Gold, gilded and glorious

Two multiplied by three is always six — fixed, predictable and final. But pink multiplied by yellow? That can create a spectrum of shades, outcomes and possibilities far beyond one (or six)! Because while a scientist seeks rationale, precision and answers, an artist seeks expression, interpretation and questions. I always assumed that it is at the convergence of these two worlds where mavericks like Sachin Gupta conjure sorcery. His work (and world) is magnanimously maximal, almost audacious. All with great taste, refinement and restraint at Beyond Designs — a practice he founded with Neha Gupta. I firmly believe that great aesthetic and design is not by accident or instinct. There’s always science, a process, and a method to the madness and magic. And this was the equation that I wanted to solve with Sachin: how does the left-brained creativity equal the right-brained logic with all its constants and variables? Because how else does one bring together elements like Dolce & Gabbana, vintage antiques, and gilded details as effortlessly?

To bridge decades of art collected by a family into a house in New Delhi encompassing 25,000 sq ft and two floors, in a way that’s not only beautiful but also cohesive. The house we are shooting today with Mrudul Pathak Kundu, our editor alongside Atul Pratap Chauhan, the photographer, is a celebration of contrasts. A harmony that is deliberate yet organic, bringing together everything, and feeling right at home. The architecture is by Kiran Gala and what we see today is a labour of love spanning almost two years. The common areas like the foyer, living room, lobbies and walkways that connect them come alive with vibrant hues, eclectic prints and textures that marry diverse influences. Like the formal living area, is one that Sachin calls the most exciting.

“It’s the perfect canvas for maximalism. We used rich fabrics, bold patterns and intricate details to create a theatrical space that feels both dramatic and elegant,” he mentions. On the opposite side is the cognac bar area, designed as an intimate counterpoint to the grand formal areas. It’s almost like a cosy library. The wooden walls and floor render a snug serenity. Sachin explains, “Some of areas are large and almost overwhelming. So, this is a little tucked in, more intimate, warmer and cosier.”

The homeowners’ art and books were the starting point for the cognac bar with a tall window to the east. It brings in just the right scatter of sunrays as Mrudul and Atul rush to their cameras and other devices, admiring the space through screens, adoringly zooming into details. I step back with Sachin and watch the sun paint the cognac bar area in delicate strokes of light, casting shadows that dance across the space. My eye moves from the dancing lights to the Venetian chandelier to the exquisite ceiling. It wears an artwork of foliage derived from old archives of European tapestries, referencing works of William Morris. What Sachin mentions next sounds painstakingly meticulous. “Templates were made for every curve and detail, which were transferred to cloth, painted with vegetable dyes and assembled like a puzzle. The cloth was adhered to the ceiling, and took six weeks of scaffolding to install,” he says. It speaks to a level of artisanal detail that few homes today can boast. “India is a treasure trove of skilled craftspeople. We tapped into generations of artistry to bring this to life,” Sachin smiles and I sense a hint of satisfaction in his voice.

At a time when quick turnarounds and pre-packaged (Pinterest) aesthetics reign supreme, this house seems to almost speak to me: design should not be rushed. It is a powerful instance of what happens when design has the luxury of time. And if you thought it was just eras, geographies and design philosophies that come together in this home, then let me take you to the dining area. Inspired by the television series Downton Abbey, it demanded detailed carvings, paneling and yet again has a resplendent ceiling complete with gold-leafing. The crowning glory is not only its magnificent chandelier on the ceiling but also its 20 ft long dining table with malachite inlay and marble.

Once again, I wonder what’s the process? What is the starting point and how does something as magnanimously layered and audacious come together? “How do you put your ideas, the big (like really big) vision together?” I ask Sachin and he patiently explains, “I don’t create the typical mood boards — no colours or stickers on paper. People often ask for drawings or visualisations, but my ideas find form when I select materials or sketch. Especially with chandeliers and sofas arriving in the last six months, pre-determining every detail at the onset just isn’t feasible.” There cannot be a formula because Sachin’s homes are not cookie-cutter creations but bespoke pieces of art with much furniture designed by him. “Even with the art on the walls, nothing was pre-decided. We spent days — almost a week — shuffling things, testing placements, and ensuring that the art felt naturally anchored to its surroundings,” recalls the designer.

His vision is undeniably genius. Sachin’s maximalism is a study in balance. It’s clear that more isn’t always excessive but can be just as compelling when woven together thoughtfully, when each object, element and print serves a purpose. Don’t be mistaken, it’s not a case where one showcases everything at once, but weaves together the myriad textures, colours and stories that each piece holds. An effortless complexity that takes years of practice to perfect but when it happens, precision meets poetry, every detail is a story, yet every story fits perfectly into a methodical framework.