The new epicenter of collectible design in New York looks south. House of Santal, New York‘s first gallery entirely dedicated to collectible design from South Asia, has just opened at Rockefeller Center. Founded by Raksha Sanikam, a New Yorker of Indian origin who left finance for a career as an interior designer in Bangalore, she then deepened her passion for collectible design with a master’s degree at the Pratt Institute in Brooklyn. It takes its name from santalum, the sacred Indian sandalwood, and occupies over 740 square meters organized around a nadumuttam, the central courtyard of traditional domestic architecture: an interior space that regulates the passage between public and private, light and shadow—a principle that here becomes a curatorial device. The inaugural exhibition, At the Threshold of the Courtyard, brings together 13 Indian designers and studios, with the ambition of capturing their energy by going beyond the rhetoric of current trends.
House of Santal is New York’s first gallery dedicated to collectible design from South Asia. How did it come about?
The idea for House of Santal was born in 2019, while I was working on an interior design project in India. I have a background in venture capital and was involved in the operational and marketing activities of my family’s construction company. I collaborated with architect Hemanth Reddy, who opened my eyes to the depth of South Asian design. Visiting trade fairs in Delhi and Mumbai changed my perspective: I was struck by how little the rest of the world knew about what this region produces.
In what way?
It wasn’t just about material or technical innovation, but about inherited craft traditions and a new generation of designers who created works that were only possible thanks to this synergy. At the same time, what we called “handmade” was becoming a luxury category, while in many artisan families, the new generation no longer saw the craft as sustainable. I realized that promoting this work as simple “craftsmanship” was not enough: it had to be recognized on the same level as global collectible design, through a channel capable of supporting it and ensuring its continuity.
There is increasing talk of a golden age for South Asian collectible design on the global stage. Is this true?
Perceptions are changing. India is often associated with the past or with “ethnic” objects, but it is much more than that. We respect traditions, and a new generation is giving them a modern and functional language, rooted in heritage yet contemporary.
>
How would you define “South Asian design” today?
It is guided by values: material intelligence, durability, care, and intentionality in the production process. It does not have a single aesthetic: it can be understated or bold, but it maintains a depth linked to process and genealogy. It is also collaborative: often the hands that make these objects belong to people born into the craft, with extraordinary skills. When this knowledge meets a conscious design, something is created that authentically unites past and present.
What is the common thread of this first edition?
Design rooted in traditional craftsmanship. Edition I: At the Threshold of the Courtyard remains faithful to the materials, forms, and techniques of the region. The space is conceived as a journey inspired by the threshold and the courtyard: you arrive, you pause, then you enter deeper. We wanted New York to encounter this work not as an “ethnic” category, but as contemporary collectible design, with context and perspective.
Is Charles Correa’s philosophy of bringing tradition and contemporary design into dialogue still relevant today?
Absolutely. The Vernacular Modern and many of the designers we represent embody this bridge in an authentic way. There is clarity and simplicity in their design, never superficiality. They work with wood with respect for the nature of the material, creating forms suited to contemporary living. Today, this philosophy is ethical: building with what is local and alive, collaborating with craftsmanship as equals, creating forms that bring history into the future. Veeram Shah, Rebecca Ruebens, and Vipin Joe also do this in an exemplary way.
Veeram Shah is a rising voice. Why did you choose him?
He is one of the most recognizable voices in South Asian design. I love the rigor of his work: it is not only beautiful, it is resolved. You can sense discipline and restraint, and the ability to let the material and process guide the form. He collaborates with artisan clusters as true partners. His studio in Navsari [in the Indian state of Gujarat] is a model of this approach. It represents the direction we believe in: globally legible design, rooted in the territory and made with integrity.
How will this platform evolve over time?
The term “platform” is intentional. House of Santal does not just organize exhibitions: it wants to redefine the perception of South Asian collectible design and build the channels to support it. The physical space will host dialogues on materials, design, and craft processes, while the online presence will expand to broaden access and education. The core remains unchanged, but the methods will evolve.
