They may not work in furniture design professionally, yet each individual discusses furniture and spatial arrangements with a deep understanding of how our surroundings influence our thoughts and lifestyles. Across various fields, a common concept emerges that furniture is not merely decorative but also embodies behavior, psychology, and purpose in physical form.
In these narratives, furniture emerges as more than just a product category; it serves as emotional infrastructure. Whether it’s a gradually evolving corner, a tactile-focused studio, a tranquil residence reflecting personal identity, or a workspace promoting clarity, furniture acts as a subtle collaborator in everyday life. Perhaps its true purpose lies not in making a grand impression but in serving its users.
Amid the hustle and bustle of daily life, Rakin Absar seeks tranquility not only emotionally but also spatially. His vision of home is not fixed or complete; it has a retro leaning but, more importantly, it evolves continuously. For him, furniture is a companion that grows alongside life, with pieces changing every few years as space expands in alignment with age, affordability, and shifting priorities. The focus is not on hastily “finishing” a home but on the progress, ensuring that the space reflects the individual’s evolving identity rather than conforming to external expectations. In a city characterized by density and chaos, Absar’s relationship with furniture centers on creating calmness, one thoughtful nook at a time.
For jewelry designer Lora Khan, furniture intertwines with experiences. Her office defies the traditional polished corporate setting, where brides can comfortably interact with jewelry while seated, moving around, and trying on pieces. The furniture is minimalist, unassuming, and easily accessible, with natural lighting enhancing the jewelry’s appearance both indoors and outdoors. At home, her spatial dynamics undergo a complete transformation, with white, airy curtains diffusing sunlight to create a peaceful resting environment. Khan’s advice on crafting an intimate home emphasizes an understanding of light, color, and emotional responses, with furniture playing a supportive role without overshadowing the psychological ambiance. She envisions a room as a sanctuary where stress dissipates upon entry.
Zahia Khondoker Aroni blurs the lines between fashion and home décor, viewing both as reflections of personal identity. Her preference for contemporary, minimalist interiors mirrors her own aesthetic, appearing modest to some but resonating as genuine to her. In her view, furniture serves as a means of self-expression, empowering individuals by reflecting their personalities rather than chasing fleeting trends. The intentional restraint and tranquility in her spaces are deliberate choices.
Shahir Chowdhury’s approach to furniture is rooted in systems thinking, reflecting his disdain for clutter and preference for a serene workspace. He describes his style as warm minimalism, characterized by clean lines and neutral hues that exude a sense of calm without feeling sterile. Chowdhury believes that furniture, like technology, should be present yet unobtrusive, as an undue focus on it often indicates weaknesses in the foundational elements. Just as he structures educational systems by eliminating the superfluous and reinforcing the essential, his spatial design aims to support clarity, equity, and sustained concentration.
Overall, these individuals — Rakin Absar, Lora Khan, Zahia Khondoker Aroni, and Shahir Chowdhury — exemplify unique perspectives on the role of furniture in shaping not just physical spaces but also emotional experiences and personal identities.
**In frame: Rakin Absar, Lora Khan, Zahia Khondoker Aroni, Shahir Chowdhury**
**Set Design: ISHO Furniture**