The Design Verge
Practice
The categories overlap. A house is an interior problem. A shop is a street problem. The four names stay because clients arrive with one of them.
01 — Architecture
The studio draws a building as a response to light and water before drawing it as an object. Roofs are deep. Screens are specific. Openings sit where the breeze actually is.
The aim is a building that feels inevitable on its site, and calm in a photograph only because it is calm to stand in.
02 — Interiors
An interior is not a layer added at the end. The studio chooses fewer materials and lets them meet cleanly: brick, timber, plaster, stone, and a metal that can age.
The room should explain itself without a catalogue. If a finish has to be described at length, it is probably doing too much.
03 — Residential
Most briefs begin as a measurement. Land is counted in square feet and in katha. A ground floor often has to hold parking, living, dining, and a kitchen inside a little more than three thousand square feet.
One study the studio has shared publicly began from 7,000 square feet of land, about 9.7 katha, with a proposed ground floor of 3,200 to 3,500 square feet for exactly that life.
That life is planned before a facade. The car should not cut the court. Rain should have a place to fall. The rooms where people sit should get the breeze.
04 — Commercial
A workplace or a shop on a narrow plot has to be a good neighbour and easy to find. The studio recesses the front, shades the glass, and lets the ground floor do the talking.
A sign should not have to shout over the building. At night, a well-made room is enough of a sign.
05 — Material and climate
The sun is high. The monsoon is not a surprise. Air that moves is a material. Plinths, courts, screens, and roofs are instruments, not a style.
Brick for the screen and the pier. Pale plaster for the light. Teak where the hand rests. Brass where a lamp or a handle needs to warm up. Paper and a model before anyone commits to a wall.
