The height of the plinth was deliberated to showcase the stone handrail and step cladding.
Flavour of the fusion speaks as we enter the verandah which comprises of designer steel grills on one side of the bay and tanjore paintings and wall art on the other side. The wall art adds aesthetics to the place apart from acting as a backrest.
The language of the stone continues in this area on either sides instead of window openings. To culminate the rich feel, the flooring tiles have aesthetic brass studs embedded in them.
The richness of the solid brass embedded wooden door frame for the main entrance to the house throws quiet and solid richness to the entire place.
A sumptuous vastu based plan with mezzanine levels.
The high ceiling of the hall highlighted threw the windows through a scintillating feel during the day and embossed with glamorous warm light from the 12’ long extravagant handmade glass chandelier.
Special feature are the bay windows in the hall that open into the OTS. The sill of the bay window is used as a platform to sit informally to reach the activities in the OTS on one side and hall on the other side.
The hallway visualised to bear a through of shenbagam flowers that where conceptualised and executed on the golden forest Indian marble.
The view of the hall from the corridor above mesmerises one with the design oriented metal Italian Indian marble fusion handcrafted handpicked design to suit the quality of life style of the people within.
Classical contemporary chettinad fusion rocked the interiors with high ceiling abridged by an elegant corridor leading into the bedrooms.
As we enter the house one gets to view major portion comprising hall OTS kitchen successively.
The terracotta tile border around this space together weighs the genre of classical contemporary chettinad fused interior.
These are the spaces divided by walls and differences in activities produced with difference in height levels.
The highlight of the design is typical chettinad pillar. The view through this pillar over to the OTS captures the languages of aesthetics combined with function, comfortable circulation with proximity of actions created in priority.
The art work of the mud wall which is treated to the eyes to stone jally opening.
The OTS abutting the hall is vested in utility with the sump for water harvesting (25000 lit). The mud wall finish which carries stone statue of rajaganapathy.
Over looking the OTS the pooja on one side thronged by art and relief work and kitchen, on the other side with a cozy slide – across pantry top which acts as service from the kitchen freshly in to the OTS.
Copper inlays on the floor (7 peepal petals). Cutting open the indian marble replacing with white solid material and the little ornaments decking the lordess devi, and the masters feet is truly admirable.
Apart from the pooja room a mezzanine hangs with “Sannadhi”.
This rooms opens into an open terrace facing the front of the house where conducive environment is established to practice yoga.
The stone waterbody near the heavy bamboo partition along with the subtle orange wall layed with sthapathi and purlin ceiling.
At large, the interiors of the bedrooms, toilets, common areas are executed as visualised.