At 38, Rupin Suchak has already carved a distinctive niche in India’s production‐design landscape. A NIFT-trained communication designer, he spent four formative years under Sabu Cyril, widely regarded as India’s most influential production designer, where he honed his ability to translate narrative into space at a scale few newcomers encounter. In 2012, Suchak launched his own studio, Goiz Argi, and quickly made his mark with projects like Happy Ending, Ki & Ka, Spyder, Padman and Dear Zindagi. His quirky, character-driven sets, most memorably the train-served home in Ki & Ka, captured both public imagination and industry attention.
Since those breakthrough years, Suchak has partnered with some of Bollywood’s most acclaimed directors, Sanjay Leela Bhansali, R. Balki and Gauri Shinde among them—to realize their cinematic visions. His collaborations span the country’s top production houses: Dharma Productions, Red Chillies Entertainment, Excel Entertainment and D2R Films. With each project, he amplifies the story through design, whether by crafting immersive period palaces or by injecting offbeat whimsy into contemporary settings.
Beyond the silver screen, Suchak’s design sensibility now permeates celebrity interiors. His client roster reads like a corps d’élite of Hindi film and music. Some of the work he has done includes Alia Bhatt’s residence and office, Neetu Kapoor’s workspace, Sonakshi Sinha’s home, and Sunidhi Chauhan’s rehearsal studio in Mumbai’s Oshiwara district. It is the word of mouth and the industry friendships that led to his rapid expansion. His work for R. Balki and Gauri Shinde on Dear Zindagi and Ki & Ka led directly to their commissioning him for their own office, which in turn attracted further high‐profile referrals.
Most recently, Suchak has ventured into the F&B segment, applying his production‐design expertise to real‐world hospitality environments. His first standalone restaurant project, a Japanese concept discovered via Instagram, required translating cinematic scale into functional dining spaces. “Films prepare you for every kind of job,” he says, noting that the primary shift lay in the precision of detailing and the operational demands of a live venue. The result, he believes, demonstrates that narrative-driven design can thrive outside film studios.
Underlying Suchak’s diverse portfolio is a singular philosophy: full immersion. From the moment he receives a brief, he explains, he starts thinking offbeat. Design is about fun and confidence, and he never wants to feel a lack of ownership over what he has created. This appetite for “madness in design” drives him to outdo each previous project in creativity and craft.
Asked to name his favorite and most significant works, Suchak singles out two very different projects. His current favorite is the house he’s designing for actor-comedian Aparshakti Khurana, an ongoing interior commission that showcases his evolving residential style. Yet he regards his first independent film assignment, Ki & Ka, as the most pivotal, as it broke stereotypes in design, like the miniature train network that carried food across the set.
In every commission, from studios and homes to restaurants, Suchak insists on one non‐negotiable step: sketching by hand. Despite all the software available, his ideas always start with a pen on paper. This tactile beginning ensures that his vision remains intimately tied to his own creative impulse.
Looking ahead, Suchak does not dream of ever‐larger scales but of ever‐deeper involvement. Whether it’s a bathroom or a ballroom, he wants to be a hundred percent invested in the most offbeat way possible. In a career already marked by high‐profile collaborations and boundary‐pushing concepts, Rupin Suchak shows no sign of slowing his quest to redefine how stories, on screen and off, are told through design.
