Phantom Hands Chair Origin Story - In Conversation About Beginnings with Deepak Srinath

Deepak Srinath at the Phantom Hands Workshop Image : Phantom Hands


Parni Ray



Many have made the Chandigarh chairs since they were first designed for the public offices of the city in the 1950’s. Few among the independent carpenters typically commissioned to duplicate the designs - or the office babus commissioning- however know their lineage. Much like them, Deepak Srinath knew little about the furniture of Chandigarh or their ostensible creator, Pierre Jeanneret. He had just founded Phantom Hands, an online vintage furniture shop, when a chance encounter with a pair of chairs set him on a journey. Riding the wave of global interest in mid-century modernist design and Jeanneret, he decided to re-edit select pieces of Chandigarh furniture using traditional craft based production methods.

Parni Ray: Do you remember when you came across the Chandigarh Chairs for the first time?

Deepak Srinath: It was 2014 and we had just started Phantom Hands. At this point we sourced vintage items and shared a monthly catalogue of curated objects with people on our mailing list. We visited antique dealers and vintage shops across South India to find interesting items to showcase. It was on one such occasion that we came across a pair of Chandigarh office chairs.

Did you know much about them?

Not really, no. The antique dealer who had these chairs told me a bit about their history. He called them ‘Corbusier chairs’ and knew of their Chandigarh connection. Given how much we knew about Chandigarh architecture, we found it remarkable that we had never even heard of the furniture. So I quickly Googled it, and then fell down a rabbit hole (laughs).

The Office Chair from Phantom Hands' 'Project Chandigarh' collection. Image Courtesy: Martien Mulder

What did you find?

The stories of art dealers, galleries and auction houses that had recently ‘discovered’ the furniture. The life story of Pierre Jeanneret. I read about the astounding prices the original furniture now commanded and the controversy surrounding these ‘heritage’ pieces being taken out of Chandigarh. The international design community’s interest in mid-century European modernism peaked by the latter half of the 2000’s. So, by the time I caught on, there was considerable talk, and even some notoriety, about ‘Pierre Jeanneret’s Chair’s’. I was hooked. I read everything I could find about them. I even took a trip to Chandigarh, saw all the architecture and furniture, visited all the museums.

You liked the furniture…

I really did. I admired their simplicity and clean form. As I learnt more about them I came to appreciate their craft based mode of production and the utilitarian ideal they represented.

Much of this echo with Phantom Hands’ aesthetic. Would you say their style was what convinced you to remake them?

Partly, yes. We had discovered and admired a variety of Indian made furniture during this time – art deco pieces from Mumbai, Scandinavian inspired modernist furniture from the 1960s and 70s, George Nakashima’s furniture in Ahmedabad. All of these appealed to us aesthetically. Our engagement with the Chandigarh furniture however was different.

The Easy Armchair from Phantom Hands' 'Project Chandigarh' Collection.

How so?

For one, I had become fascinated with Pierre Jeanneret. I felt like his contribution to the Chandigarh project (which included the furniture) had been largely overshadowed by the figure of Le Corbusier, the master modernist. Hardly anyone has even heard his name in India. I thought this a shame, because his work was undoubtedly crucial to the evolution of Indian Modernist architecture and design.

It was in this spirit that I thought about remaking the Chandigarh furniture. Although there was obviously a market for vintage ‘Jeanneret chairs’, no manufacturing company was remaking the chairs in 2014. Which was surprising, re-editions are common in the furniture industry. Everything from Charles Eames’ Lounge Chair to Corbusier’s own LC armchairs continue to be remade by several celebrated brands. So why not the Chandigarh Chairs?

That’s a big plunge to take given that, so far, you only sourced and resold furniture. Now you would be manufacturing. Was that daunting?

I didn’t know anything about manufacturing and next to nothing about furniture, so it could have been. That it wasn’t was due almost entirely to my father in law, Sumanth Rao, who is also our technical advisor and ran his own furniture making firm for over 35 years. He helped me understand the basics of the trade, how to source, how to select materials etc. He also helped us recruit our carpenters and communicate our ideas to them.

We started with 3 models, two versions of the Chandigarh office chair (one X legged one V Legged) and the Easy Armchair.

Dining Chair from the 'Project Chandigarh' collection. Image Courtesy: Martien Mulder.

You stuck to the original material- teak and cane. Did you depart at all from the original designs?

The original furniture was to be made of local, economical material. Both teak and cane were that, then. Of course teak is far from ‘economical’ now (laughs). But yes we stuck to the original material.

Most of the furniture has no definitive version. They were all hand built by different carpenters, so almost every piece is a rendition of whatever the initial design was. We tried to take down the measurements and construction details of all the versions of the furniture we came across. Then we selected what we understood to be the optimal model, ergonomically, and stuck to it.

Do you remember the first customer who bought Phantom Hands’ version of the Chandigarh Chairs?

Yes, I do. He was a lawyer from Bangalore, where we are based, and knew about the history of the chairs. When he came to buy, quite by chance, I mentioned that we had sourced the teak for the chairs from an old auditorium in Bishop Cotton Boys’ School, which had recently been brought down. The wood was reclaimed from the beams and rafters and was more than 100 years old. Turned out that he was an old alumnus of the school and immediately became sentimental about the purchase. So it seemed destined somehow.

Deepak in his office at Phantom Hands.

I still remember that within a week I got a call from Rohan Murty, of Infosys. He had no idea about the background story of the Chandigarh chairs but he also went to Bishop Cotton and had heard that our chairs were made of wood reclaimed from the school. So he too was keen on acquiring a pair (laughs). The day the chairs arrived at his home he was being visited by a journalist from Economic Times, who got very excited about the story and got in touch with us the next day. And that’s how our Chandigarh Chairs got their first press coverage.

Discovering Pierre Jeanneret

A chance encounter with a pair of office chairs from Chandigarh sent Deepak Srinath looking into heritage furniture from the city, and Swiss architect-designer Pierre Jeanneret.

Read Essay

The Genesis of the Chandigarh Chair: Furniture as Infrastructure

There are several things unique about the furniture made for the city of Chandigarh in the 1950’s. The most striking among these is that they were conceived at the same time as the city, as a component of its master plan.

Read Essay

Upholding Europe’s Legacy: From Chandigarh’s City Furniture to ‘Pierre Jeanneret’s Chairs’

The quiet extraction of heritage furniture from Chandigarh spoke of the Indian government's disregard and neglect. But it also revealed a profit chain linking officials, antique dealers and powerful Euro-American institutions.

Read Essay