INDO: The Pilar Collection takes a lot from the Ikat Credenza (image on the left). In a way, it was a further development and refinement of the making and wood dyeing process. The Ikat Credenza explored the making of ikat fabrics. While the use of rich and vibrant colors such as indigo invoke the Balinese ikat fabrics, the emphasis was on translating the process metaphorically onto a flat wooden surface that was dynamic in its use, hence the choice of tambours. For the Pilar Collection, the focus was on ceramics and dip glazing from Barcelona. From looking at Gaudi’s buildings and his ingenious use of ceramics to define spaces- their tactility and how light behaves on the glazed surface- to looking at dip glazing and the slightly grayish yet saturated demeanor of fired glazing colors, it was a completely different way of using color. The layering of color on the surface, the fluting and how light and shadow behave in relation to the varying opacity of the colors as your eye moves down the flutes are all explorations of our inspirations from that trip.
The importance of the handmade process
INDO: You can think of it as the variability of the material and the error of the human hand, thus adding to the bespoke nature of a handmade object. There’s a level of ‘letting go’ involved, of not knowing exactly how things will turn out, which has been designed into the making process of these pieces. So despite the fact that everything is measured and precise, the result varies, because wood varies, and so does the repetition of the hand.
The influence of Indian roots
INDO: Our Indian roots are more important than we’d care to admit. It’s the passive knowledge of living in a place where most everyday objects were historically handmade, and some of them are to this day. It always makes us think of those objects replaced by modern materials and manufacturing. If an everyday object becomes obsolete, should we consider the craft of making that object obsolete as well? Or can we look at it through a different lens and find new avenues for its application? Our roots inform the way we conceptualize our work. We look to tradition and the old ways of making to inform our design process. Deconstructing the processes and finding what makes a process special, and how can it lend a sense of identity and character to new work, is at the core of our philosophy as a design practice
INDO: Trends, quite simply, are responses to the existing status quo. So it’s always good to stay informed and be in the know by observing what is happening in the design world at large, how continents respond differently, and what it says about the dialogue on design in those places. Hence, our work is, quite naturally, our response to what we see out there in the design discourse, filtered through our lens.
Trends: Experienced Narratives