Journals

Based in Kerala, Neytt by Extraweave, founded by Sivan Santhosh and Nimisha Srinivas, draws from a legacy of carpet-making that dates back over a century. In 1917, K. Velayudhan established the Travancore Mats and Matting Company, laying the foundation for what would become a global export house for finely crafted rugs and carpets.

For the fourth time, Neytt brings this lineage to the Met Gala, merging heritage craftsmanship from Kerala with artistic expression from New York to create the canvas for fashion’s biggest night. This year’s theme, Fashion Is Art, accompanies the Costume Institute’s exhibition Costume Art, inviting designers to approach fashion as a living, moving artwork, blurring the l

Inheritance is rarely just what is given. It is what is absorbed, reinterpreted, and passed down over time. Within the mother-child dynamic, this exchange becomes a living archive of instincts, aesthetics, and ways of seeing the world. Across the worlds of design and art, these pairings reveal how influence moves in both directions, and is continuously re-authored.

At first encounter, artist Bettina Krieg’s works appear almost mechanical, defined by repetition, precision, and a sense of optical illusion. Look closely, and the illusion softens. Each line reveals its own rhythm, subtle deviations,  and seeming uniformity. What seems architectural begins to unravel into nuance, an artistic language that’s distinctly hers. Step back, and the composition shifts again, inviting new interpretations and illusions.

Discovered by our founder Astha at a gallery in Hamburg, Bettina’s work resists literal interpretation, instead opening an expansive visual field – open to the viewer’s perception. In conversation with The House of Things, Bettina reflects on rhythm in drawing, time, and the tension between control and intui

Seen here: A wall of vintage plaques, paintings, frames, mirrors, and traveling temples, interspersed with a few contemporary pieces. Image courtesy Eina Ahlwualia

For its second chapter, The House of Things continues this series as a tribute to the art of collecting. Vintage objects, marked by fingerprints from another era and fragments of forgotten homes, carry gestures of care that have traveled decades. Through this journal, we honour modern-day collectors who preserve

There is a certain restraint in French elegance, an ease that never clamours for attention yet commands it entirely. Rodolphe Parente embodies this paradox. Poised yet probing, cerebral yet sensorial, the Paris-based radical architect and interior designer arrived at The House of Things Gallery in Udaipur with the curiosity of a man who believes design begins not with answers, but with questions.

Fascinated by the intersectional nature of art, architecture, and design, Veer Chaudhry brings a fresh, multidisciplinary perspective to the creative world. Currently a student at The Bartlett School of Architecture, his practice spans fine art, furniture, product design, and fashion, all united by a deep curiosity for form, materiality, and innovation. From the heart of London’s design circuit, Veer shares his take on the ideas and expressions shaping the future of contemporary design.

The art of collecting has been woven into the fabric of human history for centuries. During the Middle Ages, art was limited to religious institutions, cathedrals, and the homes of imperial families, who commissioned portraits and murals to adorn their palaces. During the Renaissance, affluent merchants and patrons began collecting objects to showcase their wealth or surround themselves with things of beauty as expressions of taste and intellect. 

Stripes, often perceived as mere patterns, possess a profound ability to transform spaces. Their origins trace back to ancient civilizations, where they symbolized order and structure. In contemporary interiors, stripes serve not only as decorative elements but as tools to manipulate perception, guiding the eye and defining spaces with understated refinement.

Long before the age of minimalism and moodboards, we marked spaces through scent. Temples perfumed with frankincense. Royal courts veiled in attars. Salons where citrus and myrtle trailed behind every silk