India’s maximum sought-after furniture maker


Choosing wooden for a chunk of furnishings is aa lot like choosing hues for a portray,” says Vincent Roy, whose reverence for timber has not even remotely dimmed with time—or repute, for that matter. The Pondicherry-primarily based Frenchman is appeared amongst India’s maximum sought-after furniture makers, robotically commissioned by top architects and interior designers to create customized pieces, in addition to grant cafes, boutiques, and consulates.

Pondicherry Furniture-Maker: Finding Home Here


Roy first got here to India in 2008 to help cabinetmaker Patrick Laffourcade within the healing work of Notre Dame des Anges; a vintage church positioned within the French area of Pondicherry. Born and raised in Cognac, he admits to a love-at-first-sight second when he first set foot here 11 years ago, as a 21-12 months-antique backpacker: “I fell in love with the millions of possibilities that India offers. After a year, I decided to discover Asia’s relaxation and traveled and labored as a carpenter in Thailand, Vietnam, Cambodia, Laos, and Indonesia. But even despite everything that point, I overlooked India deeply and, in the end, decided to return and install my domestic and studio right here.”

Pondicherry Furniture-Maker: Pace of Profession

Roy is extremely excited—and mildly baffled—on the pace at which carpentry progresses in India. “Suddenly, it seems as though all people want to be an architect and dressmaker! On a critical be aware, the engineering enterprise here is swiftly developing a much broader desire for advanced carpentry equipment and machines. Still, it’s miles the style of crafts and strategies that make it such an exciting vicinity to paintings in. Rajasthan on my own has such a lot of crafts, and there are such a lot of gifted fingers prepared and inclined to collaborate.”

Pondicherry Furniture-Maker: Creating a Distinctive Signature

He ordinarily works with antique beams sourced from vintage Tamilian homes and Burma teak used by the British and the Chettiars (a Tamilian merchant network). Though Pondicherry has a long record of native woodworking and thrives on colonial reproductions, Roy’s works have a specific signature that speaks of a current, minimalistic design, wrought in uncomplicated strains rooted in Scandinavian furnishings design from 1920 to 1970. Everything he creates is built with traditional joinery—sanded and polished, by hand, to a nice end.

These days, he’s busy experimenting with a historic Japanese method, Shou sugi ban, which includes keeping wooden by using the first ring the timber to a charred floor, treating it with special oils. Shou sugi ban is a time-consuming manner that calls for mild arms and numerous persistence; however, it rewards its practitioner with indescribable satisfaction and pleasure. Undoubtedly, there are incomparable moments of peace and evolution to be determined in these traditional craftsmanship practices. Still, for Roy, the whole thing, by and large, comes lower back to India: “I feel unfastened here.”

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