AD Studio9

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02/09/2026

The family came to us with a home they had lived in and cared for over two decades, but more importantly, with years of memories, habits, objects and individual personalities that had shaped the way they saw their home. The mother and her two daughters each carried a different idea of comfort, beauty and belonging. And our task was not to impose one singular language over these stories, but to find a way for architecture to hold and express them.

The mother’s idea of warmth was found in soft colours, artful additions and the familiarity of an heirloom cot. The elder daughter’s world was quieter — shaped by her love for reading and the need for a personal sanctuary. For the younger daughter, a designer herself, the room needed to become an evolving canvas for colour, creativity and work.

These were not simply individual briefs for three rooms. They were fragments of three personalities that needed to come together as one home.

Even the existing house had a story to tell. Its aged load-bearing structure, its inherited furniture, its doors and frames, its vegetation and the memories attached to them became part of the design conversation. Instead of erasing these layers, the transformation became an exercise in understanding what they meant to the people who lived there.

At Astitva Aasare, the architecture was therefore shaped not just by plans, materials or spatial requirements, but by the language of its inhabitants.

Design: .studio9
Ex*****on : .grid
Video : .in.the.ocean

01/09/2026

Over decades, Geoffrey Bawa transformed what was once an abandoned rubber estate into a landscape that became his most personal and enduring architectural experiment. Here, the garden was not simply something that surrounded a house. It became the architecture itself—shaped through views, thresholds, water, movement, light and time.

At Lunuganga, every path seems to lead towards a carefully held moment. A dense canopy suddenly opens into an expansive lawn. A framed view draws the eye towards the lake beyond. A pavilion appears almost unexpectedly between trees. Water catches the changing sky, while walls, steps and terraces quietly direct movement without ever announcing themselves.

What makes Lunuganga extraordinary is the restraint with which it is composed. Nature is never treated as a backdrop to architecture. Instead, Bawa allows the landscape to remain alive, unpredictable and constantly changing. The architecture frames it, edits it and occasionally disappears into it.

There is a deliberate rhythm to the experience—compression and release, enclosure and openness, shade and light. Spaces are revealed gradually rather than all at once. The journey becomes as important as the destination.

Lunuganga also offers one of the clearest insights into Bawa’s understanding of tropical architecture: that a building does not need to dominate a landscape to create a powerful presence within it. Sometimes, architecture can be a pause. A frame. A threshold. A carefully positioned place from which to experience the world outside.

Even today, Lunuganga feels less like a garden that has been completed and more like an idea that continues to evolve with the weather, the seasons and the passing of time.

Bawa Trail by

At KARA, the furniture is designed as an extension of the architecture—carrying the same material language, precision an...
31/08/2026

At KARA, the furniture is designed as an extension of the architecture—carrying the same material language, precision and attention to detail into the objects that occupy the space. Rather than being introduced as standalone pieces, the furniture becomes part of the larger composition, shaping how the central areas are experienced and inhabited.

Each piece brings together carefully considered combinations of veneer, timber, colour and crafted details. The material palette moves between contrasting tones and textures, while exposed joinery and precisely articulated elements allow the construction itself to become part of the design. Nothing is treated as merely decorative; every material and junction contributes to the character of the piece.

Set against the larger scale and drama of the showroom, the furniture brings the experience of KARA back to a human scale. It is through these objects—where people sit, gather and interact—that the material language of the project becomes more intimate, tactile and immediate.

Project :
Design: .studio9
PMC: .grid
Photography:

At KARA, the laminate library is designed as an architectural experience in itself. Rather than treating the collection ...
31/08/2026

At KARA, the laminate library is designed as an architectural experience in itself. Rather than treating the collection as a catalogue of samples, the shelving creates a continuous field through which colour, texture and finish are revealed gradually—allowing the sheer range of materials to become part of the spatial experience.

The depth and rhythm of the shelves bring order to an otherwise expansive collection, while the darker setting creates a deliberate backdrop against which every laminate can be seen with greater clarity. Repetition gives the display its rhythm; variation within the collection gives it character. Together, the shelving and materials create a space that feels less like a conventional product display and more like an immersive library of surfaces.

It is a simple shift in the way materials are presented: the shelving does not compete with the collection, but gives it structure, depth and presence—allowing every finish to be discovered as part of a larger architectural composition.

Project :
Design: .studio9
PMC: .grid
Photography:

The reception at KARA marks the first moment of arrival into the showroom. Framed by a progression of arches, the space ...
31/08/2026

The reception at KARA marks the first moment of arrival into the showroom. Framed by a progression of arches, the space gradually draws you inward, creating a sense of depth and anticipation before revealing the larger spatial experience beyond.

At its centre, the custom-designed reception furniture brings the material language of KARA into focus through carefully considered combinations of veneer, colour and craft. Behind it, the hand-painted tropical mural and hand-polished veneer introduce another layer of texture and detail, while the concentric Rosso marble inlays across the floor create a subtle geometry that anchors the composition.

Together, these elements transform the reception from a functional point of entry into a carefully composed architectural moment—one where material, craft and spatial experience come together to establish the language of KARA from the very first encounter.

Project :
Design: .studio9
PMC: .grid
Photography:

29/08/2026

Here’s the strongest version—keeping the tone of the earlier Bawa Trail captions, but making this one more immersive and specific:

Geoffrey Bawa understood that architecture was never just about the building.

In the way light entered a room, in the pause before water met stone, in the shadows cast by deep overhangs, and in the trees that were allowed to remain exactly where they belonged—every detail was part of a larger conversation.

Nothing felt imposed on the landscape. Walls framed gardens, roofs sheltered without disconnecting, and water carried the sky back into the architecture.

To experience Bawa’s work is to realise that nature was never something he added to architecture.

He simply made sure architecture never took it away.
Bawa Trail | by

The design brings veneer, timber, stone and terracotta into a restrained material vocabulary, allowing their individual ...
28/08/2026

The design brings veneer, timber, stone and terracotta into a restrained material vocabulary, allowing their individual qualities to remain legible while contributing to a cohesive interior. Rather than introducing layers of finishes, the richness of the space comes from how a considered palette is carried across architectural surfaces, display systems, furniture and detailing.

The display elements are integrated into this language, allowing shelving and joinery to read as extensions of the architecture rather than independent retail fixtures. This continuity was central to the project — the same materials that form the identity of KARA’s offering become the surfaces, planes and details that shape the showroom itself.

Across the interior, changes in grain, texture, depth and reflectivity create subtle shifts within an otherwise restrained palette. The darker surfaces establish visual depth, while the warmer timber and terracotta elements bring contrast and tactility to the composition.

At this scale, material becomes more than a finish. It defines proportion, establishes hierarchy and influences how the space is perceived as one moves through it.

The intention was to create a full-scale material experience — one where a veneer or timber finish can be understood not as an isolated sample, but as part of a larger architectural language.

We’re grateful to for featuring KARA and for recognising the material and architectural thinking behind the project.

Project :
Design : .studio9
Landscape :
PMC : .grid
Photos :

KARA is a material-led showroom conceived to present veneer, timber, stone and finishes not simply as products, but as p...
28/08/2026

KARA is a material-led showroom conceived to present veneer, timber, stone and finishes not simply as products, but as part of a larger architectural experience. The project uses light, volume and landscape to create the setting in which these materials can be experienced at scale.

At the heart of the showroom, an oval skylight punctures the roof plane, bringing natural light into the depth of the building and establishing a strong vertical connection within the double-height volume. Rather than treating the skylight as a purely functional opening, its geometry is carried into a circular coffer, giving the ceiling a defined architectural expression while allowing the light to become part of the composition.

The grove positioned directly beneath it reinforces this relationship. Its placement creates a visual axis between the sky and the interior, introducing an organic layer against the precise geometry of the architecture. As daylight shifts through the day, it moves across the surrounding surfaces, revealing the varying textures, grains and tonalities of the material palette.

With the display programme arranged around this volume, the skylight and grove become a moment of pause within the showroom — a space where movement gives way to observation and the materials can be read through changing light and perspective.

The intent was to make daylight an active part of the showroom experience, allowing the architecture to continually alter the way its materials are perceived.

We’re grateful to for featuring KARA and for giving the project a platform to communicate the architectural thinking behind it.

Project :
Design : .studio9
Landscape :
PMC : .grid
Photos :

KARA is a material-led showroom designed as an environment for experiencing veneer, timber, stone and finishes at an arc...
28/08/2026

KARA is a material-led showroom designed as an environment for experiencing veneer, timber, stone and finishes at an architectural scale. Rather than treating the showroom as a container for a series of products, the project uses architecture to establish the context in which those materials can be understood.

The planning is organised around a large, double-height volume that becomes the primary spatial anchor of the showroom. On a relatively compact and linear site, the decision was to resist filling the central floor plate with display. Instead, the programme is consolidated along the perimeter, allowing the centre to remain open and establishing a continuous visual relationship across the space.

This creates a deliberate hierarchy between the display zones and the volume that holds them. The products remain accessible along the edges, while the central void provides the scale and breathing room necessary for the material palette to be experienced collectively.

A grove occupies this volume, introducing an organic element into an otherwise controlled architectural composition. Above it, the oval skylight establishes a vertical connection to the sky and draws the eye upwards, reinforcing the double-height character of the space.

The architecture of KARA therefore works through a balance of enclosure and openness — a showroom where the programme is pushed outward so that space itself can become part of the experience.

We’re grateful to for featuring KARA and for giving the project a platform to communicate the architectural thinking behind it.

Project :
Design : .studio9
Landscape :
PMC : .grid
Photos :

27/08/2026

When we first stepped into this 20-year-old load-bearing residence in Marathahalli, Bengaluru, it did not feel like a house waiting to be renovated. The matriarch and her two daughters had maintained it with remarkable care, and the home already carried a quiet warmth through its objects, furniture, vegetation, and everyday memories. The family’s brief was therefore never about making it newer or more ornamental. It was about making it lighter, more breathable, more functional, and better suited to the way they lived, while retaining everything that made it theirs.

But the existing structure came with its own realities. A load-bearing house meant that every intervention had to be considered with precision. There were circulation bottlenecks, dense zones, heat gain, and spaces that could be rethought — but there was also a strong emotional attachment to the existing home and everything it represented.

That became the starting point for Astitva Aasare.

Rather than treating the existing house as a blank canvas, we began by reading what was already there — understanding its structure, its patterns of use, its memories, and the people who had grown with it. The intention was to intervene carefully, opening up the home where it needed air and light, while allowing its existing character to remain visible.

The home we walked into became the foundation for everything that followed.

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