2022
Paperclay Table
Colour and lime, paper and glass — a tabletop that holds the sunlight of a Rajasthani palace.
2023
Paperclay Table
Paperclay Table
Colour and lime, paper and glass — a tabletop that holds the sunlight of a Rajasthani palace.
Colour and lime, paper and glass — a tabletop that holds the sunlight of a Rajasthani palace.
2022
Paperclay Table
Colour and lime, paper and glass — a tabletop that holds the sunlight of a Rajasthani palace.
2023
Paperclay Table
Colour and lime, paper and glass — a tabletop that holds the sunlight of a Rajasthani palace.
I am a table born of paper
Reflections dancing across my top
Coloured windows made to live in a tabletop,
I am the first study of glass and its new forms.
I am a table born of paper
Reflections dancing across my top
Coloured windows made to live in a tabletop,
I am the first study of glass and its new forms.
I am a table born of paper
Reflections dancing across my top
Coloured windows made to live in a tabletop,
I am the first study of glass and its new forms.
Sculpting was how it all began, layers of paperclay over a wooden form
Refining and shaping organic curves, an exploration of sculpting in paperclay.
Draw from the coloured windows of Rajasthani forts - Lime and stone for solidity and paperclay and glass for textural contrast.
Draw from the coloured windows of Rajasthani forts - Lime and stone for solidity and paperclay and glass for textural contrast.
The glass series is largely inspired from Rajasthani materiality, the Araish technique of working with lime, the coloured windows of monuments. This was an open-ended study in material exploration - how new organic forms can be developed by sculpting paperclay, how thin can we possibly go with glass.
Multiple joineries were experimented, with each attempt, we update, we improve. At Shed, we always allow for time to learn, to let the material become, to understand what it is trying to say to us.The table was the first page in our glass story, and today, we have come much farther along.
- Imran
The glass series is largely inspired from Rajasthani materiality, the Araish technique of working with lime, the coloured windows of monuments. This was an open-ended study in material exploration - how new organic forms can be developed by sculpting paperclay, how thin can we possibly go with glass.
Multiple joineries were experimented, with each attempt, we update, we improve. At Shed, we always allow for time to learn, to let the material become, to understand what it is trying to say to us.The table was the first page in our glass story, and today, we have come much farther along.
- Imran
Built of paperclay and stone, glass and lime.
A table that now feels as old as time,
Where pure white meets colour and light,
Where materials are allowed to live and breath.
I am a study that led to new beginnings
I am imagination that lives in a world of making.
Prototypes made, tested and refined - all a part of a journey undefined, a new material brought home to play, a layered process of learning along the way.
Prototypes made, tested and refined - all a part of a journey undefined, a new material brought home to play, a layered process of learning along the way.
Prototypes made, tested and refined - all a part of a journey undefined, a new material brought home to play, a layered process of learning along the way.
Built of paperclay and stone, glass and lime.
A table that now feels as old as time,
Where pure white meets colour and light,
Where materials are allowed to live and breath.
I am a study that led to new beginnings
I am imagination that lives in a world of making.
Built of paperclay and stone, glass and lime.
A table that now feels as old as time,
Where pure white meets colour and light,
Where materials are allowed to live and breath.
I am a study that led to new beginnings
I am imagination that lives in a world of making.
