Architect Suchi Reddy and I have been friends for over a decade. She lives in New York, founder of Reddymade Studio; My residence is India. I joke that I follow his work around the world. In 2023, we met in Dhaka during the art summit, where he presented the establishment. Between the earth and the skyThen in December 2024, in Mumbai, when he unveiled ChromacosumAn installation created in collaboration with Asian paints to celebrate the launch of the brand’s chromacosum color library – the world’s largest architectural paint system with more than 5,300 shades. We then met about a month later at the beginning of the Architecture and Design Film Festival in Mumbai, where Chromacosum Was shown again.
Suki Reddy | Photo Credit: Cloe Horseman
During this last meeting, in the Vetro at the Oberoi Hotel at dinner, he asked me: “The last time did you feel a sense of belongingness?” There were talks about family, community, friendship and making place for yourself in the world. Prejudicial – One way of pre -‘others’, latter, one right – was also the name of a large community project that he presented at Colgate University in New York in April. The exhibition consisted of woven, text and digital elements, which he learned from community interaction with students, faculties and employees. This is the specific approach of this Chennai -born architect. She likes stories, she wants to understand, she is an intentions listener, a watchman.
Reddymade has an impressive list of customers-from high-ended homes to brands such as Google and Humanscale. The most recent of his many public establishments is Turbulance 2025 For the Brooklyn Botanical Garden, where he used research on plant sounds to create an interactive installation with a interactive metal panels, which was performed by a ghost ether soundscape. In early September, Reddy will present Protection -patternA spatial reaction to the curatorial brief in the debut edition of Bukhara Biennial.
Turbulance 2025 For Brooklyn Botanical Garden
There is a common element of sympathy that runs through all the tasks of Reddy, whether private or public. Now over the years, the primary focus of his work has moved around neuroosthetics, to find out how the spaces can be orchestrated the spaces to influence the feelings of the residents. Shortly before her Bukhara trip, in a conversation, she speaks about her work and its development:
How does your Indian heritage find your way in your practice?
The sexuality and sophistication of South Indian beauty sensitivity is deep in my design DNA. Our layered traditional architecture finds beautiful light transition, simple, minimal material transition, texture in our craft, luxury of our clothes, and aroma of our flowers all find expression in my work – whether it is architecture, interiors, objects, or art.
Autophysiopsychopoatic (2024) | Photo Credit: Siegfared Mueller Photography
How has your parents affect your work with Chennai’s house, and your mother’s color?
I Chop my design to my mother. She came from a small village in Andhra Pradesh, never went to school, but mastered six languages, and introduced so many design elements in my first atmosphere, in the house in which I grew up. It was designed by famous architect PS Govind Rao, and his Japanese-Indian sensitivity built a house, which was opened in the garden, which had a profound impact on me. My mother had an incredible understanding of color; One of our favorite rituals was the trip to Nalli, Manjoor to find an unusual saree. She also took me to weavers in Kanchipuram, where she would be woven.
What is your relationship with color?
The color for me is structural, it is not two-dimensional. For example, there is no blue color of the sky; This is the refraction and distribution of light. I use color in the same way that I use light – to increase materiality, location and vice versa. I carefully listen to my customer experiences with color because it is a fundamental factor to everyone’s opinion and response. The color is also deep cultural. Now working in so many countries and cultures, I find it attractive at every place. with ChromacosumMy solution was a ‘black space’ [black is what you get when you mix all paints] Full of colored pixels, like some of our ancient tantric paintings.
Chromacosum (2024) | Photo Credit: Prachi Damal
How does the work of hand and technology coordination?
Crafts and craftsmanship are necessary to create our world, whether it is an app or an age-old handicraft. We especially need to give more value to both at the age of AI. The collective and generation of crafts, especially in countries such as India and Japan, is a treasure. I recently launched a collective furniture line called nine -5 with Ekya Banaras. Nominated for the number of yards in a saree, the lines of the collection mimic the wrapping of the apparel around the body. The pattern is a series of zero; An ode for [mathematician and astronomer] Brahmagupta’s contribution to mathematics in 685 AD became the foreground and suit on a herringbone representing our colonial heritage.
Nine.5 with one Banaras. Photo Credit: Anushi Verma
In internal and architecture, I get every opportunity to highlight Indian crafts, like [textile label] For example Mori design, whose job I cured for a show in New York.
How central is neuroesthetics for your work?
Neuroosthetics is a multi -disciplinary field that focuses on understanding the effects of our environment and experiences on our brain and body. My research in this field has influenced my vision for everything. My mantra is ‘Form Follows Feeling’, which means whether I am designing a house, office, institution, or object, my purpose is to draw with art and science so that something happens to people that feel peacefully, and grounded.
Look here (2023) | Photo Credit: Chris Coa
In residential projects, I see how to make spaces for asylum and comfort using information from study on texture and color; In spaces for focus or creativity, I deliberately cure proportional ideas through Windows or images that can help in that work. For example, at the Salt Point House in New York, the top of the windows aligned with the level of the eye, making it very deliberately in nature. In retail places such as Google Store in New York City, all textures, materials and colors are conducted so that customers can enjoy surprise and search. The floor is soft, and the furniture is made of cork, which mimics body temperature, and reduces experienceful friction.
Salt point house | Photo Credit: Ashok Sinha
Are you working on any project in India?
I am working on two projects, both are very different. A village near a Tirupati has a house for my sister, located inside the huge rocks manufactured with local materials and craftsmen. Other, in Hyderabad, there is a cultural complex of three buildings with residence and an art gallery, the whole of which is designed as a sculpture. This will facilitate the artifacts commissioned by Indian artists in all media. I love working in India, not just because it is home, but the way the mixture of craft and skilled labor allows me to new.
The author is a lifestyle and art editor who launched the Indian version Architectural digest,
Published – August 30, 2025 06:00 AM IST
