A dual mandate for FOAID Delhi: design the hardware being shown, then design the room that shows it. Two connected zones, a family of display stands, and a sunburst of a hundred handles — planned as renders, then built, wired and dressed on-site.
The brief was to design a 3D exhibition booth that showcases Dorset's product range through a coherent visual language, an immersive spatial layout and a family of curated display stands — a shell drawn as carefully as anything shown inside it.
The booth splits into two rooms that share a floor and a brand, but not a material language: a grey-concrete room built around a wall of hardware and a bright red drip-table, and a white, almost clinical room built around a run of illuminated "digital lock" bays. Visitors cross from one register to the other without a wall in between.
Everything the booth stages is Dorset's own hardware — a run of speculative lever handles and a digital lock family, each drawn as its own design language rather than a shared platform.
Expressive and dynamic, drawing inspiration from fluid movement — a tapered profile that widens toward the end, with sculptural curvature carried all the way through the grip.
Two more directions in the same range. MATRIX is sharp, linear and symmetrical — minimalist geometry and vertical alignment. REGALIA is classical and rounded — a regal, slightly bulbous body meant to read as timeless rather than trend-driven.
A companion collection of digital door locks, developed as three related silhouettes rather than one body — Sora, Orla and Luma cater to different style preferences and installation contexts while keeping the same compact footprint.
Each display unit was treated as a mini-stage for the products, not a shelf. Stands vary in height, proportion and interaction, and every surface sits at eye level or hand reach — so the hardware can be picked up and felt, not just looked at.
The core pegboard stand was drawn once and finished twice — a deep-purple version for the entrance and a black-and-wood version for the interior — sharing the same lit panel of levers, hinges and studs so the range reads consistently across both rooms.
A second, taller bay format built for the Farrëtto Abitare line — a premium-range endcap with its own lit signage and a narrower footprint for corner placements.
A family of stacking plinths in Dorset's palette — interlocking blocks that repeat and recombine to hold products at whatever height a plan calls for, without introducing a new part for every configuration.
Built as a "FOAID × dorsët" collaboration, Throne of Fame arranges close to a hundred real lever handles into a sunburst on a raised plinth — less a display than a piece of the booth's identity, assembled by hand on-site.
The making of this booth was an intensely hands-on process — overseeing the structural setup, fine-tuning modular display elements on-site, and working directly with the fabrication team to translate every render into a built, walkable space.
The renders held up: the grey room's panel wall and the white room's lock bays both survived the trip from screen to stand, close enough to trace one onto the other.
Beyond the two hero rooms, the built booth carried its own texture — a sample wall of finish discs, a dresser of handles in pastel, and circulation that always kept the "dorsët" mark in view.
Many of the components were designed to be modular but were fine-tuned and put together at the venue itself — real-time problem-solving, material adjustments and close collaboration with the fabrication team.
The hardware itself, and the room built to make a stranger stop and pick it up. The strongest read on this project is an industrial designer's approach to spatial identity — designing the objects, then designing the experience built around them.