A series of solid wood dip dyed coffee and side tables that reference the technique of glazing ceramics, the Pilar Tables are inspired by the rich use of colored tiles and mosaics in Gaudi’s architecture. Available in American maple, white oak or walnut with varying tops, and with the ability to work in clusters or by themselves, they serve a wide range of demands, from accent to statement pieces. The Pilar Collection is a nod to simple, functional contemporary design with a beauty inherent in the handmade, absorbed layer upon layer into its surface. In addition, the Mooda Mirror, also available in maple, white oak or walnut is composed of hardwood dowels stitched together to create a beautiful geometric edge. The glass in turn reflects the dowels, completing the form of the Mooda.

“We’ve designed nine different products across four collections and have started gaining some traction. In addition, we also offer custom design and build services if customers demand a particular version of a product. Not only are we using traditional techniques and knowledge and skills that have untapped potential, but we also aim to explore new techniques and different ways to create more contemporary objects for younger audiences and consumers,” said Sharma. “Before INDO- was established, we worked on a number of projects individually that are now being refined to be included in our product line. In addition, we are also planning to release a new range of lighting fixtures within the Mooda series, which includes 2 sizes of wall sconces and pendants in the second half of 2020.”

The Ikat credenza is a low-rise tambour credenza inspired by the process of weaving Ikat fabrics, in which each warp end is dyed individually with the desired pattern prior to weaving the final product. The result is a pattern that has a slightly ‘fuzzy’ appearance, a distortion inherent in the fabrics, yet shows the skill that is involved in such a labor-intensive process. Each slat of the sliding door is treated as a warp end and hand dyed prior to assembling them together to create the tambour surface. The uneven quality of the lines creates an enhanced sense of movement as the tambour turns a corner, creating the illusion of unrolling fabric.

Char Quarter is a contemporary take on the humble Charpai/ Charpoy, an archetypal Indian rope bed, literally meaning four legs (Char=four, pai=legs). The name borrows from the split turning method employed to create a subtle reference to the spindle turned legs, the method of wood measurement which is peculiar to the United States (in quartered board feet instead of cubic feet), and the Indian pun for a full measure of a liquor bottle.

“Homogeneity in contemporary design is something I loathe. Everything looks so similar; there’s no sense of place or identity. Living in a place where most objects were traditionally handmade and have been replaced by mass-manufactured counterparts makes you aware of what is being lost for the sake of convenience or cost‚” adds Narang. “The furniture that we have created has become an outlet for practitioners of that craft to continue forward. The same example can be extrapolated to apply to other crafts with the whole premise of pushing craft forward as a source of inspiration. Looking ahead, we hope to continue to design new products and bring in new work every year that helps INDO- stay relevant and keeps its audience engaged.”

Sharma and Narang work primarily in solid wood but also incorporate other materials or composites wherever appropriate. Their focus currently is on using high quality and accessible American hardwoods, such as maple and white oak. However, they also offer their current range in walnut or other species if a customer requests for it. Sharma started working with American hardwoods when she came to study Furniture Design at RISD. It was there that she was introduced to multiple species and the possibilities of working with solid wood. Narang, on the other hand, has been working with American hardwoods ever since he joined his family’s furniture business.