Life & Style

Priya Chetty-Rajagopal’s earliest memory of Cubbon Park’s iconic bandstand is hearing the Madras Sappers, one of the oldest of three Madras regiments of the Corps of Engineers that are headquartered in Bengaluru, play there, back in the 1970s.

“The bandstand has military band origins, so it has always been about the military for me,” says the founder of the citizen-led initiative, Heritage Beku, which has been instrumental in reviving cultural performances at the Cubbon Park bandstand. The initiative, she says, was catalysed by this dream of bringing the military band back to the park. “That is where it started: saying that we need the bands to play again because it offers a sense of such majesty,” says Priya, whose father was a Sapper too.

While the bandstand, first constructed by the British in the 1900s to showcase their military and police bands and renovated by the Horticultural Department a few years ago, was a point of beauty and aesthetics, Priya says, “it was fallow, offering a visual perspective, but not enabling cultural interaction.” Performances used to occur here regularly, around two decades ago, but had become extremely sporadic.

This was something Priya managed to change in December last year, kickstarting the initiative with a recital by the Saralaya Sisters. Since then, come Sunday morning, around 8 am, it transforms into a public performance space, open to anyone who wants to experience a slice of Bengaluru’s cultural heritage, including the park’s many canine residents. “We love the parkies (the dogs who live in Cubbon Park) and they occasionally bless us with their presence,” says Priya, who believes that bringing art to a public space is democratising. “People are really so happy to see the bandstand come alive again.”

The Saralaya Sisters at the bandstand
| Photo Credit:
Special Arrangement

Triveni Saralaya, who performed on December 8 with her sister, Kavitha, says that the sound of classical music in the park takes her back decades. “There used to be regular performances around 15-20 years ago,” says Triveni, who has herself been part of musical events in Cubbon Park, Lal Bagh and even Bugle Rock Park on many occasions. “All these parks used to have concerts early in the morning, on Sundays, so walkers would be exposed to live music as they were walking.”

And it isn’t just about the music. Dance photographer Sumukhee Shankar, who attended a dance performance, believes that having it outdoors helps bring out “the raw energy in the dance,” she says. In her opinion, dancers have a different energy when they perform outdoors. “They are so fresh, and instead of being in an auditorium with all that (artificial) light, it is only pure sunlight and fresh air,” she says. “As an audience, I felt it was definitely a welcome change.”

 The experience of art in a public space is magical because it is so democratising
| Photo Credit:
Special Arrangement

Performance in the park

When Priya and her team decided to have noted artists perform at the bandstand, they knew they did not have a budget to pay them. So, they were a little worried since “we were very conscious that you cannot undermine performers by not rewarding them for their performance,” says Priya. But soon a realisation dawned. “Much as we respected them, we realised that just like we work pro bono for the city, artists are also open to it,” she says, adding that many of these artists were just happy to perform at the bandstand. “They felt the nostalgia of it, of being part of something bigger than themselves. This generosity allowed us the space we needed.”

Over the last six months, Cubbon Park’s bandstand has hosted numerous city artists, primarily those from the Indian classical tradition, including Vinita Radhakrishnan, Srijanee Chakraborty, Anirudha Bhat, Yamini Muthanna, and Anuradha Venkatraman. This movement has gained momentum, and Heritage Beku is currently being inundated with requests for bandstand performances, with many artists who have already performed here referring others to this venue, says Ruam Mukherjee, the curatorial director of Heritage Beku’s Revival Series. She believes that the timing of the performances has contributed to their popularity. “Artists perform in the morning at the bandstand and then head out for their paid engagements and gigs,” she says.

Classical arts can thrive in public spaces such as this one
| Photo Credit:
Special Arrangement

Right now, the focus is on the classical arts, “because spaces like this are more suited to them. Also, there are other platforms for popular and film music,” says Ruam, who is also attempting to get younger talent on the stage since, “in the classical genre, it takes years for a performer to perform in a space like this,” she believes. “So, if their body of work has merit, we definitely try to showcase them.”

A special space

These performances are open to everyone, including the park’s many canine residents and visitors
| Photo Credit:
Special Arrangement

Ruam explains why this particular space is so special, a sentiment with which many of the performers also concur. “It is a 360 °stage and they can see the audience directly,” she says. The many flowers blooming in the park around them at different times of the year, like the pink tabebuias and yellow jacarandas, enhance the spectacle. Also, since the stage is open, “the way they use the stage is interesting, especially in terms of dance.”

For Derek Mathias, the band leader of Derek and the Cats, a Bengaluru-based instrumental dance jazz fusion band, one of the very few Western music performers who have been part of the initiative so far, playing their recent song ‘Cubbon Park’ in the space that has inspired it was “surreal,” he says. “Performing at 8 in the morning is so refreshing, since you feel the Sunday morning breeze, you hear the birds chirp all around you, and you are surrounded by greenery. It puts you in a very different headspace,” he says, a sentiment shared by Kavitha Saralaya. “The fresh air and lighting are so perfect,” she says. “And the way that bandstand is built, the acoustics sound so good.”

She firmly believes that bringing art to public spaces enhances culture. “It is a beautiful ambience and a good way to revive classical music for the general public,” she says, pointing out that, unlike in a traditional performance space filled with rasikas, it is not a niche audience who ends up attending these performances. “Many people who come there won’t know an iota of classical music. But when they listen to it in that beautiful setting, something could be triggered in them,” she feels.

Ruam agrees that one of the nicest things about this initiative has been to see audiences of all ages, from all walks of life, in the city and outside it, coming in. Recalling how many people who were visiting Cubbon Park on Sundays, for a run or with their dogs, ended up staying for the performances, she further states, “We have anywhere between 100-150 people in the audience in the bandstand on average, and, for the dance performances, it is always houseful.”

While Heritage Beku has bigger plans for Cubbon Park, whether it be going beyond Indian classical performances or introducing busking in the park, Priya says the focus right now is on continuing the tradition that has been established and “building up a good, solid reputation so people know that the Sunday bandstand is here to stay.”

If you’re on Marine Drive in Mumbai, you most certainly have seen Pizza by the Bay, the Italian restaurant on the ground floor of Soona Mahal, one of the most striking Art Deco buildings on the bustling seaface. The streamlined building, built in 1937, features cantilevered balconies, vertical accents topped with stepped ziggurat motifs, and a rooftop turret.

The Queen’s Necklace on Marine Drive houses beautiful examples of this architectural style that took root a century ago, marked by geometric patterns, porthole windows, nautical motifs and the iconic Deco signage. In fact, Mumbai has the second largest collection of Art Deco edifices across the world, second only to Miami Beach.

Western India House, Fort
| Photo Credit:
Art Deco Mumbai Trust

The centenary of the movement in 2025 calls for celebration — and quiet reflection. One hundred years ago, on the banks of the Seine in France, the Exposition Internationale des Arts Décoratifs et Industriels Modernes, a landmark exhibition that ran for seven months in 1925, marked the birth of Art Deco, a design language that departed from the ostentation of Art Nouveau, the excesses of Victorian, and classical architecture. Emerging alongside the functional minimalism of German Bauhaus and the modernity of materials like glass, concrete, and steel, Art Deco embraced a bold aesthetic, featuring motifs such as frozen fountains, ziggurats (rectangular stepped tower), sunbursts, speed lines, and elements from Egyptian and Aztec cultures.

In the years bookended by the two World Wars, migration and travel brought it to India. Affluent Indians, introduced to the aesthetic in Europe, asked architects back home to incorporate Deco elements into their new construction. Mumbai, Chennai, New Delhi, and Kolkata saw its strongest architectural expressions, while cities such as Pune, Hyderabad, and the Chettinad region developed more local interpretations.

Bank of Maharashtra
| Photo Credit:
Art Deco Mumbai Trust

Today, not all of it has survived, and there is an urgent need for documentation and conservation. But, on the brighter side, contemporary movements in textile, typography and design have been incorporating Art Deco motifs into their visual vocabulary. But more on that later.

Documenting Deco, one city at a time

Atul Kumar, founder-trustee of the Art Deco Mumbai Trust, and his team have documented Mumbai’s Art Deco heritage, identifying 1,324 buildings since 2017. From residential multi-storeys with geometric ventilators and chevron patterns to government edifices and cinemas, the Trust’s interactive map shows those interested where they are located.

In its sister city, Pune, the buildings have a strong vernacular influence. “We see the incorporation of mythology, lotus motifs and the Devanagari script,” says Kumar. Sugandhi Building, a family owned three-storeyed residential structure in Budhwar Peth, is a favourite for its evocative lotus imagery, vibrant palette, and trademark Deco features such as circular portholes and a mandap-like deck — its moniker derived from a family that specialised in perfumery and fragrances, living in Pune for over 200 years.

Lotus imagery at Sugandhi Building
| Photo Credit:
Abhishek Gijare | Art Deco Mumbai Trust

Hari Krupa or Mehendale Building, a two-storeyed mixed-use building with shops on the ground level, in Sadashiv Peth, is a prime example of how local craftsmen wove Art Deco influences into the local fabric, with religious iconography such as swastiks and omkars, sunbursts and chevrons. “There is a unique melding of western and Indian styles — the designs are more intricate, and not as stylised as the Art Deco form,” he shares.

Hari Krupa, the family house of the Mehendales
| Photo Credit:
Abhishek Gijare | Art Deco Mumbai Trust

As most of the 90 residential buildings in Pune now house families and commercial enterprises, documentation has been tough. “We are focusing on outreach and sensitisation. Urban pressures [such as rapid plot development] are similar across cities, and there is no incentive to preserve or restore these homes. But the families we visited are keen to learn more about their heritage,” adds Kumar.

This sentiment is echoed by Adhiraj Bose, who has been documenting Kolkata’s Art Deco heritage since 2017. The city has one of India’s earliest high-rise Deco buildings — the Tower House, built in 1928 — and a residential home, Jahaj Bari on Elgin Street, shaped like a ship, reflecting the city’s love for maritime imagery.

Hindu Mutual Building on Central Avenue
| Photo Credit:
Adhiraj Bose

Bose leads heritage walks, photographing hundreds of residences in Lake Town and various government buildings. “Demolition and redevelopment are more popular and economically viable than restoration. The Red Bari café opposite the Kalighat temple, Roastery Coffee House in Gariahat, with its deep ochre and white walls, and the Broadway Hotel are examples of ‘repurpose and restore’ initiatives,” explains Bose, who is currently striving to preserve the vestiges of single family Deco homes in his neighbourhood, Lake Town.

Gautam Bhatia
| Photo Credit:
Special arrangement

Inclusion of local sensibilities

Meanwhile, in the capital, where mostly Mughal and British Colonial styles dominate, Art Deco still manages to shine. Architect Geetanjali Sayal, founder of Deco in Delhi, a narrative website and Instagram page, began documenting the style around 2020 with researcher Prashansa Sachdeva. With 22 “pure deco” buildings, and a mix of four hybrid and 13 influenced structures, “we took a cartographical approach, starting with hand-drawn maps of Chandni Chowk and Daryaganj, archiving individual houses and small neighbourhoods”, says Sayal. “The focus wasn’t just on ornamentation, but design features like fireplaces, staircase structures, and flooring.”

22 Pusa Road, Karol Bagh (1940s)
| Photo Credit:
Lumilanous

Smaller cities saw the rise of Indo-Deco, a blend of modern construction and local sensibilities. Heritage architecture enthusiast Smita Babar highlights Chettinad’s façades with its egg-lime plaster and stencil drawings, tucked away in the bylanes of Karaikudi, Tamil Nadu. The mansions reflect a desire to straddle two worlds at the turn of the 20th century, when affluent Chettiar bankers built homes with traditional courtyards framed by imported glass, marble, and teak, adopting Art Deco elements for their façades.

“Bas-relief figures of goddess Lakshmi sit alongside running bands, concrete and metal grills, and chevrons, highlighting how Art Deco was adapted,” she explains. Abandoned by families who migrated to cities, many homes (estimated to be between 10,000 and 15,000, according to UNESCO) are maintained by caretakers or agents. “Any restoration or conservation will require a material-based approach, picking singular elements for restoration.”

‘Bas-relief figures of goddess Lakshmi sit alongside running bands’
| Photo Credit:
Smita Babar

Art Deco detailing on a Chettinad mansion
| Photo Credit:
Smita Babar

And one of the people stepping up to help is New Delhi-based architect Aishwarya Tipnis, who has developed a material toolkit — a free, research-based, online resource — to aid practitioners with the restoration process as well as directions on where to find the materials and skills. “A homeowner on Pusa Road in Delhi wanted to preserve their home and used it for terrazzo [material made with marble chips embedded in a cement or epoxy] conservation,” says Sayal, while Tipnis, whose goal is to aid informed renovation and restoration, adds, “We have to train professionals to embrace change in ways that are aesthetically, economically, and environmentally appropriate for the future.”

Aishwarya Tipnis
| Photo Credit:
Special arrangement

“It is good to see a new appreciation of spaces such as Manik Bagh as early expressions of distinctly Indian modernism, going beyond the overly simplified view that they were simply copies of what was trendy in the West. The collective vision of Maharaja Yeshwantrao Holkar II of Indore and architect Ekhart Muthesius of Berlin, Manik Bagh brought modernist design principles into an Indian context and began to shape the early thinking around Indian Modernism and Deco.”Yeshwant Rao HolkarHotelier and heritage conservationist

Yeshwant Rao Holkar
| Photo Credit:
Special arrangement

Manik Bagh palace
| Photo Credit:
Special arrangement

Letterforms meet legacy

Art Deco has shaped not just Mumbai’s shimmering skyline; its visual grammar has also permeated the city’s typography. Tanya George, a Mumbai-based custom type designer, has been fascinated by its fonts. “I started noticing letterforms on buildings — printed, flex, and with adaptations of Indian scripts. Art Deco’s design captured the spirit of looking forward, so even their letterforms have longevity,” she explains.

George created Dekko during the pandemic (2020-21), a Deco-inspired typeface featuring tall figures, narrow fonts, and exaggerated waistlines, as seen in Devanagari and Latin scripts. “The project started with studying the letter forms, and the lockdown gave me more time to flesh out the design. Versions of the fonts have been used for identity across projects,” she says.

Dekko prints
| Photo Credit:
Tanya George

Sketches helped with the genesis of the English font, and the Devanagiri script followed suit. In her project with the Art Deco Mumbai Trust, she recreated the sign for Empress Court, an Art Deco building constructed in 1936, using archival photographs and modern materials such as stainless steel and polyurethane.

Empress Court
| Photo Credit:
Aashim Tyagi

A diamond and emerald Art Deco necklace 
| Photo Credit:
Special arrangement

Hanut Singh’s Art Deco inspired jewellery
| Photo Credit:
Courtesy Hanut Singh

Art Deco has also inspired restaurant interiors. “The Bombay Canteen features vintage-inspired furnishing, terrazzo flooring, and intricate detailing,” says Sameer Seth, founder and CEO of Hunger Inc. Hospitality, adding that their Art Deco Cocktail Book features cocktails named after landmarks such as Liberty Cinema, Soona Mahal, and Sea Green Hotel. At the Bombay Sweet Shop’s Byculla store, the interiors feature curved glass displays and hand-blown glass lights, reminiscent of Mumbai’s iconic cinemas. And the signages of both “have typefaces that are bold, streamlined, and with geometric forms”, says Seth.

The Bombay Canteen
| Photo Credit:
Courtesy Hunger Inc.

Bombay Sweet Shop’s Art Deco inspired font
| Photo Credit:
Courtesy Hunger Inc.

The Bombay Canteen’s Art Deco Cocktail Book
| Photo Credit:
Courtesy Hunger Inc.

According to designer and restorer Kunal Shah, Art Deco’s timeless quality endears it to today’s designers. “There’s interest in objects like home décor, jewellery, rugs, saris, sunglasses, and shoes,” says Shah, who in 2022, curated a paean to Mumbai’s Deco movement with architectural photographs, art, collectibles, fashion, furniture, and typography at Gallery 47-A in Khotachiwadi. Juxtaposing Deco’s standout features against the current city design aesthetic, he says, “Art Deco sits uncomfortably with current aesthetic choices since today’s interior design style is aspirational, while [the former] was restrained and self-assured.”

Art Deco mirror details
| Photo Credit:
Kunal Shah

Huzoor Palace in Porbandar
| Photo Credit:
Deepthi Sasidharan

Woven into borders and pallas

Elements of Art Deco are, however, finding a new expression in Indian textiles and jewellery. In its Azalea collection (2024-25), Jaipur Rugs has reimagined iconic motifs with a bold black-and-gold palette in hand-knotted rugs. “The bold geometry, symmetry, and glamour have a quiet dialogue with India’s textile traditions,” says Rutvi Chaudhary, the brand’s director. “By reimagining these motifs, we celebrate this cross-cultural legacy and present it in a contemporary manner.”

Jaipur Rugs’ Art Deco design
| Photo Credit:
Courtesy Jaipur Rugs

Raw Mango’s Art Deco sari collection creates shapes and forms characteristic of the movement, with streamlined woven ornamentation that is geometric and stylised, translating them into silk and brocade. Think arched scalloped pallas with gold zari and hand-embroidered borders of architectural motifs. “The collection began as a questioning of possibilities,” says Sanjay Garg, founder and textile designer, adding, “The challenge of any motif incorporation is to accurately capture the essence of textiles.” The research process spanned a minimum of two years or more in terms of design and sampling at the studio, whose flagship store in Chennai, Malligai, is housed in a stunning Art Deco two-storey house built in the 1960s on Cenotaph Road.

Raw Mango’s Art Deco sari collection
| Photo Credit:
Courtesy Raw Mango

A century ago, India embraced a modern design language, imbuing it with its own cultural tapestry, creating Indo-Deco. Today, Indian practitioners of the style remain optimistic that this timeless design syntax will endure in form and function, supported by greater awareness, informed restoration, and detailed documentation.

“In the classroom, Art Deco is still not discussed in the same breath as other architectural styles because of the vast array of architectural wealth across the country. Our effort to document, study and preserve it, is to give the movement its due recognition,” Sayal concludes.

The freelance writer is based in Chennai.

The Art Deco movement brought with it a sense of glamour and opulence. It upheld geometric design and modern materials, and was inspired by the relics of Native American and Egyptian civilisations. It soon made its way from France to the shores of the United States. While New York went by the book, building incredible skyscrapers inspired by the original decorative phase, cities like Miami adapted the style as it saw fit, in keeping with the place.

The intercontinental appeal of the movement fascinates me. As does its evolution. For instance, major events such as the Great Depression and World War II gave rise to an offshoot called Streamline Moderne — where designs were more subtle, and inspired by nautical and aerodynamic forms. With smooth flowing lines and creative typography, it acknowledged the era’s progress in technology in its design.

As it travelled to other parts of the world, Art Deco became an early symbol of ideals such as modernity and progress. India was no exception. Maharajas and merchants alike patronised the style. In fact, one of the first Art Deco buildings in the country was made in the sandy tracts of Rajasthan. So, why is its influence seldom discussed in the state? Could it be that amongst the multitude of forts and palaces, it was considered less relevant due to its relatively recent origin?

The opulent deco interiors of the Raj Mandir Cinema in Jaipur
| Photo Credit:
Bharat Singh

Birth of Desert Deco

Maharaja Umaid Singh was a royal patron of Art Deco. During a time of drought, the visionary ruler of Jodhpur-Marwar commissioned Chittar Mahal, a relief project to provide employment to his people. After his death, the monument was re-named Umaid Bhawan in his honour.

Umaid Bhawan palace
| Photo Credit:
Bharat Singh

While the inspiration behind the palace was the glamorous European movement, it blended architectural elements and motifs of Rajasthani palaces. Thus, Desert Deco was born. Many royals followed suit, patterning their ideas after the maharaja to build new palaces or remodel existing structures with added Deco elements.

An Art Deco mansion in Mandawa, Rajasthan
| Photo Credit:
Bharat Singh

It was only after World War II and Independence that the movement spread beyond royal patronage in Rajasthan. While some people went for more affordable ways, superimposing Deco elements such as sunbursts onto existing facades, more affluent families built new structures. Merchants and businessmen, influenced by their exposure to Art Deco in the port towns and cities of Calcutta, Bombay and Surat, commissioned mansions in their hometowns. Thus, the second phase of Desert Deco was born, which merged local architectural design with Deco elements and motifs.

Havelis and bhawans — such as Jaipur’s Sawai Man Singh II’s Rajmahal, an Art Deco remodel of the British Residency (formerly the garden retreat, Maji Ka Bagh, built in 1729) — were adorned with chevron patterns and sunbursts, which in turn interplayed with cultural and religious themes of the region. For instance, lattice screens or jaalis were carved, instead of perforated, with iconic Deco elements such as the frozen fountain motif with the sacred ‘aum’ or ‘swastika’ inscribed on it.

The central hall in Devi Bhawan, Jodhpur, with its deco chairs. 
| Photo Credit:
Bharat Singh

Inside the Art Deco haveli Krishna Sharda Bhawan in Jaipur
| Photo Credit:
Bharat Singh

Deco structures sprang up across the desert state, from cities such as Jodhpur, Jaipur and Bikaner, to smaller towns like Mandawa, Churu and Ladnun, and even in villages. The movement was not restricted to residential spaces, but included temples, public buildings, cinema halls, and at least one water station in Jaipur — with sharp geometric lines, zigzags, and stylised vents.

I remember a friend telling me how many localities like Sardarpura, with their broad avenues and Deco houses built with local sandstone, along with the colours of Rajasthan, reminded him of a set in a Wes Anderson film.

A haveli with Art Deco motifs in Ladnu
| Photo Credit:
Mimansha Charan

Overshadowed by palaces

Today, despite advocacy and some success stories by a few organisations, Art Deco in Rajasthan continues to be overlooked. It is overshadowed by the bulk of beautiful forts, grand palaces and ancient temples that dot the landscape. Without formal recognition, the fate of these structures is bleak. Many lie in the path of developers, both private and public. Some lie forgotten, crumbling out of existence.

Sardar Samand Palace in Jodhpur is another example of Deco architecture blending local design
| Photo Credit:
Bharat Singh

But hope has no expiry date. It is why I started Jaipur Houses, a platform that works towards documenting and creating a digital archive of these fast vanishing structures. We will continue to advocate for its protection and preservation with the aim that one day these fabulous designs and structures will get recognised as a part of the state’s architectural and artistic heritage.

The writer is the founder of Jaipur Houses.

Published – July 19, 2025 08:16 am IST

When Art Deco was introduced to the world in April 1925 at the Paris Exposition, it was in many ways a reaction to Art Nouveau, a style that was based on the premise of nature-abhorring straight lines and formal geometry. Art Deco brought geometric shapes into sharp focus once again and, interestingly, it did so with the same materials that Art Nouveau had espoused: iron, glass, concrete, and later aluminium, chromium, and mosaics.

Worldwide, the arrival of the architecture and design style coincided with many technological advances. Machinery was playing a greater role in daily life, concrete was being used increasingly for construction, large ocean liners were in vogue, and flying was just beginning to come into its own. Art Deco would make use of all these.

The oceanfront Art Deco style Carlyle Hotel in Miami Beach
| Photo Credit:
Courtesy The Christian Science Monitor

In America, where cinema was exploding, the new architectural form came to be closely associated with it. Studios, cinema theatres and even stars’ houses came to be built in the Art Deco style. It was almost as though a new medium demanded a new architectural form. And it wasn’t limited to just buildings; it extended to furniture, crockery, glassware, electric lights, even jewellery. It also influenced English typefaces.

Banks lead the way

In India, Art Deco arrived in Bombay in 1932. In many ways, it reflected the aspirations of Indians. At a time when British business houses dominated the economy, a few Indians dreamt of becoming entrepreneurs. And when it came to their offices, they chose Art Deco. The first was that of Syndicate Bank in Bombay. And soon Art Deco became the idiom of Indian-run banks, insurance companies and stockbroking firms — as though they were turning their backs on the colonial styles of Indo Saracenic and Bombay Gothic.

Syndicate Bank’s Art Deco style building in Mumbai
| Photo Credit:
Courtesy Art Deco Mumbai Trust

Bombay was by then the financial capital of India. And its Art Deco icons were large edifices with extensive decorative motifs done in concrete. Even today, many of these survive in the Fort and surrounding areas, some maintained in splendid fashion. But it was undoubtedly the Marine Drive, with its curve dominated by Art Deco buildings, that gave the city its distinctive character.

Madras was just a few years behind, its Art Deco beginning not with Dare House (1938), which houses the offices of the Murugappa Group, as is often believed, but with the Oriental Insurance Building on Armenian Street in 1936.

To see the equivalent of Bombay’s Marine Drive here, we need to visit NSC Bose Road. If the British business houses were just round the corner on First Line Beach, on NSC Bose Road came up Indian edifices in Art Deco: State Bank of Mysore, Bombay Mutual, and National Insurance, which together with Dare House present almost a uniform skyline. At right angles on the Esplanade are United India, Madras (now Chennai) House and the Tamil Isai Sangam. Deeper inside are other jewels such as Andhra and Prithvi Insurance buildings. The Art Deco design did away with the portico, a standard feature of Indo Saracenic design, the buildings opened onto the street, and also introduced plenty of windows, as opposed to the verandahs of earlier design.

Dare House in Chennai
| Photo Credit:
Courtesy Madras Inherited

Cinema, the biggest ambassador

But it was undoubtedly cinema that took Art Deco to the public. As Bombay and Madras were its capitals, the style came to flourish in theatres and studios as well. The first Art Deco cinema theatre in India is almost certainly Bombay’s Regal, opening for business in 1933. It was designed by Charles Stevens, whose father F.W. Stevens had designed the Victoria (now Chhatrapati Shivaji) Terminus. In Madras, Casino, which opened in 1941, was perhaps the first in the new style, and its architect was a Parsi — one of the sons of the Irani owners.

LIC building, Chennai
| Photo Credit:
Courtesy Madras Inherited

Cinema remained faithful to the design long after it had faded elsewhere. In rural India, theatres continued to be built in the Art Deco style well into the 1960s, as it was felt that the movie-going populace associated it most closely with cinema. Worldwide, however, the style had faded by the late 1940s. World War II meant a huge disruption of shipping lines and a collapse of economy worldwide, and the Great Depression had just preceded it. When these ended, it was time for new designs reflective of socialist patterns of society.

Sadly, not much of Art Deco survives in India. While the Raj edifices were considered heritage, Art Deco was not old enough to merit protection. It is in this context that Mumbai’s success in getting UNESCO recognition for its Art Deco is significant.

The writer and historian is based in Chennai.

Published – July 19, 2025 08:08 am IST

Fulfilment centres are redefining the very fabric of logistics infrastructure, transforming warehouses into intelligent, self-sustaining ecosystems.
| Photo Credit: Getty Images

Justin Sebastian, 31, an architectural and interior design photographer from Kochi in Kerala has been fielding innumerable calls from architects, interior specialists, design students and homeowners thanks to #100DaysofSpaces. This is an Instagram series that he began in February, a disciplined photographic study of India’s diverse architecture through 100 projects.

Sebastian is on project no.64 now, his initial plan to complete the series in 100 days having been updated to include work commitments. The commerce graduate started his journey in photography at the Light and Life Academy in Lovedale, Ooty, in 2016. With a keen eye for light, form, and texture, his photography goes beyond traditional documentation, offering a poetic interpretation of spaces. His work spans residential, commercial, and public architecture, showcasing both contemporary designs and traditional elements.

Day 44 of #100DaysOfSpaces – Villa F: A Glass House in the Heart of Cochin
| Photo Credit:
JUSTIN SEBASTIAN

With the many projects he has worked on and his eye for lines, light and shadows, it’s no wonder he has a long list of collaborators. Constantly on the move with his trusted Nikon equipment — his favourite is a Nikon Z7II paired with a 24-70mm lens — the photographer took some time off to share a few insights. Brutalist architecture is seeing a revival, he says, referring to the style characterised by raw, exposed concrete and geometric shapes. More from him:

Question: How established was architectural photography during your initial days?

Answer: In 2016, though architectural photography was well-established, a specialisation in architecture and interior photography was not widespread. While other photography genres were prominent, there were very few contemporaries in this field with expertise in post-production and other technical aspects. However, the scenario shifted after the [COVID-19] pandemic. There was a notable surge in this field, with even architects turning to architectural photography. With the promise of substantial payment, rise in creative experiments by architects, and the evolving preferences of customers, the creative horizons of photography have also widened.

Day 44 of #100DaysOfSpaces – Villa F: A Glass House in the Heart of Cochin
| Photo Credit:
JUSTIN SEBASTIAN

Q: What is the objective behind #100DaysofSpaces?

A: #100DaysofSpaces (@justin_sebastian_photography) was a challenge undertaken to document 100 unique projects in 100 days. I have given myself a deadline to complete this by August. The response has been “insane” and I have recently expanded to include UAE projects too.

Q: What are the building features or materials used in these projects that get your attention?

A: There is a growing emphasis on sustainability and biophilic design — not just in homes but in commercial spaces too — integrating natural elements, thereby prioritising wellness, even in cities like Hyderabad and Bengaluru, as well as in semi-urban areas. Designers are experimenting with ventilation and large windows to maximise the use of daylight in accordance with the geographical conditions of the site. Also, there is an increase in the use of textured plasters, natural stones, exposed brickwork, and jaali designs. An example of this can be notably seen in The Kenz House project by Srijit Srinivas Architects, an award-winning architectural studio [in Thiruvananthapuram]. It is a net-zero energy home wrapped in exposed burnt brick with lattice perforations, giving a spacious feel. Another recent significant trend is brutalist architecture [as seen in Le Corbusier’s Unité d’Habitation — a revolutionary 1952 apartment block in France — and the IIT Delhi’s buildings].

Day 60 – House of Quad, Kottayam
| Photo Credit:
JUSTIN SEBASTIAN

Q: Could you share some unusual moments on the job?

A: About 90% of the projects I’ve worked with are biophilic spaces. What fascinated me the most was the session for [Gurugram-based] Saka Studio’s project, Varadarajan House — a residence nestled in the picturesque landscape of Coorg. After heavy rain that lasted for an hour in the evening, an inexplicable, magical light touched the landscape and blended well with the earthy tones of the house. The antique furniture, accessories, and deep terracotta laterite added to the aesthetic. Another memorable shoot was for Malpe Beach House in Karnataka, designed by [Bengaluru-based] Thomas Parambil Architects, set amidst a river and the Arabian Sea. It was another phenomenal experience.

Day 58 – Tropical Haven
Tropical Haven is an 8,000 sq.ft. residence in Mongam, Malappuram, designed by Studio Uli. 
| Photo Credit:
JUSTIN SEBASTIAN

Q: What colour schemes or materials do you see becoming common in contemporary homes?

A: The use of terracotta, muted greens, beige, and off-white is widely popular these days, along with materials such as natural stone, cane, wood, and rattan. Clients prefer warm tones over flashy colours. Realistic tones and matte finishes are in demand. The firm Workers of Art [in Kochi], which uses recycled and repurposed materials in almost all aspects of its design, mostly incorporates pop-out colours and brutalist designs. It’s exciting because people are no longer limiting themselves; they’re willing to break all conventional patterns of how spaces are supposed to look.

Published – July 19, 2025 07:00 am IST

Aparna Umesh is navigating an impossibly slushy track in her modified off-road rig, maneuvering through a bumpy dirt track with the ease of an expert. All of a sudden, the track dips into a muddy trough and the small group of onlookers hold their breath. Can she make it up the sharp incline? Sure enough, she does. 

Aparna is an off-roader from Kochi, who has been driving through mud and mountain for the past five years. She is among the growing tribe of women in motorsports in Kerala. 

Considered physically and mentally demanding, few women venture into motorsports, but the ones who do say they are in it for the sheer thrill of adventure, a sense of freedom, self-discovery and a way to overcome trauma. 

When driving is still largely gendered and women are constantly judged for their skill and the type of vehicles they drive, these women have been negotiating every obstacle, both literal and metaphorical, to follow their passion. Many of them often compete against men.

Aparna Umesh
| Photo Credit:
Special Arrangement

Calm in the midst of chaos

For Aparna, off-roading taught her to find calm in the midst of chaos. “Even when the obstacle looks insurmountable; I know I have to find a way to negotiate it without hurting myself or the vehicle. So I focus, keep my cool and push on,” she says. Aparna, a marketing professional, knew from the very first time she test drove a modified off-road rig that it was her calling. “I was introduced to off-roading at a club in Kottayam, where I drove a Mahindra CJ series Jeep, which they fondly call Blue Whale. As I drove it, I had butterflies in my stomach. I knew this was my thing.” 

It all began when her father surprised her with a 4×4. “I had to learn how to fully utilise the vehicle and that led me to off-roading,” she says. Aparna joined the R&T Off Road Club in Kottayam in 2019, the only woman member then. She went on various trails and took part in competitions, slowly gathering experience on various terrains.

She was the first Indian woman to participate in the Orange Fest organised by JKTyres in 2022. Today, she co-owns the Blue Whale in addition to her own vehicles and is the co-founder of R&T 4×4 Training Academy. Currently preparing for the India leg of the Rain Forest Challenge, one of the most difficult off-road motor races, to be held in Goa in August, Aparna says every competition, every trail is a learning experience.

Athira Murali
| Photo Credit:
Special Arrangement

Rallying on

For one of Kerala’s first woman rally drivers Athira Murali, driving is at the very core of her being. A national award winning rally driver, Autocross car racer, off-roader and automotive content creator from Kottayam, she says the track has always been her safe space, something that gives her a sense of self. “Nothing compares to the freedom and the adrenalin rush I get while driving,” she says. A mechanical engineer by qualification, she realised early on that her heart was in automobiles. Athira started riding two wheelers while in Class VII and drove heavy vehicles even as a Class X student.

She has been in the competition circuit for the past 11 years, and is a part of rallies including the Indian National Rally Championship. “It is an expensive interest to pursue. Everything including the gear come at a price. One needs to be fully invested in it to be able to sustain it,” she adds. Though she owns a 4×4, the rally cars are sponsored. Athira holds the record for being Kerala’s first youngest motorsports woman driver (2014-15). She owns a tours and travels start up, too.

As the woman chairperson of the Keraleeyam Motorsports Association, an organisation which has been holding motorsports events throughout the country, Athira hopes more women would enter the foray. “Today, I can safely say I have created my space and I am owning it too,” she adds.

Veena Murali
| Photo Credit:
Special Arrangement

Crazy about four-wheelers

Veena Murali, who hails from Thodupuzha and is settled in Chennai, was drawn to four-wheelers as early as age 10. Her father owned an Ambassador, on which she learnt steering control. “As soon as I was tall enough to reach the foot pedals, I learnt how to reverse the vehicle. I would help people park their cars, I was crazy about four-wheelers,” laughs Veena. It helped that her uncle, who was working in Mahindra, brought home posters and scale models of the vehicles, which she treasures to this day. “I even had models of vehicles before they were released.”

Though a skilled driver, Veena took to off-roading competitions only two years ago. The founder of a home decor brand, she decided that she would get into the competition circuit only after building her own vehicle. Though she owned a 4×4, it was preserved for everyday drives and a few fun off-roading excursions. She bought a Mahindra CJ 500, and built it for the competition. “My first competition was at Vagamon, and after that I did the Palar Challenge, considered one of India’s toughest off-road events, organised by Terra Tigers, one of India’s oldest off-roading clubs in India,” she says. Veena secured second place in the individual category. “To me, it is a test of my own abilities. Navigating an obstacle and completing the challenge brings inexplicable joy,” says Veena.

Riya Bino
| Photo Credit:
Special Arrangement

‘Off-roading is a part of my life’

Riya Bino, an off-roader from Pala, was drawn to the sport watching her father and uncle, both seasoned off-roaders. “It was only natural that I gravitated to it,” she says. Born and brought up in a verdant plantation setting, Riya used to drive her father’s Major Jeep ever since she was in Class VIII. A kindergarten teacher, the gentle-spoken Riya says she knows no fear tackling some of the most complicated trails. She pushes the rig to its limits, and conquers the terrain. “The backyard of my house was akin to an off-roading track. Off-roading has been a part of my life. It comes easily to me.” She has been competing and is known as one of the emerging talents in the off-roading community. “For me, it is the energy that one gets when doing something one loves.” 

Shilpa Surendran
| Photo Credit:
Special Arrangement

Beating trauma

When Shilpa Surendran reached a “breaking point” in life, she sought refuge behind the wheel. The electronics engineer from Thiruvananthapuram, who started a coaching centre to teach Math, found driving therapeutic during rough patches. As someone who loved riding motorcycles and driving, she found herself spending time at a friend’s workshop. Her interest gradually deepened and Shilpa eventually joined the Thiruvananthapuram Off-Roaders Club. She began taking part in competitions and built her Land Cruiser 80 series.

Shilpa says support from friends has helped her puruse her interest in auto sports. “It is mentally and physically challenging, but the reward is in overcoming it,” she says. An active presence in the Autocross circuit (a sport where drivers have to navigate a temporary course marked by cones, in the fastest time), Shilpa also performs stunts. “It makes me feel good about myself; it has made me confident. That is the thing with motorsports. It sort of makes you feel invincible,” adds Shilpa.

Social media has helped create awareness and interest in motor sports and more women are now exploring it. Though it requires training and practice, combined with a passion and the means to afford it, motor sports, as the women in it are proving every day, is a matter of grit over brawn.

Published – July 18, 2025 10:00 pm IST

As we wait for Bibin Chacko outside his house in the interiors of Thiruvaniyur, near Kochi, we spy the hood of a ‘car’. The low-slung car, almost grazing the ground, is covered with tarpaulin. That ‘handmade car’ is Bibin’s claim to fame, and one that his father, Chacko TO hopes would get him a job with an automobile company, “Lamborghini even!” he jokes. Lamborghini because the car Bibin fabricated is a replica of Lamborghini Huracan LP 610-4.  

Bibin, an employee of the nearby OEN India, is excited about the attention the ‘car’ has been getting. “The two things I have not made are the tyres and the engine, which belongs to a Maruti Suzuki 800. Everything else, I made myself,” he says as his proud father looks on. At the time he built the car, he had never seen one in real life. 

“I thought I might never be able to own one, so why not build one,” says Bibin, who started building his car when he was in second year of college. The building, in earnest, was the work of three years, says the mechanical engineer who graduated from ToC-H Institute of Science and Technology, Arakkunnam. 

His initial resource was the internet, where he found the measurements of the car. “I then bought the tyres, second hand so that I could start building. This is a scaled version of the original,” he clarifies.

He first chalked the outline of the car, based on the measurements, on the terrace of his house. Then came the chassis, which he built, followed by 8mm metal rods to build the frame, which was then covered with cardboard and fibre plaster. He even cut and welded the metal himself. Initially, the engine he used belonged to an autorickshaw. 

Bibin built the chassis and the structure of the car on the terrace of his house
| Photo Credit:
THULASI KAKKAT

There is no windshield yet, the steering wheel, gear shift, instrument cluster and ‘seats’ are rudimentary, and it needs a coat of paint. When I tell him about the green Porsche 911 I saw in Kochi, Bibin says, “I wanted the candy red shade, but when I enquired I learnt it is super expensive so now I am undecided about the colour.”   

This did not happen in one go, says Chacko. “It happened over a period of several years. We could not help him financially, but encouraged him in every other way possible.” Bibin smiles, “Yes, that my parents did. Without their support I could not have indulged in this hobby.”

He bought raw materials with the money, (₹5000) monthly, he earned as a newspaper boy. “That is why it took time. I have now managed to get sponsors for the alloys!” The material cost came up to around ₹1.25 lakh.  

This is also the first car he has driven. “I just had a two-wheeler license, it is only after this one became ‘drive-able’ that I got a four wheeler license also. Since we don’t have a car, this is also the first one that I have driven.” As the father and son manoeuvre the car out of the gate, Bibin confesses that his driving skills are basic. The car is more of a showpiece now, not meant for the road.  

“He has been curious about mechanical things, toys especially as a young kid. Any time we bought him toy cars from the church fairs he would dismantle them. He wanted to know what was inside, and how it worked. This is an extension of that,” says Chacko. Bibin says the workings of mechanical things made him curious as a child and perhaps building this car may have had something to do with that. “I have always wanted to know how something works, so I took apart toys and phones and put them back together.”  

Bibin has not decided what he intends to do with his car. There have been enquiries about it from individuals asking if it is for sale, then there have been enquiries about if he could fabricate another, “I am not sure what I want to do. First, I want to complete the car. I wouldn’t mind taking it as part of shows to other cities…I have not decided. Let’s see!” 

So has he seen a Lamborghini Huracan in real life? “Yes, in 2024 when someone came in the car for a function at a nearby college!”

Bibin has documented the entire process on his YouTube channel BC CUSTOMS (@bibinchacko326)

Published – July 18, 2025 09:39 pm IST

Chennai’s architectural landscape breathes like a living entity. The cityscape is dotted with Indo-Saracenic, colonial, and Art Deco landmarks, their presence a strong representation of Madras, and now Chennai’s layered culture, history, and design language. But the past few years have seen a revived interest in restoring older structures, especially as the awareness in conservation has grown.

There are scores of examples, from the 73-year-old Art Deco building in Rutland Gate that now houses the multi-designer boutique, Collage, and The Woodhouse Coffee & Cocoa Co, to The Entrance Cafe in Kilpauk, which is housed in an old colonial house. The cafe’s updates includes a koi pond and a massive 10-ft. wooden door, courtesy architect Faisal Manzur.

A stroll around town manifests in many such chance encounters — each heritage building, once a grand period residence, now embraces a new chapter, and thus adaptive reuse showcases its inherent potential and lore.

Una Villa, Nungambakkam

Una Villa’s gently restored structure resembles a beacon of warmth amidst the verdant embrace of the domestic garden.
| Photo Credit:
Hashim Badani

J. Rafiq Ahmed, managing director of Kothari Industrial Corporation Limited (KICL), has long championed the culinary arts. Una Villa marked a significant milestone in that trajectory, a space that Ahmed envisioned would foster intimate, high-quality dining experiences. And what ensued was a spatial sleight of hand, courtesy Anisha Murali and Denver Pereira, principal architects at u:i:make, a Chennai and Mumbai-based practice.

Ahmed’s frequent commutes along Uthamar Gandhi Road got him interested in a 1960s home and this soon evolved into a deep commitment for him and his wife, Basheera. “I was immensely drawn to its high ceilings, large windows, and symmetrical façade. I knew I didn’t want to rebuild; the structure needed to be restored,” he says.

Denver Pereira and Anisha Murali.
| Photo Credit:
u:i:make

Set within a domestic garden, the 2,500 sq.ft. venue rests on a 6,300 sq.ft. land parcel. “With a deep respect for context, materiality, and everyday life, we approach spaces as a hopeful exploration. Una Villa transforms one of the area’s few remaining mid-century houses into a restaurant and bakery after years of vacancy,” highlights Murali.

In Murali and Pereira’s rendition, the bungalow’s original flow remains intact. The load-bearing walls were stripped back to the plaster beneath, revealing worn surfaces and layered colour. Pereira says, “A textured border runs along the bottom of the walls, colored to match the earth outside.”

The stairwell defines circulation, its glorious form updated with only a fresh coat of lime plaster and brass handles. Surface-mounted wiring and copper conduits make their way across the walls and ceiling, introducing ingrained movement. “Rather than erasing the past, the design builds upon it, allowing the abode’s history to shape its quiet transformation into a public space,” observes Murali.

Primrose 131, Mylapore

All activity comes alive under the shade of the ancient mango tree at Primrose 131.
| Photo Credit:
Gautham Krishna, Phosart Studio

Mylapore’s veins thrum with an ancient rhythm, courtesy the vivid gopurams, and the fragrance of temple flowers. Tucked in a leafy enclave is Primrose 131, an ancestral dwelling from the mid-1950s, in the care of producer Archana Kalpathi and her husband. “This was my husband’s family home. The house is synonymous with their happiest memories; every anecdote unfolds under the shade of the mighty mango tree. We wanted to extend the warmth of our home towards meaningful celebration. And that is how its adaptation into a versatile event space transpired,” recalls Kalpathi.

The motivation to breathe new life into its strong bones led the homeowners to Sruthi Reddy, principal architect at Chennai’s Ceebros Designworks. Reddy shares, “Our portfolio is a testament to the lasting legacies we craft. Each design is deeply rooted in its context, the overarching story, and the artisanship that enlivens it.”

Spanning 9,600 sq.ft., the bungalow’s identity was reconfigured by Reddy and her team, comprising Priyanka and Santhanam, in 2021. “The magnificent mango tree was our muse! Traditionally, all gatherings unfolded around the home’s courtyard and its resident tree. We wanted to evoke that atmosphere through design, creating a bridge between indoor and outdoor spaces,” Reddy adds.

Sruthi Reddy.
| Photo Credit:
Gautham Krishna, Phosart Studio

The building’s architecture lent itself instinctively to a reprised take on Art Deco.

A monolith in white, the structure is accented in bold strokes of black — in jambs, the staircase, and lighting. The alfresco space is sheathed in a fresh white terrazzo variety by Facilini Design Lab, and flows into the verandah’s harlequin-style floors. “The staircase makes for the most loved insert. The balustrade’s gently curved form and its colour against the all-white backdrop make for a stunning vignette,” says Reddy. The interior features expansive spaces supported by slender metal columns, replacing the original floor plan’s compact rooms while preserving the building’s Madras terrace roof.

“The space is looked after like a regular, functioning home. Housekeeping services, close assessment of details, maintenance of floors, and paint touch-ups are administered per requirement,” shares Kalpathi.

Malligai – Raw Mango, Cenotaph Road

A leafy compound off Cenotaph Road houses Malligai, its identity a collage of myriad influences.
| Photo Credit:
Akshay Sharma

Anchored along Cenotaph Road is Malligai. Raw Mango’s Chennai location bears witness to the city’s rich history and its quiet march towards modernity. The story comes alive in a 5,400 sq.ft. residence with overlapping architectural styles, a space rejuvenated by Sanjay Garg, founder of Raw Mango, in collaboration with Delhi-based design studio Squadron 14, spearheaded by Adityan Melekalam.

“Akin to all our stores, the Chennai outlet also conjures an experience for our clients. We envisioned a gallery that showcases the brand’s textile offerings and fascinations. The store is inspired by the context of the building, and at the same time, we are not too burdened by it,” Garg states.

A diligent pursuit spanning over 50 residences landed Garg an encounter with the property that is now a sanctuary for connoisseurs of Indian handloom. The interior houses elements that are almost as delectable as the design house’s offerings — a sculptural staircase, mosaic floors, ornate mullions, and gently curved cornices. Garg’s curatorial prowess is apparent — the store hosts antiques collected over the years, finds from India and the world.

Sanjay Garg
| Photo Credit:
Amlanjyoti Bora

“The project was not about imposing a new identity but revealing the preexisting layers. The bungalow sports faint Art Deco influences and vernacular traces, but as with most things in Chennai, it’s a confluence — neither strictly traditional nor entirely modern,” notes Melekalam. For Garg, the appeal lay in the inhabited home’s distinctive architecture, which reflected the residing family’s aspirations. The challenge? “Maintaining the built form’s character and integrity to lend a design aesthetic that resonated with our manifesto,” suggests Garg.

Deconstructing the spatial layout, Melekalam elaborates, “We reconfigured the flow between rooms to make the experience more fluid. The materials and hues respond to the space’s quirks, like the original flooring. We designed most elements in-house. The museum-esque glass displays, for example, are inspired by vitrines from the turn of the 20th century.”

Holding a mirror to Raw Mango’s work, the adaptive reuse strategy embraces contradictions — treating the space as a container for ideas while absorbing myriad influences.

KUP Budan House, Alwarpet

Budan House commands the streetscape with its sweeping form and monochromatic palette.
| Photo Credit:
KUP

Memory serves as a relentless compass, guiding one’s journey towards the destination their heart has always sought. “I recall a visit to veteran actor Sivaji Ganesan’s home. The breezy thinnai, a signature of traditional Tamil homes, never quite left my mind. KUP Budan House was a serendipitous find, an ode to my upbringing in Madras and this childhood memory,” Jivesh Goenka, founder of KUP Coffee Roasters, shares.

Building on successful operations in Nungambakkam, Goenka’s keen eye for design and business potential drew him to an 80-year-old, 4,000 sq.ft. home in Alwarpet, where the café opened its doors in 2024. He relies on inspiration gathered over his travels abroad, “There is a remarkable presence of adaptive reuse overseas. It was a challenge I posed to myself. I wished to recreate this — give my city a landmark!”

Jivesh Goenka
| Photo Credit:
KUP

Crafted in collaboration with Roaish Architecture + Design and Orange Elephant Interiors, the space is alive with KUP’s electric DNA. The structure’s sweeping form is unmistakable, its ivory façade animated by bold grey streaks that flow into the columns. Hand-painted lettering echoes signage from past decades, bridging different eras.

The design language flows through the restored space, in step with its past. The layout is a collage of various seating options — the airy verandah, private dining rooms, the restored backyard configured around the mango tree, peripheral seats gazing at the frangipani trees, and the popular coffee bar, which was once a derelict garage. “Community-building is central to KUP’s ethos. The variety of spaces available at Budan House strengthens events where patrons from diverse backgrounds come together to interact and converse. Each visitor finds a nook that feels like their own,” says Vidya Vijay, brand head – KUP.

“White, black, brown, grey, and orange manifest across the café, representing KUP’s visual identity. Polished mosaic floors, refurbished I-beams, Bakelite switches, exposed conduit lighting, and louvred windows speak of the site’s history,” says Goenka.

Lessons in legacy

 Preserve existing trees on site whenever possible.

 Choose furniture that resonates with the home’s history.

 Retain original materials wherever possible. Brick, timber, and terrazzo are key examples.

 Engage structural consultants and design professionals while undertaking the overhaul of heritage structures.

 Survey rising road levels, waterlogging zones, and invasive root networks.

 Audit old plumbing and check for wood decay.

 Maintain the space like a lived-in home with regular housekeeping.

The writer is an architect and design specialist.

A model of the Ashiana Vatsalya project.