This home in Dehradun reimagines multigenerational living through a contemporary design lens. Designed by Uniifyy, the residence combines elegant architecture, cultural references, and carefully planned spaces to create a home that is both sophisticated and deeply connected to family life.
Sculpted in Grace, a 6,000 sq. ft. residence in Dehradun designed by Ar. Kavita Batra and Ar. Ashish Batra of Uniifyy, is a thoughtful exploration of multigenerational living through the lens of contemporary design. Conceived for three generations sharing a single home, the project responds to a brief that demanded a delicate balance between diverse lifestyles, evolving aspirations, and deeply rooted traditions.
Rather than imposing a singular design language, the architects crafted a home where every space feels intuitive and purposeful. Each room reflects the personality and needs of its occupants while contributing to a cohesive architectural narrative. The result is a residence where tradition and modernity coexist effortlessly, creating an environment that is both elegant and deeply personal.
True to its name, Sculpted in Grace is a home shaped not by excess, but by thoughtful planning, refined detailing, and a seamless dialogue between architecture and everyday life.
The entrance foyer sets the tone for the residence, introducing a design language that seamlessly blends contemporary elegance with cultural depth. A striking stone mural forms the backdrop, while a thoughtfully positioned Krishna RaasLeela installation serves as the spiritual heart of the home. Rather than functioning as a decorative accent, the installation acts as a meaningful focal point, establishing a sense of identity and continuity that resonates throughout the interiors.
The material palette is understated yet refined. White marble flooring with delicate natural veining creates a bright, timeless canvas, complemented by a sleek dark stone console accented with polished steel. Adding warmth and nostalgia to the contemporary setting is a brassframed hanging swing upholstered in soft cream and grey tones. Suspended from ropes detailed with black beads, the jhoola reinterprets a cherished element of Indian domestic architecture, placing it within a modern foyer where tradition is celebrated with quiet sophistication.
Beyond the entrance, the home unfolds into an expansive doubleheight living and dining space that forms its architectural and emotional core. Designed as the central gathering place for the family, the volume visually and physically connects the entrance, kitchen, mandir, and upperlevel private spaces, encouraging interaction across generations while allowing natural light to permeate the interiors.
The space is defined by a restrained palette of luxurious materials. Large-format white marble flooring enhances the sense of openness, while walls clad in rich wood veneer with elegant metal inlays add warmth and verticality across the soaring double-height surfaces. A sculptural staircase with a dark steel frame and bronze-tinted glass balustrade introduces a contemporary edge, guiding the eye upward to a striking artwork in earthy terracotta hues that anchors the upper wall.
Suspended within the dramatic void is an eye-catching lighting installation composed of cascading ribbed glass globe pendants arranged at varying heights from a black metal framework. The installation transforms the space throughout the day, creating a dynamic interplay of light, reflection, and movement. At ground level, a sleek ethanol fireplace set within a black marble base lends warmth to the television wall, while tan leather swivel armchairs introduce a subtle contrast to the otherwise serene monochromatic palette, completing a living environment that is both sophisticated and inviting.
The ground floor dining space sits adjacent to the lounge, defined by a white slatted ceiling treatment and a grey fluted wall panel. The dining table is in heavily veined grey marble seating eight, with chairs in dark timber frames and grey woven upholstery. A sculptural pendant in gold and brushed metal with organic curving forms hangs above it, its shape in deliberate contrast to the linearity of the ceiling treatment. A freestanding bar unit framed in black steel and bronze glass sits nearby, its top surface in black marble, with a small figurative sculpture placed on it.
“What makes the project particularly considered as a design response to its brief is the way the upper floor operates in a completely different emotional register from the ground floor, and does so intentionally. Where the double-height space below is architectural, controlled, and materially rigorous, the upper lounge introduces a layer of sentiment and personal history. The vintage furniture that reappears here — reused rather than replaced — carries the memory of the family within it, and Uniifyy has chosen to let that memory remain visible rather than edit it out in favour of consistency. The upper floor also carries the second major artwork of the house, a wall inspired by love letters, which the Batras describe as the emotional counterpart to the Krishna RaasLeela below — one honouring cultural heritage, the other honouring intimate family relationships, the two together forming the emotional spine of the house across its two levels.
The formal sitting room is where the generational conversation within the house becomes most explicit. Uniifyy made the decision to give this space a completely different aesthetic from the rest of the home, one that belongs to the older generation and reflects their taste and their memories without compromise or modernisation. The sofas and armchairs are carved wooden frames in a baroque vocabulary, finished in grey and upholstered in houndstooth check fabric with grey velvet and rust orange accent cushions. The walls carry full-height classical wainscoting panels in soft grey, and overhead a deep cobalt blue Muranostyle chandelier with white shades and light blue glass drops provides the room’s single point of colour. This room has not been updated to sit comfortably alongside the rest of the house. It has been left entirely as itself, which is the most respectful decision the designers could have made.
The master bedroom uses a timber headboard wall as its primary design element, the wood cut and laid in a geometric pattern of diagonal lines and triangles that creates surface variation and depth without applied decoration. The floor is a dark brown veined stone, and the wardrobe wall is finished in olive green with a vertical fluted texture, a colour that introduces warmth into a room that might otherwise read as too cool. The attached bathroom is fully clad in grey marble with bold natural veining, the shower enclosure framed in bronze metal profiles, and the bath surround finished in a fluted gold detail that connects back to the brass and bronze language running through the rest of the house.
The guest bedroom takes a quieter approach, with full-height upholstered wall panels in warm beige behind the bed, divided by dark metal inlay lines creating a grid across the surface. The bedframe and base are in the same beige upholstery, and a large dark green curved occasional chair gives the room its only tonal contrast. A second guest room uses a leatherette headboard against full-height dark wood veneer panels, with a deeply patterned rug in blue, rust, and ochre covering the stone floor, its richness sitting comfortably against the restraint of everything else in the room.
The daughter’s bedroom is built around a long terrazzotopped study counter that runs almost the full width of the room, fitted with drawers below and a cork noticeboard running along the wall behind it. Above the counter, full-height white cabinetry with oval fluted panel doors provides storage, and the overall palette is intentionally lighter and more neutral than the adult spaces, allowing the objects and personal items that accumulate in a child’s room to become the colour rather than the architecture itself. The kids’ bedroom on the ground floor follows a similar principle of restraint, with the dark wood veneer from the lounge reappearing on the wall behind the bed, and a dark multicoloured stone floor that adds informality to what is otherwise a quiet room.
Throughout the house, materials appear in their unaltered forms — no dyes, no stains, only pigmented polish where needed, allowing the grain of the wood, the veining of the stone, and the inherent colour of each surface to do the work. Crystal and blown-glass lighting fixtures appear across the home alongside the large pendant installation in the double-height void. Indoor plants, including Champa, fiddle leaf fig, and snake plants, are placed across the spaces for both their visual presence and their contribution to air quality.
It is a house that holds a great deal within its 6000 square feet, three generations, two floors, a spiritual anchor, a love letter, vintage memory, and contemporary precision and Uniifyy has given each of these things the space and the design attention they deserve without allowing any one of them to dominate the others.
Photo courtesy :@deepakaggrwalphotography
