Birah Bench
by Shivangi Vasudeva United Kingdom (UK)

3.250
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Description

Birah bench takes inspiration from antique boxes and caskets traditionally used by the Nagas to store feathers. Its recessed body, reminiscent of a casket, cleverly disguises its true function, creating an element of intrigue for the user. Characterized by structural sophistication, the design features wooden slats seemingly floating on stouter legs, tied together with cane slivers to exaggerate the offset.

Materials
white ash wood with 0% VOC oil, handwoven cotton, cane fibers

Dimensions
L175cm x D42cm x H37cm

Dimensions LxWxH
Weight (kg)

40

Production Year

Material

,

Discipline

Color

Design Class

About Shivangi Vasudeva Visit Showroom →

Shivangi Vasudeva is a London-based Indian designer working at the intersection of furniture and textiles. Her practice is driven by a deep engagement with material culture, traditional craft techniques, and overlooked narratives of making. With a particular focus on endangered practices from India such as loin-loom weaving, wood lathe turning, and natural fiber joinery, her work seeks to reimagine inherited processes within a contemporary, sculptural language. Often balancing unexpected volumes with grounded, horizontal forms, her pieces foster a quiet intimacy between people and land. Shivangi’s background is rooted in both formal design education and lived experience. She grew up in a family with three generations of textile producers, which instilled in her a tactile understanding of materials and a respect for labor-intensive craftsmanship. After studying Product Design in India, she completed her MA in Furniture at Central Saint Martins in London, where she began building a design language that is both poetic and precise - anchored in the histories of material and place. Rather than inventing new stories, Shivangi’s work uncovers those that risk being forgotten: stories held in the hands of women weaving in the corners of remote villages, or in artifacts now archived and untethered from the communities that once used them. Her practice is not only about preservation, but transformation - giving these narratives new form and presence through design. In doing so, she explores how furniture can become a vessel for memory, cultural continuity, and renewal.
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