A collector’s home inside Four Seasons

Samir Gadhok and Avani Raheja's den in Mumbai by Samuel Barclay stages an eclectic post-modernism scene

29 Jun 2026

In the late twentieth century, the postmodernism wave swept the world with a sense of rebellion against the austere canvas of less is more. What followed was a visual argument decorated by a mix of colours, shapes, geometry and asymmetry. In Mumbai, nestled inside the Four Seasons enclave, an apartment designed by Samuel Barclay of his architecture and design firm Case Design recounts the flushes of post-modern warmth centred around the homeowners’ affinity for colours, art and collectibles.

The residents, Samir Gadhok and Avani Raheja, are the founders of Burgundy Brand Collective, who famously brought the 19th-century French furniture maker Ligne Roset to India years ago, alongside a diverse cohort of luxury brands like Royce’ Chocolate and Onitsuka Tiger. “Our brief to Samuel was simple. To create a home that felt warm and lived-in yet thoughtfully composed. We wanted a space that remained uncluttered, but still allowed the pieces we love — furniture, objects and materials to come through with clarity and intention,” explains Samir. And so, Samuel says, “The interiors pivot around iconic Ligne Roset pieces: the sinuous Ploum, the modular Asmara revived from 1968, the enveloping Togo and Pumpkin, balanced by the classic LC4 Corbusier chaise and Wassily chairs.”

“We really tried to stick within the Ligne Roset palette of colours and everything revolved around that"

Samuel Barclay

Four Seasons — Photograph Courtesy Case Design

First frames

The three-bedroom home wraps sunlight around its open spaces and curling corners, allowing it to profusely filter through floor-to-ceiling glass windows and meander on walls, floors, textiles and pieces of furniture. Many levels up the high-rise, an elevator opens up to a private foyer that navigates indoors to the living room. The scene-setting is punctuated by a collection of objects, of which the bright-hued modular Asmara settee by Ligne Roset emphasises the post-modernism play.

Originally designed by Bernard Govin decades ago, the settee was a non-negotiable furniture of fascination for Samir to be strategically placed in the living area. No wonder, it did not just become a statement but an undulating boundary between the two living zones and the dining area.

Move to the bedrooms and the colours seem to find a life of its own. The primary bedroom swathed in an earthy tone of green settles with neutral shades of soft furnishings and a snug study nook. While the kids’ bedroom, for their son and daughter, envelops gradient hues and bunk beds, exhibiting an artful functionality. Another colour experiment that Samuel chose was to dress up the guest bedroom in a vivid yet urbane shade of blue, dotted with a 1960s Art Deco desk that Samir inherited from his grandfather. Samir further adds, “The bathroom designed by Yabu Pushelberg has a slightly theatrical quality to it. It feels indulgent in the best way; a space that elevates the everyday ritual of starting the day.”

Living with the classics

For Avani as well as Samuel, one of the pieces that carry a curious weight of history inside the home is Cassina’s limited-edition reinterpretation of the chaise longue originally designed by Le Corbusier, Pierre Jeanneret and Charlotte Perriand, circa 1965. “We were able to find them locally, tucked in the back of this warehouse. Fortunately, they had two of them, so Samir and I have matching sets,” reveals Samuel about the iconic longue that was produced as only 1000 pieces worldwide.

Back in the living room, the coffee table sits carefully layered where an all-white eroded vinyl sculpture by Daniel Arsham faces the Mumbai skyline invariably, paired with Marcel Breur’s twin, tubular Wassily chairs.

An eclectic yet disciplined departure from his usual architectural undertakings, Samuel shifted his focus on the assemblage of furniture and interior styling with a keen eye on translating post-modernism warmth at the Four Seasons apartment for Samir and Avani. Resounding this thought, he concludes, “We really tried to stick within the Ligne Roset palette of colours and everything revolved around that. The beautiful textiles and colours formed a really strong base. Everything else was a simple, clean base to support those bursts of colour.”

Now read: Print exclusive: A home that disappears in Hyderabad