Life & Style

In April, Olive Garden, is making its Indian debut on Gurugram’s vibrant culinary landscape. Part of Darden Restaurants, the world’s largest full-service restaurant company headquartered in Orlando, Florida, Olive Garden has been championing Italian-American classics since 1982. In India, the restaurant will be run by Gourmet Investments, the company that has introduced India to premium global restaurant brands including PizzaExpress, Chili’s American Grill & Bar, and P.F. Chang’s.

Ramit Bharti Mittal, the executive chairman of Gourmet Investments
| Photo Credit:
Special arrangement

Ramit Bharti Mittal, the executive chairman of Gourmet Investments, says that the more concrete conversations with Gourmet Investments and the Olive Garden team began around five years ago, pre-Covid, and have since evolved thoughtfully. “As one of the world’s most loved American Italian restaurant brands and part of the Darden Group, Olive Garden was a natural addition to Gourmet Investments’ portfolio of iconic global dining brands. We have plans to expand the chain across Delhi -NCR in phases,” he says.

Salad at Olive Garden
| Photo Credit:
Special arrangement

With over 900 restaurants in more than 12 countries, including Canada, Brazil, Saudi Arabia and United Arab Emirates, Olive Garden’s foray in India points the country’s post-pandemic shift towards casual-dining restaurants. “Olive Garden occupies a distinct space in the dining landscape as a casual dining restaurant rooted in decades of legacy, rather than a fast-food format. While India has several Italian offerings, Olive Garden is globally loved for its authentic American-Italian cuisine, from freshly prepared pastas and classic sauces to its iconic never-ending soup or salad and bread sticks. It is designed as a relaxed, sit-down dining destination that encourages shared meals and family gatherings, which resonates strongly with Indian diners,” Ramit explains.

Pizza at Olive Garden
| Photo Credit:
Special arrangement

Tucked into the urban fold of New Delhi’s bustling Aerocity, Olive Garden spans approximately 2,300 to 2,900 square feet and can accommodate around 94 guests. The space has been designed by Incubis, a long-standing design partner for Gourmet Investments who also worked on other global brands such as PizzaExpress and P.F. Chang’s. Of the space’s aesthetics, Ramit opines, “The space incorporates key elements from Olive Garden’s global design language, drawing inspiration from its Tuscan roots. With sun-washed walls, rustic texture, warm lighting and cosy details, the restaurant evokes the charm of an Italian villa while remaining contemporary and inviting.”

Lasagne Classico, a timeless favourite featuring layers of pasta, rich sauce and cheese, slow-baked for a deeply satisfying, homestyle flavour
| Photo Credit:
Special arrangement

The menu, though under wraps, will be dishing out its signature classics. “The menu stays true to Olive Garden’s American Italian heritage while being thoughtfully adapted to local preferences. Guests can look forward to iconic classics such as tiramisu, along with a wide selection of vegetarian and non-vegetarian offerings. As with Olive Garden globally, every entrée is served with the brand’s signature never-ending soup or salad and warm breadsticks, reinforcing its focus on generosity and comfort,” says Ramit.

Before leaving, he shares with us the top three recommendations from the chef: Tour of Italy, a signature experience that brings together three of the brand’s most loved dishes on one plate, offering variety, indulgence and comfort in a single serving; Lasagne Classico, a timeless favourite featuring layers of pasta, rich sauce and cheese, slow-baked for a deeply satisfying, homestyle flavour; and chicken alfredo, one of their most iconic dishes, known for its creamy, indulgent Alfredo sauce paired with perfectly cooked pasta and tender chicken.

Olive Garden, will be launched at 4 Worldmark, Aerocity, New Delhi, in April; a meal for two will be priced between ₹2,000 and ₹2,500.

Published – March 06, 2026 07:06 pm IST

There’s a line in the 2014 movie The Monuments Men that goes: “They’d tell us that with this many people dying, who cares about art. They’re wrong… You can wipe out a generation of people. You can burn their homes to the ground and somehow, they’ll still come back. But if you destroy their achievements and their history, then it’s like they never existed.”

During World War II, a specialised Allied unit of over 345 experts from 13 nations rescued over 5 million art and cultural masterpieces stolen or hidden by the Nazis. We need another group of Monuments Men now. In Iran.

The Golestan Palace, Tehran’s royal citadel, is — or was — one of the most exquisite groups of buildings in the world. Before it was damaged by debris following a recent U.S.-Israel airstrike, the UNESCO World Heritage Site was a repository of art and culture built by some of the richest rulers in the world. Among its treasures were the Takht-e-Marmar (Throne of Marble); Talar-e Aineh (Mirror Hall); Talar-e Almas (Diamond Hall), known its stained glass windows and display of Qajar-era paintings and statues; Abyaz Palace, which showcased traditional Iranian costumes and folk art; and much more.

Debris at the Golestan Palace after it was damaged in an Israeli-U.S. airstrike
| Photo Credit:
Reuters

“Indian visitors feel an immediate sense of familiarity when they walk through Golestan Palace,” says art historian Shagufta Siddhi, who also offers art- and archaeology-focused tours through her foundation Ganga Jamuni. “It provides a glimpse of the refined Persian culture that was central to Mughal court life. In addition to the design language — of opulent mirrored halls, decorative tile work, painted niches and ceilings, and the formal gardens — the setting and the scale of the palace feels familiar. Like stepping into a parallel chapter of the same artistic story.”

One of the richly decorated halls in Golestan Palace
| Photo Credit:
WikiCommons

Now, the Takht-e-Marmar and Talar-e Aineh, and possibly the Talar-e-Salam (a lavishly decorated reception hall) and Abyaz Palace, have been damaged.

A rare album

Within Golestan Palace lies one of India’s most important treasures, the Muraqqa-e Gulshan (Flower Garden Album), possibly one of the most important albums of 11th-17th century paintings, drawings, calligraphy, and engravings by Mughal, Persian, Deccani, Turkish, and European artists.

According to an inscription by 17th-century poet Kalim Kashani, it was compiled for emperor Shah Jahan in 1636, from paintings and calligraphy that were not incorporated into the Muraqqa-e Golestān (Album of Paradise, which is also believed to be at the palace) — a larger, but similar, album made between 1599-1609 for emperor Jahangir, when he was still governor of Allahabad.

Portrait of Mughal miniature painter Abu’l Hasan by artist Muhammad Daulat, from the Gulshan Album (c. 1610) at Golestan Palace Library, Tehran
| Photo Credit:
WikiCommons

Iranian scholar Moḥammad Moḥiṭ Ṭabāṭabāʾi estimated that the Gulshan Album took nine years to complete at an estimated cost of ₹1.2 lakh in those days. Richly decorated with gold paint, it brought together the loose leaves of Persian calligraphy and samples of works by artists such as miniature painters Āqā Mirak; illustrations from unfinished manuscripts such as the Shahnameh (epic poem by Persian post Ferdowsi); and reproductions of original works by Mughal court painters such as Basawan and Ustad Mansur.

Folio from Gulshan Album
| Photo Credit:
WikiCommons

The most unusual feature of the album is the inclusion of scenes depicting Christian subjects, such as Jesus, the Virgin Mary, saints, and the apostles. While some are original European etchings brought by the Portuguese Jesuits who travelled to Akbar and Jahangir’s courts, others are reproductions made in the imperial atelier and incorporated Indian elements. This synthesis of high-quality art, lavish decoration, and diverse international influences makes the Gulshan Album exquisite and rare.

Down a circuitous route

Historians are unsure how the two albums reached Tehran, but they were seen in the possession of Qajar crown prince Naser al-Din Shah in 1847. One theory surmises that they may have been carried away by Iranian conqueror Nadir Shah when he looted Delhi between 1739-1741, along with other treasures such as the Peacock Throne and the Kohinoor diamond.

Naser al-Din Shah Qajar, the fourth Shah (1848-1896), is said to have kept one album in the Royal Library, and the other in a library in his private quarters. He later had them bound in a single volume.

Over time, folios from it appeared across the Global North. A set of about 25 made their way to the Staatsbibliothek, the Berlin state library, via Heinrich Karl Brugsch, a German Egyptologist who accompanied the Prussian embassy to Persia in 1860. Two rare folios are in the Náprstek Museum in Prague. More are to be found in places such as Chester Beatty Library in Dublin, Los Angeles County Museum of Art, and Musée Guimet in Paris.

A folio from the Gulshan Album at Chester Beatty Library
| Photo Credit:
WikiCommons

Threat of blood antiquities

Even though Iranian authorities have confirmed that fragile items were packed away or moved to vaults prior to the strikes, the damage to the palace — and the ensuing confusion — could allow for further fragmentation of the Gulshan Album, 90 to 92 folios of which are kept there.

Reza Salehi Amiri, Iran’s Minister of Cultural Heritage, Tourism and Handicrafts, has appealed to UNESCO to dispatch an expert delegation, since parts of the Grand Bazaar, one of the pillars of Tehran’s historic fabric, have also been damaged. A UNESCO delegation could, perhaps, help ensure that the album stays intact, too.

“The lavish Golestan Palace is a masterpiece of the Qajar era, embodying the successful integration of earlier Persian crafts and architecture with western influences,” a UNESCO spokesperson tells the Magazine. “Safeguarding a country’s heritage during crises and conflicts is essential because the destruction of cultural sites fuels violence, hatred, and vengeance, and weakens the foundations of peace needed for future reconciliation.”

A room at Golestan Palace
| Photo Credit:
WikiCommons

The Gulshan Album has already seen a history of violence. Given that art and cultural artefacts from countries such as Syria, Afghanistan, Yemen, and Libya have been trafficked by armed groups engaging in the sale of ‘blood antiquities’ — artefacts looted from areas of conflict — it’s time India steps in to keep it safe. Otherwise, we will spot folios being sold in auctions or making their way into more museums in the Global North.

The writer is an expert on South Asian art and culture.

Published – March 06, 2026 05:57 pm IST

An older millennial acquaintance, who considers himself fiscally cautious, gainfully employed, and chronically single, confessed to keeping a mental ledger of his dating life. Each evening out costs him between ₹6,000 and ₹7,000. With three to four such outings a month, he is spending close to ₹25,000 on dates and returning home, more often than not, with the distinct sense that he might have preferred a book and an early night. “This,” he told me, “is my economic reckoning.”

On paper, of course, none of this should feel particularly alarming. India’s retail inflation in early 2026 stands at 2.75% year-on-year, well within the Reserve Bank of India’s 2–6% tolerance band, according to Government Consumer Price Index (CPI) data released by the Ministry of Statistics and Programme Implementation. Food inflation is hovering just above 2%. The macroeconomic story is one of stability, even restraint. Groceries are not spiralling, fuel prices are not detonating, and yet dating in an Indian metro exists in a microclimate where the CPI feels like a distant abstraction. The CPI basket does not account for ₹1,500 cocktails, the 5% GST levied on most standalone restaurant bills, the 18% that may apply in certain hotel establishments, or the State excise duties that keep alcohol outside the GST framework altogether and firmly in its own expensive republic.

Alcohol, the quintessential date-night indulgence — even as Gen Z experiments with sober-curious evenings and artisanal mocktails — remains the millennial-coping mechanism of choice, particularly when the conversation falters. A 37-year-old marketing consultant put it plainly: “If the date is boring, at least let the drink be strong. But now the drink is weak, and the bill is strong.” She still pregames, unapologetically. “One gin at home, one cocktail outside. I’m not paying ₹1,500 for diluted rubbish most bars serve. I’ll be lucky if I get 60ml of alcohol despite the tall claims.” Between excise duties, GST on food, service charges that hover near 10%, and the rising operational costs restaurants quietly pass on, a casual dinner for two can potentially cross ₹4,000 before uttering the word dessert.

Who’s getting the bill?

What is emerging, then, is not miserliness but a kind of romantic recalibration. Frugal dating, as several people described it to me, is less about austerity and more about value. A 29-year-old start-up founder has moved his first dates from bars to bookstores, where the stakes are lower. “You learn more about someone by which shelf they linger at,” he said, with the serenity of someone who has abandoned the tyranny of reservations. “Worst case, I leave with a book. Best case, I leave with both.”

In Bandra, a 41-year-old divorcee has instituted what she calls the walk test. No dinner or drinks, just a long amble along Carter Road. “If we can walk for an hour and not check our phones, I’ll consider feeding you,” she told me. “Food is now a second-date privilege.” There is something radical in this sequencing of intimacy, where conversation precedes consumption and stamina trumps spectacle.

A Gen Z consultant in Bengaluru has her own rules, shaped as much by ideology as by budget. “We split everything. Even the auto ride,” she said. “I don’t want romance built on financial resentment.” For her, coffee is the perfect first-date instrument: a ₹300 cappuccino that buys 45 minutes of assessment. “If it’s bad, I’ve only lost caffeine.”

Meanwhile, a 38-year-old investment banker confessed that he has become adept at recognising what he calls the lifestyle audit. “If she suggests omakase on a Tuesday, I know I’m being stress-tested,” he laughed, without bitterness. He doesn’t necessarily object to paying, but he now counter-suggests mid-range restaurants with what he describes as “good conversation acoustics,” places where neither the music nor the menu overwhelms the point of the evening.

The appetiser-only philosophy has also gained traction. A 35-year-old fashion stylist explained it to me with admirable clarity. “Three small plates feel flirty. A ₹1,200 risotto feels like I’m committing to something I’m not sure about.” If she is still hungry later, she orders in. “McDonald’s has never ghosted me,” she added, which felt less like a joke and more like data.

Then there are the domestic realists, who have dispensed with the theatre of dining out altogether. A 32-year-old architect has begun inviting dates home, not recklessly but deliberately. “We cook together. Pasta is neutral territory. If he can chop garlic and talk about his childhood without mansplaining olive oil, we’re good.” They end the evening with a walk, partly to soften the intimacy and partly because, as she put it, “the walk costs nothing and tells you everything.” Another couple in their mid-30s rotates what they call budget themes—street food nights, museum days where tickets cost less than a cocktail or potluck-style dinners where each brings one dish. “Romance,” she said, “is not proportional to the bill.”

Even those who adore a well-made drink are selective about when to indulge. A 40-year-old creative director told me she reserves craft bars for celebrations. “Not compatibility testing. I’m not investing ₹8,000 to find out you call yourself a ‘sapiosexual.’” There is, too, a growing impatience with the choreography around the cheque. A 27-year-old lawyer now states her position upfront: “Let’s split unless you insist.” She is tired of the ritualised reach for wallets, the performative hesitation that often feels more exhausting than the date itself.

Perhaps this is the quiet thesis of dating in 2026. As one 36-year-old entrepreneur told me, with a shrug that suggested both fatigue and wisdom, “I don’t mind paying. I mind paying for mediocrity.”

It’s safe to say dating is not dying but being audited. And if someone can hold your attention without a ₹1,500 cocktail buffering the silence, that may be the most persuasive metric of all.

A fortnightly guide to love in the age of bare minimum

Published – March 06, 2026 05:23 pm IST

What must a meditative room provide? Silence, an absence of sensorial overload, a focus on nature or maybe a guiding voice? What if an entire museum could use its spatial plan, surfaces, and immersive experience to drive inward reflection? The Aatma Manthan Museum, located in Nathdwara, Rajasthan, has been envisioned as a material meditation on form where the space is the muse, and the method of arriving at stillness is movement across its zones.

Winning the prestigious BLT Built Design Awards – Interior Design of the Year last December, the project was recognised for its imaginative design of a meditative museum. The museum offers a technology-assisted meditative experience, without guidance or intentional direction by a voice.

Sanjay Puri

The moniker of the museum is derived from a combination of aatma (soul), mana (mind), and tan (body) to evoke a meditative state. Spread out over a sprawling 18,000 sq. ft. and built on a budget of ₹9 crore, the project was designed by the Mumbai-based firm Sanjay Puri Architects. Its principal architect, Sanjay Puri, says the shape of the plot presented both an opportunity and an obstacle in creating a sequential, immersive space.

Located at the base of the State of Belief, the space is not a regular geometrical one; it is an undulating, irregular expanse that requires a reimagining of the traditional meditative room.

The area had to set itself apart from the traditional museum template. “Our biggest challenge during ideation was the irregular shape of the plan, and how best to create a meditative space that would immediately offer visitors an oasis of calm from the crowds outside. We also moved away from the museum as a space for artefacts, to a more sensorial experience,” Puri explains.

The 18-room museum starts with a stark grey undulating reception where seats seem to mushroom from the cavernous walls, and the floor flows into the structure as easily as the ceiling encasing it.

“We decided on one seamless space, one material, one palette. So, we chose to create a 2,000-sq.ft. open reception with a singular table-like surface that grows out from the floor, and seats along the perimeter. With simple track lighting that peeks out at intervals within the ceiling, it’s efficient without being overwhelming,” he says. Tall grey columns lead the eye to the corridor ahead, while the entire area is designed to mimic organic forms in a single tone. “Grey was better than white for the museum. It does not show dirt, is not as stark as black, and yet is an ideal vehicle for the floor-to-ceiling projections across all the rooms,” he adds.

The nanoconcrete (a hybrid polymer coating applied over a solid framework to provide smooth, flowing surfaces) is seamless, so there are no lines on the floor, and the museum’s visuals flow beautifully across all surfaces. To create the finish, wire mesh was moulded on site. Insulation was then added for better sound absorption, followed by a nano-concrete layer by Flexstone to complete the look. “The entire project took just six months,” says Puri.

What is nanoconcrete?

Flexstone provided the surface application. Its FlexNano Coating System®, a hybrid polymer modified coating (composed of liquid polymers, hardeners, specific aggregates, and a water-based resin mixture), was used to cover the entire surface of the museum. A uniform coating of up to 2mm was applied without joints (grouting) on the floors, ceilings, roofs, and walls. The coating is a no-VOC (Volatile Organic Compound), water-based solution so there is no fear of strong aromas or oily surfaces tarnishing the sensorial experience within the space.

To allow visitors to dwell in complete silence and enter a meditative state, the reception is shorn of ornamentation or foliage. “This was intentional. We did not want anything to distract the visitor, so there’s this absence of sensory overload. It prepares you for what’s inside,” shares the architect.

If the reception evokes a sense of space, it leads into a long, narrow corridor with a serpentine queue of images from the making of the museum. This sets the tone for what is to come, moving from just visual cues to both visual and auditory cues for meditation in the rooms. The first elemental room has large floor-to-ceiling screens that project calming visuals of flowing lava, foamy waves, and a star-riddled night sky. Visitors can take a seat and observe them before moving on to the next space.

Global recognition

Sanjay Puri has been on the jury of the World Architecture Festival since 2010, and is the first Indian architect to serve on it. The firm has won over 475 awards, including 350 international design awards, and been no. 32 on Archello’s list of Top 100 Architects Worldwide.

Each immersive experience thereafter employs more real estate. First, visuals appear only on the walls; in the second room they cover the walls and ceiling; by the third, the walls, floor, and ceiling immerse visitors in nature.

“The rooms gradually add more sensory cues — visuals and audio. Botanical imagery, floating space rocks, crystals arising from the floor, all these visuals are accompanied by soothing auditory cues. That’s where having a seamless nanoconcrete surface is the perfect canvas,” explains Puri.

He adds, “Every audio-visual experience is carefully curated. Totally, this walk takes around 15-20 minutes, and only 10-15 visitors are allowed at a time.” The timing allows people to rest at each space, slowly building on the immersive experience. “The set number of visitors per batch is ensured for safety and occupancy limits within the spaces, the size of the rooms, and to stave off a feeling of overcrowding.”

The playlist in the museum is designed to play on a loop, with acoustics by Sonosphere Acoustic Design Consulting. Axis Three Dee Studios Pvt. created the audio-visual displays. “The experience is largely a sensory journey. Creating these kinds of public spaces is a great experience,” states Puri.

The Aatma Manthan Museum explores natural organic forms and movement while employing technology to distinguish itself from the ornamental palaces and formidable forts seen across the state of Rajasthan. The intentional absence of ‘design motifs’ allows visitors to focus on the visuals, the cool surfaces they sit on, and the soft sounds that surround them. The lighting, acoustic design, material curation and spatial structure all work in tandem, to set the museum apart from others in the space. Here, the only voice guiding your meditation, is the voice within.

The freelance writer is based in Chennai.

Till a few years ago, office spaces were synonymous with cubicles, work desks and closed meeting rooms, all put together in a structured layout. Since then, things have come a long way with an increased focus on sustainability, biophilic design, flexibility, ergonomics, multipurpose spaces and wellness areas. With an intrinsic relationship between structure, materiality, and the senses, many offices today exude vibes that blur the boundaries between the workplace and home. Case in point is Sanofi’s Hyderabad office, aptly called ‘House of Dreams’, which is spread across a massive 2,50,000 square feet over six floors.

The space is thoughtfully organised into three key areas: the arrival experience, workspace floors, and hospitality experience. “The arrival experience features the main entry, town hall, and interview centre, while the work floors accommodate more than 2,000 employees in dynamic, collaborative environments. The hospitality experience is a full-service cafeteria offering fresh, wholesome meals to employees throughout the day,” says Mrinal Duggal, head of Sanofi.

A view of Sanofi’s Hyderabad office.

No logo or waiting area

The arrival experience is akin to entering a home rather than a traditional office. It is surrounded by gardens, art, and rustic materials that create an immediate sense of approachability. “Warm textures, handmade ceramic tiles, and furniture sourced from local vendors were intentional design decisions,” says Jaime Daza, design director at Gensler, an interior designer firm based in Bengaluru. “Natural fabrics, rattan, Indian-inspired textures and colours are some of the elements that have been consistently used across the floors. Some other design interventions include minimising the use of glass, metallic finishes, and a detailed approach to the use of wallpaper and multiple tones of wood.”

A view of Sanofi’s Hyderabad office.

The arrival experience is stripped of all details that one would expect from an office reception — there is no logo, reception counter, or waiting area. “Every meeting room was carefully prepared as a unique home-scale space, comfy with different colours and materials typically used in residential projects, and decorated like a studio room. Soft lighting and handmade furniture complete the sets for every meeting room,” adds Daza.

The entire office has been designed with the purpose of making it feel like home. “At every step, the decision-making process we followed was inspired by the way we do things at home — arriving, resting, enjoying, dining, working, and more,” explains Daza.

A view of Sanofi’s Hyderabad office.

At the working level, the space includes specific considerations to guarantee successful sessions in multiple formats: active, passive, group, and focused. This provides options for every kind of individual and every working style.

Positive vibes

The design has resonated well with Sanofi’s employees. “Most of them describe it as a welcoming space, ingrained in Indian culture,” says Duggal. “The design has also helped foster creativity and a culture of collaboration as they have the freedom to choose between quiet, reflective areas and vibrant communal zones, which allows people to work in ways that feels most instinctive to them.” Employees have experienced a remarkable difference in how they spend their days, she adds, due to “this balance between energy and ease, and it has inspired them to bring their most true selves to work every day”.

The Bengaluru-based freelance writer is passionate about all things design, travel, food, art and culture.

Published – March 06, 2026 03:51 pm IST

Abhijith R. Priyan

India’s real estate sector is evolving rapidly, yet one persistent issue continues to undermine its long-term value: construction delays. Beyond missed handover dates, delays create a ripple effect of uncertainty that erodes financial value, weakens buyer confidence, and increases systemic risk across the ecosystem. In an industry where timelines directly influence trust, capital efficiency, and asset pricing, uncertainty has emerged as one of the most expensive hidden costs.

Construction delays in India are rarely caused by a single factor. Instead, they stem from a combination of fragmented planning, manual execution, and limited real-time visibility into project progress. Traditional construction models rely heavily on informal labour structures and reactive decision-making. This leaves little room for predictability.

Regulatory approvals and compliance processes further complicate timelines, while fluctuating material costs and financing pressures amplify execution risk. Without integrated planning and transparent monitoring, even minor disruptions can cascade into months of delay.

Financial cost

Delays directly inflate project costs. Interest during construction continues to accrue, while input costs rise due to inflation and supply volatility. These pressures either compress developer margins or increase end prices, affecting affordability and demand.

Equally significant is capital lock-in. When projects overrun timelines, capital remains tied up longer than planned, limiting reinvestment into new developments. For institutional investors and lenders, unpredictable execution translates into higher risk premiums, reduced exposure, or tighter funding terms — ultimately slowing sectoral growth.

Extended construction timelines force buyers to juggle EMIs and rent simultaneously, triggering frustration and legal disputes. Over time, repeated delays across the sector have reshaped buyer behaviour, with increased preference for transparent, milestone-driven delivery models.

Regulatory frameworks such as RERA have improved accountability, but compliance alone cannot fix execution inefficiencies.

True confidence comes from visibility, knowing not just when a project will be delivered, but how it is progressing at every stage.

The industry is now witnessing a shift towards process-driven, technology-enabled construction.

Digital planning tools, centralised knowledge centres, real-time project tracking, and milestone-based execution frameworks are helping reduce uncertainty at the design and build stages.

Standardisation — whether in design, procurement, or execution — allows developers to minimise variability and control costs. Modern construction methods such as prefabrication and modular components further improve speed and accuracy, reducing dependency on manual labour and on-site improvisation.

Value multiplier

One of the most powerful ways to mitigate value risk is transparency. Tech-enabled construction platforms that provide real-time progress tracking, cost visibility, and clear communication help align all stakeholders: developers, contractors, lenders, and buyers.

When timelines are predictable, and progress is measurable, financing becomes more efficient, buyer confidence improves, and asset valuations stabilise.

Construction is a key contributor to India’s GDP and employment.

Persistent delays slow housing supply, strain financial systems through stressed assets, and impact allied industries. Improving execution certainty is therefore not just a sectoral need but an economic imperative.

By embracing structured planning, technology-driven execution, and buyer-centric transparency, the sector can move away from uncertainty-led value erosion towards delivery-led value creation. In India’s next phase of real estate growth, predictability will define profitability.

The writer is founder and CEO of buildAhome.

Published – March 06, 2026 03:40 pm IST

When a piece of furniture tells a story, you listen. Chacko’s Mehfil, a wall-mounted grotto-style decorative cabinet, renders three endangered species from the Indian subcontinent: the sarus crane, the lion-tailed macaque and the golden mahseer. The creatures, crafted in intricate marquetry and brass inlay in natural wood, may seem unusual on a cabinet. But that is precisely what Chacko seeks to do with its furniture —tell a story, provoke thought and add meaning to a space.

Vipin Joe, the founder of the Mumbai-based design studio Chacko, wants to create purposeful pieces that are full of character. As a designer, he is open to influences, Joe says. And the making of each piece is often collaborative — a dialogue with artists, illustrators and fellow designers who share his sensibilities.

Vipin Joe

Hand-painted arts

In Mehfil, for instance, the animals are illustrated by Italian artist Gaia Eloe Cairo, who specialises in hand-painted decorative arts to create awareness about nature and science. The marquetry is executed by Sampigé & Co, a marquetry studio in Mysuru.

Joe constantly explores material and mood to figure out what his craft-led furniture brand Chacko could be.

The Native Console was born thus. A collaboration with his friend, designer, illustrator and projection artist Nikunj Patel of Studio Moebius, the Chettinad-inspired console was conceived as a piece to be placed behind the sofa, but it went much beyond its scope. “I was having tea with Nikunj; we were sharing thoughts and we were both taken by the idea of a piece that would be a blend of industrial and traditional craft,” says Joe.

The Native Console, he adds, is his favourite. “It has a bit of everything: mid-century Tanjore and Madras in etched brass, teak and stone. An iteration of the console appears in the collection, shaped as a mid-century stereo box, named ‘Yashodha’s Dream’, which depicts playful scenes of Lord Krishna’s Vrindavan. Made in teak, rosewood and aged etched brass, this richly detailed piece comes in both 8-foot and 6-foot versions.

The setting of the studio, in an industrial estate in Kandivali, is an advantage, says Joe. “Our studio is surrounded by people working machinery. The brass etching for these pieces was done by someone who makes badges. It is lovely being in an industrial estate. ”

Intentional designs

Joe’s inspired pieces inhabit the delicate space between art and functionality. An ornate Art Deco-style triptych mirror is an example. The desire to make a piece that reflects opulence resulted in the ‘King of Spades’. Done in collaboration with industrial designer Ashwin Mallya, the hand-crafted design carries detailed line work and precise machine work. The ornate doors open to reveal bare mirrors that reflect the viewer.

Chacko was recently at the Kolkata edition of Raw Collaborative, a design exhibition and creative platform that brings together designers, artists, architects, and craft practitioners to display their work.

After earning his degree in industrial design at Symbiosis Institute of Design, Joe interned with sculptor Subodh Kerkar (founder of Museum of Goa), from where he absorbed the nuances of how an artist’s studio functions. Subsequently, he interned at Auroville, Puducherry, which deepened his engagement with art. Later, he also interned at designer Anjaly Mody’s Josmo Studio in Goa, before starting his own practice. “I was at a point where I was doing everything — making and designing furniture, carving, prototyping, the works. But I wanted a space, a studio, where I could experiment and all of my ideas could unfold,” says Joe. He procured a place, found a carpenter, and Chacko, the brand, was officially launched in 2017-18.

The studio is intentional and conscious of the material it works with.

It uses reclaimed wood, sourced from vendors in Mumbai. “There is a certain beauty in old growth wood. It is naturally seasoned and tight-grained. Each log is different and the wood lends its own character to the piece,” says Joe. Teak, with its orange-brown colour, suits his work the best, which veers mostly towards the mid-century aesthetic. “Working with reclaimed wood is aesthetically, technically and economically viable.”

Currently, Chacko is a small team, “but our focus is on becoming a strong brand with emphasis on our making practices, and our R&D,” says Joe. Sometimes, it is a tiny detail, such as a knob, that could make all the difference, or personalisation — such as little teak wood extrudes on a table, custom-made for a birder.

Chacko’s clientele includes architects and regular people “who are now very involved in curated pieces with a narrative or design that aligns with their Indian identity”, he shares. Joe has also exported some pieces to clients who love the designs and see it as a part of the collection they are building.

Price check

Mehfil: ₹4.5 lakh

Native Console (6 ft.): ₹4.8 lakh

Yashodha’s Dream: ₹9.6 lakh

Published – March 06, 2026 03:36 pm IST

With the introduction of the A8L Security, Audi India now offers one of the most advanced armoured luxury sedans in the world to select customers in India. Built for heads of state, diplomats, business leaders and individuals who require the highest levels of personal protection, the A8L Security combines formidable defensive capability with the comfort and refinement expected from the Audi A8L platform.

Built with VR9 body armour and VR10-rated ballistic glass, the Audi A8L Security is engineered to withstand extreme threats
| Photo Credit:
Special Arrangement

As is typical with vehicles of this nature, Audi has not disclosed the official price of the A8L Security. Each vehicle is built to order and tailored to the specific requirements of its owner, with extensive customisation options available depending on the desired level of protection, communication equipment and onboard luxury features.

The transformation from a standard A8L to the Security variant is extensive. In fact, more than 1,200 components differ between the two vehicles. This is not a case of simply adding armour panels to a luxury sedan; rather, the entire vehicle is engineered as an integrated protective capsule from the outset. Audi’s expertise in this field is backed by over 90 years of experience in developing armoured vehicles, a legacy that informs every aspect of the A8L Security’s design and construction.

One of the most striking elements of the car’s construction is its doors. Each door weighs an extraordinary 160 kilograms, a result of the ultra-thick ballistic materials integrated into their structure. These reinforced doors, along with the heavily protected passenger cell, are designed to withstand high-calibre ballistic threats while maintaining structural integrity during extreme situations.

Ballistic protection

The glazing system is equally impressive. The A8L Security uses VR10-rated ballistic glass, among the highest levels of civilian protection available today. The glass comprises multiple layers of specially treated material capable of stopping armour-piercing rifle rounds while maintaining clarity and visibility for occupants.

Despite weighing around 4.5 tonnes, the Audi A8L Security’s 4.0-litre V8 engine delivers strong performance for rapid evasive manoeuvres
| Photo Credit:
Special Arrangement

The body structure itself carries VR9 ballistic protection, with specially engineered metallic armour integrated throughout the cabin area. Audi has also designed the exterior panels to be magnet resistant, preventing magnetic explosive devices from easily being attached to the vehicle. Additional underbody armour further protects occupants from potential explosive threats beneath the vehicle.

Fortress in motion

Safety systems extend well beyond ballistic protection. The fuel tank is self-sealing, meaning that if it is punctured during an attack or compromised in a way that could cause a leak, the system automatically seals itself to prevent fuel loss and minimise fire risk. The car is also equipped with a fire extinguisher system as part of its onboard emergency equipment.

In the unlikely event that the vehicle’s doors become jammed due to damage, the A8L Security incorporates an ingenious rescue solution. Integrated pyrotechnic systems can be activated at the push of a button, allowing the doors to be blown away from the vehicle, enabling occupants or rescue teams to exit quickly in an emergency.

Inside, the Audi A8L Security offers limousine-level luxury, with expansive rear seating, premium materials and advanced comfort features
| Photo Credit:
Special Arrangement

Maintaining mobility in a crisis is equally critical. The A8L Security rides on Michelin PAX run-flat tyres, which allow the car to continue driving even after severe tyre damage. These tyres enable the vehicle to travel up to 80 kilometres at speeds of up to 80 km/h, giving occupants vital time to escape a dangerous situation.

Despite weighing approximately 4.5 tonnes, performance remains impressive. Power comes from a 4.0-litre V8 TFSI engine that produces 571 horsepower and 800 Nm of torque, enabling the armoured limousine to accelerate from 0 to 100 km/h in 6.3 seconds. The electronically limited top speed of 210 km/h ensures that the car retains the dynamic capability required for rapid evasive manoeuvres when necessary.

Performance beneath the Armour

Inside, however, the A8L Security remains every bit the flagship luxury limousine. The rear cabin offers expansive legroom, creating an executive lounge-like environment for passengers. Premium leather upholstery, electrically adjustable massage seats, ambient lighting and advanced climate control ensure that occupants travel in exceptional comfort. A dedicated rear-seat control tablet allows passengers to manage infotainment and seating functions, while a built-in refrigerator adds another layer of convenience for long journeys.

Audi also ensures that ownership of the A8L Security is a highly specialised experience. The vehicle is serviced by a dedicated team of technicians trained specifically to maintain and manage the armoured limousine. This team works almost like a concierge service for the client, ensuring that the vehicle remains in optimal condition and that its sophisticated protection systems are always fully operational.

The result is a vehicle that conceals extraordinary engineering beneath understated elegance. To the casual observer it may appear to be just another luxurious sedan, but beneath its sleek exterior the Audi A8L Security is a meticulously engineered protective sanctuary — a limousine designed to keep its occupants safe in the most demanding circumstances while delivering the comfort, performance and sophistication expected from Audi’s flagship.

Price: Only on request for serious buyers

Motorscribes, in association with The Hindu, brings you the latest in cars and bikes. Follow them on Instagram on @motorscribes

Published – March 06, 2026 09:28 am IST

Vilayath Budha: The Sandalwood Survival, an open-world mobile game released in February, has many firsts to its credit. Not only is it possibly India’s first movie-inspired open-world game (for mobiles), it is also a first-of-its-kind collaboration between a production house, Urvasi Theatres, and gaming company, Offline Human Studios. It also features Prithviraj Sukumaran, one of the first actors from South India in a game such as this.

The Malayalam film Vilayath Budha, released in 2025 and based on the eponymous novel by GR Indugopan, is about a sandal wood smuggler Double Mohanan, his mentor, Bhaskaran Master and a sandalwood tree, Vilayath Budha. Prithviraj essays Mohanan.  

Karthik Suresh, one of the co-founders of Offline Human Studios, says, “We are attempting something different with the game Vilayath Budha. There is a perception that this is a promotion for the film. It is not. Usually, games are released around a film’s release, like recently for Chatha Pacha. But not our game.” 

The film was released in November 2025, while the early access to the game (for downloads) was opened only in the first week of February, 2026. However, it has been in the works for more than six months.

Offroading-based game

Offline Human Studios wanted to create a game around a familiar title that would not only have recall, as in this case, but also build a world around it. It helped that they were also looking forward to making an off-roading-based game. Since the film was shot mostly in Marayoor, Idukki, they could showcase the lush natural beauty of Kerala. 

Offline Human Studios team: From left, Sangeeth Ravi, Sanil Ravi, Sharath Ravi, Karthik Suresh and Nithin Neena
| Photo Credit:
SPECIAL ARRANGEMENT

Karthik explains, “With an open world game we can create a world which a gamer can explore, they can go anywhere in the universe of the game. The world is open to you to explore, in Vilayath Budha you can do it in the jeep which is also a character in the film.” 

Profit share with producers

It could get difficult convincing a producer about the idea, but Urvasi Theatres were on board from the get-go, he adds. “This is a source of revenue for a production house/producer beyond the release of a movie. If the film does well at the box office, the game will benefit, and even if it does not, the game can still generate revenue.” We knew them, Sandeep and Sangeeth Senan, from earlier, so it was easy to approach them; other producers may not want to take the risk. It helped that Sangeeth is also a gamer.” Offline Human Studios has a profit-share agreement with Urvasi Theatres. They also have the IP (Intellectual Property) consent to use the title of the book, Prithviraj’s face and assets from the film. 

Rather than release the game, Karthik says, they chose to give early access so that gamers could experience it and give their feedback about what they would like in the next update. When it is released later this year, it will come out with a complete storyline, the access for now permits ‘exploration’ of smaller spaces and not the entire universe of the game.  

Although inspired by a Malayalam film, the lingua franca of the game is ‘neutral’ — English. Having Prithviraj in the game helps the game because the actor has a pan-India appeal. “Those accessing the game  may not know the character, Double Mohanan or the film but they know Prithviraj, and for them it is a game featuring him, that adds a curiosity factor as well,” Karthik adds. 

Offline Human Studios was formed in 2023 by Sharath Ravi, his brothers, Sanil and Sangeeth, apart from Karthik and Nithin Neena, friends who love to play video/mobile games. They were among 10 Indian companies at the 2025 Tokyo Game Show, where they showcased Fighter: 3D Pandavas, a fighting game inspired by the Mahabharata.

Published – March 06, 2026 09:27 am IST

Evenings at Mahaboopalayam in Madurai come alive with people young and old during Ramzan, the Islamic holy month of fasting. When the sun goes down, the smell of fried vadas, crisp samosas, and spicy chicken fills the streets. There are vendors near the Mahaboobpalayam Mosque who sell iftar specials on trays, some of which are fried in hot, sizzling oil. The place is busy with people enjoying the food, and others getting parcels for home. “In the earlier days, we would break our fast with nombu kanji. It is healthy and easy to digest,” says Abuthahir, who is from the neighbourhood. “But over time, especially among the younger generation, there has been a shift towards tastier, fried snacks. That’s how these iftar stalls with a variety of items have become popular now.”

A view of Masjid Mahaboopalayam Mosque at Madurai.
| Photo Credit:
G. Moorthy

For the past five years, B Thasleema and her husband, G Batcha, have been selling kari vadas in Mahaboopalayam. As Batcha stands over a large kadai, frying batch after batch, the snacks vanish almost as quickly. He is fondly known as ‘Chicken Badsha’ for the distinct flavour he brings to his kari vadas.

G. Batcha frying crispy golden kari vadas at Mahaboopalayam, Madurai.
| Photo Credit:
G. MOORTHY

Crowd favourites

“Our day begins in the morning,” says Thasleema. “We finely grind the meat into keema consistency and then mix it with the batter for the vadas. By 4pm, we open the stall, and start frying until 6pm. We sell each piece for ₹5.”

Hot crispy chicken samosas and kari vadas kept for sale at Mahaboopalayam, Madurai.
| Photo Credit:
G. MOORTHY

Another crowd puller along the stretch is the minced chicken-stuffed samosa. K Maideel Batcha, who has been running the shop with his family for several years, prepares chicken, egg and even noodle samosas.

“My brother and his wife help in rolling the samosa sheets, and we keep the fillings ready well in advance. The noodle samosa is especially popular.”

The egg and noodle samosas are priced at ₹15 each, while a chicken samosa costs ₹20.

A little away, opposite the mosque, S Mohamad Yasin draws a steady crowd with crisp chicken varieties. Working alongside his family, he serves what he calls ‘KFC-style’ chicken, apart from hungama chicken, which is golden and crackling on the outside, while soft, juicy and spicy on the inside.

A little away, opposite the mosque, S Mohamad Yasin draws a steady crowd with his crispy chicken varieties. Working alongside his family, he serves what he calls “KFC-style” chicken, apart from his popular Hungama Chicken. Golden and crackling on the outside, while soft, juicy and spicy when having a bite.

Candy chicken made for iftar snacks at Mahaboopalayam.
| Photo Credit:
G. MOORTHY

Another favourite is candy chicken — mildly sweet at first bite, before the heat builds up with every chew. The sweetness in the candy chicken is because the chicken is first coated with breadcrumbs. “Our hungama chicken has been a big hit. We first introduced it in Chennai, where it drew huge crowds. Now that we’ve brought it to Madurai, the response has been just as encouraging,” he says.

While he marinates chicken, his brother prepares the special masala and spice mix, after which everything is fried fresh and served hot.

Golden fried chicken made by Mohamad Yasin at Mahaboopalayam, Madurai.
| Photo Credit:
G. MOORTHY

Syrup-soaked sweets and more

Ramzan Nights Food Park near Simmakkal attracts large crowds with a row of spicy, crunchy bites and syrup-soaked sweets laid out during the evening.

L Karthick Siva, who is organising the food park, says, “Iftar stalls are quite popular in Chennai and Bengaluru. Now, the same has been introduced here by Hotel President in Madurai,” he says. They have Arabic dishes, desserts and drinks.

The stalls open at 5pm and continue till 11pm with snacks priced from ₹40 onwards. Having started just two days ago, the response, he says, has been encouraging. “The two-way cheese stick is a favourite, which is colourful with two layers.”

Hot spicy seekh kebabs displayed at Ramzan Nights food Park near Simmakkal, Madurai.
| Photo Credit:
SPECIAL ARRANGEMENT

Comfort food

“We also serve authentic Persian haleem,” he says. “It is prepared with mutton or chicken that is slow-cooked over a low flame until it reaches a thick, smooth consistency. The flavour is mildly sweet with a gentle spice, making it a comforting iftar dish.”

Traditional authentic haleem on display at Ramzan Food Night park near Simmakkal, Madurai.
| Photo Credit:
SPECIAL ARRANGEMENT

Another highlight is the seekh kebab. “Made with minced chicken and grilled on skewers, it has that distinct West Asian touch.” For those with a sweet tooth, the popular Mughlai dessert shahi tukda rounds off the spread. He says, “It’s rich and indulgent, the perfect way to end the meal.”

Crispy and colourful two-way cheese sticks displayed at Ramzan Night Food Park near Simmakkal, Madurai.
| Photo Credit:
SPECIAL ARRANGEMENT

Published – March 06, 2026 12:16 am IST