Takhat Bench
by Shivangi Vasudeva United Kingdom (UK)

6.400
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+
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    How is this defined? A series of pieces that are not restricted by any predetermined volume limit. Each item is meticulously produced by the designer or in collaboration with skilled local artisans, resulting in a limited quantity of unique pieces. If stated, each item may exhibit slight variations due to its handcrafted origin.
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Description

The Takhat Bench is a four-seater; it draws from the communal benches and voluminous furniture often found in verandahs, integral to traditional architecture. Inspired by the sculpted pounding tables of Nagaland, its monolithic presence echoes the strength of shared spaces—places of gathering, quiet reflection, and connection. Solid yet inviting, it transforms tradition into a contemporary sculptural statement.

For indoor use. Requires assembly with Allen key screws ( included ). Removable seat upholstered in handwoven cotton.

Dimensions LxWxH
Weight (kg)

180

Production Year

Material

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Discipline

Color

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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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