By design - VIKRAM GOYAL

New Delhi-based designer Vikram Goyal was once a banker with Morgan Stanley, but the lure of design proved too much. His company Viya, co-founded with his sister Divya more than a decade ago, offers not just interior design but also luxurious furniture, sculptures and lighting in brass, melding Art Deco and Brutalist elements with aspects of Indian heritage and craftsmanship. Here, he describes his career trajectory.

Was it difficult to switch from finance to design? Vikram Goyal: Actually, it was much easier than I had envisaged. I had lived in the US, Hong Kong and India and been exposed to the Oriental and Occidental styles that gave me a unique aesthetic perspective. In India, where materials and artisans are abundant, it was relatively easy to experiment. We sampled madly. And then the design journey took on a life of its own. What is the best way to describe your practice? Some commentators credit you with creating a “modern Indian design language.” Our designs are multi-dimensional and straddle a wide spectrum encompassing India modern, Mid-Century/Modernist, Brutalist and Art Deco styles. The products are all handcrafted and celebrate the notion of man versus machine. They represent the confluence of art and design, form and function. Yes, we consider ourselves pioneers of crafting a modern design language; our work has since evolved to [incorporate] more India-agnostic inspirations and designs.

Throughout your design career, it’s clear that you have wanted to harness the skills of Indian architects and artists, focusing on indigenous techniques. When we started our studio, a primary objective was to revive traditional artisanal skills – skills that traditionally involved little formal education but were rooted in material science and engineering and passed on from generation to generation. Over the years, we have invested substantially in elevating this knowledge, highlighting indigenous techniques. Please describe your latest piece or series. Our latest series focuses on using sheets of brass to literally carve out three-dimensional relief or repoussé sculptural artworks – a nod to the brilliant Art Deco panels we saw in the middle of the last century in France and the US.

What is the best way to describe your practice? Some commentators credit you with creating a “modern Indian design language.” Our designs are multi-dimensional and straddle a wide spectrum encompassing India modern, Mid-Century/Modernist, Brutalist and Art Deco styles. The products are all handcrafted and celebrate the notion of man versus machine. They represent the confluence of art and design, form and function. Yes, we consider ourselves pioneers of crafting a modern design language; our work has since evolved to [incorporate] more India-agnostic inspirations and designs.

I understand that you admire the work of the Italian architect Gio Ponti and the late British fashion designer Alexander McQueen? Yes, I like the strong design vocabulary across materials and styles of both of these gifted designers.

Please describe your latest piece or series. Our latest series focuses on using sheets of brass to literally carve out three-dimensional relief or repoussé sculptural artworks – a nod to the brilliant Art Deco panels we saw in the middle of the last century in France and the US.

What are your future plans? Will you develop more furniture collections? We are focusing on developing a more accessible line across product categories, including furniture.