About us

"Design is a universal poetry. It is not a profession, but a way of life. If one does not know how to idealize what one does, then why do it? Why create?” - Satyendra Pakhalé



Read More Design Now, Germany, 2007

I would really like to rethink the entire bathroom with a new approach. I would like to focus on every single element and accessory. I would love to be asked by some serious manufacturer who is willing to take on that creative journey with me. To redefine the bath room where east and west meets and creates a unique long lasting typology using innovative materials and techniques. Of course respecting the age old human tradition of wellbeing.

Read More ddB, Italy, 2009

“My approach is an intimate, intense, close relationship to the project. This is more similar to the immediacy of strictly artistic disciplines than to the more indirect design disciplines. I like to be closer to projects, physically, virtually & manually close to feelings, thoughts & ideas. I use all visualization skills & computer techniques, hand tools & digital tools to realize a project. I always want to specify & want to be responsible for every single detail of a project. I always appreciate lot of direct contact with the
collaborators- industry & involve them in the process of creation.” - Satyendra Pakhalé

Read More Wide 05, Italy, 2003

“Style is a superfluous qualification. Signature is better, but I’d rather talk about language. Market demand leads to the manufacture of more and more products for artificial needs that we’ve created ourselves. Industrial societies have lost touch with the essence of humanity. I wanted to get back to the heart of things.” - Satyendra Pakhalé
Read More Frame, NL, 2007

Even though Pakhalé is not keen on having himself considered a typically Indian designer: In every single of his objects it is that little hint of the Orient which arouses longing in the observer. His approach to design since long since secured him numerous contracts, particularly from Italy. Without exception objects which appeal directly to our emotions and which seem to us at one and the same time strangely enraptured and yet close and familiar.

Read More Form, Germany, 2002

“I thought that it was important to learn how things were done in practice, how all the different processes worked and how products actually came about. See it more as a phase in
which to further my development expressly intended to last for a short period. It was certainly very interesting to be involved in the collaboration set up between Philips and Renault for the
development of the Pangéa concept-car while working on the design of its interior.” Satyendra Pakhalé

Read More Stedelijk Museum, NL, 2002

“Design is a fairly misunderstood profession today; it is considered cosmetic, something to make things pretty. To my mind that is a very narrow way of understanding design. Design ought to be applied in the fundamental thinking of organizations, corporations, industries and above all in public policies and social institutions. There are some wonderful examples of this around the world, however they are few. We need to apply design thinking at a systemic level and not only at a product level.” Satyendra Pakhalé
Read More Index Media, India, 2008

“In my creations I always try to find that universal poetry, something that hopefully connects people from any part of the world, something like human warmth. I do not confine myself to a specific tradition, or a fixed set of ideas or notions. I feel free and would like to cherish and cultivate that freedom in my way of living and creating.” Satyendra Pakhalé

Read More Design Indaba, South Africa, 2005

Above his desk is pinned a Balzac quote which begins, “Constant labour is the law of art as well as the law of life.” As Pakhalé puts it himself, “Design is not a profession, but a way of life.” He now spends much of his time traveling to stay inspired and informed and to visit clients around Europe. That leaves him little time to daydream over the evocative view from his office window – the old dockland landscape that for centuries connected Amsterdam with the world. The docks were, perhaps, the original multicultural melting pot, and the Indian-born international designer’s presence here today seems entirely appropriate.
Read More Amsterdam Index, NL, 2007

“I come from a culture of object making… I was surrounded by thousand years history of object making. So design for me is an ancient historic activity which also makes meaningful contribution to contemporary culture.” Satyendra Pakhalé
Read More Spoon, Phaidon, UK 2002

Several models & prototypes of his design scattered around in studio. Pierre Pauline chair in one corner, he says casually, “I saved it from a recycling centre in the south of Holland”. He runs studio with three to five assistants, working on every thing from portable computer disc, furniture to every day objects for mass production. With unshakeable, unblushing conviction of his own worth, he focuses his work on several of his interests in contemporary culture to digital technology.
Read More Square, UK, 2003

“I started in the industrial design profession designing technological products such as computers,
disks, digital products and even the interior of a concept car, the Renault-Philips Pangea, I got those opportunities early on and that was great. However, I realised technological products tend to lose cultural significance in their formal symbolic content, for obvious reasons. Being discontent with the sterile-industrial images of most of the manufactured goods all around us, I have been looking for the warmth – the lost textured, warm feeling we have from age-old objects” Satyendra Pakhalé
Read More Inview, France, 2004

My goal is it to have no goal. As soon as one A goal has, digs one its own grave. A goal is a fixed conception. And fixed conceptions do not lead one anywhere, where one not already once was. If it is my goal to go to the main station then I nevertheless already know, where he lies. Where there is the challenge? I, in my work is a matter it believes rather of evolution. One lead to other one. It is a little like a breeding programme: One cultivates something in hope that it thereby ever refine, more deeply, more sensitively becomes.
Read More Design report, Germany, 2007

I feel the form of an object should have a content, a universal thought. I do not confine my self to a specific tradition, fixed set of ideas, notions or dogmas, I feel I am free and I would like to cherish and cultivate that freedom in way of living and creating, calling myself a cultural nomad. Interpreting the contemporary culture and continue my romance with the contemporary culture
Read More Items, NL, 2004

69 ways of always being Satyendra Pakahle
Read More Donna, Italy, 2004

“The difference is in industrial and non-industrial working methods. I want to bridge the two.” says Satyendra Pakhalé. He dreams of designing mass-produced objects that transcend the generic quality of the assembly line. He hopes such products, “will bring back, what we have lost, the human touch, the symbols, the warmth and textures of the non-industrial world. “ Pakhalé has trained for this pursuit as rigorously as an athlete.
Read More I D magazine, USA, 2003

I feel what we need all around the world is a sort of an anti-materialist revolution. What I mean
is that we need a revolution to overcome our false dealing with material as matter. This is not something
new, creators like Noguchi and Brancusi were talking about it some time ago. What
I like most is “materia” the Latin word in its broader sense as an expression of human intellectuality. As we know a great number of the principles of human cultures are
based on “materia”.
Read More Carnet, Italy, 2003

“Craft is universal, it’s human reality, it’s neither exotic nor ethnic. In my work, I want to extract qualities from craft again, and put them into items that can be made in a modern, industrial way.” A trained mechanical engineer and industrial designer, Satyendra Pakhalé seems an unlikely champion of several craft techniques. But avoiding the supposed opposition between industry and craft is exactly what his work is all about. “We design these technological objects with no human content, all these little grey boxes that look the same and are difficult to use,” he explains.
Read More Dwell, USA, 2007

Pangea is a concept car project done in collaboration with Renault Design, France and Philips Design, The Netherlands. Satyendra Pakhale was responsible for the interior design of the concept
Car designed for environmental research in extreme environmental conditions.
Read More L’Automobile Magazine, France, 1997

Five designers based in five cosmopolitan cities such as Amsterdam, Bangalore, Milano, New York etc engaging with India and her the industrial crafts skills.
Read More Case da Abitare, Italy, 2000