Nynika is a visionary architect and designer who brings a nuanced, interdisciplinary approach to contemporary design. With prestigious academic credentials from MIT and Wellesley College, including notable research fellowships, she has cultivated a rich background that spans architecture, art history, and design innovation.
Her professional journey has been marked by collaborations with internationally renowned practices like Adjaye Associates and Skidmore, Owings & Merrill, where she honed her craft across global design landscapes.
In April 2024, Nynika launched Studio Nyn in Mumbai, an interdisciplinary design studio that transcends traditional boundaries between art and design. The studio’s philosophy centers on creating bespoke, made-to-order pieces that tell compelling stories of culture, history, and material transformation. From meticulously crafted furniture to immersive spatial experiences, Studio Nyn offers a holistic approach that harmonizes aesthetic elegance with functional intentionality.
Driven by a passion for conscious consumption and contemporary Indian design, Nynika is reshaping how we perceive and interact with designed objects and spaces.
Studio Nyn by Nynika
In this edition of D-Talks, we sit down with Nynika, the innovative founder of Studio Nyn, to unravel her remarkable journey of bridging art, design, and cultural storytelling.
Join us as we explore how this visionary architect is reimagining design as a medium for cultural expression, turning each project into a nuanced narrative of material, history, and human experience.
Q. How would you describe your signature design aesthetic, and how has it evolved while working in India?
Nynika: I’d describe my design aesthetic as a balance between thoughtful simplicity and deeply embedded cultural narratives. My work is rooted in materiality, form, and process—often drawing from historical and artistic references but articulated through a contemporary lens. Since working in India, I’ve found myself leaning into the country’s vast, hyper-textured visual culture, yet refining it in a way that is deliberate, quiet, and timeless. There’s a constant negotiation between minimalism and ornamentation, the industrial and the handmade, the global and the hyper-local—this duality is what excites me the most.
Q. What influences and inspires your current work? Could you share some movements, designers, or elements of Indian culture that have shaped your practice?
Nynika: I’m deeply influenced by contemporary Indian art, urban visual culture, and craft traditions— particularly those that balance abstraction and storytelling. The works of Tyeb Mehta, Zarina Hashmi, and Mehli Gobhai, for example, have had a profound impact on me. They embody a distilled intensity, where every mark or gesture feels essential. This sensitivity to form, composition, and materiality played a key role in shaping my Masters series, where I translated their visual language into furniture.
Beyond the arts, I look to the material innovations happening in India’s design and architectural landscape—how designers are reinterpreting vernacular techniques and natural materials in fresh ways. The collaboration between Rooshad Shroff and Tanya Goel, for instance, epitomized this—a collection that was simultaneously an ode to Indian craftsmanship yet contemporary and timeless.
Q. Could you walk us through your creative process? How do you move from initial concept to final execution?
Nynika: It always starts with research—sometimes archival, sometimes experiential. I’m constantly collecting references, whether it’s a fragment of an artwork, a tactile memory of a material, or a spatial experience that lingers. From there, I move into sketching and prototyping, where the idea starts taking shape in dialogue with materials and artisans. I like to think of my process as iterative—allowing room for unexpected discoveries along the way. Once a form is resolved conceptually, it goes into production, where I work closely with craftsmen to fine-tune details, test finishes, and ensure that the final piece retains the integrity of the original idea while allowing for a level of organic evolution.
Q. Your work often involves collaborations with artisans and other creatives. What draws you to these partnerships, and how do these collaborations enrich your design practice?
Nynika: Collaboration is integral to my practice because design, at its core, is about exchange. For India Art Fair 2025, I presented a new collection crafted in collaboration with two exciting, emerging artists, Anikesa Dhing and Thamshangpha (Merci) Maku. This partnership was an incredible learning experience—melding my design language with their artistic sensibilities to create pieces that felt both personal and universal.
Q. Looking back at your portfolio, which project represents a significant turning point in your career, and among your recent works, what project are you most proud of and why?
Nynika: Launching Studio Nyn in last year (April 2024) with the “MASTERS” series was definitely a turning point—it was my first time consolidating years of thought, research, and experience into a cohesive body of work under my name. The collection paid homage to South Asian artists and movements I deeply admire while exploring how their visual language could be translated into objects and furniture.
Q. What unique challenges and opportunities have you encountered as an emerging designer in the Indian design industry, and how are you working to overcome these obstacles?
Nynika: One of the biggest challenges is carving out a distinct voice in an industry that is both rapidly expanding and deeply rooted in legacy practices. There’s also the balancing act between design and production—ensuring quality, managing lead times, and navigating the complexities of local manufacturing. But the opportunities are immense. India is at a pivotal moment where there’s a hunger for contemporary design that is both globally relevant and locally resonant. I’m tackling these challenges by staying true to my design values, fostering strong relationships with craftspeople, and continuously engaging with both the artistic and architectural communities.
Q. How do you build visibility and reach out to potential clients – what platforms and strategies have worked best for you?
Nynika: A mix of organic growth and strategic positioning. Social media, particularly Instagram, has been great for storytelling—giving people insight into my process and inspirations. But beyond digital, I find that the most meaningful connections happen through exhibitions, collaborations, and word of mouth. Being part of design fairs like India Art Fair and Raw Collaborative has been instrumental in putting my work in front of the right audience.
Q. What’s your most exciting recent design or art discovery that’s influencing your current thinking?
Nynika: Lately, I’ve been drawn to textile-based practices—artists, artisans and designers using weaving, embroidery, and dyeing as storytelling tools. Techniques like Ajrakh or Bagh printing fascinate me, not just as a craft but as a philosophy of layering, repetition, and precision. This influence took shape in my collaboration with artist Thamshangpha (Merci) Maku, where we designed a cabinet, Cross-Stitch, inspired by the textiles of the Angami Naga tribe. His archival research into tribal motifs added depth to the design, allowing us to translate textile language into a sculptural, functional object.
Q. How has your training as an architect informed your design practice?
Nynika: My architectural background has given me a strong foundation in spatial thinking, material logic, and structural clarity. I approach furniture and objects much like I would a space—considering proportion, context, and material interplay. Studying architecture also taught me to see constraints as creative opportunities, whether working within material limitations or responding to a specific site or narrative. That holistic sensibility continues to shape my practice.
Q. You mentioned that you are interested in urban visual culture. How does that find expression in your designs?
Nynika: Our Indian cities are layered with history, material juxtapositions, and evolving landscapes, all of which influence my work. Many of the bespoke objects I create respond to their surroundings, drawing inspiration from the unique character of the sites they inhabit. My approach is site-specific, ensuring each piece feels deeply connected to place rather than existing in isolation.
Q. For aspiring designers looking to make their mark in India’s design landscape, what wisdom would you share from your journey?
Nynika: I still feel like I’m figuring things out myself, so it’s hard to give definitive advice! But if there’s one thing I’ve learned, it’s to be intentional about what you put out into the world. The Indian design landscape is incredibly rich, but it’s also easy to get lost in the noise. Finding your own voice takes time, and I think embracing that process—rather than rushing to define yourself—is important. Also, building relationships is everything. Design is a communal act, and the people you collaborate with will shape your practice as much as your ideas will.
Q. As you look ahead, what kind of projects or directions would you like to explore?
Nynika: I’m keen on pushing the boundaries of furniture as an expressive medium—perhaps working more at the intersection of collectible design and contemporary art. I’d also love to explore more spatial projects that allow for immersive storytelling, blurring the lines between exhibition, installation, and functional design.
Image Courtesy: Studio Nyn
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