight metres above the ground, creating a terrace and thoroughfare at street level.
Penthouse office suites for the client and his son are contained in the two uppermost floors and within the narrow cantilevers.
A cafe, gym and members club are located on the podium floor, which can be accessed by car via an external ramp.
Two basement floors provide car parking.
This building is one of many recent stories to feature crazy cantilevers, following a house with projecting concrete slabs and a hotel with a mirrored underside – see all our stories about cantilevers here.
Here’s some more information from the architects:
GMS Grande Palladium
Project Description
The uniqueness of this project is that it operates on multiple levels. On one hand it uses technology and intelligent design to improve the working environment of its inhabitants, while working inclusively in an urban context.
On the other hand, it is a critical commentary on some of the antiquated notions that have plagued contemporary commercial design in the subcontinent.
The eschewment of ornamentation, the treatment of structure as skin, the repudiation of self-aggrandizing atriums, the moulding of building volumes to perform multiple functions simultaneously, the treatment of landscape as an integral part of development and an exploration of its varying moods, the focus on sustainability, the holistic approach to design and execution are a direct result of a critical analysis of the exigent and often superficial buildings proliferating in the subcontinent.
Commercial and corporate architecture in Mumbai has evolved a generic idiom and nowhere is this more apparent than at the Bandra Kurla Complex (BKC), where a myriad of glass monoliths exist side by side; one indistinguishable from the other.
The site for the GMS Grande Palladium, located at Kalina, is but a stones throw from Bandra Kurla Complex.
The street interface for almost all existing buildings at BKC is a three level podium. This provides a definitive barrier between the street and the building. A heavy, almost impenetrable profile is created which presents almost no visual and physical connection between the street and the building.
The area is outside Mumbai’s Heritage District and therefore there were no constraints as far as conserving existing architecture as well as, no connection need be established between the existing architecture and our site.
Essentially we were given a Tabula Rasa, free of compromise or complication of what stood around it.
With GMS Grande Palladium, we have made an attempt, through consistent data mining of various conditions, to imbue what has been a hitherto sterile, symbol driven genre of Architecture, with logic and meaningful content It was imperative that we make an informed departure from the existing architecture surrounding our site, and, in the absence of any valid programmatic density within the project brief itself, we harvested site, climatic and urban constrains as moulding vectors for our concept.
Four levels of generic commercial space are bound by a series of faceted, profiled aluminium planes, a subtle nod to the random agglomerations of the Dharavi slums (Asia’s largest slum development), which is located only minutes away from our site, and whose individual tenements are sheathed in scrap corrugated metal sheets.
We hoisted the building 8.0m above the ground thus liberating the street level to be inhabitated by trees, water and judiciously scaled lobbies and a common café, thus eliminating the presence of massive built up form at the street level. This represents an inversion of the Bandra Kurla typology by creating a solution that is more inclusive to street communication.
The transition from the street to inside the property is experienced seamlessly, one drives through a gate, up a ramp to access the podium level. The ramp is flanked on one side by a landscaped garden, the slopes of which transition from the entrance stilt level to the upper podium level.
In a city like Mumbai where green areas are diminishing everyday, this garden provides an oasis of relief from the hardscape of the surrounding areas.
The clubhouse emerges from this landscape as a sculptural element of glass and profiled aluminium. In most other buildings the Clubhouse is provided on the uppermost levels, but in view of better access and usability, we chose to place the clubhouse on the stilt level with a double height gym space.
A mezzanine forms the yoga room over the gym and can be accessed from the garden as well. A double height open to sky court brings in light and ventilation into the gym room. A juice bar and spa on the stilt level serve as areas for rejuvenation and relaxation.
The 8.0M high podium is designed to address functional issues as well as theoretical inconsistencies that we have observed in the design of commercial and corporate properties in the vicinity. Four months of heavy rains mean that a covered drop-off point is mandatory.
The suspended building volume negates the need for extraneous canopies, and the ubiquitous atrium has been replaced with functionally scaled lobbies, that use space efficiently and visually include the landscaped podium and allow the eye to roam unfettered to the grass berm beyond.
Water has been expressed in two ways; a shallow water sheet explores the reflective and depth inducing properties of water, while adjacent to it, raked and textured stone surfaces generate rippling water surfaces; a gesture that not only explores its auditory properties, but also geometrically links it to the building structure.
A common café is skinned with canted glass walls and an outdoor dining area allows inhabitants to sit amidst the trees on the podium.
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The superstructure is composed entirely of steel with a 16.0m wide span central column grid providing flexible workspace, while deflected structural shear skins transmit cantilever loads to the ground. The structural skins are expressed internally by recessing the internal membranes between the structural members.
The four typical floors are designed to be leased out. Each floor has been divided into two wings which may be leased out independently with a common lobby space opening into independent reception areas. The two wings may be combined if desired to create a bigger office space by removing the dividing wall between the wings. The structure also facilitates higher floor heights with the false ceiling dropping down in the cabins and lobby to accommodate services.
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The fragmented roof office of the client visually disconnects itself from the typical floors, the only tangible link being a section of the structural skin turning over to generate the faceted roof and glass wall membranes of the upper two levels.
This was the only part of the design brief where the customized program was known. The office was placed on the North end occupying two internally connected office floors. A double height cut out in the floor plate visually connects the two levels together. The sense of space and openness in this office space alludes to the old buildings of South Mumbai with higher floor heights and double height spaces. A projected roof on the East and West facade facilitates large floor to ceiling windows which flood the interior with daylight.
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The client and his son occupy suites at the two extremities of a cantilevered, north facing tube that punctures the upper level and projects into space.
Besides the regular municipal guidelines (height, setbacks, minimum landscaped area, etc.), there were not too many planning restrictions. We encountered stiff resistance from the planning commission when we suggested the idea of the podium, but after numerous meetings and thoroughly scrutinizing our justification of it being a new form of street interface that operated inclusively as well as the fact that it reduced the amount of built up mass at the lower levels of the property, thus allowing us to increase the landscape footprint at the street level. They allowed us to proceed as they were convinced that it would set a precedent for commercial properties trying to establish a better urban connection.
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The North façade, as originally designed intruded into the setback line, however, the planning commission allowed us to continue with the original scheme when it was explained that the North façade helped form an important visual connection between the office spaces and the landscaped garden below as well as facilitate the daylighting of interior spaces, thus reducing the use of artificial light.
In the absence of rigid planning restrictions we have created a non-conformous building where the volume is shaped by the diurnal cycles of the sun, an even distribution of floor area and by the desire to visually lengthen the proportion of the structure. Material affixation and size and shape of fenestrations have been decided by the orientation of the building.
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West façade
The street facing West façade is clad with seamless corrugated aluminum broken by small sun shaded fenestrations. The south-west sun in this part of the northern hemisphere has the harshest glare, the sun shades therefore, have been designed to project out on the south side to cut out the glare. These projections rake back on the north to maximize exposure to the cool northern light.
East façade
The East façade is skinned with laminated glass in order to suffuse the interior spaces with natural light. On the upper floors the skin cants up, thereby opening the fenestrations more towards the northern direction. Similar to the fenestrations on the West Facade, these fenestrations are designed with raked back sun shades.
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North Façade
The North façade is made up entirely of triangular pieces of laminated glass interspersed by skin truss members; the façade is raked back on the upper levels. This deliberate gesture was made in order to suffuse the interior spaces with as much natural daylight as possible, and also provides a visual connection to the slopes of the landscaped garden below while cutting out any glare.
South Facade
In this region of the world, the South sun is the harshest, with a strong glare and warmth. Also the southern property line abuts the back of the Trade Centre Building, which was not a desirable view. The major services were thus stacked on the southern end presenting a dead facade of shear truss members clad in Kalzip. A few horizontal openings have been provided to bring light into the service area.
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| BLC Headquarters by Atelier Hapsitus | MP09 Black Panther by GS Architects | Darcons Headquarters by Arquitectura en Proceso |
Lego-like blocks are stacked along the walls of this cafe in Chennai by Indian studio Mancini Enterprises.
Part of a chain called Mocha Mojo, the cafe caters for 110 customers on two levels.
Lighting is concealed within the wall-mounted boxes, spilling out from above and below each colourful strata.
Here are some more details from the designers:
Mocha Mojo
Chennai, India
Mocha Mojo is a coffeehouse with 110 covers in Madras providing a space for coffee and conversations.
The design refers to the 70’s mastery of “special” – furniture/wallpaper which in turn dwelled on the early modernists’ approach towards interiors.
Beauty through purity, reduction to functionalist objects, light on pure material on pure colour.
Only in the 60s and 70s the old qualities of “opulence” and “ornament” were re-infused into interiors resulting in spaces of great intensity.
It is this intensity, which was searched for in this project.
Besides the carpenters and painters had great fun during the construction of those layers.
They had been generated in 3d and then issued to site level by level – a simple process which not unlike childhood Lego triggered immediate visual satisfaction.
Interior design by Mancini Enterprises in Chennai, India
Project team: Niels Schoenfelder, Bharath Ram, V.S. Aneesh, R. Velu, Sangeetha Patrick, Natasha Jeyasingh
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| Slowpoke Cafe by Sasufi | Das Neue Kubitscheck by Designliga | Hatched by Outofstock |
Le photographe Ken Hermann a eu l’initiative d’immortaliser les hommes qui selon leurs croyances sont considérés dans leurs tribus comme des personnes sacrées. Autour de ces clichés, une véritable ambiance se dessine et met à l’honneur ces hommes. Plus d’images dans la suite.
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