Design ni Dukaan: A Rendezvous of Souls, Spaces, and Stories

Design ni Dukaan, meaning ‘a shop for design,’ is a multidisciplinary studio based in Ahmedabad, Gujarat, focusing on architecture, interior, and furniture design. Aishwarya Kulkarni delves into a candid conversation with Veeram Shah, the founder of Design ni Dukaan.

There is a concept called ‘Thehrav’ in Indian classical music. It means a restraint, an orchestrated control in a vocalist’s voice when they sing the melodies of a particular ‘raag’. This quality cannot be taught, and comes from deep-seated calm within oneself – and manifests in one’s voice. The idiosyncrasies and the work of Veeram Shah, the founder of Design ni Dukaan, seemed like a perfect analogy to the concept of ‘Thehrav’ in music – with a restraint on material usage in their soulfully curated design across scales. Design ni Dukaan, meaning ‘a shop for design,’ is a multidisciplinary studio based in Ahmedabad, Gujarat, focusing on architecture, interior, and furniture design. The community-based practice values the collective expression of diverse backgrounds, integrating intellectual discussions and technical craftsmanship.

Aishwarya Kulkarni engages with Veeram Shah for a conversation on design as he explains to us the ethos behind Design ni Dukaan.

SCALE: What inspired the inception of Design ni Dukaan, and did you always aspire to enter furniture and interior design?

VEERAM: My journey in architecture began in the heart of Navsari, a quaint town in South Gujarat, my hometown. While my peers pursued engineering, I was drawn to architecture and went to Pune, where I discovered the profound relationship between art and space. Along with the theoretical knowledge I gained in college, I was guided by inspiring professors who enabled me to take a step into the real world of practice. Architect Girish Joshi, one of my mentors to date, had an office, which was an extension of his home, and he often invited us over to engage in practical work. In retrospect, I appreciate the indelible mark it left on me, and his mentorship taught me the value of practical experience beyond academics.

After completing my education, I worked briefly in Pune before returning to Navsari. Surrounded by antique furniture at home, I began blending tradition with modern design. Collaborating with local carpenters, we transformed old pieces into contemporary ones.

Today, we have Design ni Dukaan offices in Navsari and Ahmedabad, but my ultimate plan is to build a home by the river and reconnect with hands-on craftsmanship, creating spaces that resonate with stories and experiences!

SCALE: What guiding philosophy drives all your work?

VEERAM:  I’ve realized that the essence of design lies in experiences ingrained in us – and I don’t think experiences can ever be quantified, it’s only observations. For example, one of our professors in college made us bunk class to watch classic movies. At that time, we didn’t understand the gravity of learning that didn’t directly connect to architectural learning. But now, every time I watch those classics again, their meaning adds layers and subconsciously creates more beauty in my design process. It helps me appreciate the space around me with a more intersectional meaning. It’s about converting intangibles to tangibles. For instance, wood has been used for centuries for furniture, interiors, and house construction; each time I see it, I question how we could use it differently. Roger Anger incorporated “implied tension” in his work as a metaphor. For instance, in Auroville’s Matri Mandir, the pillars don’t touch the ceiling, a design element I’ve often used in my projects. I believe tension is a critical aspect of understanding the complete circle of life and design.

My process involves bringing my observations to life by understanding the essence of things—their why and what—and integrating these insights into my work. Initially, we gave references and explained our methods to our clients, but over the years, the process has become inherent. When I draw a curve now, there’s a certain grace to it, and I don’t know where it comes from—maybe from observing Picasso’s paintings or Le Corbusier’s work. I am a deep lover of Indian classical music, so a perfect analogy is to a ‘Raag’ in classical music. When classical singers sing, they never want the ‘aalap’, or the melody, to end – it’s like an introspective meditation of the Raag. Just like that, whatever I observe, the good and the bad, I take something from it to translate into my work and process. I am at the point where I am trying to define the nuances that define the building.

SCALE: Which designers or artists have influenced your design sense?

VEERAM: I have thoroughly studied the work of all modernist architects, and it has influenced my work heavily. Along with architects and designers, I seek inspiration from music, poetry, and art. For instance, there is a certain crudeness in Kumar Gandharv’s (a distinguished Indian classical singer) pieces. There is a brutalist sense in how he sang, and the pitches he reached – a symbolic analogy of the sharpness and brutality in the form of any design intertwined with the seamless flow of it. These are the things that have inspired me. Also, S.H. Raza (an Indian painter who lived and worked in France for most of his career), and the influence of his foreign experiences in his work. The crooked lines of his paintings have a certain rhythm to them, and the in-between spaces are where the true meaning lies. Satyajit Ray also changed my life. Every time I watch his movies, I learn something new.

SCALE: Why don’t you use mood boards, and what process do you follow when starting a project?

VEERAM: We always engage in close conversations with our clients. Understanding the psychology of the family who will live there is crucial. We designed a 23,000 sq ft house in Gujarat, spending nine years building it, where the client’s creativity made the process seamless. I always ask clients what’s missing in their lives that we can fulfill. How do they envision their reading corner? Do they like to cook, or do they have chefs? What are their aspirations?

After understanding the family’s needs, we create a character map, considering storage and functionality, vital in Indian households.

We design based on their collections and daily activities. For instance, in a project in Mumbai, a family worshiped Srinath Ji, so we created a blue wall featuring Krishna flowing into Srinath Ji. It’s about reflecting on their lives and personalities, not just following design trends. This introspective approach becomes a personalised mood board for each project.

Many clients ask for a reference, but when we consider their life and personality, how can we show a reference to an original idea? This process becomes a mood board, a process of introspection about their life too.

SCALE: What are the materials that you usually use?

VEERAM: Teak is our staple. We use reclaimed teak wood and Valsadi Saag, which is known for its beautiful grains. When we started working, deconstructing my father’s furniture, we built it with wood, and it remains a valuable material. Old homes always have old wood, which we associate with a certain nostalgia, and our vision was to reuse these materials in new ways.

Recently, I needed a walking stick after an injury. We made a wooden stick and experimented with burning wood. After burning, there were a few more layers to be added on top of it, but the finish was so beautiful we didn’t want to change it! In the past, we tried working with lighter, imported wood, but there’s a trend of fascination with oak, which I don’t relate to. I love identity, and replicating the same woodwork everywhere loses that.

We also work closely with textile designers. For one project, we are creating a canvas using various textiles, and in another, all cupboard facades were crafted by a local weaver. As architects, we are at the top of a pyramid for the built environment around us, and when we create a spatial volume, the client understands we can support many communities to fill that space through interior design, finishes, and furniture. Along with getting a personalised touch to the space, this also gives the artisans, and their heritage an identity.

SCALE: Can you elaborate on the design of Design ni Dukaan office? Was that your first project?

VEERAM:  We decided to revamp our ancestral house in Ahmedabad which was very unkept at the time – with the structure intact, but only half the slab built. Struggling with financial restraints, we optimised what we had, and created a semi-open space. We extended the slab a little and experimented with brass, wood, and concrete to create a space for clients to sit. We also designed one wall with complex wood patterns as an experiment, which turned out to be quite aesthetic!

The studio makes one question if it inspires creation – Does it absorb the music you listen to and hum it back when needed? Do the walls remind you of the people it has cradled, the books that stirred your soul and the unforgettable films that changed your life? Does it reflect the bittersweet journey of becoming a better designer each day and the stress this field brings?

With time, we added an extension to this space. Since inception, we never wanted an ‘office’. Our studio transformed into a community-based practice. In our small space, people from all over India worked and lived, with desks turning into beds. We expanded using old servant’s quarters, creating a 450-sq ft space with a lounge, desk, pantry, and daybed.

SCALE: How did you revamp, and bring the swing revolution back in India?

VEERAM: For Indians, especially Gujaratis, it’s very common to have swings at home. At Design Ni Dukaan, we enjoy creating swings that can be playful, comforting, and functional. We usually use wood and brass with fabrics that complement the colour scheme of the room. These swings always result in a stunning centerpiece for the room – while being functional for all age groups of people staying at home.

 Swings at home have always been a part of our culture, and I think we revived the swing revolution for today’s generation. We have seen how they have replaced the plastic chairs we commonly use at home. I am proud of this legacy we’ve left behind.

SCALE: Can you elaborate on ‘Enclosure’, the 23,000sq ft house in Gujarat that was the AD100 winning entry?

VEERAM: ‘Enclosure’, the 23,000 sq ft house in Gujarat was incepted nine years ago. At that time, Design ni Dukaan was at a very nascent stage, and I remember looking at the scale of the project, and being a little nervous! As we presented the client with various options, one of the things that truly shaped the house was him telling us “ Even if my house doesn’t have an elevation, it’s alright – as long as it has a beautiful section, I am happy.” With that, we went back and started recreating the drawings. Kumar Gandharv has profoundly influenced my life, and while we were working on the house, his rendition of ‘Nirbhay Nirgun,’ a Kabir verse, resonated deeply and inspired the design process. In the rendition, Kabir speaks to God, contemplating His attributes fearlessly (Nirbhay), while acknowledging God’s colorless, formless nature (Nirgun). This paradox inspired our house concept: a formless structure with a soul.

Entering the house reveals its essence; the facade’s curves guide you subtly. We designed it with two dynamic axes converging at the smallest entrance, creating a sense of humility and mystery. As you move through the house, it transitions from public to private spaces, each turn unveiling a new aspect. The client and I remain close friends after all these years, a testament to the enduring bond this project created. Over the next few years, he gave me so many challenges, but I enjoyed every bit of it. He didn’t just want a house; he wanted an experience.

The client’s involvement made this project unique. He was always pushing us to think differently and come up with new ideas. For example, we created a sofa in the living room that doubles as a bookshelf and a display for his collection of artifacts. The house has many unique features that reflect the client’s personality and lifestyle.

This project taught me the importance of understanding the client’s needs and aspirations. It’s not just about creating a beautiful space, but about creating a space that resonates with the people who live in it. It was a challenging project, but also one of the most rewarding ones.

SCALE: What are your plans for Design ni Dukaan in the future?

VEERAM: We are working on a few exciting projects right now, including a boutique hotel in Udaipur and a heritage restoration project in Navsari. We are also exploring new materials and techniques. I want to keep experimenting and pushing the boundaries of design. My dream is to build a self-sustaining community where people can live, work, and create. I want to create spaces that inspire people and make them feel connected to their surroundings. Ultimately, I want to use design as a tool to contribute to the cultural and social fabric of our society through design.

SCALE: How do collaborations influence your design process?

VEERAM: Collaboration is integral to our design philosophy at Design ni Dukaan. A close-knit design circle is essential yet challenging to cultivate. Imagine Hussain and Doshi—Hussain Gufa in Ahmedabad exemplifies the power of collaboration. We firmly believe in this power, and it begins internally at our office first. Our firm operates without hierarchy or bias, driven by a shared eagerness to create.

Our community extends beyond architects and designers to include musicians, poets, and artists. Many collaborators have worked with us for over a decade, starting as interns or volunteers. During the collectibles series, I asked my partners to push me creatively. The material selection was theirs, but we aimed to innovate in ways never seen before. This was a reunion of individuals and thoughts developed over time at Design ni Dukaan – a perpetual design residency.

These partnerships are not just about leveraging external talent; they’re about creating a dialogue that stimulates creativity and drives us to explore new design possibilities.

SCALE How do you work with your team of master artisans and carpenters?

VEERAM: Working with master artisans and carpenters is a deeply collaborative process. These craftsmen bring generational knowledge and skills to the table, which is crucial for translating design concepts into tangible forms. Design ni Dukaan approach each project with respect for their expertise, engaging in detailed conversations about material properties, joinery techniques, and the feasibility of designs.

For example, when working with brass, we discuss with artisans how best to handle the material and whether any embellishments can be accommodated. We also consider the ecological and psychological aspects of craft, understanding why a craftsman’s son might want to continue the family tradition. This approach ensures that our designs are not only feasible but also deeply rooted in the craft’s heritage. Our process is about balancing architectural vision with the practical knowledge of craftsmen. It’s not merely about handing over drawings and expecting them to be executed; it’s about ongoing dialogue and refinement. This collaborative effort helps Design ni Dukaan create designs that are both innovative and respectful of traditional craftsmanship.

SCALE: What is your mantra for life?

VEERAM: My mantra for life is to embrace freedom and authenticity. The metaphor of water—its transformation from solid to liquid, and its ultimate journey to the sea—reflects my philosophy. It’s about embracing change, flowing with life’s currents, and finding peace in the end. Freedom to think and create is essential for me, as it fuels my creativity and drives my work.

My approach to architecture and design is a continuous journey of exploration and self-discovery. At Design ni Dukaan, we celebrate “the act of creating”!