Life & Style

Bamboo and the future of design: Apoorva Shroff’s architectural ethos


A view of The Hungry Caterpillar project.

A view of The Hungry Caterpillar project.

Bamboo, with its flexibility and strength-to-weight ratio (making it as strong as steel in tension), is regarded as one of the finest materials for construction. Apoorva Shroff had this in mind when she started The Hungry Caterpillar at Ashoka University. The project features a food street designed with 3D-printed modular kitchens that reduce waste, recycled plastic furniture, and bamboo canopies inspired by nature’s geometry.

An acclaimed Indian architect with over 20 years of experience across the U.S. and Asia, Shroff launched her own firm, Lyth, in 2022, while also mentoring at Mumbai’s BSSA. Edited excerpts from an interview:

A view of The Hungry Caterpillar project.

A view of The Hungry Caterpillar project.

What are the ecological and social impacts of using bamboo as a primary material in public or semi-public structures, factoring in life cycle, local sourcing, artisan labour, maintenance, and end-of-life reuse?

In the case of The HungryCaterpillar, the treated bamboo used helped sequester nearly 350 tons of CO₂, which is a direct positive impact. Unlike metals or concrete, which have high embodied energy and are difficult to recycle at end-of-life, bamboo can be repurposed, composted, or safely returned to the soil. Socially, bamboo construction relies on craftsmanship and hands-on skill, which opens opportunities for artisan labour. What excites me is the dialogue it fosters, between designers, artisans, and sustainability experts, which makes the process as valuable as the outcome.

How do designs like the Caterpillar’s double-curved bamboo shells or the Koodaaram’s (the acclaimed pavilion at Kochi Biennale’s 2018 edition) porous yet protective form mediate between shelter and openness?

Both structures explore the delicate balance between protection and permeability. The double-curved shells of the Caterpillar create shaded, cocoon-like interiors while remaining porous enough to let in dappled light, air movement, and a sense of connection with the surrounding trees. In both cases, the form symbolises inclusivity: creating spaces that invite gathering and reflection, yet without severing ties to the outside world.

A view of The Hungry Caterpillar project.

A view of The Hungry Caterpillar project.

Tell us more about the inspiration, the quality of bamboo used and longevity?

The project took shape from a striking image that stayed with me after my first visit to the site: a cocoon tucked into the green canopy, reminiscent of a caterpillar feeding securely, sheltered and in the process of becoming. Bamboo was the perfect medium to bring this vision alive. Its versatility allows for bold, expressive geometries while keeping the footprint light on the planet.

What has been the response?

From the outset, Ashoka University has been encouraging and aligned with the vision of creating a student-centric space that champions sustainability.

What stands out for you from other examples of bamboo installations (Koodaaram, or designer Sandeep Sangaru’s work)? How can other architects be encouraged to follow suit?

At Kochi’s Cabral Yard, the bamboo pavilion became a symbol of community and culture, transforming an ordinary space into an iconic Biennale experience. Sandeep Sangaru’s work, on the other hand, demonstrates the material’s adaptability to furniture and product design, proving that bamboo can be both local and contemporary at once. The more we create opportunities for collaboration with engineers, artisans, and sustainability experts, the more confidence the profession will gain in embracing it as a mainstream material.



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Durga Puja 2025: Kolkata’s pandals brim with creativity, faith, and love stories


Dakshindari Youth Durga Puja in South Dum Dum — dedicated to acid attack survivors

Dakshindari Youth Durga Puja in South Dum Dum — dedicated to acid attack survivors

Kolkata’s streets and the pursuit of love during Durga Puja are cut from the same cloth, a fabric of chance and inevitability. Every wrong turn might open like a trapdoor — into an ornate, never-seen-before pandal, or into the orbit of a stranger whose glance lingers a heartbeat too long in the bhog (offering) queue. The newness of the season feels conspiratorial: the thrill of a first encounter or a perfectly timed meet cute. Or on Navami, when the smoke of Sandhi Puja coils around the fading festivities, there is a lingering ache, a reminder of a love that never quite blossomed. By Dashami, as the goddess herself departs for her sojourn, one might even be ghosted by the Hinge date who promised so much.

For generations, Durga Puja has been more than a festival. It has been Kolkata’s most democratic stage for social life, a space where young men and women exchanged glances at Maddox Square, or struck up conversations under the neon lights of Ballygunge Cultural. It was, in many ways, Bengal’s original social network, its first dating app even.  

Dum Dum Tarun Dal pandal

Dum Dum Tarun Dal pandal

The city has changed, and the pandals with it — simple structures now reborn as spectacles fit for a biennale but the pulse remains. Parents who once found love in puja clubs have children who swipe right before stepping out to hop pandals. Courtship has shifted from adda to algorithm, yet pujo remains Kolkata’s canvas for encounters both old and new.

“I remember seeing him for the first time at a pujo pandal,” recalls 57-year-old Anisha Shaw (name changed), who met her husband, Ashish Basu (name changed), at Shib Mandir’s puja pandal in 1996. “Pujo was simpler then. We friends circled around the pandal for hours of adda (conversation), helped with the bhog, ferried buckets of water, and fried beguni (aubergine fritters) in giant kadhais (utensils). Someone’s cousin would be sent running to Gariahat to fetch more mustard oil or kasundi (mustard). It was that kind of Pujo. Ashish and I kept running into each other. A year later, we were married.”

Mishka Basu

Mishka Basu

In contrast, Anisha’s daughter, 27-year-old sous chef Mishka Basu (name changed), met her fiancé on Bumble in 2024. Their romance began with a right swipe and a first date at AM PM on Park Street. Where their parents’ love story unfolded between alpanas and serving tables, theirs began in an app’s chat window.

Algorithms before anjali (prayers)

“So in your world, multiplication is the same as division?” That was the first line 29-year-old engineer Arpan Majumdar sent to 26-year-old IT-healthcare professional Sailanki Nandy on Tinder — a witty reference to her microbiology background. “In cell biology, ‘division’ is when a parent cell splits into two daughter cells, which actually multiplies their number,” she explains. “I melted right then,” Sailanki laughs. “I’d chatted with so many boys, but no one bothered to write something clever like that. Now people use AI-generated lines.”

Sailanki had dabbled in dating apps like Bumble and OkCupid during college, logging in “for a bit of validation” and deleting them after a few days. But in the long, lonely months of COVID-19 in 2020, she decided to give Tinder a serious try.

A young woman poses for pictures at a Durga Puja pandal, themed on the ‘Maha Alaye Maa’, in Kolkata

A young woman poses for pictures at a Durga Puja pandal, themed on the ‘Maha Alaye Maa’, in Kolkata
| Photo Credit:
Manvender Vashist Lav

“Arpan was staying at his sister’s house in Jadavpur, and I was in Behala. He’s from Barrackpore, but our radii overlapped, and we matched,” she recalls.

Durga Puja, she says, has always held deep meaning. “I grew up in a joint family. Puja meant cousins coming back to the city followed by loud, festive days.” Their first pujo together was in 2021. “We planned to meet on Ashtami — me in a sari, him in a panjabi (kurta). But he got food poisoning on Saptami. I told him to rest, but that night he insisted, ‘Chol, North Kolkata te thakur dekhte jai’ – let’s go see the pandals in North Kolkata. I thought he was crazy. He travelled from Barrackpore despite being unwell, just so we could meet. We queued for one big pandal, but I said, ‘If you need a loo break, we’ll be stuck in a sea of people!’ So we ducked into a café nearby, sitting close to the restroom, laughing about it.”

On Dashami morning they finally went pandal-hopping in South Kolkata, and afterward Arpan came home to meet her family. “That was our first Pujo together,” she says.

“He is the kindest person I’ve ever met — so genuine. His Tinder opening line still makes me smile silly. Next year we are getting married. This Pujo we will be back in Kolkata to talk about our wedding,” Sailanki adds.

User behaviour 

Speaking about dating patterns during the festive season, Chandni Gaglani, Indian dating app Aisle’s head of business observes clear “pre- and post festival” waves. “We see intense intent setting,” she explains. “People update bios, refine filters, even tweak distance or language preferences to short list matches before celebrations begin. Usage frequency spikes, then dips once Durga Puja is in full swing, when everyone is absorbed in family and community. After the festival, there’s a beautiful reflection period.”

Chandni notes that social, community-driven festivals exert a very different pull than global occasions such as Valentine’s Day. “These moments are deeply cultural and rooted in belonging,” she says. “They tap into something fundamental about identity and community.”

Kolkata, she adds, sees the highest female participation on the dating app. “The city has always had a romantic, intellectual culture where relationships are treated as serious endeavours. We see that in how thoughtfully users craft profiles and conversations,” remarks Chandni.

Aisle’s users range from ages 18 to 50, but the largest group is the 26 to 35 demographic most inclined toward long term commitment. “This cohort has typically moved away from their hometowns, established careers, and now seeks meaningful partnerships on their own terms,” Chandni explains.

On the technology side, she emphasises that Aisle’s algorithm “takes signals from user activity and adapts accordingly, but the choice and control always remain with our users.” The app’s For You section is curated not just by age or location, she says, but by “shared values and interests. Such signals raise the odds of real compatibility rather than simply showing everyone who fits broad criteria.”

Raja Ravi Varma inspired pandal in Tricone Park

Raja Ravi Varma inspired pandal in Tricone Park

Across Age Groups

Thirty-eight-year-old Purnendu Guha (name changed), a reporter in Kolkata, has been using dating apps since 2020, a year after his divorce.

“Being a reporter, I don’t have enough time to go out on dates, and I can’t really date people from my workplace,” he says. “But meeting someone during pujo is different. Across those five days, I get to interact with the person thoroughly, see how they respond to art, how they interact with people, handle money while buying from vendors, and if they’re checking other people out,” he laughs.

“For me, pujo makes dating safer too since it’s all in public spaces. I have been doing this every year since 2020. No encounter has culminated into a relationship yet, but I’ve made good friends who share my values and my interest in art. When you meet someone in a café, the time is short, and the conversation stays on the surface. But during pujo, with longer hours and constant brushes with culture and art, I find both of us open up more.”

This year, he already has a plan. “I’m meeting my date at a Raja Ravi Varma themed pandal in Tricone Park,” he says, smiling. “I already have butterflies!”

Speaking of how pujo has changed, 33-year-old software engineers Kaustav and Arjoyita Banerjee recall a different time. The two began dating in 2010 after sparking a romance on Orkut.

“Back then, you could actually stand in front of a pandal and take it all in,” Kaustav says. “Now it’s near stampede crowds, you barely get a moment to look at the decorations, let alone meet someone new.” After a decade of dating and six years of marriage, the couple now prefers hosting a house party during pujo instead of braving the crush outside.

A sense of anonymity still matters, says Megha Palit, a 34-year-old event planner and lesbian who meets women mostly through dating apps. “Hinge is where the first hello happens,” she explains, “but pujo is where you find out if the chemistry is real. You can wander Maddox Square at midnight, hold someone’s hand, and no one knows whether you’re just friends or something more.”

She remembers her college years, long before swipes and matches, when Durga Puja was the only place she could risk a cheeky flirtation with another woman. “It’s crowded, anonymous, and oddly protective,” she says. “The city is so busy worshipping the goddess it forgets to police you. Even now, after we’ve matched online, that’s where I take a date first. In the middle of the lights and the dhak, you can breathe and maybe fall a little in love.”

Sreejita and Aditya

Sreejita and Aditya

Sreejita Chakraborty, a 28-year-old entrepreneur, and her 32-year-old husband, Aditya Sengupta, a sales strategist, met on Tinder in 2021.

“Being a Bengali who grew up in Delhi, pujo for me always meant four packed days at CR Park,” Aditya says.

“Sreejita is from Kolkata and my first pujo with her was so special,” recalls Aditya. After their marriage, he remembers a moment that stayed with him, “As our flight descended upon the Kolkata skyline, the bright lights below felt like they were speaking to me.”

Over the years, as their relationship deepened, Pujo has taken on a richer meaning. “It’s not just about romantic love,” he says. “Now it’s about wheeling my 90-year-old grandmother through the pandals, because the joy of discovering new pandals and appreciating the artistry of each means little unless it’s shared with family,” smiles Aditya.

Kolkata has always left its doors ajar for mystery and awe to wander in. Durga Puja takes the heart of its people and blurs the range of immersive experiences each year. The goddess comes and goes but leaves behind a thousand small awakenings. Apps may start the conversation now, but the real magic still happens under those restless, fevered nights when Kolkata forgets itself and remembers desire.

Girls click a selfie

Girls click a selfie
| Photo Credit:
ANI



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Goan luxury villa, The First House, ventures into hydroponics


“Can you identify this?” asks medical doctor-turned-hydroponic farmer, Kashyap Gupta, pointing to a row of herbs with long, serrated leaves and an intense citrussy odour. We bend over and sniff, then cautiously break off a leaf and nibble, immediately recognising the bright, grassy notes of cilantro — except, this version of it seems to be on steroids. “Thai coriander,” he explains, as we walk down the long channel housing these tropical perennial herbs, native to Central America and the Caribbean, now a ubiquitous component of Thai cuisine.

But Thai coriander is not the only crop we encounter at The First House Produce, an urban hydroponic farm based in Saligao, Goa, located on the grounds of The First House, a restored 129-year-old Portuguese villa. While many kinds of standard hydroponic systems are being used worldwide today, including wick systems, deep water culture, and drip systems, the produce here is grown using the Nutrient Film Technique (NFT), which employs a continuous stream of nutrient-rich water in a watertight channel to grow plants. As we fan across the 10,000 square-foot greenhouse, filled with long rows of PVC pipes with openings from which Italian basil, mint, various types of lettuce, pak choi, morning glory, and curly kale peer out, we tear off and sample some of the produce: crisp, flavourful and untinctured by earth.

Inside the greenhouse at The First House, Goa

Inside the greenhouse at The First House, Goa
| Photo Credit:
Special Arrangement

Around 40 species of leafy greens and 10-12 fruiting crops are grown in this space, says Kashyap, who manages this farm and is clearly a vociferous advocate of this water-smart solution. Although expensive (an acre-large commercial farm may require an initial investment of ₹80 lakh to 2 crore), this type of farming saves space, limits pests and is highly nutritious, since the crop directly receives a carefully calibrated nutrient solution.

It is also sustainable and saves water, “because we are recycling 90 to 95% of the water. Where a commercial farm this size would use 10,000 litres of water a day, we are using 500 to 700 litres,” says Kashyap, who believes that in the next quarter-century or so, given that we are living in an age of global warming and shrinking resources, it is likely that all food will have to come from a controlled space like this one. “People need to start getting used to it because they aren’t going to have too many choices when it comes to their food, in the future.”

Medical doctor-turned-hydroponic farmer, Dr Kashyap Gupta

Medical doctor-turned-hydroponic farmer, Dr Kashyap Gupta
| Photo Credit:
Special Arrangement

About The First House Produce

The First House Produce is a relatively recent venture by this 10-bedroom, fully serviced, single-key luxury property (rentals start at ₹2,50,000/night), once the home of a Portuguese diplomat. The villa, built in 1896 and redesigned by Ayaz Basrai of The Busride Studio in 2020, is currently owned by Rakhee and Rakesh Shah, who relocated to Guirim, Goa, from Mumbai during the pandemic. “We target people coming in a larger bunch to celebrate milestones,” says Yogi Shah, who co-founded the Villa Escape, a Mumbai-based premium travel planning company that runs and manages the property.

At a feni-tasting session at The First House

At a feni-tasting session at The First House
| Photo Credit:
Special Arrangement

The First House’s beautifully curated interiors — airy, bathed in light, and filled with finely-crafted furniture, artefacts and art — and lush, tranquil grounds exude quiet luxury. And the hydroponic farm, with its focus on slow, sustainable living, is clearly an extension of this ethos. “It is a beautiful property with so much history and a homely vibe,” believes Suchna Hegde Shah, the other co-founder of Villa Escape, pointing out that having a farm-to-fork experience elevates the ultra-luxe experience for a guest.

A view of the pool at The First House

A view of the pool at The First House
| Photo Credit:
Special Arrangement

As they travelled around the world, they constantly encountered this social movement to produce food more locally, says Yogi, which in turn, had them thinking about creating a farm-to-fork experience at First House. “Since we had the space, we decided to get into hydroponics and have a farm-to-fork. That is the whole reason why The First House Produce came about,” he says, adding that while there was already a small, nascent hydroponic setup in the house, it has expanded considerably in the recent past and mushroomed into a distinct fresh produce brand. “While we don’t call ourselves 100% farm to fork, we try to see that whatever you eat at the First House is as organically grown and local as possible,” he says.

Each of the ten rooms of the villa is beautifully-furnished with an outdoor space

Each of the ten rooms of the villa is beautifully-furnished with an outdoor space
| Photo Credit:
Special Arrangement

The bowl of fresh greens, topped with avocado and tomatoes, that makes its way to the lunch table, clearly indicates that this decision is bearing fruit: literally. Not only does the produce lend itself to delicious in-house meals, but it is also currently being supplied to hotels, restaurants and private houses in Goa. The vegetables, which range in price from Rs 300/kg for lettuce to a few thousand for heirloom tomatoes, are currently being sold via WhatsApp, Instagram, or directly at The First House. “We have garnered an excellent response, says Yogi. “We are shocked at the number of people who want fresh, organic food.. It has been amazing.”

The writer was in Goa at the invitation of The First House, Goa.

Published – September 26, 2025 05:00 pm IST



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Art Deco through a modern lens


A feminine form in blue and ivory, flanked by Art Deco iconography. Here, indigo and sholapith become the medium to reimagine Deco. Elsewhere, the ocean is evoked in a kottan- (Chettinad basket weave) inspired backless seat, by architect David Joe Thomas, whose design is part of a trio presented by Bengaluru-based Kaash Space.

These striking pieces have been hand-picked by fair director Misha Bains for ‘Neo Deco’, a curation of over 40 pieces that shine a spotlight on Art Deco in its centenary year, at India Design ID 2025. The objet d’art signals a reinvention of Deco through a modern design lens. Bains elaborates, “As an ode to Deco, we wanted to showcase designers who offered a contemporary perspective, inspired by its geometry, bold lines and motifs. We want to highlight Indian design because historically, Indians have been viewed through the lens of makers or craftspeople, not as designers. Now, finally, our designers and artforms are getting recognition.”

Neo Deco is a marriage of Indian and French (Paris being the birthplace of Art Deco) designers, showcasing traditional art forms such as Channapatna, Tholu Bommalata, Bidri, Dhokra and glassblowing, to present a uniquely artisan-led contemporary collection. “We are currently in an era in India, where designers are aware, educated, well-travelled and open to experimenting,” explains Bains, adding, “There are experiments with glass, and a surge in the use of metal and chrome finishes.”

Urban Patchwork

Jit Chowdhury — for 47-A Gallery

Urban patchwork in natural indigo and alta applied on sholapith canvas.

Urban patchwork in natural indigo and alta applied on sholapith canvas.

The work is an amalgam of modernist Deco language with the lived textures of Bengali craft in sholapith, reflecting how heritage can be viewed in a contemporary context. Artist and illustrator Jit Chowdhury is inspired by the geometry and ornamentation emblematic of Art Deco buildings in Mumbai, Kolkata, and Delhi.

Soonawala Sofa

Bobby Aggarwal — for Portside Café Furniture Studio

Soonawala Sofa is crafted in leather, velvet and teakwood.

Soonawala Sofa is crafted in leather, velvet and teakwood.

The shape of the seat takes its cues from Deco buildings along Mumbai’s Marine Drive. The print, designed in-house, is inspired by the bas-relief facades, window grills, and the chevrons that decorate these buildings. The blue palette is an homage to the sea and the hue found on Wedgewood ceramics.

Adamastor Cabinet

André Teoman — for Scarlet Splendour

Adamastor Cabinet in resin, brass, plywood

Adamastor Cabinet in resin, brass, plywood

Made with handcrafted brass components, this dramatic cabinet blends nautical imagery with an enticing blue palette to offer a fun and functional ode to Deco. Portuguese designer André Teoman, in collaboration with the craftsmen at Kolkata-based Scarlet Splendour, reimagines the tale of Adamastor, depicted in Portuguese poet Luís de Camões’ epic, The Lusiads. The fearsome giant, Adamastor, once symbolised the perilous voyage of explorers on their way to India. But after the Cape of Storms was renamed the Cape of Good Hope, he metamorphosed into a symbol of optimism.

Sculptural Light

Kickie Chudikova x klove — for Shakti Design Residency

Sculptural Light, Vista Collection.

Sculptural Light, Vista Collection.

Taking its cue from architecture, the light piece uses nested amber glass structures that turn luminous once lit at the centre. Drawing inspiration from Indian arches in scalloped forms, klove studio celebrates the country’s craftsmanship and storytelling through glass, which is feted for its malleability and how it offers transformation when paired with light.

Lac Tapestry

Built Editions

Lac tapestry in hand-turned wooden beads finished with lac derived from organic resins and plant-based pigments.

Lac tapestry in hand-turned wooden beads finished with lac derived from organic resins and plant-based pigments.

Created with (and honouring) Channapatna’s lacware artisans, the tapestry — shaped as a geometric composition of laced beads — becomes an artefact that combines tradition and contemporary design. Straddling Mumbai and Amsterdam, Anne Geenen co-founded architecture and design studio Site Practice, and furniture and design brand Built Editions, with David Schmidt, carefully considering designs that are socially and materially anchored in community.

Bāle Asandi

The Vernacular Modern

Bāle Asandi is a hand-finished brass and wood body with PU cushions and fabric.

Bāle Asandi is a hand-finished brass and wood body with PU cushions and fabric.

The form evokes the gentle sweep of a banana leaf, with sensuous velvet seating echoing the tropical foliage. The Bāle Asandi seating ensemble is a convergence of vernacular symbolism and craftsmanship. Using joinery-based woodworking, the oeuvre, by founders Deeptashree Saha and Abhirup Dutta of the Bengaluru-based multidisciplinary design studio, celebrates reclaimed solid teak and materials such as natural rattan and solid brass.

Le Nid

Sona Reddy

Le Nid is crafted from blown glass on a brass Dhokra shell.

Le Nid is crafted from blown glass on a brass Dhokra shell.

Le Nid (the nest) symbolises cocoons of light, and the beauty of an enveloping embrace. The sculptural lamps by Hyderabad-based Sona Reddy Studio, reinterpret Art Deco’s ornamentation through handcrafted dhokra, fusing blown glass with wax-cast brass dhokra elements. 

Maske Console

DeMuro Das

Maske Console in lacquered stone top on cast bronze legs.

Maske Console in lacquered stone top on cast bronze legs.

The metal base elements reflect the tactility of the foundry process, while the tapering volumes recall the pilaster forms and mask motifs seen in Deco iconography. DeMuro Das, founded by Brian DeMuro and Puru Das, blends traditional craftsmanship with modern materiality to create a decorative console, referencing the theatricality of Art Deco.

SLABS Treasure Box

Destroyers/Builders for æquō

SLABS Treasure Box (SLABS Collection) in hammered silver sheet on wooden blocks attached with brass welds.

SLABS Treasure Box (SLABS Collection) in hammered silver sheet on wooden blocks attached with brass welds.

Its inspiration is rooted in the rugged landscapes of Karnataka, where granite boulders meld into each other. Reinventing the traditional methods of repoussé (a metalworking technique that creates a raised design by hammering malleable metal from the reverse side), thick metal sheets envelop hand-carved teak wood blocks. In 2023, æquō invited Dutch designer Linde Freya Tangelder to extend repoussé research in India. Working with the gallery’s partner workshop in Alibag, led by Jeevaram Suthar, blocks are joined by brass soldering, with the exposed welds serving as an honest expression of the process.

Naga

RoWin’ Atelier

NAGA in sterling silver on stone column.

NAGA in sterling silver on stone column.

The sculptural champagne bucket is a confluence of French modernist heritage and Indian sculptural traditions. The inner core holds the sparkling wine, while the circular rim acts as a vessel for flowers. Mounted on a stone column marked with Deco geometry, the steel-stone objet d’art by the French transdisciplinary firm RoWin’ Atelier celebrates the union of form, function and ornamentation.

Skylight

YMER&MALTA

Skylight-Aspherical Twilight in an aspherical sealight in oak and LED.

Skylight-Aspherical Twilight in an aspherical sealight in oak and LED.

The Skylight sculpture, by YMER&MALTA, an art furniture house based in Paris, is understated at first glance. But when illuminated, it shifts from sunrise to night invoking forests, glaciers, deserts and oceans. Its carefully calibrated facets are reminiscent of the geometry and form of Art Deco.

Lodge Armchair

Pinto

Lodge armchair is crafted from textured and patinated brass structure with solid cork armrests wrapped in woven leather fabric.

Lodge armchair is crafted from textured and patinated brass structure with solid cork armrests wrapped in woven leather fabric.

Made at a French atelier, the armchair is adapted for exteriors, moving seamlessly from the living room to the terrace or garden. With a textured and patinated brass structure, this luxurious creation by French design studio Pinto, revisits the Deco era with added sophistication.

Jellyfish

Mathieu Lustrerie

JellyFish chandelier in antique bronze work with applied gilding and aged silver, and rock crystal beads.

JellyFish chandelier in antique bronze work with applied gilding and aged silver, and rock crystal beads.

Medusa, from Greek mythology, with snakes for hair, could turn onlookers to stone. Medusa is also the name of the free-swimming phase of a jellyfish’s life cycle. This form is alluded to in slender filaments in this jellyfish luminary artefact by Mathieu Lustrerie Atelier in Marseille. The suckers offer refuge to cut rock crystal drops, where gilt bronze is combined with the soft transparency of stones. 

Kasera 2

David Joe Thomas — for KAASH Space

Kasera 2 (Kasera Collection) -woven polypropylene straps on steel frame.

Kasera 2 (Kasera Collection) -woven polypropylene straps on steel frame.

Inspired by the Indian charpai, architect-designer David Joe Thomas’s seats interpret traditional weaving skills across tape, basket (kottan) and cane furniture from Karaikudi, Tamil Nadu. Kasera, a modular seating collection, uses planes as armrests and structural supports, fashioned from the half-inch tape as a repetitive unit. The structure of the backless seats is a series of intersecting planes to enhance the flat graphic quality of the checkerboard weave.

The freelance writer is based in Chennai.



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At Hyderabad designer Shravan Kummar’s studio, the story is in the weave


Models showcase saris by Shravan Kummar; the designer

Models showcase saris by Shravan Kummar; the designer
| Photo Credit: Special Arrangement

Revivalist is a term that’s loosely thrown around in the fashion circuit, in a bid to add credence to designers who focus on time-tested weaves and crafts. At Hyderabad-based designer Shravan Kummar’s studio, the focus on crafts has been an ongoing process for nearly three decades. He courts the limelight occasionally, showcasing handloom saris and ensembles at key events across India. He prefers to be reticent at other times, and the clientele that he’s built over the years seeks him out for saris and occasion wear.

Ahead of the festive season, his studio tucked away at one portion of Hotel Abode in Lakdikapul is abuzz. A mother-daughter duo wants saris for the festive and wedding season, and another bride-to-be is on a call with a younger designer at the studio to finalise embellishments for a Kanjeevaram sari.

“I can confidently say that our silk saris can last 120 years. We do not take short cuts. The weave is authentic, be it Kanjeevaram, Benares, Venkatagiri, Mangalagiri, or Paithani,” says Shravan. He liaises with weaver clusters across India and is game to show some of the saris that bring back forgotten motifs.

Shravan liaises with weavers of Kanchi, Benares and other clusters

Shravan liaises with weavers of Kanchi, Benares and other clusters
| Photo Credit:
Special Arrangement

An ivory white Paithani cotton sari reserves all its drama for the pallu that has woven images of the navagrahas. “Two weavers worked on this for 19 months,” Shravan explains. A younger designer at the studio points out that the preparation involved spending ample time on drafting the designs of each motif.

Kanjeevaram and Benarasi saris with vintage-era motifs occupy the pride of place at the studio. There are also saris in mulberry silks, and silks from Assam, Meghalaya, Bengaluru and Gujarat. “Our weavers use fine count threads for cottons, silks and khadi, which makes the saris softer and easy to drape. A hallmark of several saris worn by our ancestors was the ease with which they could be draped,” says Shravan.

The motifs on the Kanjeevarams are inspired by the temples of Tamil Nadu. Apart from peacocks, birds and elephants, Shravan shows a sari that has motifs from the Kamakshi, Meenakshi and Visalakshi temples. In other saris, pomegranates and flying lotuses are strategically placed. “The annapakshi (swan) motifs have been done to death. Instead, we work on the Tree of Life, two-faced lions, and sugarcane motifs reflecting the mood of the harvest festival.”

Shravan also shows Benarasi saris with bel motifs that are a throwback to the fashion of the 1940s and 1950s. “We have applied for patents for some of the unique designs,” he says, adding that the Benarasi and Kanjeeveram saris come with a note of authenticity for the silver and gold zari that could weight from 7.5 grams to 13 grams for each sari.

With longevity as a focal point, several saris come with the option of two blouses. “This helps when a sari is shared between a mother and daughter or siblings,” he states.

The revival extends to Venkatagiri and Mangalagiri silk and cottons, Mysore silks, khadi-cottons and khadi-linens in fine count threads to ensure softer drapes.

Shravan, who took to designing in 1996, accompanied by his sister Jyothi Jaisoorya, asserts that with time, his focus is on one-of-its-kind saris. “When motifs are used on more than one sari, there is variation in size, placement and combination to ensure that each sari is different.”



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Satish Gujral and the story of Delhi’s Belgian Embassy


Ever since it was inaugurated in 1983, the Embassy of Belgium in Delhi’s diplomatic enclave (Chanakyapuri) has never fallen off conversations in the art history circuit. Built over three years, it is considered one of the most celebrated creations of Satish Gujral. Not only was the edifice built by an Indian — going against the practice — it was designed by an artist.

It is, then, a befitting tribute that in the birth centenary year of the acclaimed artist, art house DAG (formerly Delhi Art Gallery) chose to launch the first Delhi edition of its ‘The City as a Museum’ festival at the Belgian Embassy “surrounded by Satish Gujral’s masterful play of form, volume, and light”, earlier this month. It gave old-timers yet another chance to walk down memory lane while, for a younger audience, it opened “up new perspectives on why Gujral’s design was so revolutionary in terms of form and material, and how his form was always driven by feeling,” says DAG CEO and managing director Ashish Anand. “Alongside fellow centenarians Krishen Khanna and Tyeb Mehta, Gujral represents not only the genius of modern India but also the resilience and vision of artists who lived through, and responded to, the many transformations of this capital city — from the trials of Partition to the aspirations for a global, secular and syncretic city that would embody the ideals of a new nation,” he adds.

A view of the Embassy of Belgium in New Delhi.

A view of the Embassy of Belgium in New Delhi.
| Photo Credit:
SHASHI SHEKHAR KASHYAP

This artist-architecture intersection ties up with the other architectural intervention under way at DAG — the restoration of the 20th century painter Jamini Roy’s house in Ballygunge, Kolkata. The gallery acquired the house in 2023 and is restoring it, with its features typical of 1950s domestic design, to turn it into a public museum dedicated to the artist.

Forms, feelings, flexibility

The vibrant dialogue between Giles Tillotson, art writer and senior vice-president at DAG, and Ambassador Didier Vanderhasselt at the festival organically underlined Gujral’s prowess as an artist with an ability to transcend boundaries between art forms and why his works live on.
The Belgian Embassy was one of Gujral’s extraordinary design projects. He had said in interviews that he was unsure of his approach and designed the building driven by instinct and intuition. The turnkey project gave him the opportunity to re-assess and re-design during construction. The creative flexibility gave birth to a unique grandeur.

The Belgian Embassy is like an enormous multilayered sculpture, punctuated with three astonishing arches, vault, domes, coffered ceiling, axial entry, jaalis, sunshades, skylights, rain chains dropping into a well-like protrusion, sunken courtyards, arched semicircular motifs running throughout the building and gardens spread out around. These are not just mere backdrops. “Gujral dislodged modern styles to process a new architectural ideal that resonated emotionally,” according to Tillotson.

A general view of Embassy of Belgium in New Delhi.

A general view of Embassy of Belgium in New Delhi.
| Photo Credit:
SHASHI SHEKHAR KASHYAP

Another brick in the wall

The five-acre plot allotted to the Belgian government in the 1950s laid vacant for 30 years and — in an unusual gesture — Gujral was commissioned to design and build the campus of the Embassy. Tillotson explains Gujral’s bold inclusion of cultural preferences by adhering to the ancient tradition of brick construction that paid tribute to India. By elegantly blending primitive strength and traditions with a modernist feel, the red brick architecture held on to meaningful aesthetics and lent a character to the building defined by its igloo-shaped domes and fortress-like form.

No surprise that the building open to artistic interpretations was chosen by the International Union of Architects as one of the 1,000 best buildings built around the world in the 20th century. Gujral also became the first non-Belgian architect to receive the Order of the Crown from the government of Belgium in 1984.

“It is a privilege to live in this incredible building that looks like a sculpture from the outside and bridges diverse cultural influences on the inside. I experience Satish Gujral’s work on a day-to-day basis here; it holds life in myriad moods,” says Ambassador Vanderhasselt, who’s been living here for the past three years.

A general view of Embassy of Belgium in New Delhi.

A general view of Embassy of Belgium in New Delhi.
| Photo Credit:
Special arrangement

The art of diplomacy

Gujral being offered the project, however, had raised many eyebrows back in the day. “Leading local architects tried to abuse me for not being an architect…many wrote a letter to the (Belgian) government protesting why a non-professional is being commissioned,” said the late Gujral in a 2015 interview to Hunar TV. “I think separating of art and architecture shows a total misunderstanding of what art is. Art and architecture were never thought of separately. Only in recent times, the separation came and, as a result, both suffered. Even in modern times, great architecture was brought in by those who began as artists. Take the example of the designer of Chandigarh, Le Corbusier,” he added.

The Belgian Embassy residence is an iconic design that marks an important moment in the development of modern architecture in India, notes DAG’s Anand. “It came at a time when architects across the country were beginning to question the values of the International Modern movement, which claimed for itself universal validity but did not always seem best suited to regional conditions. Architects of Gujral’s generation were seeking ways of blending the technological benefits of modernism with a more local idiom. The big question was where to find this sense of Indian identity. It was not to be found in Modernism itself — which offered the same solutions across the world, from Brasilia to Beijing. It was certainly not to be found in the hybrid architecture of the British period. And it could not be found by going back into the pre-industrial hoary past. Architects and other designers were fearful of being accused of pastiche if their reference to a regional past was too literal. Gujral’s achievement was to evoke a distinctively Indian past (temple towers, fort ramparts) in the curved forms of the exposed brick arches and domes of his design,” he says.

Like in India, brick — albeit not an elite material — is a defining element of architectural culture in Belgium, especially in the Flanders region. Gujral found an assertion of this identity to be convincing. Tillotson says, “He did not want to create everything Indian or Western; Gujral’s designs are always about form that follows the rule of symmetry. The magic of geometry comes alive in the space where he builds the narrative.”

His spaces behave like a character shaping moods and decisions, reflecting sensibilities and always responsive to the climate. The use of bricks creates a tactile, earthy feel, emphasising the harmony between the structure and the surroundings. Simplicity, bare ceilings, open courtyards, walls and arches meticulously exposed in bricks, skylights of different sizes for ventilation and natural light are the imprints Gujral left behind.

The artist’s ability to seamlessly blend art with functionality is also evident in his other architectural marvels, at home and in the world. Perhaps, that’s why past residents have called the embassy building “the best business card for Belgium in India”.

His other marvels
The Portugal Ambassador’s residence, New Delhi
Indira Gandhi Centre for Indian Culture, Mauritius
Mahatma Gandhi Institute, Mauritius
Goa University
CMC office, Hyderabad
Al Moughtara Palace, Riyadh

With inputs from Tanushree Ghosh.

Published – September 26, 2025 04:44 pm IST



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Ageing with dignity and design: How senior living is being redefined


Adarsh Narahari

India is the world’s youngest nation with over 65% of its population under the age of 35, and with high average disposable incomes elevating their lifestyle. At the same time, the country’s population growth rate is declining, and is projected to be less than 1% during 2021-2031 and under 0.5% during 2031-2041, according to the India Budget 2019. This slow growth can be partly attributed to a decrease in the total fertility rate (TFR) which is falling well below replacement levels in several regions, making a case for the rise of the senior population.

This ageing population is significantly different from their predecessors during a period when India was lagging in per capita economic growth, had low life expectancy along with limited professional growth and investing opportunities.

For people turning 60 and above in the next decade, their requirements will be rather nuanced across housing, services and medical, among others, and will lead to the development of a new ecosystem. Particularly in real estate, the demand and development of integrated senior living will rise significantly across the top seven cities.

A critical sector

According to KPMG, India is projected to account for 16% of the global population aged 60 and older, approximately 346 million seniors out of an estimated 2.1 billion worldwide by 2050. While this percentage is lower than some countries, India’s sheer population size makes this shift economically and socially significant. This demographic wave will profoundly impact healthcare, social services, and economic policies, making senior living a critical sector for national development.

Senior housing is currently at a nascent stage with cities such as Pune and Bengaluru having 1.2 million and 1.03 million units, respectively, and witnessing robust growth in senior demographics with other cities steadily catching up.

This necessitates the need for development of an integrated ecosystem typically designed for people above a certain age group, offering a sense of community living featuring amenities like dining halls, social spaces, and recreational facilities.

With senior living properties, the idea is to offer independence to the elderly with professional assistance in their daily tasks and help them fulfil an active and healthy lifestyle. Global property consultant JLL states that the target market for senior living facilities will grow from 1.57 million households in 2024 to 2.27 million by 2030, led by factors including changing family structures, increased life expectancy, and a shift in societal attitudes towards independent living arrangements for seniors. However, the market remains in its nascent stages despite over $40 million in institutional investments in the last few years due to regulatory, operational, and awareness challenges. India’s traditional set up of older parents living with their children and independent housing dominating the landscape also remain key challenges for senior living real estate projects in India.

Forging partnerships

A senior living project is quite unlike other real estate projects as it requires the availability of medical services, community dining, retail spaces, concierge service providers and senior living community operators, among others. Identifying these nuanced requirements, an increasing number of developers are forging partnerships with service providers to offer an experience of holistic living.

In addition to this, there is an overhaul of the entire design language of real estate projects meant for seniors with wider doors, grab bars and railings in bathrooms and across campus, accessible kitchen counters, wheelchair-enabled homes, emergency panic button, anti-skid tiles across apartment and common areas, and elder friendly furniture.

With these insights and amenities, South India has emerged as the epicentre of senior living, accounting for roughly 60% of the national market share. This can be attributed to accelerated awareness and acceptance of senior living as well as a higher proportion of parents with Non-Resident Indian (NRI) children. To support its even growth across the country, policy interventions such as tax exemptions, care-related incentives and subsidies will make this segment even more attractive for developers as well as institutional investors.

Internationally, China offers life insurance products combined with senior living services, which has led to great success of this concept and can be emulated here in India as well. The need of the hour is to identify incentives and ecosystem partnerships, similar to the adoption of Aadhaar and UPI, to benefit our country’s ageing population.

Over the next decade-and-a-half, India will have to build local solutions from global lessons in order to build a strategic roadmap for senior living in the country.

This will become imperative in order to make this segment financially viable for developers and investors while catering to the needs of millions of elderly in a cost-effective manner.

The writer is founder and managing director at Primus Senior Living.

Published – September 26, 2025 04:25 pm IST



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How cafes in Hyderabad stoke creative pursuits, from art therapy to crafts


In a city known for its food scene and fast-growing tech culture, a quieter movement is gaining momentum — one that smells of melting wax and freshly brewed coffee, and looks like messy hands, half-finished paintings, and laughter shared over glitter. Across Hyderabad, art cafés are offering hands-on experiences that blend creativity, social connection, and a much-needed pause from the digital churn.

These cafés are experiential hubs where people tuft rugs, pour candles, paint, and reconnect with the joy of making something.

At Lyzure, nestled in Jubilee Hills, the inspiration came from burnout. “There was a gap; people were craving ways to unwind that weren’t just about food or screens,” says founder Niharika Gollapalli.

Lyzure positions itself as an art therapy cafe and offers tufting, pottery, candle and soap-making, DIY crafts, and painting stations — beginner-friendly and open to all ages. Prices range between ₹900 and ₹2500, and reservations can be made on their website (lyzure.com).

That warmth resonates with visitors like Anvitha Kollipara, a college rising sophomore, who recently spent an afternoon tufting with her mom and middle school attending younger sister. “We were all completely absorbed in our own pieces, but also helping each other along the way,” she says.

For the cafe, that kind of intergenerational joy is exactly the point. “We want our activities to be as satisfying for a six-year-old as they are for a 60-year-old,” says Gollapalli.

Art enthusiasts at Ignite cafe

Art enthusiasts at Ignite cafe
| Photo Credit:
Special Arrangement

Ignite Candle Bar and Art Café in Financial District taps into something equally personal. Founded by 21-year-old Shreya Gudena, Ignite was inspired by childhood memories of doing crafts with cousins. “My cousins and I always looked for places to do something hands-on instead of just eating out. I wanted to create that space for others,” she says.

Ignite offers varied activities, from perfume-making and candle pouring to acrylic painting sessions. Prices start at ₹800 and can go up to ₹3500, based on complexity and materials. Customers can book sessions through their website.

But not every art café in Hyderabad was born from creative nostalgia. In Banjara Hills, Socio blends artistic expression with wellness. Founded by Dr. Shravya Ravipati, the cafe was envisioned as a space to heal and connect through art. “Opening an art space as a doctor may seem unusual,” she says, “but my passion for art has always been a source of balance and expression.”

More art spots in Hyderabad

Urban Nemo Cafe, Jubilee Hills: Kokedama, pottery and bouquet making.

Artgram, Banjara Hills: Mosaic, Lippan art, mandalas, glass painting and slime studio.

Aaromale, Film Nagar: Workshops range from making eco-friendly products to art journaling.

Socio’s offerings range from visual art workshops and community events to music, dance, and even yoga sessions. The space is designed to be inclusive, reflective, and dynamic, encouraging everyone to explore their creativity without pressure. Pricing varies depending on the event, with updates shared via @socioartplace on Instagram. “We want people to share their stories, express themselves, and find solace in the process,” Shravya explains.

Whether it’s crafting a candle or painting alongside strangers, these spaces speak to a larger cultural shift — especially among Gen Z and millennial audiences — away from passive consumption and toward tactile, intentional creation.

(The writer interned with The Hindu)

Published – September 26, 2025 01:59 pm IST



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Beyond the idol: Durga Puja pandals are now platforms for social and political activism


Imagine an art gallery that spans an entire city, drawing millions of visitors in just a few days. This is the reality of Durga Puja in Kolkata, where faith, craft, and activism converge into a breathtaking public art spectacle.

I am in the city for a preview of the pandals as they are being assembled. It is a few days before heavy rains inundate the city, claim lives and flood many pandals. With themes ranging from food adulteration and acid attacks to Bengali literary thrillers, and titles such as Proshno (question), Artonad (scream), Nigurho (mystery) and Ocholayton (static), it isn’t surprising that newspaper headlines talk about the pandals this year being puzzles for the common man. Or an unofficial IQ test. But there are also thousands of religious pandals to view.

An idol of Durga at a pandal themed as Theyyam, a scared dance and worship ritual from north Kerala

An idol of Durga at a pandal themed as Theyyam, a scared dance and worship ritual from north Kerala
| Photo Credit:
PTI

Workers deck up a pandal themed Free the birds from cages

Workers deck up a pandal themed Free the birds from cages
| Photo Credit:
PTI

For the art visitor, however, it is fantastic. With intricate craft and impeccable concepts, and a scale that is rarely seen, the festival, widely described as the world’s largest public art festival, and recognised by UNESCO as an Intangible Cultural Heritage, is comparable, if not better, than many international art festivals. To top it all off, many pandals are crowd funded.

Last year, I was disappointed that I could not take back any of the art I saw. I’d asked Sayantan Mitra from massArt, a non-profit that works to promote the art and culture of Bengal, if something could be done. This year, as we walk through new galleries set up at the Alipore Jail Museum for the preview, individual art works by the artists behind selected pandals are being sold.

Items for sale near a pandal

Items for sale near a pandal
| Photo Credit:
PTI

A space for powerful narratives

Pujo, as it is known to many, was initially performed in the private homes of zamindars (hereditary landowners) across West Bengal. A confluence of factors transformed it into the cultural, social, and religious phenomenon that it is today, especially in the capital city. One was the philosophical influence of philosopher Swami Vivekananda and the Ramakrishna Mission, which elevated the festival’s spiritual and social significance. Also crucial was its role as a platform for political expression during the Indian freedom struggle.

Central myth of Pujo

The festival, a community-based activity in neighbourhoods and community spaces, is dedicated to the goddess Durga, an embodiment of the divine feminine power — also known as Shakti. The central myth behind Durga Puja is the epic battle between the goddess and the buffalo demon, Mahishasura. She is believed to have fought Mahishasura for nine days and nights, finally slaying him on the 10th day. This victory symbolises the eternal triumph of good over evil, virtue over arrogance, and knowledge over ignorance. And to honour it, pandals are erected across the city for nine days.  

Mukho Mukhi pandal by artist Shovin Bhattacharjee fuses technology and tradition with stainless steel installations, kinetic energy-driven structures, and reflective elements

Mukho Mukhi pandal by artist Shovin Bhattacharjee fuses technology and tradition with stainless steel installations, kinetic energy-driven structures, and reflective elements
| Photo Credit:
Getty Images

The use of Durga Puja pandals as stages for social and political activism is a more recent phenomenon. Instead of merely decorating the pandal, community-based puja committees build artistic concepts around a central theme — encompassing the structure’s architecture, the idol’s design, the lighting, and even the surrounding environment.

In recent years, themes have moved from broad social issues to more pointed political statements. This is particularly visible in Kolkata, where major puja committees are often backed by rival political parties. Using the umbrella of the annual festival, which draws enormous patronage, artistic directors are pushing boundaries. They use it as a space for ideas, using craft and design to create powerful, piercing narratives on themes ranging from the environment and history to social justice and ideologies.

A pandal themed on ‘Operation Sindoor’

A pandal themed on ‘Operation Sindoor’
| Photo Credit:
PTI

Mirroring current debates

This year, one of the most interesting pavilions is non-profit organisation Tala Prottoy’s Beej Angan (seed courtyard). Spanning over 35,000 sq.ft., it tells a powerful story about agriculture, nature, and sustainability. The pandal shines a spotlight on issues such as food adulteration, rising prices, and the fallout of misguided farming policies. The Durga idol by artist Bhabatosh Sutar takes on the guise of a farm girl with a plough, slaying demons and farm policies.

At Tala Prottoy’s Beej Angan pandal, Goddess Durga as a farm girl holds a plough and stands on a urea bag in place of the demon.

At Tala Prottoy’s Beej Angan pandal, Goddess Durga as a farm girl holds a plough and stands on a urea bag in place of the demon.
| Photo Credit:
Sharan Apparao

An installation at Beej Angan

An installation at Beej Angan
| Photo Credit:
Sharan Apparao

Another poignant pandal is one dedicated to the victimisation of women. Artist Anirban Das’ work is a graphic look at ‘burning’, a powerful metaphor encompassing torments such as rape, acid attack, human trafficking, domestic violence, and child marriage that women suffer in India. During the festival, survivors of acid attacks will join other women to perform short skits.

A performace at the Burning pandal, with artist Anirban Das’ work as backdrop

A performace at the Burning pandal, with artist Anirban Das’ work as backdrop
| Photo Credit:
Sharan Apparao

As I make my way through the city, I come across a pandal on the chaap, or stamp, in its metaphorical and literal form, suggesting the power of the image and its role in transformation; another designed as a giant illustrated strip, taking us on a trip back in time to the comic books of the 1950s and 60s, and the world of fictional detective Byomkesh Bakshi and Bengali literary thrillers; and even a quirky pandal titled Chaa that pays homage to the history of tea.

The Chaap pandal

The Chaap pandal
| Photo Credit:
Sharan Apparao

A metal Durga at Beliaghata 33 Palli’s Roti Kapda Makhan pandal

A metal Durga at Beliaghata 33 Palli’s Roti Kapda Makhan pandal
| Photo Credit:
Sharan Apparao

At the Chaa pandal

At the Chaapandal
| Photo Credit:
Sharan Apparao

Raja Ravi Varma, the historically renowned artist who brought the human forms of gods and goddesses into homes with his chromolithographs, has a pavilion dedicated to his imagery. As does the powerful riots of 1946, which shook West Bengal. It is made visible in a dramatic combination of maps, oversized printing equipment, and newspapers of the event — handstitched for tactility and impact — suggesting the sociological impact on society in the history of change in India.

The pandal dedicated to Raja Ravi Varma

The pandal dedicated to Raja Ravi Varma

Igniting conversations

The pandals illustrate the power of art, taking the visitor through tableaus of powerful ideas. The common person, who may not be an art aficionado, is now being drawn into the fold with these visual extravaganzas.

The world, and even the locals of the city, have yet to fully recognise this important change in the world’s largest public art festival. As these temporary installations continue to challenge conventions and ignite conversation, Durga Puja becomes not just a festival of faith but a profound agent of change.

40 painted taxis

Meanwhile, 40 yellow taxi cabs ply the city, decorated by artists, with motifs that draw on traditional pujas, Kolkata’s rock-band years, and even contemporary digital iconography.  

Yellow cabs decorated by artists

Yellow cabs decorated by artists
| Photo Credit:
Courtesy Asian Paints

A collab between Asian Paints and St+art India, the cars celebrate four decades of the paint brand’s Sharad Shamman award (for the best Pujopandal). Called “Cholte Cholte 40”, each cab is a moving time capsule, representing a decade of the awards.

Asian Paints x St+art India cabs

Asian Paints x St+art India cabs
| Photo Credit:
PTI

The taxis’ interiors are upholstered in curtains, wallpapers and textiles from Asian Paints’ own collections, including fashion designer Sabyasachi Mukherjee’s Paris X Calcutta line for Nilaya by Asian Paints and the Heartland series. Under-seat lights, UV accents, and reflective finishes of Royale Glitz add to the pandal feel.

Interiors upholstered in Sabyasachi’s ‘Paris X Calcutta’ fabric 

Interiors upholstered in Sabyasachi’s ‘Paris X Calcutta’ fabric 
| Photo Credit:
Courtesy Asian Paints

The writer is the founder of Apparao Galleries.



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Column by Saba Mahjoor | When two sisters split a village


During the course of my life, I have watched Phuphee work through countless cases and offer each one a tailored solution. But there was one that remained unsolvable. The case involved two sisters who had a feud that had been ongoing for 25 years.

My earliest memory of them is from when I was 14 or 15. It had been a hot, humid day and I had been too lazy to follow Phuphee into her room when they had arrived. That was the only time I saw them together. After that, it was always one or the other at the house.

Over the years their feud intensified, at times causing everyone in the village to go into a tizzy and talk of nothing else and, at other times, they were as silent as the graveyard. The villagers would sometimes talk about how the feud had started, but no one ever really knew what it was that had set the two at each other’s throats.

With time, it wasn’t just the sisters who were fighting but their families. As each sister’s family had expanded, so had the boundary of the feud. And once their immediate family members were in the fight club, the conflict slowly made its way into the village. The strange malady caused the people to express allegiance to one sister or the other even though it was never explicitly demanded by anyone.

The villagers sometimes found themselves getting into arguments and heated debates with their friends about the siblings. By the time the person would recover their senses, the damage had been done. Sometimes people speculated that the sisters were cursed and kept their distance, but then the enticing aroma of gossip would tickle their noses and draw them in and the cycle would start all over again.

One day in late September, my parents planned to drop me off at Phuphee’s house for a couple of days. The air was infused with a chill, causing you to pull your pashmina a little tighter around your body. We were sitting in the tonga enroute to the house when I saw a small crowd gathered by the side of the road, with some people shouting and abusing each other. The tongawaalla told us not to worry as they were probably fighting about the sisters. Once we reached Phuphee’s house, I ran inside to find her in the kitchen cleaning nadru (lotus stem). She got up and held me tight, and covered my face in kisses. She asked us to sit while she prepared nadru yakhni (lotus stem cooked in a yogurt and mint sauce) for lunch.

Later on, I was sitting with Phuphee as she pounded some nadru — the ones that were too hard to be cooked in the yakhni but would make excellent nadir monjyi (lotus stem cutlets). She would pound them into a coarse mixture, add egg and spices, and fry them in oil.

‘Sometimes no matter how much you steam these they won’t soften,’ she said, looking up from the giant stone mortar, a little flushed. ‘You have to pound them into submission.’

‘Phuphee,’ I asked, ‘what was the reason for the two sisters fighting?’

She stopped what she was doing and asked one of my cousins to take over.

She came and sat down beside me, lit two cigarettes and after smoking for a couple of minutes, told me the cause. The elder sister, Latifa, had been married for a few years and had two children when the youngest, Moomina, got married. After a year of marriage, Moomina conceived but had a miscarriage. Obviously distraught from the trauma, she had gone to her maternal home to recover. It had been very difficult for her because there had been a lot of pressure on her to conceive.

When at her home, she opened her heart to her sister who had tried to console her. Latifa had said that it probably wasn’t a bad thing given that Moomina had just started a new job as a teacher and having a baby would have put hurdles in her path. Upon hearing this, Moomina had become disturbed and asked her sister if she viewed her own children as hurdles to her career. One thing led to another and 20 years later the feud continued. I was stunned.

‘I always expected it to be something big that they had fought about,’ I said.

‘Big or small, that depends on whether you are Moomina or Latifa, of course. Latifa has refused to acknowledge or apologise for what she said, citing seniority as her reason,’ Phuphee replied a little sharply.

I understood the change in her tone. It is possible it might have been a slip of the tongue for Latifa, but for Moomina it was an act of cruelty that would stay with her.

I asked Phuphee why she hadn’t used her magic to help bring them together.

‘I wish people were like nadrus,’ she said. ‘If they didn’t become tender on cooking, you could still pound them into submission in the nyaem [mortar]. But they are not. There is no forgiveness without acceptance of your sin. Latifa might feel that what she said wasn’t terrible, but the thing to remember about a situation like this is that the person who delivered the blow doesn’t get to decide how painful or how deeply it cut the person who received it. When you hurt someone, you don’t get to decide how much pain the other person should feel. You don’t have the right or the power.’

I sat there thinking about her words and the two sisters. I wished there was some way to bring them together, but Phuphee was right. You couldn’t pound sense into anyone, especially someone who held their sense of entitlement on a higher plane than everything else.

Saba Mahjoor, a Kashmiri living in England, spends her scant free time contemplating life’s vagaries.

Published – September 26, 2025 07:07 am IST



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