The Sourcebook, with architect Priya Rose of Kochi-based design firm Workers of Art

Workers of Art duo Priya Rose and Rahul Mathew approach design as if they’re telling a story with materials and light. Their design language largely revolves around local materials and craftsmanship, where textures take centrestage. The local landscape and climate of the place guide their design decisions, shaping the mood and materiality of every project they undertake. The residential spaces they design are narrative driven and grounded in tactile materials within a local context, while their commercial projects lean toward the futuristic, with avant garde material, and industrial design. For them, art isn’t decoration, it lives within the architecture itself, embedded into the fabric of a space. In this conversation, Priya Rose opens up about the brands they rely on and the thoughtful sourcing approach that shapes their work. There’s plenty of information here to take notes.

Equally inspiring are the antique and craft spaces scattered through Mattancherry—shops like Crafters, Sheratone Antiqarts, Ginger House Museum Hotel and smaller family-run stores dealing in old timber, brassware and salvaged architectural fragments. These places offer a tactile connection to the region’s material history and craft traditions. Every walk reveals something new, like a restored doorway, a quaint cafe, a beautifully curated store or an overlooked architectural detail, making Mattancherry and Fort Kochi feel like living archives of art, craft, and design. 

BH: Are there any brands or studios you consistently turn to for furnishings, textiles, rugs and wallpapers? What makes them stand out for you?

PR: We’re increasingly drawn to handwoven and hand-embroidered textiles sourced from local craft communities, especially women-led collectives in Kerala like the Chendamangalam Kaithari, the Paravur handloom weaver's co-operative society. What stands out to us is the tactility, subtle irregularity and the depth of weave, the nuance in stitch, and the honesty of natural fibres. They allow us to collaborate directly with makers, while bringing character, and cultural continuity into the spaces we design. We try not to use wallpapers, but if needed then Nilaya collection of wallpapers from Asian Paints. When it comes to sourcing rugs and carpets, Neytt offers remarkable intricate designs.

BH: Which design studios do you particularly admire for their approach when it comes to lighting?

PR: When it comes to lighting, we’re drawn to studios that treat light not just as illumination, but as atmosphere. The way a fixture diffuses, reflects, or filters light can completely transform a space, so we’re very particular about where we source from. We work with Hive Home, a Mumbai-based bespoke lighting studio by Shivangi Shah, for her delicate, floral-inspired glass chandeliers. What stands out to us is her nuanced approach to indirect lighting.  The way the glow moves through glass while still retaining the intricacy of its detailing, while experimenting with clustered forms, subtle colour palettes, and materials like metal and Channapatna elements creates pieces that feel sculptural even when unlit. We also look to Oorjaa, a Bengaluru-based sustainable lighting studio co-founded by Jenny Pinto, for their thoughtful and innovative use of sustainable materials. Their exploration of lantana, banana fibre and other natural resources results in fixtures with a uniquely warm and diffused glow. The quality of light in their pieces isn’t harsh or direct, it’s atmospheric. The way the dispersion shifts the mood of a room is something we find incredibly compelling. For us, lighting is often the emotional anchor of a space. So we gravitate toward designers and studios who understand that light isn’t just functional, it’s experiential.

BH: What are some hidden gems where one can discover some unique, one-of-a-kind décor pieces in Kerala?

PR: Mattancherry is always our first stop for one-of-a-kind pieces. The antique stores there are layered with history, old wooden cabinets, brass objects, reclaimed doors, fragments of architectural details. It’s less about going with a list and more about discovering something unexpected. For terracotta, we often look at Terracrafts pottery studio in Kochi. There’s a rawness and warmth to the clay that feels very rooted in the landscape here.

BH: When it comes to art, which Indian artists/studios immediately come to your mind? Have you recently discovered any new artists that excite you?

PR: K.G. Babu, a self-taught artist from Kerala whose paintings explore the relationship between people and nature. He has been seen making a lot of noise in the art world lately, as well as Tom Vattakuzhy, a Kerala-based figurative painter, illustrator and printmaker, who brings a quiet, narrative depth rooted in memory and light. Another senior fine artist Abhimanue Govindan offers expressive abstraction that feels alive and energetic. A recent discovery for me is Smitha M Babu, a painter and performance artist whose evocative watercolours and mixed media bring craft narratives into focus.

BH: Are there any artists and their artworks that are currently on your wishlist- pieces that you aspire to own or creatives you want to collaborate with in the near future?

PR: We are collaborating with Viswathi Chemmanthatta, a visual artist from Malappuram for a few pieces where we are exploring art as functional objects.

BH: If I have to ask you for that one brand studio recommendation across India, which is too good to be missed and why, what comes to your mind?

PR: If we had to pick one brand/studio from across India that’s too good to miss, it would be Anuvad Innovation Studio, a Gujarat-based multimedia design studio that truly stands out for its boundary-blurring approach to craft and technology.

BH: Do you also look up to different regions of the country to source specific décor, folk art, furniture, fabrics etc? Can you name some places that you reach out to?

PR: Absolutely, we often look to different regions across India when sourcing, because each place carries a distinct material language and craft legacy. Kolkata is one such city we turn to, especially for its old-world furniture workshops, old wood masks, hand-pulled print studios and a certain detailing that still finds its way into contemporary pieces. There’s a quiet refinement to what you find there. Jaipur is another constant source of inspiration, from block-printed textiles and hand-knotted rugs to blue pottery, stone carving, and intricately worked metal. One can spend hours at the Indian art house in Jaipur for some unique antique finds. The scale and confidence of craft in Jaipur is unmatched, yet it still allows room for customisation and experimentation.