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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.

Hy-par chair

Category: Furniture

Competitions: Home Competition 2026

Most collapsible furniture treats folding as a mechanical chore, relying on flat, predictable folds that feel stiff and industrial. Hypar reimagines deployable design by making bamboo the absolute hero of the system. It is a kinetic garden lounge chair that transforms from a tight, compact bundle into an open, three-dimensional hyperbolic paraboloid surface. This complex, twisting movement is not achieved through high-tech machinery, but by unlocking the natural structural genius hidden inside the bamboo stalk. Using bamboo wasn't just an eco-friendly aesthetic choice for this project; it was a structural necessity. To achieve a coordinated, multi-axis rotation that smoothly moves from a linear bundle into a load-bearing seat, the material had to possess a highly specific, contradictory mix of properties: it needed to be incredibly strong under tension, yet light enough to move effortlessly. Bamboo is often called "natural steel," and for good reason. Its vascular bundles run continuously down the length of the stalk, giving it a tensile strength that rivals structural steel. As the Hypar chair opens, the intersecting bars undergo intense twisting, bending, and pull-forces. Ordinary timber dowels would snap under this multi-axis stress, and metals would permanently bend or require heavy, complex joints. Bamboo absorbs these forces effortlessly, distributing the tension across its long, continuous fibers and snapping right back into place. Bamboo offers an unparalleled strength-to-weight ratio. This ultra-lightweight profile is what makes the chair's three-dimensional transformation feel magical and effortless to execute by hand. It eliminates the dead weight associated with solid wood or iron components, allowing the entire structural grid to glide into place with minimal friction. By using bamboo, Hypar completely rejects conventional, rigid hinges and flat linkages. The structure relies on a quiet, shared harmony of tension and balance where the material itself acts as the mechanism. The straight, natural lines of the stalks are organized into a matrix that gracefully negotiates weight, using its inherent elastic give to cushion the user without the need for synthetic components. Designed for the outdoors, Hypar’s open-grid configuration allows light, wind, and the surrounding landscape to flow freely through it, turning a space-saving object into a quiet frame for experiencing nature. Ultimately, the project proves that advanced, mathematical design doesn't require synthetic innovation, it simply requires us to listen to the raw, lightweight, and resilient strength that nature has already perfected.

Pravartan

Category: Interior

Competitions: Home Competition 2026

Pravartan, meaning transformation, progression, or cosmic movement, is a helical floor lamp that rises from the geometry of the spiral, embodying the universal idea of growth: continuous, upward, alive. The visual narrative of Pravartan begins with the organic grace of nature, drawing direct inspiration from the elegant, sweeping contours of the Calla Lily. The design decodes the flower’s natural geometry, mapping its surfaces through mathematical principles like the Fibonacci spiral and the helix. While the digital blueprint defined the overarching geometry, the true soul of Pravartan emerged during its physical making. The manufacturing technique relies on an intimate, collaborative dialogue between the designer's vision and the maker’s intuitive understanding of natural materials, a philosophy deeply rooted in exploring how materials and human touch co-create. Each curve is guided by instinct, making the lamp as much a process of discovery as it is a finished form. Utilizing traditional weaving techniques , artisans meticulously interlace finer fibers across a skeletal framework of Rattan. Its slight imperfections are a reminder that it is born of human hands, where intuition shapes beauty more than precision, guided by the material’s natural will where strength emerges from a quiet harmony of tension and balance. This intersection of calculated geometry and spontaneous craftsmanship ensures that every curve feels organic, alive, and entirely unique. At the heart of Pravartan is a deep commitment to sustainability, made possible by choosing cane and rattan as the primary material. Cane stands out as an exceptional sustainable material because it is a fast-growing, wild vine that harvests quickly without disrupting surrounding forest ecosystems. Unlike timber, it regenerates rapidly, making it an incredibly renewable resource with a remarkably low carbon footprint. Beyond its eco-friendly credentials, cane offers unique structural advantages: it is highly flexible when steamed, allowing it to bend into complex, fluid shapes without snapping, yet it cures into a strong, durable frame. Lightweight and resilient, cane requires minimal industrial processing, seamlessly blending ecological responsibility with lasting functional design. A lamp isn't truly finished until you turn it on, and in the dark, Pravartan completely shifts characters. Handcrafted with care and intuition, the lamp becomes a cocoon of light, a protective shell that breathes. Because of the porous, hand-woven skin, the light doesn't just spill out; it escapes in shifting layers of shadow and radiance, fragile yet resilient, ephemeral yet enduring. It throws deep, organic textures across the room, turning a simple corner into a warm, living space. Ultimately, Pravartan bridges the gap between ancient craft and modern design, proving that great design is not only about what we build, but also about how well we listen to the materials we shape. It shows that traditional weaving skills aren't relics of the past they are living traditions perfectly capable of bringing warmth to our modern spaces.

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.

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