A Cube Inc., established in Ahmedabad in 2004, is a design studio dedicated to creating custom furniture pieces. Founded by brothers Anand and Anuj Ambalal, it represents their shared vision. Together with master craftsman Prabhudas Mistry, they form the studio’s core design team. Though both brothers hold business degrees, their true shared passion lies in design.
This studio aims to enhance this connection through its work. Every item is individually crafted to meet exceptional quality and aesthetic standards.
As part of D-Talks, Designer Anuj Ambala shares details and insights about his creative practice and experience as a designer.
Anuj Ambalal of A Cube Inc.
Q. How would you describe your signature design aesthetic, and how has it evolved while working in the Indian context?
Anuj Ambalal: We set up A Cube Inc., our design studio in Ahmedabad in 2004, with the intention of designing and crafting high-quality furniture pieces with an underlying concept or a thought. We see design as a form of expression to fulfil the functional needs of society in as aesthetic a manner as possible.
Perceptions of design are often restricted to the visual realm, which is only half the picture. Touch is one of the most important and primitive means of sensory perception. It is through touch that one often forms an opinion of an object. An object has to be felt, not just seen. Similarly, the fragrance of natural wood or the gentle rustle of a hand caressing a mildly textured surface carries a certain sensual quality.
We try to imbibe such subtleties while designing to effectively counter the starkness that often encompasses contemporary interiors. Furniture and lamps are not just interior elements or architectural accessories but integral parts of architecture. In fact, we consider them pivotal elements that define, create, or even transform a spatial experience. They are the tools through which one can interpret, alter, control, frame, and even transfigure architectural scales. These were the ambitions that we wished to fulfil when we started, and it seems that we are still motivated by the same concerns today.
In the new millennium, the world seems to have come closer than ever before. Cultural boundaries across the world have begun to blur. There is also a tremendous exchange going on among different cultures. Despite all this, I believe that deep down, our core remains the same. The traces of our roots inevitably manifest in a nuanced way in whatever we do. So, there is no point in consciously trying to design products with ‘Indian aesthetics.’ I believe that we live in a contemporary era, and since we are Indians, whatever we design with honesty and conviction will naturally embody contemporary Indian identity. Ironically, if we attempt to force an ‘Indian aesthetic,’ we may actually move away from it.
Q. What influences and inspires your current work? Could you share some movements, designers, or elements of Indian culture that have shaped your practice?
Anuj Ambalal: I find it difficult to pinpoint my influences because they operate on a subconscious level. I believe that the primary source of all creativity is nature and one’s surroundings. For an individual, exposure plays a crucial role in channelizing this creativity. However, exposure should not be restricted to one’s own field; it should extend to diverse areas of creativity—prose, poetry, dance, art, music, and so on. Such exposure fosters the holistic development of a creative mind, which is essential for cultivating a unique perspective in one’s work.
There are many designers and artists that I admire. Isamu Noguchi for his fusion of art and design, George Nakashima for his sensitivity toward material and form, Charles and Ray Eames for their pragmatism and clarity in design, sculptor Anish Kapoor for his ability to create unique experiential quality in his work, photographer Henri Cartier-Bresson for introducing geometry into his compositions, Picasso for fracturing a composition as it was seen till then, etc etc etc. The list is so long and varied that I could ramble on endlessly and still not make it comprehensive!
Process & Methodology
Q. Could you walk us through your creative process? How do you transition from the initial concept to the final execution?
Anuj Ambalal: A typical design process starts with ideation. At this stage, we place significant emphasis on understanding why we need a new design, what the existing design pool lacks, and how the new design will enhance the experience for the end user. The more accurate our assessment of these factors, the greater the chances of the product succeeding.
Next comes the process of drafting the structure. The structure often dictates the materials we use, but in some cases, we may begin with a specific material and develop a structure around it. This process can vary depending on the situation. The form develops based on what the structure allows. Typically, aesthetics come into play during the later stages of our designs. Most of our designs feature open structures, and these structures form the core of our aesthetic approach. Materials generally dictate the finishes, and this decision is usually made after a prototype is created, which is the next stage once the form is established.
A prototype remains in our studio for at least a couple of months for trials. Only when we are fully convinced of its viability do we proceed to the next stage of cataloguing and including it in our pool of offerings for customers.
Q. How do you balance client requirements with your creative vision? Could you share an example of a project where this balance was particularly challenging?
Anuj Ambalal: We cannot overlook the fact that it all begins with a client’s requirement. As a designer, you must respect this and start by understanding their lifestyle, functional needs, material preferences, etc. Once you have a clear idea of these aspects, the next challenge is to address these requirements within your own framework and design principles. The onus is on the designer to communicate your processes and findings. Your proposal, which is based on a certain logic, has to be clearly communicated with a client. Not all clients have the ability to visualize the end result—which you, as a designer, can. So, it is necessary to build this trust; once your vision starts manifesting through the execution, it becomes much easier.
To give you an example: we were planning an interior for a private museum. It was a modernist building that housed a 16th-century wooden mandapa. The centrepiece was an intricately carved wooden ceiling, and the entire wooden structure featured ornate motifs and carvings. Since the museum also displayed ornate textiles and miniatures, the client was very reluctant to treat it in a contemporary way.
Our proposal consisted of re-installing the wooden mandapa true to its original scale and intent. However, all the interventions—whether it was lighting, furniture, or other functional requirements—would be treated in a minimalist style. These contrasting stylistic elements within a confined space made it very difficult to convince the client. But once the design started manifesting, things fell into place. Most importantly, in the end, the client received more than they had anticipated!
Collaborations & Community
Q. How do collaborations with artisans, craftspeople, or other creative professionals factor into your work? How do these partnerships enrich your design practice?
Anuj Ambalal: All design practices are collaborations. Artisans and craftspeople, depending on one’s practice, must be included in the design process. In our practice, craftsmen are involved right from the inception of any given design. Once a basic concept is derived based on the given requirements, we involve craftsmen to work out the structure of our piece.
In furniture, the structure of a piece is the single most important element. If it is not well thought out, no matter how good a piece looks, it will not last! Hence, I can say that in our practice, such collaborations are not just enriching but essential!
Q. What role do you see designers playing in addressing India’s unique social, cultural, and environmental challenges?
Anuj Ambalal: I think designers have a significant role to play in addressing, what I call, the indigenous requirements. India is unique because of its vastness and diversity. One can notice a change in culture every 100 kilometres one travels from any point in the country towards any direction! You can see the change in topography, landscape, food, dialect, and clothing—in other words, you experience a shift in the culture. I have not come across such diversity anywhere else in the world.
This is where the role of designers becomes crucial. One has to identify vernacular issues and design products accordingly to cater to specific needs. It’s time we stop looking to the West for new paths and start looking within.
Career Milestones & Achievements
Q. Looking back at your portfolio, which project represents a significant turning point in your career, and why?
Anuj Ambalal: I cannot think of any particular project, or for that matter, any specific point in my career that can be defined as a ‘turning point.’ Let’s just say that we’ve built it brick by brick and hope to continue doing so in the years to come!
Q. Among your recent works, what project are you most proud of, and what makes it special?
Anuj Ambalal: Currently, our Noguchi-inspired paper lamp collection is something that I’m fascinated with. I find it exciting because we’ve managed to fuse Noguchi’s aesthetic with the most mundane vessel shapes found in any Indian home. The end result, for us, not only breaks free from the original reference but also gives the products a new context. The forms are familiar and relatable to the common person, but this change in their context makes them very interesting. Besides, we managed to make these lamps eco-friendly as all materials used to make these lamps are locally sourced, chemical-free and recyclable.
Challenges & Opportunities
Q. What unique challenges and opportunities have you encountered as a designer in the Indian design industry?
Anuj Ambalal: Contemporary Indian furniture design is still in its early stages and evolving rapidly. Unlike a couple of decades ago when we started, there are many emerging design practices with young designers actively exploring new possibilities. The market for these products has also expanded tremendously, driven by India’s growing economy. Today, Indian consumers are well-travelled and well-informed, creating opportunities for designers to push their creative boundaries and express themselves more freely.
However, significant challenges remain, particularly in organizing the unorganized sector. There is a lack of institutions offering structured vocational training to craftsmen. Simply patronizing artisans does not offer a long-term solution. Instead, their skills need to be upgraded to improve their efficiency and enhance their value in the industry. This will not only ensure better compensation for craftsmen but also create a more structured and professional working environment for businesses.
Q. How are you navigating between global design trends and local contextual needs in your practice?
Anuj Ambalal: I don’t believe in trends—they are nothing more than passing winds. Instead, design should be deeply rooted, has to be shaped by the local cultural, has to be functional, and needs to be respectful to the environment. My practice focuses on understanding and responding to the local context rather than following the ever fleeting global influences.
Sustainability & Innovation
Q. How do you approach sustainability and eco-friendly practices in your designs, particularly considering India’s traditional wisdom and contemporary environmental challenges?
Anuj Ambalal: Sustainability is at the core of our practice. We exclusively use recycled wood, sourced from old houses and factories marked for demolition. Interestingly, the dimensions of this reclaimed wood often dictate the structural elements of our furniture, allowing the material itself to shape the final design. This approach ensures minimal waste while embracing the inherent character of aged wood.
Additionally, as I’ve mentioned before, all materials used in our lamps are locally sourced. By prioritizing indigenous materials and traditional craft techniques, we aim to create designs that are not only environmentally responsible but also deeply rooted in India’s rich artisanal heritage.
Q. What technological innovations or new materials are you currently exploring in your work?
Anuj Ambalal: At present, we have not actively pursued new materials or technological innovations. Our practice remains deeply rooted in working with wood, a material that aligns with our design philosophy. While our craftsmen continue to employ traditional methods. We have integrated modern tools and technology to enhance precision and efficiency. However, the essence of their craftsmanship—the techniques and the hands-on approach—remains largely unchanged.
Professional Growth & Advice
Q. How do you build visibility for your practice and connect with potential clients? What platforms and strategies have worked best for you?
Anuj Ambalal: To be honest, I am not too active on social media, even though I recognize its significance as a business driver today. Our approach to visibility has been largely organic—most of our business comes through referrals and word-of-mouth publicity. While we do maintain a social media presence, it is not hyper active. That said, we still receive inquiries and orders through it, reinforcing the idea that quality work finds its audience, even without aggressive marketing.
Q. What are the crucial dos and don’ts for young designers trying to establish themselves in India, and what professional forums or communities would you recommend they join?
Anuj Ambalal: The most important thing for young designers is to trust their instincts and stay true to their vision, rather than chasing fleeting trends. Take on projects that challenge you—stepping out of your comfort zone is crucial for growth. Also, never underestimate the importance of enjoying the process; creativity thrives when you’re having fun!
Future Directions
Q. As you look ahead, what new project types or design directions would you like to explore?
Anuj Ambalal: I’ve never been one for extensive planning—whenever I have, things have rarely gone as expected! Instead, I prefer to take each day as it comes, staying open to new ideas and unexpected opportunities. The beauty of design lies in its unpredictability, and I look forward to wherever the creative journey leads me next.
Q. What do you envision for the future of design in India, and how do you hope to contribute to this evolution?
Anuj Ambalal: Indian design is steadily gaining global recognition, and I believe it’s only a matter of time before it takes centre stage. With its deep-rooted traditions and evolving contemporary expression, Indian design has a unique voice that the world is beginning to appreciate. I hope to be relevant by staying true to authentic craftsmanship, pushing creative boundaries, and fostering a design culture that blends heritage with innovation.
Image Courtesy of Anuj Ambalal
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