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The Great Eastern Home Brings Ceramic Craftsmanship To Furniture Design
- Style Essentials Edit Team
- 48 minutes ago
- 5 min read
The Great Eastern Home has built its identity around craftsmanship, historical references, and a deep respect for material. Their latest collection continues that line of thinking but takes it in a direction that most people don’t expect- this furniture features ceramic that functions as the core structure of a piece, rather than merely serving as an accent or decorative topper.
Ceramic has always been associated with pottery, tiles, tableware, or small decor objects. You don’t usually see it supporting the weight and purpose of furniture. That’s exactly the boundary the brand wanted to push inside The Great Eastern Design Studio. The team began working on the idea more than a year ago, exploring how ceramic could behave when scaled up and how it could sit with wood in a way that felt natural instead of experimental for the sake of novelty.
The new collection includes centre tables, side tables, accent pieces, and a few transitional forms that don’t fall neatly into a category — the sort of pieces people use in entryways, corners, or alongside seating layouts to bring depth. What stands out immediately is how clean the silhouettes are. The forms don’t feel like they’re trying to be “art furniture.” They’re practical first, expressive second, which is why the pieces don’t overwhelm a room.
One of the reasons ceramic works surprisingly well here is the global shift toward mixed-material interiors. The design world has been leaning away from single-material statements and more towards combinations that feel honest — stone and cane, wood and metal, concrete and glass. Ceramics fit easily into this language, yet they rarely get the structural treatment The Great Eastern Home has given them.
Ceramic’s natural weight and solidity form the grounding presence of each piece, while wood brings in a sense of warmth and everyday usability. The dialogue between the two isn’t dramatic; it’s straightforward. One anchors, the other completes. That simplicity is what makes the collection visually strong without being loud.
The studio had to completely rethink the material. Traditional ceramic work doesn’t involve pieces at this scale, so every stage required testing: how thick the clay should be, how much shrinkage to expect, what glaze combinations behave well on larger surfaces, and how to fire the pieces without risking cracks. It’s a mix of technical discipline and craftsmanship that doesn’t appear in the final object but is essential to its existence.
Every piece begins in the brand’s in-house Ceramic Workshop. Unlike many contemporary studios that rely heavily on digital modelling, the process here starts with pencil sketches — multiple iterations on paper until the proportion feels right. Once a sketch is approved, the artisans translate that shape into clay.
This is where the real work happens. Clay for furniture-scale pieces cannot be treated like clay used for pottery. It needs added support during shaping, slower drying times, and specific handling to prevent warping. The artisans shape each base manually, smoothing some areas while deliberately leaving other surfaces slightly raw so the glaze can settle in natural variations.
Glazing is another critical stage. The studio developed a series of custom glazes that behave predictably at higher temperatures. Some glazes create subtle tonal differences; others create a more uniform coat. The goal isn’t perfection but consistency — a finish that complements wood without competing with it.
The firing stage determines the success or failure of each piece. Larger ceramic forms are more vulnerable during firing, and the team often tests multiple pieces at once to monitor how each one behaves inside the kiln. Once the base is ready, the wooden top is crafted separately. The wood is cut, treated and finished with a level of precision that makes the final union look effortless. When the ceramic and wood finally come together, the piece feels cohesive rather than patched together.
There’s a quiet shift happening in Indian design right now. A growing number of studios are moving towards material innovation while still holding on to craft traditions. This collection fits within that broader movement. It doesn’t try to replicate global trends directly; instead, it adapts them to Indian craftsmanship and local skill sets.
The Great Eastern Home has always leaned on heritage and artisanship, and this line reinforces that identity in a contemporary manner. Instead of focusing on opulence or showmanship, the designs place attention on material integrity. The pieces feel grounded and made for real homes, not just display environments. They work in modern spaces, transitional interiors, and even older houses with vintage elements — the flexibility comes from their simple silhouette and honest construction.
Ceramic furniture isn’t common in India yet, and this collection offers a gentle introduction. It doesn’t push into extreme forms or experimental shapes. It keeps things real. That restraint is likely what will attract both designers and homeowners who are looking for something different but still timeless.
The centre tables carry the strongest presence in the collection. Their ceramic bases vary from wider, bowl-like forms to more cylindrical shapes with a slight taper. The wood tops are finished in natural tones, avoiding stains or colours that would overpower the ceramic. These pieces anchor a living space without dominating it.
The side tables take a different direction. Some are slimmer, designed to sit next to sofas; others are more sculptural, almost like small plinths. They can hold a lamp, a plant, or function as an occasional surface. These pieces bring quiet character to a room, especially in spaces that need height variation.
The accent pieces are the most flexible. They can sit in entryways, next to a reading chair, or even at the end of a hallway. The variation in glaze tones across this category makes them versatile additions to multiple interior styles.
What ties the entire collection together is the studio’s approach. The Great Eastern Home doesn’t treat craft as nostalgia. Their emphasis is on keeping the craft alive by making it relevant. Using ceramic at this scale isn’t a gimmick; it’s a thoughtful attempt to expand what Indian artisans can produce while offering customers something long-lasting and distinct.
The brand speaks often about preserving artisanal skills, and this collection validates that mission. Everything comes from handwork, testing, and revision. There are no mass-produced shortcuts here. That approach gives each piece a certain authenticity without relying on dramatic forms or excessive detailing.
The collection feels like a natural extension of the brand’s ethos. It’s measured, functional and grounded in material truth. The pieces don’t shout. They simply hold their place in a room with confidence. For clients and designers looking for furniture that reflects craftsmanship with a contemporary edge, this line from The Great Eastern Home offers something genuinely new for the Indian market.
Price: On Request
Website: thegreateasternhome.com
Instagram: The Great Eastern Home
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