Life & Style

“We have brought over two million girls back into school”: Safeena Husain on her Ramon Magsaysay Award-winning organisation Educate Girls


Safeena Husain, 54, was with a group of teenagers celebrating a learning milestone in a small village outside Udaipur, Rajasthan, when she asked one of them why her education had been interrupted. The girl had passed her Class X with Pragati, a second chance programme offered by Husain’s award-winning non-profit Educate Girls. Pragati was designed for older girls who are ineligible for formal schooling. “I’m 18,” she told Husain. “I left education 10 years ago when I was married.”

Husain just won the prestigious Ramon Magsaysay Award (the first for an Indian organisation) for her nearly two decade old labour of love. She almost didn’t answer the frantic messages she received from an unknown Philippines number on a recent Sunday, asking for “some data and information”, because “I thought it was a fraud”.

Husain empathises with the younger woman’s struggle because today she is one of those rare people who are able to channel their childhood trauma to transform society. Now in celebration mode, she would rather not talk about the difficult days, saying only that it was a “very turbulent” childhood in Delhi. School was always her “place of happiness” and where she felt safe. “Walking home from the bus stop was always the toughest time of day for me,” she says.

Paradigm shift

Husain’s education was interrupted for three years after Class XII. “Everybody gives up on you, they say ‘marry her off’, there’s a divorcee with four kids…” She grappled with that classic triumvirate of guilt, shame, failure until an aunt, a friend from Lucknow University where her interfaith parents met and fell in love, took her home to live with her and changed her life. “She gave me a lot of love, affection and the motivation to go back to education.” Husain eventually graduated with a degree in economics history from the London School of Economics. “I still remember standing on Houghton Street,” she says, referring to the school’s location. “The way I saw myself shifted that day and how the world saw me shifted that day.” Education transformed her life and she wants all girls to know that feeling.

Most girls know education is the only way to get ahead, Husain says. Like the woman who completed her schooling nearly two decades after she left school — and in the same year as her son, scoring more than him. Or the Bhil girls who are the first in their families to get a formal education. And the young woman who left a bad marriage and doesn’t want to unload vegetables at 3 a.m. for the rest of her life.

Husain came back to India in 2005 and started Educate Girls two years later. The non-profit works in about 30,000 villages (mainly in Rajasthan and Madhya Pradesh). “We have brought over two million girls back into school,” she says. “An equal number have gone through our learning programme, which is the foundational literacy and numeracy programme.”

Safeena Husain with schoolchildren

Safeena Husain with schoolchildren

Push for second chances

Some 30,000 girls have graduated from the Pragati programme. “Right now a lot of energy is going into expanding the second chance programme and also taking it to other states,” Husain says. “Because that’s a huge problem, much more rampant than elementary school issues for out-of-school girls.”

Societal and systemic issues can weave an impenetrable wall around girls, forcing them to drop out after the eighth grade. Marriage, household duties and mobility restrictions all become barriers to further education. “For every 100 primary schools, you have 40 middle schools, and 24 secondary schools, which means the distance to school increases and access drops off,” Husain adds.

Those who do stay, face a lot of pressure. “I see a lot of girls approach secondary school with an enormous amount of fear. They have this sword hanging over the head with their parents saying. ‘I’m sending you but if you fail, I’m going to make you sit at home or get you married off’,” she says. “It leads to a lot of anxiety.”

Husain works with state governments and says she’s seen big changes in two decades — from separate toilets for girls to even a campaign such as ‘Beti Bachao’ that acknowledges there is a problem. “You know, the right to education came after we started work,” she says. “So I have seen the struggle, but I have also seen how rapidly progress has happened. I think one must acknowledge that as well because that’s the only thing that gives you hope to continue.” Rajasthan’s comprehensive free secondary education programme for girls has also been a game changer.

Husain’s also seen attitudes come full circle. One father who, many years ago, was against sending his daughter to school recently told her: “You have to educate girls. The world is built for the educated and if we are not educated, we will be exploited like animals.”

Safeena Husain in Udaipur, Rajasthan

Safeena Husain in Udaipur, Rajasthan

Family matters

Like her parents, Husain had an interfaith marriage. She met director Hansal Mehta when she organised a Bollywood dinner for author and Booker Prize winner Daisy Rockwell in Berkeley University. Her father Yusuf, who ran a travel company, was by then an actor in Hindi cinema, and connected her to her favourite director whose 2000 film Dil Pe Mat Le Yaar she had loved.

“We’ve just been together since,” she says. “It was one of those things, you meet and you know it’s meant to be.” The couple lived together for years and have two daughters, eventually only marrying in 2022. “Losing my father during COVID was a big moment,” she says. “It made us feel like we needed to do something more affirmative for ourselves and for our children.”

Her daughters navigate their parents’ very different worlds adroitly. When she was driving through Uttar Pradesh many years ago with one of her daughters, they spotted a line of girls carrying firewood and walking in a single file on the highway. Her daughter immediately piped up: “Why isn’t Educate Girls helping them?”

The writer is a Bengaluru-based journalist and the co-founder of India Love Project on Instagram.

Published – September 03, 2025 07:35 pm IST



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Joonus Sait & Sons celebrates 120 years as Chennai’s iconic winterwear and rainwear store


The irony is impossible to miss. Outside, the Chennai sun blazes with its usual fury. Inside Joonus Sait & Sons, neat stacks of woollen sweaters, cardigans, and thermal wear line the shelves. For 120 years, the store has been an unlikely fixture in Madras — a place where generations of families have come, not for the weather outside their doors, but for the journeys beyond them.

“The store was started by my grandfather’s grandfather Hajee Abbas Yunus Sait, who was called Joonus Sait because the Anglo-Indian name for Yunus is Joonus. He was doing business in Bellari, Karnataka in the 1900s, but when cholera broke out, he migrated to Madras and began a rayon silk business,” says Nauman Sait, the fifth generation co-owner of Joonus Sait & Sons. He runs the store along with his brother Safwaan Sait. 

The second generation owner and Yunus Sait’s son, Usman Sait, soon spotted a niche that would define the family’s legacy. “He slowly introduced balls of woollen yarn because he saw that the British started to knit their sweaters when they were preparing to sail back. That caught his eye, and from there, he started winter wear, recalls Nauman. In a city where temperatures rarely dipped low enough for a sweater, the idea seemed audacious. But it worked, because city dwellers travelled to Ooty, Kodaikanal, Shimla, and later, abroad as time went by. 

Joonus Sait  & Sons carried huge stocks of woollen material,
pullovers, rugs and shawls, offering a wide choice to its customers.(Madras landscpae column published on August 25, 1989)

Joonus Sait & Sons carried huge stocks of woollen material,
pullovers, rugs and shawls, offering a wide choice to its customers.(Madras landscpae column published on August 25, 1989)
| Photo Credit:
THE HINDU ARCHIVES

By the mid-20th century, the store had become more than a wool shop. Nauman’s grandfather, Ibrahim Sait, expanded into tailoring and brought the textile brand Raymond to Chennai. “He introduced shirts and trousers at a time when everyone was still in veshtis and lungis,” says Nauman with pride. 

Through the 1960s and 1970s, the store became part of the city’s institutional fabric. “My grandfather introduced capes for High Court judges, and we also supplied blazers to universities,” says Nauman. Rainwear followed suit. “He brought rainwear brand Duckback from West Bengal to Madras. Those old raincoats used to weigh a kilogram or two, and people had to sprinkle talcum powder inside while storing it away for the dry season. But everyone bought them because it was high quality,” he laughs. 

Over the years, Joonus Sait & Sons built its reputation on loyalty rather than flash. “We are not brand-conscious people. People come back because of trust. Some customers even say they treat shopping with us before a trip as a lucky charm,” Nauman notes. That loyalty often stretches across generations.

Despite the rise of e-commerce and international brands, the Saits believe in keeping the in-store experience central. “We want the customer to come in, spend quality time, and we make sure to educate them. More than the sale, what matters is if I educate one person, he will tell ten others. That’s my business,” says Nauman. 

Due to recent rain, raincoats are being sold briskly at Joonus Sait & Sons, Rattan Bazaar, Chennai

Due to recent rain, raincoats are being sold briskly at Joonus Sait & Sons, Rattan Bazaar, Chennai
| Photo Credit:
RAVINDRAN R

Now in its fifth generation, the family is thinking ahead. Nauman’s daughters represent the sixth. “If my daughter can one day walk into the store and pick up something for herself before travelling to a cold place, then my job is done. It means that we have kept up with the trends,” he says, adding that some day he hopes his daughters will take the family business ahead.

Joonus Sait & Sons has remained a constant, a reminder that the city’s spirit lies as much in loyalty and tradition as in change. 

Joonus Sait & Sons has three branches in Chennai at Adyar, Parrys and Purasawalkam.

Published – September 03, 2025 05:26 pm IST



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For the first time, five of India’s most influential art galleries collaborate in Chennai for Contemporary Now


At Chennai’s Lalit Kala Akademi, Contemporary Now brings a significant moment: the city known for its deep-rooted classical tradition is now host to a powerful showcase of contemporary art. The exhibition brings together five of India’s most influential galleries — Chemould Prescott Road, Vadehra Art Gallery, Chatterjee & Lal, Experimenter, and Ashvita’s, featuring thirty-seven artists across generations. Each participating gallery brings its own curatorial legacy, artistic programme, honed over years of working with artists and shaping contemporary art discourse. 

The exhibition spans painting, sculpture, photography, performance, textiles, installation, and hybrid forms. The selected artworks engage with themes such as identity, gender, ecological change, urban transformation, and personal histories. 

The conquest of blend by Moumita Das

The conquest of blend by Moumita Das
| Photo Credit:
Moumita Das

For instance, Kolkata-based artist Moumita Das draws from artisanal traditions, domestic labour and abstraction. Her works often entail the use of hemp, wool, cotton and silk. “I work with form, colour and textures inspired by nature, while weaving in social issues that shape our everyday life. The layers in my work symbolise the distinct stories, emotions and feelings of different people, which all come together to create an artwork, where people can relate to each other,” she says.

Spring (Peacock- From a Window Grill), 2025

Spring (Peacock- From a Window Grill), 2025
| Photo Credit:
Experimenter

Artist Praneet Soi’s series titled Spring is created from his ongoing work with craftsmen in Kashmir, where he was fascinated by how the decorative pieces are papier-mâché – the layering of paper, clay from the Jhelum river, tissue, and varnish, and then painted with intricate motifs – a skill that is passed down from the master to the pupils. “I asked a craftsman if he could develop these into tiles that felt more like canvases to me. It took us nearly a year to solve the technical challenge, but once we did, it opened up the space for collaboration. Now, the process is shared, we sit together, decide on the colours and pattern, and something new comes up every time,” says Praneet, who is based out of Amsterdam.

“We wanted the exhibition to be as inclusive and layered as the idea of ‘contemporary India’ itself. We curated for balance across mediums (painting, sculpture and photography), geographies, and generations within our presentation. The aim was not just diversity for its own sake, but to show how multiple practices coexist with each other,” says Roshini Vadehra Director, Vadehra Art Gallery, Delhi.

Full Moon on a Dark Night by Soumya Sankar Bose

Full Moon on a Dark Night by Soumya Sankar Bose
| Photo Credit:
 Soumya Sankar Bose

Visual artist Soumya Sankar Bose’s series Full Moon on a Dark Night explores his interest in psychological aspects around gender identities and antiquated laws and culture that surround these questions. Full Moon on a Dark Night began in 2015, almost a decade ago — well before Section 377 was decriminalised in 2018. “Rooted in the people I grew up with and friends I have known for years, the project looks at the everyday negotiations with identity and desire. It traces the personal and social lives at a time when visibility carried both risk and resilience. Built on shared histories and trust, the work offers an intimate portrayal of queer lives in Bengal,” shares Soumya. One shows Subir, a friend in a hotel room in Midnapore, West Bengal and the other a white tiger at Alipore Zoo, Kolkata. 

“We wanted to provide a capsule presentation of artists in our programme. From the younger generation, we have included Moumita Das, who works as a fibre artist incorporating weaving and dyeing techniques into her practice. We have also brought works by mid-career artists Nityan Unnikrishnan and Nikhil Chopra. Whilst Nityan’s paintings are known for their busy and congested compositions filled with people, Nikhil’s mysterious landscapes are lonely, uninhabited places,” says Mortimer Chatterjee, director Chatterjee & Lal, Mumbai. 

Artist and academic Adip Dutta’s ink work piece Woven Shadows XVI, takes one through the bustling footpaths, tightly packed with tarpaulin. “I am intrigued by the transformative character of these spaces. During the day, they have got a completely different presence in the sense that they are crowded with hawkers and their merchandise, then when I visit these spaces at a point of time when these shops are closed, and things are packed, it acquires a different character altogether,” says Adip. 

Prateek Raja, director & co-founder, Experimenter, shares the importance of collaboration. “We are keen that our artists’ works are seen by wider audiences, appreciated, and understood by people who may be encountering them for the first time. Even the artists are enthusiastic, because whenever people engage with new practices, new questions emerge and new curiosities are sparked.”

Contemporary Now is on at Lalit Kala Akademi till September 17

Published – September 03, 2025 05:22 pm IST



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Author Prajwal Parajuly dusts off his badminton skills and discovers the joy of losing gracefully


I did the unthinkable two weeks ago: I chose to spend a four-day weekend in Sri City. I did the unthinkable two weeks ago: I chose to spend a four-day weekend in Sri City.

My reasons were simple. The weekend before, I was in Chennai to attend the opening of a colleague’s exhibition. 50/50 at the Alliance Française by Kaveri Bharath was spectacular, but where there’s Chennai for a certain Sri City dweller, there’s bound to be a food-and-drink rampage. The week before that, I was in London. Of course, I overdid things there, too. The idea of committing to nothing around Sri City and ingesting only protein, therefore, felt right.

 But a four-day weekend in this metropolis stretches and stretches and stretches. I finished reading Arundhati Roy’s Mother Mary Comes to Me. I nearly re-read it. I put away suitcases from my London trip and also from the trip before that. (I am that cute nightmare who takes weeks—nay, months—to completely unpack). I walked around the neighbourhood park, where an obstinacy of buffalo had been unleashed to graze. That is how we mow our grass around here. The next day, it would be a herd of goats—charming, yes, but contemplating them wouldn’t sort out my never-ending weekend.

I even considered attending Krea University’s flag-hoisting ceremony on Independence Day but decided it wasn’t worth rousing myself at the crack of dawn. When time continued to stand still, much like the August air in these parts, I caved. 

A bunch of professors had formed a badminton gang. The objective, they said, was to get moving. I’d join them.

The last time I seriously played the game was as an eleven-year-old at Church Road, Gangtok. The pastor was our closest neighbour, and The Church of North India grounds were our fiefdom. That’s where we showed off our developing backhand skills every day of the winter break. Mornings were for rallies, afternoons for singles, and evenings, when the adults got off work, for doubles. Pastor Uncle always wanted to team up with my sister because her smashes were ruthless. I’d be paired up with some older player who didn’t really want me. We’d play all evening, until it was impossible to see the shuttlecock. 

But adolescence got in the way. Adulthood got in the way. The next time I’d pick up a racquet was around 30 years later at a friend’s place in New York. Muscle memory is a wondrous thing, I concluded, as I made a few clumsy serves in a Brooklyn backyard on a perfect day.  I beat a seven-year-old and a ten-year-old at my first and second games— never mind that these kids had likely not seen a badminton racquet before. There would be mild aches on my shoulders the next day and the day after.

I’d repeat this performance of a champion at Krea, I thought, as I walked to the badminton courts. Rains rattled on the tin roof. Some of us warmed up with walks and jogs. Others stretched. I muttered platitudes, which I tend to do when awkward silences make their presence felt. I was confident I wouldn’t be the lousiest player. 

I was wrong.

First, there were rules.  I had no memory of the technical stuff. Did we even follow the serving procedures when we played as children? The odd-even shenanigans continued to confound me. But I wouldn’t let that get in the way. Using all the strength I could muster, I hit a smash with a guttural sound. It was laughably weak. I’d yell scores at the top of my voice and declare victory long before the set was up. My aggression—or at least the noises I grunted to convey my triumphs and near misses— was inversely proportional to my skill. I was afraid I was slowing the game down, but that consideration was short-lived. The endorphins oozed out as beautifully—as disgustingly—as the sweat; you could see my elation. I, too, would have hated to play with me.

A player took it upon herself to school me. She said I was endowing my returns with more height than length. She had a point. Others had suggestions, too. My shots were predictable, someone said. I stayed put at one spot for the better part of the game, a serious player said. I was—get this one—holding the racquet completely wrong, a heartless professor chastised. I let the shuttle drop way too low before I hit it. A wise soul told me I often lost sight of the shuttle. Once I started meticulously watching it, I improved a bit. The aim was not to be the most awful player in the room. At this rate, I’d get there in three years. 

I returned to the courts the next day. I played four days the following week. A professor and I teamed up against a pair of students. We won a set and lost three, but our losses were dignified (18, 17 and 19 against their 21). Long weekends in Sri City have suddenly become purposeful. One of these days I’ll teach the younglings how it’s done. 

Prajwal Parajuly is a novelist. Karma and Lola, his new book, is forthcoming in 2026. He teaches creative writing at Krea University and oscillates between New York City and Sri City.



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Onam 2025 Chennai Guide: Feasts, takeaways and traditional sadhya


Geetham, all outlets in Chennai city

Geetham celebrates Onam with an elaborate vegetarian Sadhya of over 25 traditional dishes. The spread features curries such as erisseri, and uli theeyal, and a variety of pradhamans. Guests can pre-book the feast for dine-in, takeaway or home delivery, while those looking for a small festive touch can opt for standalone portions of chakka pradhaman or palada pradhaman

Onam Sadya at Geetham

Onam Sadya at Geetham
| Photo Credit:
Special Arrangement

Guests can pre-book the feast for dine-in, takeaway or home delivery, while those looking for a small festive touch can opt for standalone portions of chakka pradhaman or palada pradhaman.

Available on September 5, lunch only. For reservations, call 7397 222 111

Sashwatha Cafe, Nandanam and Anna Nagar

Sashwatha Cafe is set to mark Onam with a traditional vegetarian Sadhya that captures the essence of Kerala’s culinary heritage. The festive spread brings together a medley of flavours and textures, blending classic recipes with homely comfort for a truly authentic experience. 

On September 4 and 5, priced at ₹395 for dine-in and ₹645 for takeaway. For reservations, call 99941 31222

The Savera, Mylapore

The Savera, Mylapore, ushers in Onam with festive décor, traditional music and a grand vegetarian feast. Malgudi Restaurant serves a special Onam thali from September 4 to 7 (lunch only,1600), while Piano hosts an Onam brunch buffet on September 5 (lunch only, 1800).

For reservations, call 9710421422

The Onam thali at Malgudi

The Onam thali at Malgudi
| Photo Credit:
Special Arrangement

Kappa Chakka Kandhari

Kappa Chakka Kandhari celebrates Onam with a takeaway-only sadhya featuring 26 dishes, priced at ₹8,000. Packed in four stainless-steel tiffin boxes, the feast serves around 5 to 6 people. The spread includes festive favourites along with palada payasams and pradhamans. Payasams can also be pre-ordered separately in 500ml bottles (₹500–₹700)

The takeaway sadhya at Kappa Chakka Kandhari

The takeaway sadhya at Kappa Chakka Kandhari
| Photo Credit:
Special Arrangement

Orders may be collected on September 4 and 5, between 11 am and 3 pm, from pick-up points at Tharamani (IHMCT, C.I.T Campus), Kilpauk (Votive Shrine Church) and OMR (QFarmers Organic Store). Pre-bookings at www.kckonam.com

Sangeetha Veg Restaurant

Sangeetha Veg Restaurant, which has been serving Onam Sadhya in Chennai since 1998, sources its ingredients from Kerala. This year’s spread features over 25 dishes, including paalada pradhaman, chakka pradhaman, chakka ela adai, and parippu rasa vadai.

The Sadhya will be available on September 5 for dine-in and online orders at Adyar, Anna Nagar, T. Nagar, Virugambakkam, RA Puram, Nandambakkam and Medavakkam, with online-only availability at Kovilambakkam and Guindy. Pre-bookings at www.sangeethaveg.com

Sorgam, Adyar

Sorgam, serves a full-fledged Onam Sadya with 25 traditional dishes, from unniappam, beetroot pachadi, pavakai theeyal, Kerala red rice and steamed rice, rounded off with paal payasam and ada pradhaman.

On September 4, 5 and 6, with slots from 11.30 am. Priced at ₹850 for dine-in and ₹950 for takeaway. For pre-bookings, call 96772 77900

Savya Rasa, Kotturpuram

Savya Rasa’s authentic vegetarian sadhya served on banana leaves is inspired by Kerala’s royal kitchens. The feast features heirloom recipes and seasonal ingredients

The onam sadya spread at Savya Rasa

The onam sadya spread at Savya Rasa
| Photo Credit:
Special Arrangement

From September 1 to 5, between 12.30 pm and 3.30pm, priced at ₹3000 for two. For pre-bookings, call 73977 74856

Elis Kitchen, Mamallapuram

Elis Kitchen, serves a homestyle Onam Sadhya over three days, featuring staples such as ulli theeyal, thoran, sarkaravaratti, and a selection of payasams. The feast is available for dine-in only, from 12pm to 5pm, on pre-booking. 

On September 5, 6 and 7, priced at ₹800 per person. For reservations, call 9176646884

Vasantha Bhavan, all 17 outlets in the city

Vasantha Bhavan, celebrates Onam with a vegetarian sadhya that includes indulgent sweets like palada pradhaman and ada pradhaman, along with homely favourites such as avial, moru curry and seasonal vegetable accompaniments, crafted for a memorable feast.

On September 5, priced at Rs. 599 for dine-in and Rs. 749 for takeaway. For reservations, log onto www.vasantabhavan.in

Oru Kerala Story, UIthandi

Oru Kerala Story, marks the festival with a grand Onam Sadhya served on banana leaves, featuring a spread of over 25 traditional dishes. The feast is available for lunch only.

On September 4 and 5, priced at ₹999. For pre-bookings, call 080153 12342

That Mallu Joint, T. Nagar & Anna Nagar

Celebrate Onam with a traditional sadhya served on a banana leaf, featuring all the festive classics. Available on September 4 and 5, for lunch only. Price: ₹1299. To pre-book your dine-in or takeaway, call 91767 41305.

Published – September 03, 2025 03:53 pm IST



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Kinetic India seeks uniform GST rate for two-wheelers


The auto industry has also sought clarity on the continuation of incentives for electric vehicles.

The auto industry has also sought clarity on the continuation of incentives for electric vehicles.
| Photo Credit: The Hindu Archives

Two-wheeler maker Kinetic India has urged for a uniform tax rate on motorcycles at the two-day GST Council meeting beginning Wednesday, while also seeking the continuation of the lower 5% GST on electric vehicles.

The Centre has proposed to rationalise the Goods and Services Tax structure by retaining the 5% and 18% slabs, introducing a concessional rate below 1%, and a “sin rate” of 40%. The move is expected to benefit the auto sector as the current standard GST of 28% on all vehicles could be reduced to 18%. However, concerns remain over reports that vehicles with higher engine capacity may attract a higher rate.

“Since the majority of the market, over two crore per annum, is already in the lower category, there is no need to create this divide and a mid-ground but common tax should be implemented,” Ajinkya Firodia, Vice-Chairman of Kinetic India, said in a press statement.

Earlier, Royal Enfield Executive Chairman Siddhartha Lal had voiced similar concerns, warning that an increase in GST for motorcycles above 350cc would adversely affect that segment.

The auto industry has also sought clarity on the continuation of incentives for electric vehicles. “Penetration is still in single digits at 9%. Hence, we should consider subsidy continuation and enhancement for five years clearly, till there is a 40-50% shift to the same,” Mr. Firodia added.



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Bangladesh, Pakistan among Aga Khan Award for Architecture 2025 winners 


The Aga Khan Award for Architecture for the year 2025 was announced on Tuesday (September 2). While India, which has won the award only six times till date, didn’t even make the final shortlist of 15 countries (19 studio projects were shortlisted from 369 submitted this year), South Asia has scored big with Bangladesh and Pakistan among the seven winners of this edition. The other awardees include Palestine, China, Egypt and two winners from Iran. The winning projects will share the $1 million award, one of the largest in architecture. The award ceremony will be held on September 15 in Bishkek, Kyrgyz Republic, for the very first time.

Organisations such as the Aga Khan Foundation have worked consistently to preserve India’s rich Islamic architectural heritage, including the latest in 2024, a state-of-the-art sunken museum, developed by the Aga Khan Trust for Culture in partnership with the Archaeological Survey of India, at the iconic 16th-century Humayun’s Tomb Complex in Delhi. The awarded Indian projects in the past include Agra’s Mughal Sheraton Hotel, Bimal Hasmukh Patel’s Entrepreneurship Development Institute of India in Ahmedabad, Indore’s Aranya Community Housing, Lasur’s Lepers Hospital. 

Here are the seven winners of the 2025 Aga Khan Award for Architecture:

Bangladesh

Marina Tabassum Architects won for its project Khudi Bari, spread across the country. The khudi bari, literally meaning “tiny house” in Bengali, is an example of an inexpensive and durable, modular mobile home made with bamboo and steel. In Bangladesh’s floodplains, afflicted by flash floods that result in land erosion and continuous human displacement, khudi bari “is a replicable solution for displaced communities affected by climatic and geographic changes, that can be easily disassembled and reassembled.”

What won over the jury: “The project’s deep ecological framing, contributing to the global advancement of bamboo as a material.”

Pakistan

Mohammad Saifullah Siddiqui’s DB Studios’ multistorey facility Vision Pakistan, in Islamabad, stands distinct in a dense peri-urban area. The charity works with disadvantaged 16-25-year-old delinquent males gripped by aggression, depression, drug use and crime. The building structure has a central atrium with a tall tree, ample daylighting, natural ventilation, colourful windows with jaali work (pierced metal screens) and geometric patterns inspired from Pakistani and Arab crafts and 1960s Islamabad architecture.

What won over the jury: “The building… contains a new type of education… is full of light, spatially interesting and economically efficient.” 

Palestine

AAU Anastas founders Elias and Yousef Anastas’ Wonder Cabinet, in Bethlehem, is a production-driven cultural space built with the input of local artisans and contractors. The building, supported by Zurich‑based non-profit Drosos Foundation, is a piece of Brutalist architecture in raw concrete. In the hostile geopolitical pocket, in a country battered by an ongoing genocide, this award recognises its people’s resilience to preserve their culture against an unceasing onslaught.

What won over the jury: “…rooted in contemporary expressions of national identity, [the building] asserts the importance of cultural production as a means of resistance.” 

Egypt

Revitalisation of Historic Esna, an ongoing project by Kareem Ibrahim’s Takween Integrated Community Development addresses cultural tourism challenges by transforming a neglected site centred on the Temple of Khnum into a prospering historic city. It uses sustainable, recycled local materials like mud-bricks and wood. Conserved physical works include the 18th-century Wakalat al-Geddawi, 19th-century Royal Guesthouse, Qisariyya Market and Bazaar Street, etc.

What won over the jury: “…stimulates a historic urban metabolism to cope with the contemporary challenge of improving human conditions.”

Iran

Ehsan Rasoulof and Ali Rezvani’s ZAV Architects’ Majara Residence and Community Redevelopment is a stunning colourful complex whose 200 varying-sized vaults and domes reflect the rainbow island’s ochre-rich soils, providing sustainable tourist accommodation in the unique Hormuz Island. Built by the local community, the complex includes the Rong Cultural Centre, the Majara Residence, a café and bicycle rental centre in two steel-reinforced super-adobe domes with connecting stairs.

What won over the jury: “…a vibrant archipelago of varying programmes that serve to incrementally build an alternative tourism economy.”

Unchecked car-oriented expansion diminishes any urban space’s liveability. Tehran is no different. KA Architecture Studio’s triangular Jahad Metro Plaza is a once-dilapidated station transformed into a vibrant urban node for pedestrians. Built using once-neglected handmade bricks, it evokes historical Iranian architectural forms. Its height variations produce an air- and light-permeable roof that mitigates traffic noise.

What won over the jury: “…use of local handmade brick strengthening the connection with Iran’s rich architectural heritage with subtle texture emphasising a new urban monument.”

China

West Wusutu Village Community Centre, in Hohhot, by Zhang Pengju’s Inner Mongolian Grand Architecture Design Co. Ltd, is a multicultural community centre in a village. Spread over 1,276 sq. m, with a 203 sq. m central circular courtyard and 786 sq. m rooftop platform, made with reclaimed bricks from local demolitions and durable 80mm fly-ash insulation layer, the centre addresses the cultural needs of the local multi-ethnic community, including Hui Muslims who live far away from the main mosque.

What won over the jury: “…a valuable shared and inclusive communal microcosm within a rural human macrocosm.”

Published – September 02, 2025 07:52 pm IST



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Cuddalore restaurants too shun Swiggy, Zomato; switch to Tamil Nadu-based food delivery platform Zaaroz


Cuddalore District Hotel Owners Association flagging off delivery services of the Chidambaram-based online food delivery platform, Zaaroz, in Cuddalore on September 1, 2025

Cuddalore District Hotel Owners Association flagging off delivery services of the Chidambaram-based online food delivery platform, Zaaroz, in Cuddalore on September 1, 2025
| Photo Credit: Special Arrangement

Ending ties with online food aggregator giants such as Swiggy and Zomato, the Cuddalore District Hotel Owners Association has now joined hands with homegrown food aggregator, Zaaroz, for door delivery of restaurant food to customers.

Most of the restaurants in the district stopped receiving food orders from the popular aggregators from Monday (September 1, 2025) and have now moved to Zaaroz, which only receives subscriptions from the eateries on a monthly-basis. 

Incidentally, in July, restaurants in Namakkal onboarded the Zaaroz platform that offers various benefits to restaurants, customers and delivery executives.

A spokesperson of the Cuddalore District Hotel Owners Association said customers as well as restaurants were badly hit by unnecessary charges levied by the popular food aggregators. Issues like heavy commission demanded by food aggregators besides heavy discounts being offered to customers without the knowledge of the hoteliers had created an atmosphere of mistrust between hoteliers and their customers.

Initially, a majority of the restaurants entered into partnership with the food aggregators. But the commission charges steadily increased to 20 to 30% since then to the point where it was no longer profitable to do business with them. Several eateries received hefty bills to the tune of ₹2 to ₹3 lakh per month and were forced to shut down their businesses. An analysis of billing revealed that restaurants were incurring losses. Taking this into account, the association decided to disassociate itself with these online aggregators and support Chidambaram-based Zaaroz.

How does Zaaroz work?

Zaaroz is currently operating in over 50 locations (tier 2, tier 3) in Tamil Nadu and has 5,000 vendors in the platform serving 8 lakh customers.

Screengrab of Zaaroz mobile application

Screengrab of Zaaroz mobile application
| Photo Credit:
Google Play

Ram Prasath, founder and CEO of Zaaroz said the delivery startup only receives monthly subscriptions from restaurants in Cuddalore. “As many as 75 food joints have on-boarded with us in Cuddalore. Small eateries have to pay ₹1,500 and 18% GST every month while restaurants should pay ₹3,000 with 18% GST every month to the company,” he said.

Mr. Ram Prasath who started Zaaroz in 2019 earlier had a long stint in the Information Technology sector in Singapore before he started his own delivery application. The company is currently expanding to other cities and planning to open up operations in Theni and Perundurai in a week’s time.

“We follow a transparent model with benefits for customers, restaurants and the delivery executives. The delivery app is made for sustainable business growth. Presently, the company provides electric bikes to its executives and provides ₹2 per km as petrol expenses for those who are yet to receive the electric bikes,” Mr. Prasath added.



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Nature education: A Tamil alphabet chart that represents local biodiversity, culture and Nature for children


“Have you noticed a noisy gang of birds in your backyard? The fiery babblers may look dull, but one can enjoy their raucous calls throughout the year. Or the red-whiskered bulbul that keeps chirping cheerfully all day long, looking for insects in your garden?” Asks P Jegannathan, wildlife biologist of Valparai-based Nature Conservation Foundation ( NCF), to school children. Their collective answer is “No” or “May be”.

 “Step into any classroom for Nature talk, students can easily identify an ostrich, hippopotamus or a giraffe. Though some of the species are not indigenous to India, they know them because they have seen the images. What about our mynahs, crows and sparrows? These birds can be seen right next to our homes, but we hardly notice them,” says Jegannathan adding that some Tamil books misrepresent names of birds, for example budgerigars, the small, long-tailed parrots that are native to Australia are identified as pachai kiligal in Tamil. This set him thinking and he started collecting names of animals and plants in Tamil to make a chart or book with Tamil alphabets. “Our ₹10 currency note features images of elephants, tigers and rhinos, but do students know that it has to be rightly identified as the Asian one horned rhinoceros?” he asks.

Tamil Yeoman,  the state butterfly of Tamil Nadu is called Malai Chiragan in Tamil

Tamil Yeoman, the state butterfly of Tamil Nadu is called Malai Chiragan in Tamil
| Photo Credit:
Illustration by Karunya Baskar

While there are few animal alphabet books and charts in English (such as The Alphabet Book by Aparajita Datta, Vena Kapoor, Pavithra Sankaran for Lisu children in remote villages of eastern Arunachal Pradesh) and Learn About Some Common Birds of Indiathrough English Alphabet produced by Nature Classrooms and Early Bird, there are hardly any in regional languages.

“I wanted to see animals and plants from our regions in those charts. I was excited to learn that Nature Classrooms, an NCF initiative, was putting together nature alphabet charts in Kashmiri. They were also collaborating with other regional organisations and individuals to co-create more localised alphabet charts in different languages that represent local biodiversity, culture and nature,” he explains.

This idea led him to make a Tamil chart, beautifully illustrated by Karunya Baskar. “As Jegan Sir is a scholar in language and wildlife, he briefed me in detail, the descriptions of animals, reference images, and angles to draw them in. Our objective was to draw images that help children identify them in real life. Instead of going in for something cartoonish, we chose realistic, yet dynamic illustrations that will appeal to children,” says Karunya, adding that it was fun to learn about the anatomy of different animals.

Aauliya is the Tamil name for Dugong

Aauliya is the Tamil name for Dugong
| Photo Credit:
Illustration by Karunya Baskar

“Each animal has a unique anatomy, and getting that accurate was a challenge. I have also tried to give the animals the form of the letters they are associated with, a shape or a curve that will bring to mind the word immediately. Knowledge about our natural environment is considered secondary today in mainstream education. We are surrounded by these creatures and small steps like this, finding creative ways to teach kids about nature, can build strong connections with nature,” says Karunya.

While the Tamil Nature Alphabet project was Jegan’s idea, who believes that children’s first encounters with language should also connect them with the land and life around them, Nature Classrooms took the idea forward by finding an illustrator and shaped the vision into this beautiful tool. “The alphabet chart uses Tamil letters to introduce elements of nature that children can actually see and experience in their surroundings,” says Aditi Rao adding that they have seen very young children light up in recognition, point out the bird or tree near their home that matches the chart, and share stories they know. This recognition creates curiosity, and lays the foundation for a deeper understanding and connection as they grow.

Palm tree is called Aintharam in Tamil

Palm tree is called Aintharam in Tamil
| Photo Credit:
Illustration by Karunya Baskar

Aditi, who if the manager of Education, Outreach and Communications of Nature Classrooms, says the project brought many new learnings. “We have created flashcards of the alphabet chart, where each card has the illustration on one side and the related ecological information on the other. We’ve made a short video version too, with the same visuals and Tamil pronunciation audio. It is currently in its final stages and will be released soon.”

The chart features commonly found flora and fauna in Tamil Nadu with their Tamil names. The main objective, he says, is to introduce the biodiversity of Tamil Nadu through the Tamil alphabets for children, teachers and nature educators. It covers organisms representing different landscapes like kurunji, mullai, neydhaland paalai of Tamil Nadu.

For example, people living in the Western Ghats may not be familiar with Tamil name ongil for dolphins. “I didn’t want to make it taxa heavy but ensured that there is equal representation. For instance dungeon, sea shell, sardine are from marine ecosystems; Indrella snail, Strobilanthes are from the forests, and the wasp, spider, skink are from the plains and our urban settings. We have picked lesser known organisms such as the stingray, butterflies, dragonflies and damselflies. We have also covered most of the taxa such as fungi, plants, invertebrates, reptiles, birds and mammals.”

The project also turned the spotlight on quintessential Tamil words that almost became extinct because of nil usage like gnamali (dog), alangu (Indian Pangolin) to name a few. “Though we can use examples like anil for Tamil alphabet aa, we chose aauliya (Tamil name for Dugong) to bring the word back in use. Once you stop using these words, it goes out of sight, out of mind,” says Jegannathan, adding, “Tamil words are unique and have been there for ages. For example, kuruvi (for birds) was in use thousands of years ago. We should keep on using it. It’s our responsibility to do that. I feel happy to have played a part in redeeming these lesser known words.”

The chart is available for free to download at www.natureclassrooms.org/nature-alphabets-in-tamil

Published – September 02, 2025 06:22 pm IST



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In Indore, Atelier V’s daring new cocktail menu flirts with ingredients, techniques and stories


First, we get in line for poha. Served with crunchy mixture and finely chopped onions, it is best eaten with freshly fried, deliciously sticky jalebis.  

Then come the cocktails, paired with an intricate tasting menu and luxe setting at Indore’s Atelier V.  

By midnight we head to the city’s celebrated Sarafa market, jostling between hungry crowds, to do icy jamun shots, eat sweet-savoury khopra potato pattice stuffed with coconut, and kulhad pizza. (Which is exactly what it sounds like.)  We pause eating only to admire the ‘Gold Man,’ who is weighed down with glittering jewellery, and gape at Joshi’s famous flying dahi bada. He spins each plate with impressive dexterity, then adds salt, jeera and red chilli powder with the flamboyance of a magician.   

We are in Indore for one night only — but you can pack a lot into 36 hours. As it turns out, India’s cleanest city is also riotous with flamboyant people and extravagant food.   

Small towns in India tend to be subject to stereotypes, and Indore, known for its heaving poha stalls, does not seem like a stage for a cutting-edge cocktail programme. Which is exactly what makes Atelier V so intriguing.  

Vedant Newatia, founder and head chef, Atelier V

Vedant Newatia, founder and head chef, Atelier V
| Photo Credit:
Special arrangement

Launched in 2024 by Vedant Newatia, who at 30 is the founder, head chef and chief cheerleader, the restaurant is buoyant with optimistic energy thanks to its young, idealistic team.  Flashing his many tattoos, collected as he travelled the world, Vendant explains why he chose to settle in Indore after training and internships at some of the world’s most celebrated kitchens, including Dominique Ansel’s bakery in New York and Baumeniere in France.  

The interiors of Atelier V

The interiors of Atelier V
| Photo Credit:
Special arrangement

“This is my home town, I was born and brought up here. I did my schooling here. It’s a city of foodies, we love our pohas and jelebi. We love chatpata food,” he says. Then adds emphatically, “I don’t want Indore to be left behind big cities like Mumbai, Delhi and Bengaluru. I think this is Indore’s time to rise and shine.” 

To prove that they can keep up with the country’s best bars, Vedaant has just launched a signature cocktails menu that explores 12 cities around the world via flavour, technique, and storytelling. The drinks are gutsy and divisive, showing that the team is willing to take risks, and learn how to get better.  

We do a tasting menu so we can try the restaurant’s highlights: A smoky chicken lollypop smothered in Buffalo sauce, served with Sante, a France inspired blend of gin, passion fruit and sparkling wine. As Atelier V’s team puts it, this is a “drink that wears silk to brunch.” 

Sante!

Sante!
| Photo Credit:
Special arrangement

Proscht, inspired by Switzerland, is a blend of vodka, butterfly pea, and passionfruit. Then there’s Arriba from Mexico, with Tequila, jalapeño and actual salsa. Also try the Indian representation, Piyo, made with Gondhoraj, mango foam and caramelised banana. When Vedant serves Geonbae from Korea, a startling blend of black garlic, yuzu, and gin, he chuckles. “You are going to love it, or hate it.”  

Let’s be honest. I am not a fan. I like my drinks clean and precise, with molecular gastronomy techniques like spherification, gelification and clarification recruited only when strictly necessary. Which is why my favourite drink on the menu is also possibly their simplest, Down the hatch, inspired by the United Kingdom with gin, ginger, mint and cucumber. It’s deceptively smooth, and you can drink a couple or more before realising how heady it is.  

Down The Hatch!

Down The Hatch!
| Photo Credit:
Special arrangement

Spunky bartender Karan Dhanelia, togged in a waistcoat and tattoos, is brutally honest when he explains their approach. “Basically straight drinks are very boring, it’s a very middle aged thing.” He grins. Then adds with a shrug, “I am young, and I like cocktails.” 

Atelier V is at Satguru Parinay, AB Rd, Scheme No 54, Indore. Call 97551 25195 for reservations. It is open from 12.30 to 11 pm. Approximately 2500 for two people.

Published – September 02, 2025 04:09 pm IST



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