Oyster Experience Center

Andheri West, Mumbai, India

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Oyster Experience Center

Andheri West, Mumbai, India

Firm

Bricolage Bombay

Type

Commercial › Retail Showroom

STATUS

Built

YEAR

2020

SIZE

1000 sqft - 3000 sqft

BUDGET

Undisclosed

Oyster @ Laxmi Estate
A showroom where a dividing wall is composed like a raga
PROJECT PROFILE / FACT FILE
Project : Oyster Experience Centre
Location: Laxmi Industrial Estate, Andheri West, Mumbai
Client: Oyster Pvt Ltd
Typology: Retail / experience-centre interiors
Area: 2,500 sq ft
Programme: Luxury bath solutions + premium kitchen systems
Status: Completed
Year completed: 2020
Photography: Subin Selva
Design leads: Vinit Nikumbh & Ankita Mathapati Nikumbh, Bricolage Bombay
Central idea: A dividing wall composed on the logic of raga & tala Method
Each horizontal course individually drawn; built layer by layer

SHORT PROJECT DESCRIPTION (≈500 WORDS)
A Wall That Behaves Like Music
When Oyster decided to enter Western India, they did not ask us for a showroom. They asked for an experience — a 2,500-square-foot space in Andheri West that could introduce a North Indian brand to a new market and house two product worlds, luxury bath and premium kitchen, under one roof. As the founders and architects of Bricolage Bombay, Vinit Nikumbh and Ankita Mathapati Nikumbh, we found the whole project waiting inside a single problem: an existing wall that divided the two showrooms.
Most designers would have treated that wall as an obstacle to disguise. We treated it as an opportunity to be amplified. It became the conceptual and physical anchor of the project — an architectural installation that organises movement, frames views and narrates the entire space rather than merely partitioning it.
The wall’s form is drawn from Indian classical music. Influenced by the mathematical logic of raga and tala, it evolves as it rises — patterns repeating, shifting and transforming, so that the surface feels at once familiar and continuously changing, exactly as a composition built from recurring notes and subtle variations does. In our hands it became a flowing, ribbed white surface that reads like a curtain caught mid-movement, sweeping overhead from wall into ceiling.
Translating music into masonry demanded patience. Each horizontal course was individually drawn and documented, so that craftsmen could build the installation layer by layer from detailed course drawings. The result is a genuine collaboration between computational thinking and the hand — precision and manual execution given equal weight.
Around this protagonist, we kept the palette restrained — warm finishes, natural textures and carefully detailed display systems — so the products read as immersive settings rather than isolated objects on shelves. Visitors move through a sequence in which the central wall keeps revealing new relationships between the two brands, offering surprise while holding everything in cohesion.
The bath zone takes the musical logic into a different material entirely. Here a wall of brick is laid in an offset, perforated rhythm — bricks pushed and pulled from the plane so that light catches each one differently — a jali of fired clay that lets the sanitaryware sit within a textured, almost percussive backdrop. Set against charcoal walls, warm stone floors and pools of low pendant light, the showroom never feels like a shop; it feels like a series of finished rooms one might actually live in. Oyster at Laxmi Estate shows how a single architectural idea, drawn from music, can shape an entire retail world.
FEATURE ESSAY (≈1000 WORDS)
Reading the Raga, Building the Wall
Every project arrives with one constraint that everyone wishes were not there. At Oyster’s new experience centre in Andheri West, it was a wall. The 2,500-square-foot space had to hold two distinct product worlds — luxury bath solutions and premium kitchen systems — and an existing partition stood stubbornly between them, separating the two showrooms. As the founders and architects of Bricolage Bombay, Vinit Nikumbh and Ankita Mathapati Nikumbh, we have learned that the constraint everyone wants to hide is usually the project trying to announce itself.
What if the wall that divides a space could be the very thing that unites it?
The partition as protagonist
So we refused to treat the wall as a problem. We made it the protagonist. Rather than a partition, it became the conceptual and physical anchor of the entire showroom — an architectural installation that organises circulation, frames views between the two brands, and gives the space a continuous narrative spine. A visitor never simply walks past it; they read it, and in reading it, move through the store the way we intended.
A surface composed like a composition
The form of the wall is borrowed from Indian classical music. We have long been fascinated, across the studio’s work, by translation between media — turning a tradition into a detail, a narrative into a sequence. Here we translated sound into surface. Drawing on the mathematical logic of raga and tala, we let the wall evolve as it rises: patterns repeat, then shift, then transform, so that the surface stays familiar even as it continuously changes — exactly the way a raga develops from recurring notes through subtle variation rather than abrupt event. The built result is a flowing, ribbed white skin that sweeps from the wall up across the ceiling like a curtain frozen in motion. A raga is a melodic framework within which improvisation takes place; this wall is a spatial framework within which the showroom improvises.
Can computation and craftsmanship build the same wall together?
From code to course drawings
Translating a piece of music into a piece of masonry is not a metaphor you can hand to a contractor. It demanded an intensive process. Each horizontal course of the wall was individually drawn and documented, and the masons built the installation layer by layer, course by course, guided by detailed drawings. The wall is therefore a true collaboration between computational thinking and the human hand — neither the algorithm nor the craftsman could have made it alone, and both are visible in the finished surface. This is, for us, the most honest kind of contemporary Indian making: digital logic realised through traditional skill.
Restraint, so the idea can sing
With so singular a centrepiece, everything else had to recede. The wider material palette was kept deliberately restrained — warm finishes, natural textures, carefully detailed display systems — so that the products and the wall remain the focus. We presented the sanitaryware and kitchen collections within immersive settings that resemble completed living environments rather than isolated displays, so that browsing becomes a journey of discovery. As you move, the central wall keeps offering new perspectives and new relationships between the two brands, producing moments of surprise while holding the whole showroom in cohesion.
A second material, a second rhythm
If one wall sings, what does the room next door sound like?
The wave wall is not the only place where rhythm becomes structure. In the bath zone, we translated the same musical thinking into a wholly different material: brick. A wall of fired clay is laid in an offset, perforated pattern, each brick pushed or pulled from the plane so that light grazes it differently through the day — a jali that reads, up close, like a notation of beats. Where the white wave is fluid and legato, the brick wall is percussive and tactile, the tala to the raga next door. The two surfaces are clearly cousins, but they speak in different registers, and moving between them gives the small showroom a surprising sense of musical range.
This habit of translating between media is, in truth, the core of how we work at Bricolage Bombay. Across our projects we have turned a vernacular tradition into a contemporary detail, a cultural narrative into a spatial sequence, sound into drawing and back into space. Oyster gave us the chance to make that conviction load-bearing — to let an idea borrowed from Hindustani music carry the entire experience of a retail interior. The restraint of the surrounding palette, the warm stone underfoot, the low pools of pendant light: all of it exists so that the translated idea can remain audible above the noise of merchandise.
Oyster at Laxmi Estate is, finally, proof of a conviction we return to again and again: that a single architectural idea, pursued without compromise, can organise an entire space. Give a wall a melody, and it will stop dividing a room — and start composing it.
DEEP DIVE (≈300 WORDS)
Each Course, Drawn by Hand
The wall at Oyster’s experience centre in Andheri West looks effortless — a flowing, ribbed white surface that sweeps from wall to ceiling like a curtain caught mid-movement. It was anything but. Every horizontal course was individually drawn and documented before a single one was laid.
We, Vinit Nikumbh and Ankita Mathapati Nikumbh, founders and architects of Bricolage Bombay, were handed a 2,500-square-foot showroom split by an existing partition between two product worlds, bath and kitchen. Instead of hiding that wall, we made it the protagonist — the anchor that organises movement, frames views and narrates the entire space.
Its form comes from Indian classical music. Drawing on the mathematical logic of raga and tala, the surface evolves as it rises: patterns repeat, shift and transform, familiar yet continuously changing, the way a raga grows from recurring notes through subtle variation. A melodic framework, rendered as a spatial one.
Translating music into masonry meant drawing the wall the way a composer scores a piece — course by course — so craftsmen could build it layer by layer. It is a genuine meeting of computational thinking and the hand; neither could have made it alone.
Next door, the bath zone answers in another material: brick laid in an offset, perforated rhythm — a jali of fired clay that is percussive where the white wave is fluid, the tala to its raga.
Around it, we kept everything restrained so the idea could sing. That is the whole lesson of Oyster: give a wall a melody, and it stops dividing a room. It begins to compose it.

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