Ayush Choudhary’s Cocoon Fine Rugs has long been a forerunner of rug design in India. In collaboration with reD Architects, the duo bring forth a limited edition of rugs, christened .DWG Dossier.
The collaboration, most of all, is a medley of the core ideas of Cocoon Fine Rugs and reD Architects. It jointly represents their collective aesthetic and rigorous attention to detail. The rugs are an exemplar of a tangible confluence of art and design.
“We have worked together to create .DWG Dossier as an Edit of Fine Rugs that ensures that the designs created lend themselves to an environment that surpasses trends and fads by offering a more enriching spatial experience”, says Ekta Parekh.
Cocoon Fine Rugs, a premier carpet brand with stores in Bangalore, Jaipur & Kolkata, is well-known for its exquisite use of the finest raw materials. Its sophisticated, modern interpretation of classic Persian rugs and modern, abstract designs is produced using only the finest raw materials.
On the other hand, reD Architects, as the name hints, is a studio with its roots based in research-oriented design solutions. The team strives to curate a well-rounded spatial experience that surpasses trends and fads. Although all four principals of reD Architects, including Ekta Parekh, are architects, they refer to themselves as multidisciplinary. To them, creativity is a result of the collaboration of these many disciplines.
The resulting collection from the creatives is a tale of the mesmerising rendezvous of the handwoven, award-winning rugs by Cocoon, with the various inspirational shapes, objects and architectural silhouettes from a variety of projects executed by reD Architects team.
Completely hand-knotted from the finest wool and pure silk in Jaipur, .DWG Dossier was conceived during the lockdown and finally materialised after nine months.
“Interpretations for .DWG Dossier were born out of an informal chat about wanting to collaborate with the design firm in an innovative and design-forward format. As a concept, we wanted to achieve balance and yet present ingenuity as a unique new vocabulary emerged”, says expresses Choudhary.
Sporting a contemporary colour palette of light grey, blush, soothing green and blue tones in whimsical, playful and easy to integrate designs, .DWG Dossier is sure to garner appreciation from design enthusiasts looking to experiment and assign a refreshing expression to living spaces.
This limited edition is available in various sizes and can be customised to any size and colour. It will be available across all 4 Cocoon stores located in Mumbai, Bangalore, Jaipur and Kolkata.
Situated in a 200-year-old building of a defunct mill complex in Mumbai’s buzzing Lower Parel district, we make our way into Good Earth’s revamped headquarters at Raghuvanshi Mills. Endeavouring to reimagine the grandeur of lakeside yalis (graceful wooden homes) along the Bosporus strait from the Ottoman era, under the creative leadership of founder Anita Lal and interior designer Adil Ahmad. The outcome of which is nothing less than a palatial restoration project for Good Earth!
Fascinatingly, Lal and Ahmad previously teamed on the opulent revamp of the Sujan Rajmahal Palace in Jaipur and this project came about nothing but, “Organically!” shrugs Adil Ahmad from his farm in Uttarakhand, seated against a vibrant canvas brimming with mini antique doors framed in glass, dating back to the 17th century on one side and a life-sized arched window on the other. “No brief was given. No lofty charts. I am totally into OTT and she is restrained. So, it’s a balanced work between us, which has turned out beautifully,” and we couldn’t agree more!
“Raghuvanshi was our largest shop,” says Anita Lal referring to the elaborate space spread across two levels within 25,000 sq ft from her home-studio in Delhi over our zoom call. “The walls were crumbling, certain areas were leaking, there were sewage issues—at one point we thought we would sell it and get out.” But when the 25th year came about, “We decided to give it a facelift,” and “Adil has changed the DNA of the space,” she says, crediting the royal designer.
“It’s like a pavilion from where Noor Jahaan would watch the world,” gleams the 66-year-old tastemaker, who gave the country a museum of beautiful things. Reviving the course of design by constantly making efforts to nurture India’s rich trove of culture by preserving its design legacy and employing artisans who have mastered its myriad crafts. Guided by sustainable sensibilities and a discerning eye for design, Lal has indeed set the bar high.
This time around, drawing inspiration from the many glories of Istanbul that bridges Europe and Asia, quite literally. The Turkish yalis, centred on the long armed glittering 20-mile waterway, the Bosporus strait, that runs from the Black Sea to the Sea of Marmara and the Mediterranean–the revamp is infused in magnificence. “We laid out marble floors, activated huge structural repairs like major waterproofing and plastering. The 30 feet staircase in the atrium has been remade in pure wood, larger than life chandeliers were created, the waterbody breathes new life—all this virtually and within two months!” says Ahmad rather eagerly.
Mirroring much of the two’s personalities and aesthetics, not only are the objects sumptuous, the store space is an ambient journey of sorts, a sensory experience. For Ahmad, Good Earth represents the beauty of sight, sound and smell melding together, “Sight is represented by the beautiful designs, sound by the tinkling fountain, and smell by the signature scent mixes,” he says. Each room within the store has a distinct fragrance, specially created by Lal, reminiscent of the fresh green of a forest, mixed with the bright notes of orange blossoms and citrus.
Enhancing the idea of this elated experience are the soaring ceilings in the atrium highlighted by dazzling chandeliers, the checkerboard flooring set on a bias to complement the chand-emblemed spiral staircase and a calming water body at the entrance. “It is an attempt to create a world of wonder, allowing one to be in a ‘suspended reality’. It’s a flight of fantasy, whimsy, and a lot of joy, not bound by reality or time!” quipps Lal as the design story unfolds one room at a time.
“The vision of this revamp draws from a Turkish word hüzün, or a sense of erstwhile splendour as imagined by Turkish author Orhan Pamuk in his book Istanbul: Memories and the City,” says Ahmad channeling a feeling of melancholy. Elaborating on the concept, Lal (a psychology graduate and an instinctive businesswoman) articulates, “The Istanbulis are neither east nor west, it’s a very fractured internal world for the modern Turkish people. So, this was in a way an ode to a lot of old families; the nostalgia of the splendour of the Ottoman Empire, where everything was so grand and colourful. It is reminiscent of an old-world luxury which is refined, understated, and not glossy like brass but innate as patina.”
On a parting note, Lal shares, “My motivation is the pride I have for the country and if there is anything small I can give back. India is a culture which has absorbed from Greeks, Zorastrians, Persians, Islam, Christians and finally the English and we have created our versions of everything. And that is what I want to celebrate.” One can feel her warmth beyond the Zoom screen through the numerous décor knick-knacks lying amidst block-printed cushions and couches upholstered in soulful colours of traditional Indian weaves—channelling the brand’s connectedness with India, that could not be more apparent. Having achieved cult status for making décor, dining and fashion products, soaked in India’s endless historical heritage and bountiful handmade styles, this is probably a first for Lal in 25 years as she decides to shift gaze beyond India and to the world. And we can’t wait for what’s coming next…
Office interiors are being looked at with an all-new lens all over the world. While the changes had begun pre-pandemic, the event itself sped up the trajectory. The graveness of a healthy work-life balance seems to have finally dawned upon office managements!
To lift the bane of dingy, impersonal cubicles with cool, bright and inspiring work desks, Elle Decor India brings you a list of cool offices to offer inspiration to spruce up yours. Boxy, monochromatic, copy-and-paste office spaces are shenanigans of the past. It’s time to make way for new, exciting and inviting workplaces.
Who said fun, bright-toned spaces are reserved just for cafes? A colourful co-working space, the B-Hive 11 by Studio Bipolar—co-founded by Sanjana Mathur and Ujjwal Sagar—adopts invigorating shades and graphics to keep the employees’ spirit up and high. The office can be described best as a space created for the young by the young!
An open HVAC system rendered bright yellow, and walls with words of encouragement juxtapose furniture and flooring patterns in warm wood accompanied by novel lighting fixtures in the space. The conference room is lively with birdcage chandeliers and a faux-plant ceiling.
The Saplings Creations office by Artystry is a perfect example of vividity meeting subtlety. Light-toned timber furniture paired with pastel shades of green line the interiors of the office. Cosy break-out spaces, irregularly-lined workstations, and randomly placed dual-toned pouffes giveaway the creative nature of the work at the digital studio.
An innovative feature in the office is a cushioned-top, curved piece of furniture that is a perfect rest for your back while standing to have a conversation with your workmate. It sponsors small talk but also slyly reminds one that they are away from their desk!
Oozing undisputable hippie and bohemian vibes is this office designed by Sakshi Arora Poddar, proprietor and principal designer of Tatvam Concept. A wooden bench and black-and-white patterned tiles greet you in the entrance hallway of the studio, acquainting you with the upcoming vibe.
An eye-catching black-and-white mural of a woman on a partition made of timber slats separates the intimate co-working space from the main cabin. The magic happens when the large painting splits into two sliding shutters to become the door to the cabin!
The onset of the ‘work-from-home’ situations made employees gleeful until they realised they actually had to work from home without the resources present at their offices. Home offices, since then, have become rampant. This fuss-free, minimal office by Nikita Mahajan in a Delhi home gives Pintresty vibes!
Doused in white—with flirty greens and beige accents—the room makes an excellent case of an inspiring and quiet environment. Illuminated by sunrays, on account of being located on the third floor, the design is a classier version of the boho vibe.
Although clinics are dreaded destinations for most, they also happen to be offices for doctors. Such spaces have to employ faint shades to ensure the areas are clean, but that does not mean they cannot be fused creatively with other elements. This dental office by Ketaki Poonawaala makes use of natural materials and flora to do so.
To imbue liveliness, plants fringe the waiting area and passages. A deck with raw wooden furniture and a crowd of plants smear the line between outside and inside. Even the windows, which have been specially widened, are accented with greens. Further, tropical fabrics and a grey and wooden colour palette enhance tranquillity. The clinic casually emanates a mid-century modern design language with cornices, wainscoting and bevelled glass partitions.
Aspiring to be as refreshing as the first sip of a cup of coffee, Coffee Bite by Studio KE Architects employs local materials and artisans to evoke clarity and wholesomeness in the design. Terrazzo flooring and concrete wall finishes impart a sense of nostalgia to the space, much like the name of the office inspired by the infamous toffee,
Elements like a blackboard and bamboo-woven seat backrests and door panels transport you to a simpler era. However, the theme of the space does not distract. Instead, its simplicity renders it personal and austere.
Dextrus’ quaint and contemporary office space in Lower Parel is all set to welcome employees from different sectors to work together. The picturesque interiors place the early days of Bombay’s textile supremacy in the lap of a contemporary context.
The subtle use of textiles throughout the space hint at the significance of being located in the same compound which housed the iconic Morarjee Mills. What could be more inspiring than working in a space that was once a centre point of success? Custom art pieces such as thread work on paper by Shamika Desai from Baked Chaplin and large windows sponsoring ample daylight line the space.
With rapid globalisation, design languages are emerging out of borrowing attributes from one another. It’s not an all-bad predicament at all; however, an office that flaunts its Indian context is certainly refreshing. This office for Concept International Business Consulting Pvt. Ltd by Viaanca Interiors imbues workspaces with a calming atmosphere by adopting earthy material and colour palette accompanied by Indian characteristics.
Alongside, walnut-hued wood veneer panellings with contemporary vertical grooves, the framed wallpaper from Sabyasachi Nilaya with quintessential Indian motifs in muted shades of indigo, mustard and brick-red and fabric panellings with distinguishing Indian patterns such as the paisley adorned the walls of the office fusing the formal nature of offices with the vibrance of the country’s context.
Specifically, it is the Boriwalla and Kapdawalla Bicycle Thrones by the designer that made it to Vitra’s list of acquisitions for the exhibition. Both the pieces speak of India’s culture and practice, and Hoof, the curator and co-founder of Studio Sangath in Ahmedabad, could sensitise with this.
“The Bori Throne designed by Gunjan Gupta is interwoven in societal concerns and its expression through design. Made of everyday objects, highlighting local techniques commonplace in India—the Bori Throne generates dialogue through the experiential encounters embedded in the mind. Coexistence, paradox and bringing the common man’s reality in the forefront—this throne celebrates luxury and craft through an act of symbolism,” elaborates Hoof.
Gupta, who completed her bachelor’s in 1993, eventually established her practice called Studio WRAP in New Delhi in 2006. The studio focuses on luxury interiors, furniture and products, and the very name of the practice hints at their modus-operandi.
“When I started out my design career, I would stare at the Vitra collection of chairs awestruck and studied them with an obsession at college—could not imagine that my chair would one day become part of this timeless and iconic collection,” expresses the principal of Studio Wrap in elation.
The word “wrap” vehemently points at Gupta’s fascination with casements and how mere wrapping or dressing can completely metamorphose a product—both functionally and aesthetically.
Grounded by her roots, the designer’s works are exemplary of her India-inspired muses. “India is a land of paradoxes, and I find the contrasts in material and popular culture very inspiring. The tension between old and new, high and low, jugaad and master craft is where my creativity lies,” elaborates Gupta.
The designer’s trajectory is a long period of steady and consistent efforts. The Vitra Museum is not Gupta’s first international acquisition, and leaving her mark on the international design circuit has not been a smooth ride.
“Women-led design practices are often perceived as hobby-based initiatives or garage businesses. To break this stereotype has been a challenge. Another major stereotype is that a woman’s success has to be at the cost of her personal life, which is not true at all. I think women have an innate ability to multitask and think deeply and sensitively about various issues—especially the areas that interface with design and consequently living. As a woman and that too one of colour, it has taken me a long time to get my point across in the International world of design which is largely male and white,” shares Gupta.
Women have contributed to design since the very beginning. The sudden surge of women in design is not a result of more women entering the field but more so of their bequest remaining unregistered.
Gupta exemplifies, “The whole exhibition is curated fabulously by Susanne Graner and her team for an in-depth understanding of women’s journey in design. I found room one particularly fascinating with the examples of designed objects by women before the arrival of the more well-known names like Eileen Grey and Charlotte Perriand. The Loheland School in Hesse, Germany, attended by Sarojini Naidu, enabled the professional development of women and was the first example of social design in the world. The exhibition talks about how women are associated with textiles and needlework so strongly, not as an act of choice by them but a strategic decision by design institutions. An interesting revelation was to note famous women in design were dwarfed by their male counterparts. Striking examples include Jeanne Touissant, the designer of the Panther series, which make the face of contemporary Cartier and Ray Eames, commonly known as Charles Eames’ helping hand.”
As an artist, an exhibitor and a woman, Gupta has aspirations for the exhibition. “I would love to see more women in design—I would like to see a shift where women do not second guess themselves and go ahead and execute that brilliant idea. A lot of ideas by women end up in trash cans due to their lack of confidence. I think this needs to change. In India—the Devi was credited with all creation, and women were part of our Shilpa Shastra traditions—the proof is everywhere of this great legacy we have of ancient Indian arts that were not gender-specific. On a personal note, I was delighted to be among the company of well know contemporary women designers like Matalli Crasset, Hella Jongerius and Faye Toogood,” concludes Gupta.
A layout geared towards keeping conversations flowing, a brick wall of some sort and quirky accessories—these are the hallmarks of your regular neighbourhood coffee shop. While it sounds standard for a cafe, that’s not what the folks at Soros Coffee wanted.
They wanted the space to look at once transposed in a different time and space and grounded (pun intended), just like their coffee which is sourced from different parts of the world. Akshita Mehra, creative director of Studio Goya took on this brief and fixed her proverbial gaze on a different design direction.
Located in the centre of Cunningham Road in Bengaluru’s shopping hub, the 1,670 sq ft cafe is straight out of a coffee table book with its monochrome colour palette and minimalist vibe. “Chic, understated, luxe and minimalism define the space. We’ve worked with a monochrome schematic and offset it with chrome finishes. It’s moody and sexy and gives off a very swanky vibe,” says Mehra defining the theme of the space.
Upon entering the cafe, coffee lovers will find themselves greeted by a 20 ft high ceiling and walls featuring back and white graphics. The main cafe area has a striking pinstriped flooring in black and white that lends the space its chic vintage vibe.
A wooden community table sits at the centre of the cafe surrounded with four seaters while a black marquina floating marble table faces outside towards the bustling Cunningham road.
Talking about the unconventional, dark colour palette, Mehra reveals, “The colours used are mostly monochrome balanced with oak and teak wood tones. Metallic chrome finishes add a very stark contrast to the warm wood finishes. This palette was derived from the branding & the logo—that language has carried on forth in the space.”
While the design doesn’t adhere to a specific trend, an interplay of materials emerge through experimentation with chrome pipes, fluted glass, black dyed veneers, ceramic tiles, black marquina marble, bevelled glass and more.
To conclude “We at Studio Goya are absolute fanatics of experiential design. Our work reflects quiet, understated, handcrafted luxury with a hint of nostalgia for the discerning user. We design spaces that are to be remembered, that leave an imprint on you,” says Mehra.
If this cafe looks like your next favourite hang-out spot, make sure you go throughthe maximum city’s latest urban lifestyle club The Quorum!
Between the concrete and glass of Mumbai’s satiated city life, tucked away on the eighth floor of a fancy Lower Parel high rise, is the maximum city’s latest urban lifestyle club. Conceptualised by Vivek Narain and Sonya Jehan— niche, exclusive and at a sprawling 56,000 sq ft—The Quorum Mumbai is the brand new members-only ‘It spot’, the cities cool and connected are said to gather in.
Marking a dual city expansion with the opening of The Quorum Mumbai, the upscale club is growing to become the first-ever homegrown private member’s club brand in India. Much like its Gurugram forerunner, the second edition will offer its curated group of members a cutting-edge congregating point to entertain, unwind, learn and disseminate in a world-class setting. Extending its unique blend of hospitality and philosophy of being community-led, content-driven, design-focused and experiential to a discerning Mumbai audience.
The club will have a co-working space, and allow its members to access both The Quorum clubs in the country. In addition, members will also have access to 50 sought-after private members’ clubs all over the world, spanning 27 countries. Excited much!
Excerpts from our conversation with the founders…
What were the first impressions when you came across the site at Mumbai that had to be overhauled for The Quorum Mumbai?
Vivek: “I led the conceptualisation of what became The A Club back in 2015 so was already familiar with the functionality and layout of the space. The interiors and design came after, so I’d only seen those details through photographs. Walking in and seeing the space for myself was an interesting experience, a strange homecoming of sorts.
Sonya: “For me, the starkness of the space, the cold flooring, and dark furniture were at the core of all that had to be changed. I felt as if there was no soul to the space – no thought had been put into how the space comes together, how it’ll be used, and how one would feel when inside it. Every corner had to be brought back to life.”
Vivek: “The Quorum Gurugram, from day one to opening day took us 18 months to conceptualise, build, and complete, and it was a fantastic collaboration with Studio Lotus. On some levels, Mumbai was easier since we didn’t have to build the space from scratch but it posed an interesting challenge when it came to adapting the look and feel to match The Quorum brand aesthetics.”
Sonya: “Delhi is my first baby. There was an excitement to begin working with a clean palette, an empty shell. With Mumbai, there were already built rooms and spaces with set functions and usability that we had to turn over and it was amazing how fast we did it, despite the second wave.”
What were some learnings from the Gurugram project that you’ve applied to the space in Mumbai?
Vivek: “Our biggest learning has been materiality, specifically the choice of materials in a commercial space that is utilised through the day, everyday. The choice of colour palettes; we have to focus on making our spaces transformative from day to night, from work to play. Architectural lighting for our kind of hospitality spaces tends to be overspect and at The Quorum, we follow a more residential approach with more table lamps that give a softer glow.”
What were the challenges while designing the space?
Sonya: “During the transformation process we ripped up a long stretch of carpet that ran through the main areas of the club only to find that there was no marble under it. With a certain budget and timeline in hand, we couldn’t redo the entire floor. So began our journey to find the perfect match of marble that could be brought in and placed in that exact strip and I’m confident you won’t be able to find the difference.”
Take us through the transformation from A to Q…
Sonya: “There was a lot of space that had no purpose – functional or aesthetic. For example, The Alley in Mumbai was just an empty lobby but now it’s our gallery space where Artery will be bringing in ever evolving exhibits. A lonely room with sharp lines and harsh lights that was home to a single sleeping pod became ‘The Q Shop’ with new flooring, wallpaper, and lighting. Their ‘co-working space’ was a strict set of white industrial tables, which we removed and replaced with our open concept work tables. As a space for collaboration, we wanted to keep our spaces private yet accessible so we got creative with our partitions and layout to create the nooks and corners that our members like to claim as their own.
“The Den was previously a private meeting room which had expensive views of Mumbai. We brought in opulence in the form of cushion covers from Sarita Handa, and rich drapes. While the rest of the club doesn’t feature a single curtain or drape, this is the only space that does as we intended for this to be a more private and intimate setting, for social or corporate events alike.”
Do you have a favourite space or corner to spend time in solitude at The Quorum Mumbai?
Vivek: “For solitude, I love The Study. It has a mini-library as an ode to The Q Library in Gurgaon and we’ve continued the tradition of having our members add a book to our shelves from their personal collections so even when you’re alone, you have bits and pieces of The Q Community around you.”
Overall, what is the experience that you want to offer to the club members?
Vivek: “Our experiences are all centered around the 5 senses for the member experience; the Q factor has to be in each element including sound, lighting, scent, taste, and service. From our signature scent of Mandarin and Amber that we created and diffuse around the club throughout the day, ensuring a flawless transition in lighting through the day and into the night, the transition of our music which is curated for each individual space within the club, to even our signature stamp on the ice; we want each experience to be bespoke, fuss-free, and seamless for our members.”
The menu has been designed to imbibe variety and to keep monotony at bay as it changes at regular intervals. Would you like to throw light on this?
Sonya: “In Mumbai, we’ll be experimenting a lot more with seafood which I love but never had easy access to in Gurgaon. Between Chef Johnny and Chef Pranay you’ll be seeing a lot of cross-collaboration in our menus with Mumbai tastes influencing the Gurgaon menus and vice-versa.”
The space was designed at a time when the world was at the cusp of changes (owing to COVID-19) as we evolved to new ways of living. How did the same affect the spatial layout?
Vivek: “In retrospect, we were ahead of the curve. The lifestyle and experiences that The Quorum offers its members have become even more relevant post-COVID. The design didn’t change but the utility of a space such as ours became more relevant; where you can spend your entire day within our spaces and do it well. I like to believe that we are the quintessential third space, which is what people want to come back to in the new normal.”
What about the design makes it functional, aesthetic, and true to your signature style? Could you tell us about the ideas and details that have gone into the nooks and corners; the wallpapers, lighting, accessories and so on…
Sonya: “The wallpapers are the central aspect, the starting point of each room. Carpets come next. With the help of The Carpet Cellar, we brought in pieces crafted by tribes from across South Asia. Each one was chosen for its story and adds to the vibe of the space it inhabits.”
“Overall, I wanted to create The Q Jungle which is a mix and match of colours, animals, and textures from around the world that have come together to create our home away from home. Looking back, I think the explosion of colour and warmth was a reaction to how stark the space was when I first walked in. Slowly and steadily using cushions from Sarita Handa, local plants that we used to bring nature into our spaces, books from our members’, and art that’s been curated by Artery India – the soul of The Q Mumbai has been brought to life.”
As you walk around the brand new Baaya Experience Centre, a stirring feeling will be roused inside of you. It’s your inner connoisseur awakening. Perhaps it’s the storytelling that each piece describes through form and craft. Or the rich heritage encapsulated in a single space. But the feeling of being teleported to your roots is an experience we recommend highly to any visitor.
Baaya is a decade-old interior décor solutions company with a Lower Parel location that encounters quite the audience. With their vast range of art, artifacts, lighting, and furniture — they can be found elevating spaces and transforming many rooms.
Their longstanding collaborations with architects and international designers of repute have made a significant mark on the industry. We wondered, then, what triggered this new expedition. How did Baaya’s Andheri experience centre come to be such an immersion?
Founder Shibani Dasgupta explains, “The concept begins with the notion of ‘Artful Magic’. Baaya believes in the transformative powers of art. Art connects, inspires, and tells stories about who we are.”
The intent of the experience centre was always to create something that takes Baaya’s ability to ‘transform spaces’ and bring its essence to the people. It was clear to us that this essence is laid in every corner and inch of the centre.
Upon visiting, the space evokes a sense of insightful art. In an increasingly depersonalised urban world, their pieces ground you to your own history with clean lines and contemporary ideas. Pieces are filled to the brim with intricate stories.
Heritage artisanal crafts such as Pitara, Dhokra, Sadeli, and many more are fused with contemporary design techniques to give birth to The Experience. Designed as a floor plan for a luxury home, the Andheri experience centre is a complete immersion into the belly of art.
As an exclusive premiere, Baaya is exhibiting multiple new collections at this location. Visitors can find access to their innate artist when faced with their customisable Zephyr Chandelier — a geometric interpretation of a gentle breeze. The entire Baaya experience centre from the moment you enter its beautifully handcrafted door to when you arrive at the artifacts radiate an artful aura.
Baaya’s team of inspiring designers are present at the centre, to play tour guide and savant. To help decipher craft, material, and technical know-how while never clouding your own interpretation with their own.
Speaking to the motivation for the experience centre, Dasgupta adds, “There’s a dearth in the market of products that bring together contemporary clean lines with artisanal skills. At Baaya, we recognize this possibility as deeply magical and full of soul. We want to add a piece of this soul to every home through art that reflects its habitant’s stories and personalities. So we bring the two together and add customisations and utilitarian ideas to the mix, making our decor offerings a separate genre altogether.”
Sure enough, every panel, design, craft, material, and style is up for tailor-making. The Baaya philosophy extends itself to personal storytelling. This means that instead of asking spaces to retrospectively fit the artwork, their décor is often custom-made to suit the space. And so the experience centre serves not as a store, but a preview. A preview to an artful space.
It’s an invitation extended so that one may come see for themselves what living with art means. The magic it can invoke in all of us. Nestled in the Andheri Suburb of Laxmi Industries, this is a ‘must experience’ for all design aficionados and homeowners alike.
Standing strong on the centuries old legacy of craftsmanship and thriving on the unmatched reverence for perfection, Arte Nel Design is a quintessentially Italian design destination. Talented artisans work their magic in the brand’s Carimate headquarters, aptly christened the ‘Temple of Design and Art’. Traditional techniques spearhead the innovation process, as modern technology aids the creation of the spectacular design marvels.
Since its inception in 2018, Arte Nel Design has distinguished itself as a top global player as its innovative business model and unique marketing strategies prove monumental to this growth. The brand’s revolutionary path is led by three main ideas—collaboration with important artists and designers, direct production of furnishing accessories, and international distribution format. Arte Nel Design has partnered with BeyondnMore Design Pvt Limited to bring their pieces of art and design to India.
The modern consumer craves a revitalised perspective on traditional designs, as the demand for tailor made artistic pieces skyrockets. Nuanced observations like these inspired Franco Molteni’s creation of Arte Nel Design. Each piece is crafted in collaboration with renowned artists and craftsmen from the Brianza district of Italy. Striking a balance between aesthetic and functional value, extraordinary designs are inherently timeless.
Built on the historic space of a Renaissance courtyard, the Temple of Design and Art hosts a plethora of artists, architects, designers, collectors and consumers. This confluence of creatives revolutionises the concept of showrooms, adding an artistic charm to a marketplace.
Inspired by the success of the temple in Italy, the brand plans to bring the concept to other cities around the world. Collaborations with local artists will help the customers to customise the designs, not just according to their interests but also take inspiration from the culture and history of the place.
Despite being a center for promotions and conservation of arts and artists, creation of products is one of the fundamental principles of Arte Nel Design. The brand is expanding their capabilities by installing their own production site. It will serve as a functional tool for the growth of the business and will enhance the customer experience by integrating them in the production process, right from the conceptualisation phase.
Innovative. Useful. Honest. Long-lasting. Environmentally friendly. Unobstructive and so on. Good design can be all these things and more. But what is good design really? Innovative or traditional, simple or complex, a good design must serve a purpose and communicate an idea effectively. Focused on creating a positive change, good design must inspire smart craftsmanship tapping into the viewer’s psyche and emotions. Good design is not just about making something look good, but channelling the idea of form enhancing function.—
So, if you’re looking for luxe good designs that’re equal parts chic and comfortable, guess we have a clear winner here. We are referring to West Elm, the go-to source for modern-decor enthusiasts worldwide. For the uninitiated, India is all set to welcome the home furnishings retailer this month. So, let’s dive into the brand ethos and the principles it stands for.
Born in Brooklyn, owned by Williams-Sonoma Inc., West Elm was launched in 2002 and in no time became a leader in home furnishings that are affordable and sustainably produced. With 85 stores across USA, Canada, Mexico, Korea, UK, Australia and Middle East. The brand forayed into the Indian markets with its first brick and mortar store in Mumbai that is spread across 9,000 sq ft and split over two levels followed by another store in Delhi.
Dedicated to revamping people’s lives and spaces through creativity, style, and purpose, the design house focuses on creating original, modern, and affordable home decor through West Elm. Blending mid century silhouettes with trendy materials in rich textures have earned them a devoted following for their sustainably sourced furniture and accessories.
Featuring a plethora of products—from sofas to chairs, and vases to rugs West Elm’s offerings encompass a wide range of furniture, soft furnishings and decor pieces. The brand’s design strategy is centered around doing better for the earth, different communities and ultimately, the consumers. Their pieces have been staples in modish homes, bringing the same attention to detail and contemporary aesthetic.
Every season, West Elm’s talented in-house team of designers create exclusive collections, collaborating with artists and independent designers globally and locally. The brand also offers handmade and one-of-a-kind discoveries from around the world, partnering with organisations that support the development of global craft communities.
Having a focus on good design, 95% of West Elm products are designed in-house for original style and quality. Their Fair Trade Certified™ and handcrafted collections do even more to support the communities who make them. Furthermore, they prioritise responsible sourcing. That means more recycled, upcycled and FSC®-certified—and less waste. By using organic fibers and low-VOC finishes, they believe in creating a healthy home for you and your family.
With use of sustainably sourced wood and organic cotton, eco champions can also welcome products that come with a Greenguard certification that checks for chemicals and other sources that contribute to indoor pollution. Looks like they’ve clearly ticked off all the boxes. So, what are you waiting for? Indulge the home in covetable collectibles and decor pieces now!
The balmy city of Jaipur is the nucleus of Rajasthan’s thriving art and craft industry, cloaked in a riot of frolic and colour. With a terrain dotted with factories, it is a melting pot of modernised trade and enduring heritage. Frequented by overseas furniture buyers, the Export House designed by Shreya Bagda of her namesake practice takes on the challenge of providing a calm working environment away from the chaos of the city.
By definition, a great workplace constitutes a flexible work environment, ample communication and a culture of care. Top it up with an Art Deco theme, quirky wall installations, textural play and voila! The Export House paves the way for an experimental and art-nouveau inclined office interior conducive for versatile working.
“The idea was to create a fluid space that is not just a regular working space but can also host events, workshops, art and furniture displays,” reveals Bagda.
A corner block of 7,000 sq ft of the land hosts the office with an entertainment area for the buyers and team members of the client. It is further segregated into a covered space for extensive office use and the remaining 2500 sq ft has been beautifully landscaped.
One of the first steps undertaken by Bagda was to weave the space with biophilic elements, developing a connection with nature and adding a sense of verdure. The layered arches with big openings and glass panels designed in the facade allows maximising the views of outside giving a sense of openness.
At the entrance, the reception and lounge area set the tone of the space. Leading to individual cabins of the directors and accounts, each cabin falls parallel one after the other, opening up in the verandah overlooking the garden.
Aimed at promoting both emotional and physical well being, every inch of this office is imbued with meticulous details. From the exclusive furniture pieces, profound use of bone inlay patterns, brass and leather details, quirky wall arts to the handpicked accessories, every article in the space has been crafted with utmost attention to artistry and opulence.
The material palette plays with textures and bold colours to enliven a stark, minimal space which focuses on essentials. Blending the old with the new, the Export House breaks stereotypes by altering the essence of a typical workspace. Using varied forms of art to define interior spaces, each zone engages playfully with elements of scale, light, and material palette.
Scroll down to see more glimpses of this workplace—