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Tracks and conversations that have shaped our studio",{"tracks":85,"error":86},[],"spotify_request_failed",{"_createdAt":88,"_id":89,"_rev":90,"_system":91,"_type":89,"_updatedAt":94,"address_1":95,"address_2":96,"address_3":97,"businessHours":98,"email":99,"enquiries":100,"image":131,"imageDescription":166,"imageTitle":167,"instagram":168,"language":169,"phone":170,"seo":171,"title":174},"2026-01-26T10:54:24Z","contact","j9x8aXCnOL41Sub9FljjR0",{"base":92},{"id":89,"rev":93},"jlD5jeeNl8LjKEqy0Xy9dl","2026-05-06T15:18:52Z","49 Columbia Road","London, E2 7RG","United Kingdom","9am-6pm (UTC)","mail@doshilevien.com",[101],{"_key":102,"_type":103,"children":104,"markDefs":124,"style":130},"d63414a9ac22","block",[105,110,115,119],{"_key":106,"_type":107,"marks":108,"text":109},"cecd60051b7c","span",[],"If you are enquiring about an internship or employment, please address your email to ",{"_key":111,"_type":107,"marks":112,"text":114},"9d43bbd310ad",[113],"2156f41e12a7","careers@doshilevien.com",{"_key":116,"_type":107,"marks":117,"text":118},"4f3a8c76086e",[]," \nFor press enquiries, address to ",{"_key":120,"_type":107,"marks":121,"text":123},"4feeafe75fb8",[122],"2e5dbddedfcb","press@doshilevien.com",[125,128],{"_key":113,"_type":126,"href":127},"link","mailto:careers@doshilevien.com",{"_key":122,"_type":126,"href":129},"mailto:press@doshilevien.com","normal",{"_type":132,"image":133},"asset",{"_type":134,"asset":135,"crop":11,"hotspot":11},"image",{"altText":11,"metadata":136,"originalFilename":164,"url":165},{"_type":16,"blurHash":137,"dimensions":138,"hasAlpha":23,"isOpaque":22,"lqip":142,"palette":143,"thumbHash":163},"eFG8[.?^0000r:ogItt2-lng00rW?ao~of4ov}NbXT%f03E3^$%1Rj",{"_type":19,"aspectRatio":139,"height":140,"width":141},0.8057742782152231,1524,1228,"data:image/jpeg;base64,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",{"_type":26,"darkMuted":144,"darkVibrant":147,"dominant":150,"lightMuted":153,"lightVibrant":156,"muted":157,"vibrant":160},{"_type":28,"background":145,"foreground":30,"population":146,"title":30},"#323757",0.3,{"_type":28,"background":148,"foreground":30,"population":149,"title":30},"#08377f",6.53,{"_type":28,"background":151,"foreground":37,"population":152,"title":37},"#f9e8cb",7.11,{"_type":28,"background":154,"foreground":37,"population":155,"title":30},"#aab6c5",0.17,{"_type":28,"background":151,"foreground":37,"population":152,"title":37},{"_type":28,"background":158,"foreground":30,"population":159,"title":30},"#9c5e48",0.34,{"_type":28,"background":161,"foreground":30,"population":162,"title":30},"#b48155",0.32,"2dYNJgQKc4iHeBeneIWHZcqYB2hVgFY=","v_2_icwnipadoshi 1 (1).webp","https://cdn.sanity.io/images/o88d9ev8/production/7f989267bfa698d690e8d2c137614b86c6cb488e-1228x1524.webp","Jonathan Levien and Nipa Doshi both regard drawing as a way of thinking and a way to capture the essence of ideas. The Quilton sofa for Hay forms a backdrop to the initial concept sketch by Doshi, made in her chequered exercise books from Hong Kong.","DRAWING AS DAILY PRACTICE","doshilevien","en","+44 (0)20 7739 3631",{"ogdescription":172,"ogimage":11,"ogtitle":173},"Contact Doshi Levien, the London-based studio of Nipa Doshi and Jonathan Levien, working across disciplines shaped by design, colour and material culture.","Contact Doshi Levien | Design Studio London","Contact",{"_createdAt":176,"_id":177,"_rev":178,"_system":179,"_type":182,"_updatedAt":183,"cardExcerpt":184,"cardImages":185,"colorScheme":202,"content":203,"credits":712,"featuredProjects":713,"heroImage":11,"heroLayout":243,"linkLabel":755,"nextRead":756,"seo":11,"slug":852,"subtitle":854,"title":855,"with":52},"2025-12-14T11:15:31Z","ab02bac3-d7ab-466d-8349-11238fb5753a","U4edcnaVtwgLzgBHjZUcPB",{"base":180},{"id":177,"rev":181},"hwNpAZwjhdUfjmvJMZYfE0","conversation","2026-02-24T15:02:43Z","“Each of these objects carries a story through its design, materials and use. Chandlo reflects the daily ritual of dressing and grooming, elevated into something architectural. Armada explores seclusion within openness, creating a place to pause within a larger space. Almora balances retreat and engagement, showing how we inhabit thresholds between private and social.”\u2028—Jonathan Levien",[186,192,197],{"_key":187,"_type":132,"image":188},"c2e2f249fd2c",{"_type":134,"asset":189},{"_ref":190,"_type":191},"image-479b1b981afecb0b1a0d1b10f6c0c2c978116b7a-1860x2324-webp","reference",{"_key":193,"_type":132,"image":194},"69cfeae42046",{"_type":134,"asset":195},{"_ref":196,"_type":191},"image-1fc803c9bc13c342651f2318b5ee74ea5647ea1b-1875x2500-webp",{"_key":198,"_type":132,"image":199},"4e617b915899",{"_type":134,"asset":200},{"_ref":201,"_type":191},"image-b917feaba9b730f61e34e358fc28ed8f91ea4370-1860x2460-jpg","blackOnIvory",[204,218,245,289,364,476,579,649,674],{"_key":205,"_type":206,"alignment":207,"marginTop":208,"text":209},"877b06eef4a4","leadParagraph","left","medium",[210],{"_key":211,"_type":103,"children":212,"markDefs":217,"style":130},"4f1ca954dbf3",[213],{"_key":214,"_type":107,"marks":215,"text":216},"bcc9666a58a5",[],"The theme of Object as Space explores the idea that furniture is never just an accessory, but also a way of shaping the environments we live in. In this conversation, Nipa Doshi and Jonathan Levien reflect on three projects – Chandlo, Armada, and Almora – where objects carry the weight of architecture, creating worlds around the body.",[],{"_key":219,"_type":220,"body":221,"footnotesSize":243,"marginTop":244},"d27fb92f26c0","body",[222],{"_key":223,"_type":103,"children":224,"markDefs":238,"style":130},"7e5f31aa0d9d",[225,229,234],{"_key":226,"_type":107,"marks":227,"text":228},"d76d87cb169b",[],"To open up the discussion, we draw occasional parallels to the Bauhaus, where designers such as ",{"_key":230,"_type":107,"marks":231,"text":233},"c6d12f3a9fe9",[232],"65ad03989a18","Marcel Breuer, Lily Reich and Walter Gropius",{"_key":235,"_type":107,"marks":236,"text":237},"52c5bb4b1541",[]," also saw furniture as a means to define space, atmosphere, and the relationship between inside and outside.",[239],{"_key":232,"_type":240,"assets":11,"ratio":241,"text":242},"footnote","default","Marcel Breuer, Lily Reich and Walter Gropius were central to the Bauhaus movement, revolutionising modern architecture through their innovative use of materials, functional forms, and integration of art and technology.","regular","small",{"_key":246,"_type":247,"image":248,"layoutOptions":288,"marginTop":208},"5f34d78ec954","singleImage",{"_type":249,"assets":250,"description":285,"ratio":286,"title":287},"narrativesMedia",[251],{"_key":252,"_type":132,"image":253},"3700afddced9",{"asset":254,"crop":11,"hotspot":11},{"altText":11,"metadata":255,"originalFilename":283,"url":284},{"_type":16,"blurHash":256,"dimensions":257,"hasAlpha":23,"isOpaque":22,"lqip":261,"palette":262,"thumbHash":282},"MkQJQ3kD~qnhayspWXkBs,of-;ofIUWBWC",{"_type":19,"aspectRatio":258,"height":259,"width":260},1.7786187322611164,2114,3760,"data:image/jpeg;base64,/9j/2wBDAAYEBQYFBAYGBQYHBwYIChAKCgkJChQODwwQFxQYGBcUFhYaHSUfGhsjHBYWICwgIyYnKSopGR8tMC0oMCUoKSj/2wBDAQcHBwoIChMKChMoGhYaKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCgoKCj/wAARCAALABQDASIAAhEBAxEB/8QAFgABAQEAAAAAAAAAAAAAAAAAAAYH/8QAIBAAAAYCAgMAAAAAAAAAAAAAAAECAwQRBQYSMRMhsf/EABYBAQEBAAAAAAAAAAAAAAAAAAIBA//EABgRAAMBAQAAAAAAAAAAAAAAAAABAhES/9oADAMBAAIRAxEAPwDed/lTmIEdOMe8L6l3yM6KiEdjMzkV7PCbnPqdsyJRp6GqSorEpBJktIcSXsiUV0JlvEwY+3tvMRkIc4VZX86GV61g5rl6itAADIf/2Q==",{"_type":26,"darkMuted":263,"darkVibrant":266,"dominant":269,"lightMuted":272,"lightVibrant":275,"muted":278,"vibrant":279},{"_type":28,"background":264,"foreground":30,"population":265,"title":30},"#694737",0.55,{"_type":28,"background":267,"foreground":30,"population":268,"title":30},"#78321f",0.44,{"_type":28,"background":270,"foreground":30,"population":271,"title":30},"#a7835b",1.06,{"_type":28,"background":273,"foreground":37,"population":274,"title":37},"#ccd7a4",0.18,{"_type":28,"background":276,"foreground":37,"population":277,"title":37},"#e3c8a2",0.8,{"_type":28,"background":270,"foreground":30,"population":271,"title":30},{"_type":28,"background":280,"foreground":37,"population":281,"title":30},"#d1b825",0.26,"dQgODID4hll3h3iLdYgARCbzUw==","Doshi Levien-Website-Narratives-Object as Space-01.jpg","https://cdn.sanity.io/images/o88d9ev8/production/8d2cea9fdf936fcb9d61aa68d5a60bd47c470591-3760x2114.jpg","This drawing captures the designers’ vision for their Das Haus – Interiors on Stage exhibition, where Doshi Levien was invited to present the studio’s ideal home. The resultant installation reflected a rethinking of the home as layered and plural, structured around daily rituals. Objects such as Chandlo were conceived as both furniture and fragments of architecture, shaping intimate spaces for dressing, eating and resting.","original","Drawing for Das Haus, Interiors on stage","fullWidth",{"_key":290,"_type":291,"footnotesSize":243,"marginTop":208,"texts":292},"caf2490ba447","conversationBlock",[293,317,330,352],{"_key":294,"_type":295,"initials":296,"text":297},"2635c7513ba4","question","Q",[298],{"_key":299,"_type":103,"children":300,"markDefs":314,"style":130},"8ae3390a5b5a",[301,305,310],{"_key":302,"_type":107,"marks":303,"text":304},"db4f97c6727d",[],"Before we speak about Chandlo, I want to return to Das Haus, the installation you created for ",{"_key":306,"_type":107,"marks":307,"text":309},"2f30a9f13448",[308],"4695c2485c2b","IMM Cologne in 2012",{"_key":311,"_type":107,"marks":312,"text":313},"8a1c4427e03f",[],". Das Haus was your chance to rethink the home from the inside out as a layered, plural environment, which is sensual, open to many influences, and deliberately incomplete. Your concept structured the house into zones of activity – eating, sleeping, bathing, dressing and socialising – where each transition mattered as much as the spaces themselves. In that vision, objects often carried the weight of architecture. Was Chandlo one of those objects?",[315],{"_key":308,"_type":240,"assets":11,"ratio":241,"text":316},"IMM Cologne’s annual Das Haus project functions as a speculative experiment, inviting a designer to explore the meaning of the home at full scale. Doshi Levien’s interpretation was notable for rejecting the idea of the house as a fixed, unified structure, instead presenting it as layered, shifting and culturally plural.",{"_key":318,"_type":319,"initials":320,"text":321},"b5672b8ee805","answer","JL",[322],{"_key":323,"_type":103,"children":324,"markDefs":329,"style":130},"f01aad365c3b",[325],{"_key":326,"_type":107,"marks":327,"text":328},"1e308d50d67e",[],"Chandlo was situated in the dressing area and conceived as an arrangement of spatial elements, rather than a single object. The circular mirror, the trays, the tinted glass – each element of Chandlo is like an architectural gesture. Its composition of mirrors and planes feels almost like a fragment of a building, with surfaces glancing past each other, creating an intimate zone around the body. Together, these elements frame the daily ritual of dressing up, celebrating the enjoyment of getting dressed and the importance of personal grooming as part of our daily wellbeing rituals. As such, Chandlo is both an object and a space.",[],{"_key":331,"_type":295,"initials":296,"text":332},"9486a65d1683",[333],{"_key":334,"_type":103,"children":335,"markDefs":349,"style":130},"a54cfb3e9326",[336,340,345],{"_key":337,"_type":107,"marks":338,"text":339},"580af10da535",[],"In her collaborations with Mies van der Rohe, Lilly Reich often blurred the line between staging and ",{"_key":341,"_type":107,"marks":342,"text":344},"8fb816776afb",[343],"1f9b93b2e535","living",{"_key":346,"_type":107,"marks":347,"text":348},"84d4a5246d88",[],": furniture was not just functional but helped to create an atmosphere, almost like an environment in itself. Chandlo seems to work in that way too; less like an accessory, more as a spatial condition. Do you see it in that light?",[350],{"_key":343,"_type":240,"assets":11,"text":351},"Lilly Reich (1885-1947), who worked closely with Mies van der Rohe, often treated furniture and textiles as architectural elements that shaped atmosphere and experience, as seen in projects such as the Velvet and Silk Café (1927). In this way, Doshi Levien’s Chandlo also moves beyond the status of an accessory to create a spatial framework for daily ritual.",{"_key":353,"_type":319,"initials":354,"text":355},"f1813f5372c6","ND",[356],{"_key":357,"_type":103,"children":358,"markDefs":363,"style":130},"7024c33440ad",[359],{"_key":360,"_type":107,"marks":361,"text":362},"d15fc624feda",[],"Absolutely. In Das Haus, the boundaries of the home were defined by objects and activities rather than walls. The name Chandlo refers to the bindi, the coloured dot traditionally worn by Indian women on the forehead, which offers a simple yet powerful symbol of identity and ritual. 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These pieces seem less like chairs and more like spatial gestures, shaping the space around the body as much as supporting it. How did you imagine their relationship to body and space?",[],{"_key":492,"_type":319,"initials":354,"text":493},"e712c55d3338",[494],{"_key":495,"_type":103,"children":496,"markDefs":501,"style":130},"dcca2663764b",[497],{"_key":498,"_type":107,"marks":499,"text":500},"2e5ed7bc14f6",[],"For us, Armada is about creating islands within open landscapes. The high backs and sweeping sides are like sails filled with wind. They suggest lightness, but they also provide shelter. The volume opens generously to the sitter, offering comfort and seclusion. When you sit, you feel both protected and connected. Each piece defines a micro-space — a retreat for work or contemplation within the flow of a larger environment.",[],{"_key":503,"_type":295,"initials":296,"text":504},"210d34d5e57f",[505],{"_key":506,"_type":103,"children":507,"markDefs":521,"style":130},"15c596383abc",[508,512,517],{"_key":509,"_type":107,"marks":510,"text":511},"33141b2e7884",[],"Walter Gropius often returned to the relationship between private and public, inside and ",{"_key":513,"_type":107,"marks":514,"text":516},"216bbe6aeaf6",[515],"e7100fa2701e","outside",{"_key":518,"_type":107,"marks":519,"text":520},"5961c96bec35",[],". Almora, the lounge chair you designed for B&B Italia in 2014, seems to embody that same concern. It's a chair that offers retreat while keeping you open to your surroundings, a space that is both inward and outward at once.",[522],{"_key":515,"_type":240,"assets":11,"text":523},"The architectural philosophy of Walter Gropius (1883-1969) emphasised continuity between the home and its environment, using features such as open plans, glass curtain walls and flexible partitions. ",{"_key":525,"_type":319,"initials":320,"text":526},"355705e2e653",[527],{"_key":528,"_type":103,"children":529,"markDefs":543,"style":130},"0dbaba72aad7",[530,534,539],{"_key":531,"_type":107,"marks":532,"text":533},"e36477242309",[],"With Almora, we wanted to capture a duality: the feeling of being protected yet still engaged with the world around you. 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Your work seems to extend that idea, giving objects the power not just to scale down architecture, but to create atmospheres and even worlds. How do you understand the theme Object as Space across these projects?",[],{"_key":664,"_type":319,"initials":354,"text":665},"03f488290d65",[666],{"_key":667,"_type":103,"children":668,"markDefs":673,"style":130},"79b7f6daab1b",[669],{"_key":670,"_type":107,"marks":671,"text":672},"ee2faa629a98",[],"Each of these objects carries a story through its design, materials and use. Chandlo reflects the daily ritual of dressing and grooming, elevated into something architectural. Armada explores seclusion within openness, creating a place to pause within a larger space. Almora balances retreat and engagement, showing how we inhabit thresholds between private and social. 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