Life & Style

Bartłomiej Malarz attributes his creative bent of mind to being an Aquarius: “Some people may not like what I say, but I really believe in that,” says the Bielsko-Biała-based dancer and choreographer, who was in Bengaluru as part of the Attakkalari Centre for Movement Arts’ Choreographic Residency programme supported by the Polish Institute, New Delhi. “Since I was a kid, I have felt the need to create,” he says. “I am 25 years old, and I have been creating for 25 years.”

His recent stint in Bengaluru was no exception, with Bartłomiej having recently created two works in collaboration with Attakkalari’s professional dancers as part of the residency. These dance compositions, “Points of Attraction” and “New Bio”, premiered on August 9 as part of the lineup of Samarpanā, an event that showcased the contemporary movement art centre’s pedagogical and creative initiatives.

“I am grateful to the Attakkalari Centre for Movement Arts, especially Jayachandran, the director, for hosting me and giving me time, space and trust,” says Bartłomiej, who was actively involved in the development of performance pieces with the Attakkalari Professional Development Programme, as well as the Diploma in Movement Arts & Pedagogy, during his residency, which kicked off in July. “The evening was a celebration, and I was very happy to be a part of it.”

About the artist

Bielsko-Biała-based dancer Bartłomiej Malarz
| Photo Credit:
Special Arrangement

Bartłomiej’s tryst with movement art began when he was around eight, when his parents started enrolling him in various classes, including art, theatre, and dance. “I stuck to dance thrice a week.” At around 15, he decided to pursue a professional career, enrolling in the Ludomir Różycki National Ballet School in Bytom, the only boy in his class. “The ballet school in Poland starts at 10, so I was late, but I was prepared for that,” says Bartłomiej, pointing out that the years spent in this “top ballet academy” were special thanks to his excellent teachers.

After graduating from the National Ballet School, where he was trained in the Vaganova (Russian) style of ballet, Bartłomiej joined the Wrocław Opera Ballet in 2019; he also currently serves as its assistant ballet director. He spent five years dancing before pivoting into choreography and teaching. “Thanks to that decision, I was able to visit Bengaluru and work with Attakkalari,” says Bartłomiej, who made his choreographic debut in 2016.

His early exposure to contemporary and modern dance techniques, coupled with his rigorous classical ballet training, means that his choreography style draws on both these worlds. “I admire the beautiful lines of classical ballet positions and enjoy the fluidity of contemporary dance.” Bartłomiej is often inspired to use floorwork technique with designs developed in ballet. Since he also practices yoga, he enjoys incorporating techniques derived from this discipline, and it has a significant impact on the way he works with the body. Bartłomiej’s work usually relates to nature. He strives to ensure that each piece, regardless of style, is unique. “Each programme is a lesson for me, so I push myself not to repeat the same patterns, but try something new each time.”

Bengaluru calling

As part of his residency, Bartłomiej  created two pieces of work
| Photo Credit:
Special Arrangement

In July, Bartłomiej, who is also part of the Polish-Japanese project, The Young Spirit of Dance, arrived in the city as part of the Attakkalari residency, which culminated in the Samarpanā showcase earlier this month. In the “chaotic aesthetic of Bengaluru”, what especially surprised him, was “that in this big city full of everything, there was an Attakkalari centre and ballet studio where I could be calm and focus on my work.”

He contrasts this to the environment back home in Europe, where everything is so fast, efficient and scheduled, leading to a constant time crunch, and adds, “I think that was the best part of this residency because I could really work with my ideas and see what was good, what was bad, what direction we could take…”

His next project, back in Poland, is with the teacher and choreographer who taught him when Bartłomiej was a child, “Our paths crossed after 15 years,” he says, with a smile. “With this opportunity, I am going back to dancing.” He is also working on a new choreography for The Young Spirit of Dance, “a worldwide project, which connects Japan and Poland in the ballet education area,” says Bartłomiej, who plans to return to India at least once more. “Bengaluru was a very good city for me because I am a vegetarian, and the city is just heaven for us. I had the best food of my life here in Bengaluru. Now I am waiting to also visit other cities, because I know they are beautiful.”

Published – August 30, 2025 11:22 am IST

Pookkalams at Poozhikkunnu in Thiruvananthapuram
| Photo Credit: SREEJITH R KUMAR

Poozhikunnu, a few kilometres away from the heart of Thiruvananthapuram, has for long been known for its cracker-making units. But the village has another tradition to its credit — residents have been laying huge pookkalams on all 10 days of Onam for 38 years now.

This is being done under the auspices of a people’s forum, Poozhikkunnu Pourasamithi. “The practice is actually older than that, probably 45 years or so. Before the Pourasamithi took it up, a group of senior citizens used to conduct pookkalam-laying contests, which saw the participation of groups from in and around Poozhikkunnu. The competition was stopped after the formation of the Pourasamithi. Instead, the people of Poozhikkunnu come together to lay one big floral carpet,” says Anu Sreedharan, joint secretary of the Pourasamithi.

Pookkalam making in progress at Poozhikkunnu in Thiruvananthapuram
| Photo Credit:
SREEJITH R KUMAR

The pookkalam, 25 feet long and 18 feet wide, is laid on a huge platform of sand, known as the athathattu, the surface of which is smoothened with cow dung. Two floral arrangements are made every day on this platform. One portion has the traditional pookkalam, while, in the other has a floral arrangement that represents a deity, monument, or figures related to religion.

“People of all faiths partake in the festivities and that is why we make floral arrangement representing their religion. Each day’s pookkalam has a sponsor and, in some cases, more than one. This includes institutions, business establishments and individuals,” he says.

The Pourasamithi has members who belong to different walks of life. “Most of them are daily wage labourers. Everyone in Poozhikkunnu works together for the smooth conduct of the 10-day event.” The executive committee of the Pourasamithi coordinates the activities.

Pookkalam being laid at Poozhikkunnu in Thiruvananthapuram
| Photo Credit:
Sreejith R Kumar

The flowers are brought daily from the huge flower market at Thovala in Kanyakumari, around 100 kilometres from Poozhikkunnu. “The flowers for a particular day’s pookkalam are bought the previous day. Once the flowers get here, the young and old from across Poozhikkunnu would turn up to separate the petals or cut them. We start early and are done by daybreak. While the design for the traditional pookkalam is finalised by us, the one for the other pookkalam is sometimes suggested by the sponsor. We have a group of artists to draw the designs.”

The sky-rocketing prices of flowers is a cause of worry. But they have chosen to carry forward the tradition. “Sometimes flowers for one day alone would cost ₹20,000. The amount goes up once you add the travel and transport expenses. We also pay a small amount to the artists because they cannot go for work during these days. We also conduct poojas near the pookkalam on all days,” he adds.

The flowers usually used are marigold, chrysanthemum, roses, vadamalli (bachelors’ button), tube rose, besides the greens.

Cultural programmes, performances by children, games and public meeting are conducted as part of the celebration. On Onam eve, Uthradam, new clothes (Onakkodi) and an Onam kit comprising vegetables and provisions will be distributed to 200 people chosen by the residents’ associations. Thumbithullal, a ritualistic art form that is fast getting extinct, will be performed on Thiruvonam day. “The women take fast for a few days prior to take part in Thumbithullal,” Anu adds.

The artist working on the pookkalam at Poozhikkunnu in Thiruvananthapuram
| Photo Credit:
Sreejith R Kumar

Even though Thiruvananthapuram has clubs and cultural forums that lay giant pookkalams, they make it only on Thiruvonam day unlike Poozhikkunnu residents who lay the pookkalam throughout the festival. “We made the pookkalam even during the pandemic but did not conduct other celebrations. We did not want to break the tradition. As years go by, the excitement and enthusiasm are on the rise. It is a people’s festival in every sense,” Anu says.

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Open the box and a ‘banana leaf’ (made of paper) comes out first. Then begins the task of taking out diligently-packed containers and foil packets. The labels read banana chips, sharkkaravaratti, pappadam, parippu, avial, thoran, koottu curry, olan, sambar, rasam, ada pradhaman, parippu payasam.… one loses count after a point. Once thawed, they make a detour to the microwave before the dining table.

This is how several Malayali expats have been relishing Onasadya, the grand vegetarian feast, for the past few years, courtesy a few business groups in Kerala who sell frozen, ready-to-eat Onasadya. The sadya is sold in mini and family packs at supermarkets in several countries, making the festival special for expatriate Malayali families, students and professionals.

London-based Lintu Rony and son Levi Rony Eappen with the ready-to-eat Onasadya spread at their home
| Photo Credit:
SPECIAL ARRANGEMENT

For these companies, it is an extension of their business of exporting frozen ready-to-eat products, such as curries, snacks, breakfast combos, cut vegetables etc. “The request from our suppliers abroad pushed us to launch ready-to-eat sadya four years ago,” says Tom C Kavalackal, managing director, Jacme. Their Onasadya kits are stocked by stores in the UK, the US, Ireland, New Zealand, Canada, and Australia.

Since these packs are transported by ship and it takes two to three months for the shipment to reach some of these countries, the preparation starts three or four months before Onam. “Mostly it starts by May or June, depending on the country to which we are exporting it. This year we have exported 75,000 packs from our production centre at Nilambur (Malappuram district) while last year it was 50,000. Canada is a new addition to the list,” he adds.

Toronto-based Malayali food blogger Nishin MG with the ready-to-eat sadya spread
| Photo Credit:
SPECIAL ARRANGEMENT

Daily Delight, a pioneer in this sector, has been exporting sadya packs since 2020. Last year around 50,000 packs were sent to the US, the UK, Canada, Germany, Ireland, Australia and New Zealand.

Ready-to-eat Onasadya from Ajmi 
| Photo Credit:
SPECIAL ARRANGEMENT

The companies follow a standard procedure to put together the sadya pack. Once the dishes are cooked, they are blast frozen at – 40 degree Celsius and then stored at -18 degree Celsius. “This temperature (-18 degree Celsius) should be maintained while it is being transported and stocked at the super markets. Otherwise the food will get spoilt,” says Rashid KA, director, Ajmi Flours India Pvt Ltd, which has its factory at Perumbavur, Ernakulam district. The brand is a latest entrant into the sadya segment and aims to expand its reach in the European market.

All brands assure a shelf life of two years for the packs, provided they are stored at -18 degree Celsius. The rates vary from country to country. For example, a pack of five will cost nearly 50 pounds in the UK and between 50 and 65 dollars in Canada.

Akhil Bleeko (left) at his factory
| Photo Credit:
SPECIAL ARRANGEMENT

Then there are companies such as Kochi-based Bleeko Imports and Exports Private Ltd who put together sadya packs for different companies who sell them under their brand names. “We provide sadya packs to around five such firms. We have been doing this for three years now and our products have already reached Canada, the UK, New Zealand and Australia. This year, we sent around 3,000 boxes and each box has servings for two or four people,” says Akhil Bleeko, who runs the company with his friend, Behnan K Reji. Akhil says they have also been exporting banana leaf and ingredients to prepare sadya to a few restaurants in Canada. “We sent them by air. Utensils were also sent earlier,” Akhil says.

Usually all brands sell kits for two people or family packs meant for four or five people. Most packs contain around 20 cooked dishes, in addition to paper leaves and (non-fried) pappadam. Other than the regular dishes of a traditional Kerala sadya, some kits pack halwa varieties, such as black, pineapple, jackfruit and the Kozhikode special. Not all kits have cooked rice.

(From left) Tom C Kavalackal, wife Kunjumol Tom and son Rony Tom with their ready-to-eat Onasadya pack
| Photo Credit:
SPECIAL ARRANGEMENT

Tasty Nibbles is another player in the sector. Their food comes in retort pouches, except for chips and pickles, and not in the frozen form. “The demand has gone up this year,” says Sunil P Krishnan, vice president (sales), Tasty Nibbles. “The sadya kits are sold through distributors to stores in Ireland, the UK, New Zealand, Australia and some nations in the European union. This year we must have sent around 2,000 kits. We don’t do this in large numbers because each dish in Kerala sadya is available separately.”

Ready-to-eat Onasadya from Tasty Nibbles
| Photo Credit:
SPECIAL ARRANGEMENT

The sadya comes in jumbo (for four people, 17 dishes) and medium (for two people, 12 dishes) packs. There is also a mini pack that has five curries, one pickle and one payasam. Both medium and jumbo packs have cooked rice.

He adds the target has been Malayalis across India who cannot cook the Onasadya at home or who do not have access to hotels selling sadya. “This include parts of North-East, Uttar Pradesh, Jammu-Kashmir, Haryana, Rajasthan and Gujarat. We cater to students, professionals, military or paramilitary personnel and Malayalis who are on the move such as hikers, trekkers etc. You just have to immerse the unopened pouch in boiling water for a few minutes and then serve. Or empty the contents into a container and then heat in a pan or put in the microwave,” he adds.

Published – August 30, 2025 08:31 am IST

Sunflowers in full bloom on St Xavier’s College campus 
| Photo Credit: Shafeek Shihab

Want to walk through a sunflower field and click selfies? Head to St Xavier’s College, Thumba, in Thiruvananthapuram where the plants are in full bloom on six acres inside the campus.

This is an initiative of agripreneur SV Sujith, who operates the agri startup, Naaden, on a 22-acre leased plot inside the college. The flowers are on display as part of Aaravam 2025, an agri-flower show organised by Naaden.

“I had planted sunflower successfully here earlier as well but that was only out of personal interest. This is the first time I have done it on a commercial basis,” says Sujith, the recipient of Kerala State Farm Awards 2022 for the best vegetable farm.

Like all the crops on the farm, Sujith has grown the flowers also on sandy soil through open-precision farming. “There are 72 beds here, each with 266 plants. In precision farming you have to know the exact number of crops,” he says.

Sujith adds that the plants flowered earlier than he expected. “Due to climatic changes they bloomed early and so we didn’t get enough time to make preparation to open it for the public. However, things are on track now,” he adds.

Also on show are marigold varieties in yellow and orange, cock’s comb (kozhipoo) and Bachelors’ button (vadamalli). “We used to grow marigolds as barrier crops to prevent attack of pests. Once I realised its commercial value we started cultivating it,” he says.

SV Sujith
| Photo Credit:
SREEJITH R KUMAR

Sujith stresses that the festival is an attempt to introduce his farm and its activities to the people. “We want people to understand what we do and why we do it. Naaden is in its fourth year now and my intension is to spread one message – know your food,” he says.

Public can also see a paddy field, water wheel, different farming equipment, tools, demonstration on irrigating the crops, cultivation of various vegetables etc. As per an MoU he signed with St Xavier’s College, students of the college have been doing paid internship on the farm. “Over 25 students have worked here in four batches since we launched it,” he says.

The festival is on till September 15, 6am to 6pm. Entry fee is ₹40 for adults and ₹20 for children. 

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On a beautiful spring day in April, a young woman walked into Phuphee’s garden. We had been tending to her garden since the early hours of the morning despite there having been a light shower. Phuphee was planting bulbs for lilies and freesias, which she hoped would bloom later on in the summer.

When she was done, she stood over the flower beds and uttered a prayer, blowing over them repeatedly, invoking God to bless her with blooms. As soon as she spotted the young woman, she instructed one of the helpers to bring some kahwa and kandi kulchas (a chunky, sweet biscuit-like snack sprinkled with poppy seeds).

She greeted the woman and invited her to follow her into her room. I waited, hoping she would ask me to join them but she didn’t. An hour later they came onto the verandah, the young woman’s eyes red rimmed and her kohl smeared, but she didn’t look sad. I saw Phuphee rest her hand on the woman’s arm and whisper, ‘Hemath [strength]’. She smiled and left.

A few days later I understood why the young woman had come over, and why Phuphee hadn’t invited me in. The woman, whose name was Zeenat, had caused an uproar in the district of Shopian. She had done the unthinkable: she had asked for a khula [divorce that is initiated by a woman] on the grounds that her husband was unable to carry out any intimate conjugal duties.

Zeenat had been married for over two years, and had waited patiently for her husband to agree to seek further medical help. But he along with his family had flatly refused. As they put it, ‘It wasn’t possible for there to be anything wrong with their son’, despite Zeenat repeatedly showing them test results that proved otherwise. The in-laws put the blame squarely on her shoulders.

She had been trying to convince him to see a specialist but he had refused saying, ‘If it was God’s will, it would happen.’ Upon hearing this, she had become frustrated and lost her temper. She had packed up her belongings and gone back to her maternal home in the next village. A week later she had sent a village elder to her husband’s house asking for a khula. It had been a few months since then, and though her husband hadn’t yet agreed to the khula, the rest of the district hadn’t stopped talking about her. The elders called her an abomination, a harbinger of doom and the downfall of morality; the men spoke of her as a fallen woman; and the women called her vile and shameless. She was shunned by all polite society.

At the time, I was barely 20 and I could not understand why everyone seemed so angry with Zeenat. So, I asked Phuphee.

‘Well for one, it is not acceptable for a woman to have desires. And then for a woman to express it so explicitly is unheard of. To top it all off, because she has been unable to fulfil her desire, she has decided to do something about it. But I guess the biggest offence is that she is absolutely aware of and sure of herself. I mean a woman who knows what she wants and how to get it? It doesn’t get any more offensive than that,’ Phuphee replied, smoking her two cigarettes a little more intensely than usual.

I couldn’t work out from her tone if she was cross with Zeenat or in awe of her. I suspected the latter. We had been sitting on her verandah having nun chai and kandi kulchas. I sat there trying to work out what she meant — that it was unacceptable for a woman to have desires or to express them explicitly.

I waited for Phuphee to say something further, but she was lost in her own thoughts. She kept smoking, sipping her kahwa, and nibbling away at her kulcha until it was gone. When she was done with all three, she said she was going to say her prayers.

She turned around at the door and before disappearing into the dark corridor, said, ‘Myoan gaash [light of my eyes], the poppy plant is a wondrous and fragile thing, easy to destroy, beautiful to look at, and gives us khash khaash [poppy seeds] and afeem [opium], a substance both deadly and useful — with the ability to destroy or treat. You know, I always wonder if the poppy is self-aware. Does it know its own power or is it clueless?’

When she had gone inside, I thought about what she had just said. Her words induced an anxiety within me, but I knew enough of Phuphee to know that the antidote wouldn’t be far and I relaxed. With every passing day I realised that among other things, her words were a warning and a reminder — a warning about the possible challenges coming my way, and a reminder that within me lay power which, if harnessed, could do wondrous things. Just like Zeenat’s power had done.

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

Published – August 30, 2025 06:06 am IST

Architect Suchi Reddy and I have been friends for more than a decade. She lives in New York, the founder of Reddymade studio; I live in India. I joke that I follow her work around the world. In 2023, we met in Dhaka during the art summit, where she presented the installation Between Earth and Sky. Then in December 2024, in Mumbai, when she unveiled Chromacosm, an installation created in collaboration with Asian Paints to celebrate the launch of the brand’s Chromacosm colour library — the world’s largest architectural paint system featuring more than 5,300 shades. We then met about a month later in Mumbai at the debut of the Architecture and Design Film Festival, where Chromacosm was showcased again.

Suchi Reddy
| Photo Credit:
Chloe Horseman

It was during this last meeting, over dinner at the Vetro in Oberoi Hotel, that she asked me: “When was the last time you felt a sense of belonging?” What ensued was a conversation about family, community, friendship and making place for oneself in the world. Bias and Belonging — the former a way to ‘other’, the latter, a possessive — was also the name of a large community project she presented at the Colgate University in upstate New York in April. The exhibit contained woven, textual and digital elements representing what she’d learned from community conversations with students, faculty and staff. It is the typical approach of this Chennai-born architect. She likes stories, she wants to understand, she’s an intent listener, a watcher.

Reddymade has an impressive list of clients — from high-end homes to brands such as Google and Humanscale. The most recent of her many public installations is Turbulence 2025 for the Brooklyn Botanic Garden where she used research on plant acoustics to create an interactive installation comprised of reflective metal panels serenaded by a haunting ethereal soundscape. In early September, Reddy will present Patterns of Protection, a spatial response to the curatorial brief at the debut edition of the Bukhara Biennial.

Turbulence 2025 for the Brooklyn Botanic Garden

There is a common element of empathy that runs through all of Reddy’s works, whether private or public. For years now, the primary focus of her work has revolved around neuroaesthetics, exploring how spaces can be orchestrated to influence the occupants’ feelings. In a conversation shortly before her Bukhara trip, she speaks about her work and its evolution:

How does your Indian heritage find its way into your practice?

The sensuality and sophistication of the South Indian aesthetic sensibility is deep in my design DNA. The beautiful light transitions in our layered traditional architecture, the simple, minimal material transitions, the texture in our crafts, the luxuriousness of our textiles, and the fragrance of our flowers all find expression in my work — whether it’s architecture, interiors, objects, or art.

Autophysiopsychopoetic (2024)
| Photo Credit:
Siegfried Mueller Photography

How has your parents’ Chennai home, and your mother’s relationship with colour, impacted your work?

I owe my design chops to my mother. She came from a small village in Andhra Pradesh, never went to school, but mastered six languages, and introduced so many design elements into my first environment, the house I grew up in. It was designed by renowned architect P.S. Govind Rao, and his Japanese-Indian sensibility created a home that opened to gardens, leaving a deep impression on me. My mother had an incredible sense of colour; one of our favourite rituals was a visit to the storied Nalli’s to find unusual saris. She also took me with her to weavers in Kanchipuram where she would have saris woven.

What is your relationship with colour?

Colour to me is structural, it’s not two-dimensional. The blue of the sky, for instance, is not a colour; it’s a refraction and distribution of light. I use colour in the same way I use light — to enhance materiality, space and contrast. I listen carefully to my client’s experiences with colour because it is a primal factor that everyone has an opinion on and reaction to. Colour is also deeply cultural. Working in so many countries and cultures now, I find its nuances in each place fascinating. With Chromacosm, my solution was a ‘black space’ [black is what you get when you mix all paints] filled with pixels of colour, like some of our ancient tantric paintings.

Chromacosm (2024)
| Photo Credit:
Prachi Damle

How does the work of hand and technology reconcile?

Craft and craftsmanship are essential to making our world, whether it’s an app or an age-old handicraft. We need to value both more, particularly in the age of AI. The collective and generational wisdom of craft, especially in countries like India and Japan, is a treasure. I recently launched a collectible furniture line called NINE.5 with Ekaya Banaras. Named for the number of yards in a sari, the lines of the collection mimic the wrapping of the garment around the body. The pattern is a series of zeros; an ode to [mathematician and astronomer] Brahmagupta’s contribution to mathematics in 685 AD, foregrounded and superimposed on a herringbone, a representation of our colonial heritage.

NINE.5 with Ekaya Banaras
| Photo Credit:
Anshika Varma

In interiors and architecture, I find every opportunity to highlight Indian craft, such as [textile label] Morii Design for example, whose work I curated for a show in New York.

How central is neuroaesthetics to your work?

Neuroaesthetics is a multidisciplinary field that focuses on understanding the effects of our environments and experiences on our brains and bodies. My research in this area has affected my approach to everything. My mantra is ‘form follows feeling’, which means that whether I am designing a home, office, institution, or object, my aim is to draw from art and science to create something that makes people feel great, at peace, and grounded.

LOOK HERE (2023)
| Photo Credit:
Chris Coe

In residential projects, I look at how to create spaces for refuge and comfort using information from studies on texture and colour; in spaces for focus or creativity, I curate intentionally proportioned views through windows or images that can help that work. For instance, in the Salt Point house in New York, the top of the windows align with eye level, making it a very intentional viewing into nature. In retail spaces such as the Google store in New York City, all the textures, materials and colours are organised so that the customer can exhale and enjoy wonder and discovery. The floor is soft, and the furniture is made of cork, which mimics the body’s temperature, and minimises experiential friction.

Salt Point house
| Photo Credit:
Ashok Sinha

Are you working on any projects in India?

I am working on two projects, both very different. One is a house for my sister in a village near Tirupati, nestled inside giant rocks, built with local materials and craftsmen. The other, in Hyderabad, is a cultural campus of three buildings with residences and an art gallery, the whole of which is designed as a sculpture. It will feature commissioned artworks by Indian artists in all media. I love working in India, not just because it is home, but because of the way the mix of craft and skilled labour allows me to innovate.

The writer is a lifestyle and arts editor, who launched the Indian edition of Architectural Digest.

Published – August 30, 2025 06:00 am IST

The world of luxury real estate is undergoing a profound transformation as developers increasingly embrace Environmental, Social, and Governance (ESG) principles. These guiding frameworks, far from being restrictive, open up new avenues for creativity and innovation. They emphasise sustainability, social responsibility, and ethical business practices, which are essential for designing homes that not only exude opulence but also contribute positively to the environment and surrounding communities. As the desire for responsible living intensifies, the integration of ESG principles is reshaping the high-end housing market into one that prioritises both luxury and sustainability.

Luxury real estate is at the forefront of adopting eco-friendly construction methods aimed at minimising environmental impact. Innovative developers are selecting sustainable materials, implementing energy-efficient designs, and pursuing green certifications to create a brighter, greener future for real estate. Energy-efficient homes are now equipped with cutting-edge features like solar panels that harness the sun’s power and rainwater harvesting systems that conserve precious water resources, helping to significantly reduce carbon footprints. Among the stunning examples of sustainable luxury homes are those adorned with smart technologies that optimise energy consumption, lush rooftop gardens that provide natural insulation, and biodegradable construction materials that minimise waste.

These remarkable innovations exemplify a growing commitment to environmental stewardship while maintaining the allure and sophistication that luxury buyers expect.

Central to the ESG ethos in luxury housing are important social considerations. Developers are placing a strong emphasis on creating inclusive designs that cater to a diverse range of residents, including those with varying abilities. The prioritisation of accessibility and community well-being is evident in many of today’s modern developments.

The rise of mixed-use spaces, which seamlessly integrate residential, commercial, and recreational areas, has become a hallmark of contemporary luxury living. These dynamic environments enhance social interactions and foster a strong sense of community, all while supporting local businesses and strengthening local economies. As a result, luxury living is becoming increasingly socially inclusive and vibrant.

Benefits of incorporating ESG in real estate

The integration of ESG principles in real estate offers a multitude of significant advantages, benefiting both discerning buyers and forward-thinking developers:

1. Attracting socially responsible investors: Properties that embody ESG principles resonate with investors who are keen on supporting ethical and sustainable endeavours.

2. Enhancing property value: Sustainable homes frequently command higher market prices, owing to their inherent long-term benefits and growing consumer preference for eco-friendly living.

3. Mitigating risks: Adhering to ESG standards reduces exposure to risks associated with climate change and other environmental challenges, ensuring stability and resilience in a fluctuating market.

By embedding ESG principles into their planning and execution, luxury developments deliver not only financial returns but also cultivate a lasting positive legacy for the environment and society. This dual benefit ensures that ESG-compliant luxury real estate is not just a moral choice, but a sound financial investment.

Energy efficiency is a critical focus in the mission of sustainable real estate development. Developers are incorporating an array of innovative features, including:

1. Smart home automation: Advanced systems that monitor and control energy usage provide homeowners with insights to optimise their consumption.

2. Renewable energy solutions: Roof-mounted solar panels and other renewable energy sources are utilised to decrease reliance on conventional energy, transforming how homes are powered.

3. High-performance insulation: Cutting-edge materials are deployed to reduce heating and cooling expenses by effectively maintaining desirable indoor temperatures.

4. Water management systems: Systems for rainwater harvesting and recycling play a vital role in conserving water resources and promoting responsible usage.

5. Energy-efficient appliances: High-efficiency appliances significantly lower electricity consumption, blending functionality with sustainability. These features do not merely enhance sustainability; they combine eco-friendliness with modern convenience, offering residents an exquisite lifestyle that aligns with their values.

Government incentives for ESG compliance

In recognition of the growing importance of ESG initiatives, governments are actively promoting their adoption in real estate through a range of incentives and regulations:

1. Subsidies for green projects: Financial assistance is provided to developers dedicated to sustainability, encouraging the construction of environmentally friendly properties.

2. Regulations for compliance: Policies mandating energy-efficient architecture and renewable energy implementation serve to uphold high standards in real estate development. These initiatives empower developers to pursue sustainable practices, making homes that comply with ESG standards more appealing and accessible to conscientious buyers.

Effective governance plays a critical role in ensuring ethical practices and transparency within the real estate sector. Projects that embrace ESG principles prioritise regulatory compliance and maintain honest communication, fostering trust between buyers and investors. Ethical governance encourages accountability and diligence, ensuring that projects not only meet but surpass stringent standards while appealing to environmentally and socially aware consumers. This emphasis on integrity strengthens the attractiveness of ESG-compliant luxury real estate.

The principles of ESG are swiftly transforming the landscape of luxury real estate, skilfully merging elegance with responsibility. These innovative developments are tailored to meet the aspirations of modern buyers who seek homes that embody both sophistication and a genuine commitment to sustainability. As the market evolves, luxury living can be synonymous with a conscientious approach to environmental and social stewardship.

The writer is founder & CEO, Property First Realty.

Published – August 29, 2025 06:53 pm IST

Lokah Chapter 1 : Chandra takes you to a different world from the word go, one where a superhuman lives among the mortals. This time, we have a woman, Chandra.

The movie, bankrolled by Dulquer Salmaan’s Wayfarer Films, is a cinematic treat and could even be a lesson for many on how to master the superhero genre. Lokah is another feather in the cap for the film’s director and writer, Dominic Arun, who regaled audiences with the black comedy drama Tharangam in 2017.

Kalyani Priyadarshan is Chandra, who arrives in Bengaluru, a city unlike what we have seen in many movies. Her support system advises her to stay out of trouble. Chandra’s apartment is right opposite the one occupied by two jobless youngsters, Sunny (Naslen) and Venu (Chandu Salimkumar).

Chandra is reclusive and mysterious. The viewers get a glimpse of who she is in a slickly shot scene where she takes on a character (Sarat Sabha) when he misbehaves with a girl. Even though Sunny is captivated by her, he grows suspicious and decides to follow her. That is when we discover who Chandra is.

It is here that Dominic scores with his writing. He unfolds the mystery about her with such finesse and precision that the viewer enjoys the reveal. A brilliantly narrated and well-structured flashback gives goosebumps.

The masterstroke is how he has placed Chandra against one of the popular stories from Kerala folklore. He re-imagines the character with conviction, thus breaking stereotypes about her.

Arun Kurian, Chandu Salimkumar and Naslen in ‘Lokah: Chapter 1 : Chandra’.
| Photo Credit:
SPECIAL ARRANGEMENT

The idea of supernatural beings living amongst us has already been explored in world cinema. Even then, it is exciting to see how the director has handled the idea in a Malayalam movie. The world that he builds around this concept is too exciting to ignore.

There is richness on the screen in terms of production design, visual effects, and frames, but it is all done without compromising the script. There appears to be ample contribution from one of the proficient actors in Malayalam cinema, Santhy Balachandran, who has been credited with additional screenplay and dramaturgy.

Coming to Kalyani, who plays the first female superhero of Malayalam cinema. Dominic knows her strengths and weaknesses. He has tapped into her swag, onscreen charm, and agility (remember her MMA-trained character in Joshiy’s Antony?) to make her Chandra, without pushing her too much and sticking to what the character demands. She stands tall with composure and confidence, carrying herself with poise in costume and looks.

Naslen is tailor-made for the role with his inherent charm and comic timing. Chandu plays his perfect ally and even sometimes reminds you of his father, ace actor Salimkumar. Arun Kurian adds to the fun as their friend Naijil. Tamil actor Sandy relishes his role as Nachiyappan, a misogynistic police officer, who ends up locking horns with Chandra.

ALSO READ: ‘Odum Kuthira Chaadum Kuthira’ movie review: An absurdist comedy that ends up in no man’s land

It is evident that the director was on the same page with his technicians, cinematographer (Nimish Ravi), editor (Chaman Chakko), composer (Jakes Bejoy), sound designer (Dawn Vincent), and sound mixer (MR Rajakrishnan). The catchy colour palette, slick cuts, rousing background score and music pieces, exuberant soundscape… the film has it all. Add to it the production design by Banglan. Action choreographer Yannick Ben stuns yet again, especially in Chandra’s flashback scene.

Now, for the barrage of cameos that were being talked about much before the film’s release, the suspense is over! Their glimpses are enough for whistle-worthy moments in the theatre. Especially the one that brings together a favourite onscreen pair!

The film is not without flaws, but they are minor ones that can be ignored. A theatrical experience to be celebrated, Lokah has several stories waiting to be told, as shown in two post-credits scenes. It has definitely laid a solid foundation for a bigger cinematic universe, pushing the envelope for Malayalam cinema, which has already set the bar high for movie buffs in the last few years.

Published – August 29, 2025 06:52 pm IST

A view of Delhi’s first IKEA store.

The newly launched IKEA city store in Tagore Garden in West Delhi is creating a flutter as the Swedish company aims to ingeniously drive the capital’s denizens to de-clutter and make their homes more functional this festive season.

Diwali is usually the time for deep cleaning. Many families, like Kavya Verma’s who lives in Vikaspuri, an upper-middle-class residential area in West Delhi, redo their home interiors.

Last weekend, when Verma and her mother visited the IKEA store at Pacific Mall, the shop layout had them totally consumed. The subtle creative guidance all across the 15,000-sq.ft space, pushed their ongoing battle of sentiments vs. functionality to the back seat. “Being able to touch, feel, sit, and experience every product gave us a sense of thrill, and my mother is now thinking about upgrading our home,” says Verma.

A view of Delhi’s first IKEA store.

“Delhi is a market where more than space and affordability, people are looking for inspiration and are willing to spend; they visit a store with the intention to buy,” says Aadosh Sharma, IKEA’s Country Commercial Manager. IKEA’s annual Life at Home surveys, which examine how people live and how they aspire to live, have prompted the giant furniture and home furnishings retailer to open a store in Delhi. Launched during Independence Day, it has come three years after the first city store was inaugurated in Worli, Mumbai, in 2022.

Interestingly, in the past, big lifestyle brands have usually launched themselves in upmarket areas of South Delhi. Sharma says, the idea of having the city store inside a West Delhi mall appealed due to its proximity to the metro station and the high footfall.

A view of Delhi’s first IKEA store.

Immediate takeaway

The store offers 2,000-plus products on display of which 800 are available for immediate takeaway.

Once inside the store, visitors explore inspiring room settings that have been tailored to Delhi homes, plan their spaces using digital tools and seek personalised services, including interior planning, and home furnishing advice. The larger items can be ordered for home delivery from the entire online IKEA range.

A view of Delhi’s first IKEA store.

The online and omnichannel approach, according to Sharma, recognises the need to help customers optimise emotional connection and prioritise purchase. As per the Customer Insight Survey, ever since the launch of its e-commerce in March this year, IKEA has clocked more than 1,00,000 online orders from northern India, with 75,000 orders from Delhi alone. “A 10% month-on-month growth and early signs of strong repeat purchase behaviour signal a solid start in the region,” says Sharma.

Buying patterns

The survey done over the last four months reveals the buying patterns of Delhi shoppers, who have been mostly looking at shoe racks, multi-functional furniture such as sofa-cum-beds, chairs and study tables, compact wardrobes with mirrors and drawers, products that enliven balconies and sit-outs.

A view of Delhi’s first IKEA store.

What they have been buying most includes bedroom furniture, bookshelves, home decorations, and clear and no-fuss storage that suits functional homes. “The city has adapted to the brand. In the coming days, we will focus on specific spots and accentuate products based on area-specific demands,” says Sharma, adding that a network of six additional stores over the next five years is in the pipeline.

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We have not found an efficient solution to functioning public toilets in India. Over 11 crore household latrines and 2.23 lakh community complexes have been built under SBM(G), according to the Ministry of Jal Shakti (March 2023). Since then, many more have come up. Toilets also exist at bus stops, railway stations, airports, and public-use areas. Yet problems remain: who maintains them? Who cleans them? Do users leave the restroom clean for the next person?

This brings us back to our cultural lineage. What did Indians do for centuries before the Western toilet? How have other nations addressed the issue?

Fumikiko Maki’s design for The Tokyo Project at Ebisu East Park. View of multipurpose toilet cubicle.
| Photo Credit:
The Tokyo Project

Retired educator David Prince and his wife Dixeena, visiting Norway, were surprised by the ‘long-drop toilet’ — a pit 20–30 feet deep, with no flushing required. “Norwegians love trekking, and lodges are built around environmental principles,” says Prince. “You walk kilometres, there are no motorable roads, and while the lodges are expensive, facilities are basic: bunk beds, shared showers, and outdoor toilets with no heating. Yet Norwegians find this normal.”

Bathrooms at Nilaya Anthology, Mumbai with in-situ counters and mosaic tile walls.
| Photo Credit:
Soumya Keshavan

The Princes had to dress up warm and walk across to reach the outdoor dry toilet. Yet for Norwegians, minimal impact on nature outweighs comfort. No one complains about paying high rates without attached bathrooms. This, perhaps, is the clue to good toilet design: cultural sustainability.

Anxiety of public toilets

Public toilets in India are often associated with odour, wet floors, and lack of cleanliness. On my walk around Kodaikanal Lake, I pass a gleaming e-toilet cubicle, next to a garbage dump. Marketed as “smart” and self-cleaning, it was locked; a young man told me he had urinated behind it.

At Chennai airport, Deputy GM (Ops) AAI, Bobby Dorin describes challenges: heavy footfall that does not allow for deep cleaning, lack of user hygiene, and the mystery of perpetually wet floors. Many users splash water everywhere, even washing their feet, while design rarely separates wet and dry areas. While the restrooms today have anti-skid, easy-to-clean floors and planned ventilation, Dorin notes that it would be a value add to have ergonomic, PRM-friendly restrooms with grab bars and touchless fixtures.

Outside view of log cabin of long drop toilet in the woods, Norway.
| Photo Credit:
David Prince

InKo Center Director Rathi Jafer who travels extensively and is a connoisseur of design, quotes Skytrax’s inaugural World’s Best Airport Washrooms award, 2025 — Singapore’s Changi Airport (SIN) tops the list followed by Tokyo’s Haneda Airport (HND).

Jafer, who has visited four of these toilets, says, “Toilet design must balance function and aesthetics. Not over-gizmo’d, but clean, odourless, with dry space, clear graphics, and all basic facilities. Regular cleaning is key. Ultimately, civic sense matters most — everyone must leave the facility clean for the next.”

Bathrooms reveal the culture of a society. “I remember reading how Terence Conran (a British designer, restaurateur, retailer and writer) preferred bathrooms in white — you go there to clean yourself. This stayed with me,” says interior designer Soumya Keshavan. But she found that at Mumbai’s Nilaya Anthology, a newly opened luxury design destination in India, terrazzo floors and counters in celadon with pink fittings made a striking impression. In Bangkok’s Jim Thompson store, thoughtful use of local wood left another lasting memory.

Interior view of a minimalistic dry pit toilet made of natural wood, Norway.
| Photo Credit:
David Prince

Can such mindful design change public toilet behaviour? It brings us to The Tokyo Toilet, a celebrated experiment in restroom design.

In 2022 at Harvard Graduate School of Design, Japanese entrepreneur Koji Yanai spoke about his ‘The Tokyo Toilet’ project, funded by the Nippon Foundation. Inspired by his family enterprise Uniqlo’s motto, Made for All, Yanai wanted toilets that embody inclusivity and hospitality, especially for the 2021 Paralympics. In 2020, he commissioned 16 renowned architects and designers, including Pritzker winners Tadao Ando and the late Fumihiko Maki, to design 17 toilets in Tokyo’s Shibuya ward.

Japanese architect Shigeru Ban’s design is famous: see-through glass cubicles that turn opaque when locked. Yanai emphasised that toilets are unavoidable — unlike meals, they cannot be skipped. Japanese culture prizes cleanliness, and these toilets are cleaned three times daily.

Pink-coloured wash closet with custom wall shelf detail finished in situ at Nilaya Anthology, Mumbai.
| Photo Credit:
Soumya Keshavan

The project even inspired Wim Wenders’ film Perfect Days, about Hirayama, a meticulous toilet cleaner whose quiet dignity elevates his profession.

Shifting habits

Traditionally, Indian toilets were detached from the home — basic squat pits with a tap. From this minimalist setup, we have shifted to Western-style wash-closets, faucets, hand dryers, and paper towels. Yet many still associate cleanliness with washing the entire floor, leaving public toilets wet and slippery. Responsibility is deferred: someone else will take care.

The public toilet at Nayara’s bunk is neatly designed with good fittings and a separate handicapped toilet. 

But there are exceptions. At DakshinaChitra near Chennai, despite heavy school visits, toilets remain clean. Strong management and cultural reinforcement help.

In the newsletter behind the genesis of Liquid, VitraA’s Global Design Director, Erdem Akan, recalls his “favourite bathroom” as simply a picture of nature: trees, river, landscape. “Art, culture, and nature must be part of a bathroom,” he says. Perhaps this is the direction India needs — toilets that blend cultural context and nature, artful reminders of cleanliness, and design that accommodates diverse users.

Liquid, VitrA by Tom Dixon.
| Photo Credit:
Soumya Keshavan

Putting culture into context

Across Norway, Turkey, Japan, and India, toilets reveal not just sanitation practices but cultural values. Norwegians prioritise nature so much that they build pit latrines in the mountains, while the Turkish embrace modular designs, balancing tradition and modernity. Japanese hospitality is at the core of its inclusive and artistic toilet designs. India’s struggles with the toilet as an indoor space after centuries of using the outdoors and simple squat toilets reflect how design needs to consider our inherent cultural sensibilities and inherited behaviour. If India is to solve its public toilet problem, design must go beyond hardware. We need to design mindfully, depending on the type of public space, appropriate to each context, rather than rush to adapt universal typologies. We must embrace culture, cleanliness, and inspire civic cooperation through design that speaks to our people. Only then will toilets — our most basic need — become spaces of comfort rather than anxiety.

The writer is a brand strategist with a background in design from SAIC and NID.