Lounge
Leather, low light and a view held back by sheers until the sun is off the glass.

A darker, heavier house than we usually make — deep marble, low light, and rooms that are meant to be used in the evening.
The clients entertain at night and asked for a house that suits it. We inverted our usual palette: dark stone underfoot, saturated walls, and daylight admitted in narrow, controlled quantities rather than flooded in.
A dark house becomes oppressive very quickly. The discipline was reflectance — every dark surface is matte, every light surface has some sheen, and the ceilings are two full tones lighter than the walls in every room.
Formal and informal living are separated by a spine of joinery rather than a wall, so the house can be opened for forty people or closed down to four.
Meera Anand, Nikhil Sen
Five materials carry the whole project. Everything else is a variation on one of them.
Leather, low light and a view held back by sheers until the sun is off the glass.
Marble island, walnut tall units, and a working pantry behind a full-height door that closes on the evidence.
A single pendant either side of the bed, hung at 1.1 m, and blackout that runs floor to ceiling in a recessed pocket.
Black marble on every plane, lit only from behind the mirror and from a slot above the bath.
Twelve seats, dark timber, and a ceiling two tones lighter than the walls so the room does not close in.
Marble treads and an iron balustrade drawn to a pattern taken from the original 1970s gate that came with the site.
The bar, the dining table and the principal bed are ours. Everything sits on legs — the floor is continuous under the whole of the ground level and we wanted to see it.
Four scenes, pre-set. Nothing in this house is lit at full output; the brightest scene is 60 % and exists mainly for cleaning.

Forma Café