Profile: Krushna Oza – Only Natural Design Competitions

Krushna Oza

NATIONAL INSTITUTE OF DESIGN

I’m Krushna Oza, a furniture and interior designer currently pursuing my Master’s at NID. I did my Bachelor’s in Interior Design from CEPT University and have around three years of work experience before starting my post graduation. My work has always been hands-on. I love making, exploring forms, and working directly with materials. I enjoy the entire design process, especially the part where you don’t fully know where it’s going. That feeling of diving into an idea and slowly discovering the path as you go is what keeps me excited about design. I’m particularly drawn to natural materials and the way they carry their own character. How a piece of wood or cane already holds so much story even before you shape it. For me, the workshop is often where things really come alive through trial, error, and intuition. Outside of work, I enjoy watching good films, traveling, and discovering subtle, thoughtful flavors in food. I find that all these things feed back into my design approach in some way whether it’s noticing a detail, sensing mood, or just appreciating quiet beauty. I believe in creating products that feel honest, tactile, and rooted objects that aren’t just functional but have a kind of quiet presence. Especially when working with natural materials, I try to let them breathe and guide the process rather than control it too much.

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Pravaah (Flow)

Category: Interior

Competitions: Home Competition 2025

Pravaah, meaning flow, is a sculptural lamp that channels the quiet rhythm of nature and the soulful depth of Indian craft. Through intricate cane and rattan weaving, this piece brings Indian artistry to life in a form that feels both intuitive and alive. What makes Pravaah truly unique is not just its form, but how that form exists. There is no hidden skeleton, no wireframe beneath. Its structure rises solely through the tensile strength and natural pliability of rattan a material that bends, holds, remembers. The shape is not imposed, but discovered formed by responding to how the cane wishes to move, and how far it is willing to go. The curves, twists, and overhangs are made possible by an intimate understanding of the material's behavior. Each transition is the result of a quiet calculation of how much strain a strand can hold, of how tension can create stability. It is a structure born from sensitivity, not force. No joint is rigid, yet the whole holds together through a delicate equilibrium of pull and release. This lamp transcends function. It is a presence, a living form that offers a different visual story from every angle. Free from symmetry, it unfolds like a stream, like thought in motion. In a world increasingly defined by digital speed and automation, Pravaah slows things down. It invites you to notice the invisible, the effort embedded in every bend, the slight variation that reveals the presence of a maker. There are no shortcuts here. No rigid mold. Each form emerges through a dialogue between material and hand, a negotiation of resistance and yield, of intention and surprise. As light passes through the woven structure, it carries these gestures forward, casting shadows that dance gently across the space. The lamp breathes, shifts, and hums with the soul of the maker. More than illumination, Pravaah offers a moment to feel, to pause, to remember that even in our structured lives, the creative life force still weaves through. Unseen, but always shaping.