Business Remedies | Shruti Kothari | Sr. News Editor | May 12,2025 | Canna Patel, renowned architect and interior designer, is the force behind over 300 diverse projects across India. As Founder and Chairperson of HCP Interior Design Pvt. Ltd., she brings over three decades of experience to her craft—blending Western precision with India’s rich cultural layers. Most recently, she has played a key role in the Central Vista Project, including the interiors of the newly inaugurated New Parliament Building in New Delhi.
Her portfolio spans interiors for government buildings like Raj Bhawan and Swarnim Sankul in Gandhinagar, BJP Headquarters in Delhi, as well as major infrastructure projects such as the Ahmedabad Airport interiors refurbishment and Metro station upgrades. Featured by Forbes India and dubbed a Doyen of Design, Canna continues to shape the future of Indian interiors with clarity, context, and care.
In this conversation with Business Remedies, she reflects on her design philosophy, her journey through iconic projects, and what truly defines timeless interior design. In Conversation with Canna Patel, Founder & Chairperson- HCP Interior Design Pvt. Ltd, Ahmedabad
Q: You grew up in a home deeply rooted in design and strong values. How did your early years in Ahmedabad influence your creative path?
A: I was born and raised in Ahmedabad, surrounded by architecture and strong female influence. My father shaped the city’s skyline, while my mother shaped my values—teaching me empathy, discipline, and curiosity. From them, I learned that a profession is more than a livelihood; it’s a way to serve and engage with the world. Those early years, filled with stories, culture, and responsibility, continue to shape how I view design and society today.
Q: Your education spans across continents—from India to UC Berkeley. What role did this academic journey play in shaping your design ideology?
A: I studied architecture in India, and later pursued my Master’s at UC Berkeley in the late ’80s. Berkeley was a turning point—not just because of the academic rigor, but because it placed me in a deeply plural and reflective environment. I learned to value process over product and to think critically about design as a social and cultural act. It also helped me view my Indianness with fresh eyes. Also, living in Milan in the early ’90s gave me a tactile education in furniture and detail. And of course, working alongside my father early in my career gave me a sense of clarity and accountability in design.
Q: You’ve trained not only in architecture but also in classical dance. How has that influenced your design thinking?
A: Dance taught me discipline, unlearning, and reinterpretation. My gurus—Radha Menon and Kumudini Lakhia—instilled in me qualities that deeply influence how I design. There’s a rhythm in form and stillness that I’ve carried into architecture.
Q: Tell us about the journey of founding HCP Interior Design. What gap were you looking to bridge?
A: After leading interior design within HCP for years, I felt interiors deserved their own identity. In 2006, I founded HCPID to elevate interiors from being an afterthought to a discipline of its own. The early days were about building everything from scratch—material libraries, systems, market education.
What has been most rewarding is how the practice has evolved. In recent years, HCPID has taken on B2B projects as well – offering design solutions to furniture brands, tile companies, and even working on the interiors of a Metro Car. It’s an exciting expansion of our vocabulary.
Sachivalay Gandhinagar, 2013
Q: You’ve worked on several landmark public projects, including the Central Vista. How have these experiences shaped your design approach?
A: These projects have been incredibly grounding. Designing for the public realm pushes you to think beyond aesthetics—it’s about engaging with governance, symbolism, and civic identity. The Central Vista Project, especially the New Parliament interiors, was a proud milestone. The level of rigour we brought to the tender submissions set a new benchmark, and I sincerely hope it raises the bar for how public projects are approached in the future. Whether it’s Swarnim Sankul, the BJP HQ, or Parliament, these spaces represent a unique intersection of personal values and national aspirations—and that’s both a challenge and a privilege to design for.
Q: Which projects do you personally find most meaningful?
A: Often the quieter ones—residential or hospitality spaces where clients let us lead with design. Success, for me, is when the space feels inevitable – like it could exist no other way. These projects shift perception. And of course, contributing to the Central Vista remains a high point—in scale, symbolism, and spirit.
Glade One Weekend Homes Sanand, 2019
Q: Your design philosophy emphasizes service and context. How does that align with the way architecture and interior design have evolved in India?
A: I believe design is fundamentally a service—to people, to place, and to purpose. It’s not just about aesthetics; creativity must walk hand-in-hand with function and responsibility. For me, the heart of design lies in listening—not just to clients, but to the larger context. And that’s especially important in today’s landscape. We’ve moved from a time when even upholstery showrooms were rare in Ahmedabad to an era overflowing with design content. While this has made design more accessible, it has also made it more generic. As Indian designers, our role now is to root innovation in our heritage—not to mimic tradition, but to reinterpret it with relevance and intention.
Q: What inspired your recent book Meaning is More: Interior Design for India?
A: It’s not a manual; it’s a dialogue. The book explores how concepts are born and take shape. It’s already found resonance and is into reprint. It reflects our studio’s search for clarity, context, and meaning.
Material pallet composed for a project
Q: You’re also a mentor to many young designers, especially women. What’s your core message to them?
A: Stay open. Don’t seek applause, seek clarity. Speak up for your work and don’t let doubt dilute your voice. Design isn’t just about what you produce—it’s about how you practice it.
Q: How do you maintain balance between your professional and personal self?
A: Balance is dynamic. Some days tip toward work, others toward self or family. I’ve learned not to divide these worlds but to seek a rhythm. Dance still influences my design- in form, movement, and stillness. I also find energy in travel, and more recently, in pausing – sitting with a sketchbook without a brief.
Seventy Residence Ahmedabad, 2020
Q: Lastly, how does sustainability fit into your practice at HCPID?
A: We see sustainability as a lens, not a trend. It’s about choosing what’s essential, what’s local, what will endure. Interiors have their own sustainability logic—about reducing unnecessary cost and materials. For us, real sustainability is a silent strength, not a visual statement.
Interviewed & Edited By:
Shruti Kothari
