In the quiet village of Nachinola, Aldona, a cultural space has taken root - Arthshila Goa. This art and design space is not just a gallery, but a platform for dialogue, exploration, and immersive experiences across disciplines. Before the campus of Arthshila became what it is today, the building itself had a story of transformation and purpose. Originally imagined as a space called ‘Thinkering,’ the venue was an experimental playground for ideas and creative interventions. Thinkering was a place of conceptual ferment, where artists, architects, designers, and thinkers came together to tinker and ideate. Later Thinkering became Arthshila Goa - a formal extension of the vision of Takshila Education Society. 

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What is Arthshila?
Arthshila is a cultural institute, an initiative by the Takshila Education Society, which has long been committed to promoting education, arts, and public discourse. With other centers in Ahmedabad, Santiniketan, Patna, New Delhi and now in Goa, Arthshila continues the legacy by building interdisciplinary collaboration, curating exhibitions, and hosting events that speak to both local and global audiences. Arthshila Goa, curated by Maanasi Hattangadi and coordinated by Reethee, explores the intersection of art, architecture, cinema, and design.

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Since its launch, Arthshila Goa has hosted an eclectic range of curated exhibitions that reflect the ethos of the space - thought-provoking, relevant, and rooted in contemporary discourse. The inaugural exhibition ‘A Desert Meets a Forest: Contemporary Art from the Himalayas; Curated by Latika Gupta’ spoke about a ‘sense of place’ that is difficult to define; geographers, sociologists, environmentalists and psychologists have described it as the particular affective bonds between places and people. The idea of 'place' is continually produced via a relationship with the land, atmosphere, ecology, cultural contexts and the evolving nature of regions, particularly the borderlands which are especially precarious and susceptible to the effects of climate change, geopolitics and unchecked tourism; all of which have an impact on people and their everyday lives and futures. The artists in this exhibition have a deep connection with the Himalayas - from the cold desert high altitude region of Ladakh to the forested borderlands of Arunachal in the Eastern Himalayas; living and working there. The works reflect experiments with material drawn from the land and processes of making that incorporate the wind, water and weather; bringing to us explorations into local histories, ecologies, belief systems and ways of being. During the timeline of this exhibition, events like film screenings, talks, performances, zine making workshops, among others were taking place.

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On 22nd March 2025, the new exhibition ‘Kaghazi Pairahan’ opened. A travelling library of artists' publications exploring social and political dissent across South Asia. Curated by Akshay Mahajan & Devadeep Gupta and presented by Editions JOJO, the exhibition showcases photobooks, zines, and pamphlets that examine publishing as a tool of resistance - against state violence, caste oppression, patriarchy, environmental degradation, and censorship. This iteration expands with new works on protest, citizenship, and memory, featuring interventions by Amchem Mollem, Nishant Saldanha, Niharika Chauhan, Krithika Sriram, and
Rajyashri Goody.

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The most recent exhibition, on display from 5th July 2025, ‘Lands, Real and Imagined: Women Artists Respond to the Art & Travel Writings of Maria Graham (1785-1842)’. The exhibition features artistic responses by Kavita Shah, Francesca Genna, Isabel Cauas, Leila Danziger, and Paula Bonet - who engage with Graham’s life and work from their distinct cultural and artistic contexts. These responses reflect the curatorial perspectives of Dr. Patricia Frick, a specialist in Victorian literature and women’s travel writing, and Dr. Janice Glowski, an art historian and curator focused on South Asian and Himalayan art.⁣

The Space
Arthshila Goa allows conversation, reflection, and creativity, the spaces offer a range of environments that cater to varied forms of engagement. As you enter the campus of Arthshila, you walk towards the amphitheatre which is the heart of the space. The outdoors serve as an informal gathering zone, ideal for workshops, conversations, film screenings or simply a quiet moment under the sky.

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The Galleries (Gallery 1 & 2) at Arthshila Goa invite visitors into a world of artistic exploration. These spaces accommodate a broad spectrum of exhibitions - from painting and sculpture to printmaking, ceramics, textiles, installations, and design. These galleries showcase visual arts, culture, and multimedia formats, encouraging diverse expressions across disciplines.
The Reading Room at Arthshila Goa houses a thoughtfully curated collection of books, periodicals, digital resources, and films focused on architecture, design, and visual culture. Visitors are welcome to explore the library's physical archive, making it a quiet, resource-rich space for public engagement and research.
The Multipurpose Space is a room to host workshops tailored for diverse audiences, accommodating a wide range of interests and competencies. Envisioned as a space for regular collaborative programming, it is also fully equipped to host film screenings, artist talks, and interactive discussions.

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The Takshila Vision
The larger body behind Arthshila is the Takshila Education Society, a non-profit organization that supports initiatives in education, arts, and culture. Through Arthshila, Takshila continues to build spaces for critical thinking, dialogue, and cultural engagement. Each Arthshila centre, whether in Ahmedabad, Santiniketan, Patna, New Delhi or Goa, reflects a local sensitivity while aligning with a broader mission of interdisciplinary collaboration.

Why Visit Arthshila Goa?
Whether you're an artist, a student, a researcher, or a curious traveler, Arthshila Goa offers a unique window into the evolving world of art and ideas. So, if you find yourself in Goa and want to go beyond the beaches, head to Nachinola, spend an evening at Arthshila. Let the art speak, the space breathes, and the ideas flow.

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Photographs and Posters were taken from Arthshila Goa website and instagram
Photograph credits: Saiesh Mahale & V V Kusum Priya
Text written by V V Kusum Priya

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Follow Arthshila Goa:
Instagram: @arthshila_goa
Website: arthshila.org/goa

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Plan Your Visit:
Location: 273, Nachinola, Goa
Tuesday to Sunday, 11am to 7pm
Open to all. Entry is free.

Older homes have a way of keeping to themselves. Like they’ve seen enough of the world and would rather stay curled up. The windows at Toybox were no different — shy little squares, peeking out but never quite stepping forward.

So, we had a quiet conversation with the house. Asked it to open up a little.

We didn’t barge in. We coaxed it. Gently.

Now, there are large sliding-folding teak doors that open wide to the verandah. Custom-built to fit the nearly 24-inch-thick walls - because yes, these walls were built before insulation had a name, and somehow still do a better job.

We carved out light wells and surprise skylights. We added a sculptural window in the kitchen that looks like it might float away. Every new opening is still rooted in the original soul of the house - just a little braver now.

Words by @arshita.mehta
Photographs by @mareena_m_

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GOA VILLA FOR SALE
Toybox is a contemporary restoration of a 150-year-old Portuguese house in in Aldona village in North Goa, located adjacent to the river Moira.
Register your interest here.

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Goa is celebrated for its vibrant art festivals like Serendipity and a rich art community with art schools and galleries. But have you heard of

Kaavi Art?

Kaavi Art, Picture credits: Parnavi Bangar

Kaavi Kale, or Kaavi art, is a traditional mural art form native to Goa. Known for its terracotta-colored intricate patterns against stark white backgrounds, on the inner walls of old temples and churches. 

What made Kaavi art possible was Goa’s abundant laterite stone. Craftsmen ground the Tambadi Mati (laterite dust) into a pigment, which, combined with lime and mud, became the foundation for this art. This tradition flourished in Hindu temples and church interiors, and remnants can still be found in places like the Lady of Rosary Church and the Museum of Christian Art (MOCA).

The process of creating Kaavi art was labor-intensive and required skill.

Walls were first plastered with white shell-based lime, followed by a layer of Kaavi paste. Patterns were then carved into this wet layer, revealing the white plaster beneath.

The artwork was then cured for weeks, with local stones used to tap and polish the surface, increasing its life.

Today, Kaavi art is almost forgotten. Many local craftsmen are no longer familiar with its original techniques. However, efforts to conserve and revive this art are taken and stencil-work is done in some churches to conserve the art form. Organizations like MOCA are conducting workshops to reintroduce Kaavi art to the people. Although modern methods were used in this workshop, they bring much-needed attention to this forgotten tradition.

Next time you visit a Goan church, take a closer look at its walls. You might just find the timeless beauty of Kaavi Kale quietly waiting to tell its story.

The Church of Our Lady of the Rosary, Picture Credits: Parnavi Bangar

Know more about Kaavi Art.

Know more about Goa and art in Goa.

know more about our projects in Goa or Toybox, Villa in Goa is available for Sale.

At Grounded, where our office has been in Goa since 2010, we often go on heritage walks and bird-watching expeditions as a team to get to know each other as well as to get to know Goa. This time, we ventured into South Goa, villages of Assolna and Velim for a heritage walk organized by the Museum of Christian Art. Headed by Clive Figueiredo and Noah Fernandes. Our walk began at the Holy Cross Chapel Baradi, with stunning views of the area that we were about to explore. Followed by St. Francis Xavier Church, Velim, and Regina Martyrum Church, Assolna. 

Goa has more spoken traditions than written records. One such cultural tradition makes Velim village, important for the locals. The Churches here are not as elaborate as the churches in the north or other parts of Goa but have a historical importance. We started with St. Francis Xavier Church, Velim established in the 19th century. The facade of this chapel has a bell tower at the top center which is neoclassical, and has minimal features having IHS insignia. The facade can also be counted as Art Deco in Goa because of the sunburst on the sides. 

As we went inside the Church we were briefed about the iconography associated with elaborate features of the structure. For example, in Asolna the majority of locals are shipbearers so the Our Lady in the church holds a silver or wooden carved ship in her hand. We also learned about dying features like the Pulpit. Which is not in use anymore and some churches are removing those elements. In this church, because the staircase on the other side of the wall leading to the pulpit is now removed, it just floats on the wall with no way to access it. 

Pulpit

As the time passes, both the churches have gone through some modifications. We learned how by observing the color, sometimes the material, and intricacy in ornamentation we can tell the time period of that object. Both the churches we visited were of a different time -so we could observe the variations in detail and changes done over time. 

Our final stop was Regina Martyrum Church, Assolna. There is photographic evidence of this church having a fort wall remains in its premises back in the day. This chapel was more elaborate and huge with its school premises, offices, cemetery, and the Cristo Rei monument! We learned about the church and its mosaic tiles, wooden carvings, and iconography. One of the most fascinating moments of the walk was exploring the closet of ceremonial items inside the church building. 

It was a very good effort by the Museum of Christian Art to bring together a group of interested people from different backgrounds. We were also accompanied by residents from the Museum of Christian Art Society for the walk. The heritage walk was not just for architects, it was a wonderful gathering of local enthusiasts, conservationists, and historians, all passionate about Goa's rich cultural fabric. Whether you're living in Goa or you are new to Goa, this heritage walk can help you connect with the city a little better.

Holy Cross Chapel, Baradi

St. Francis Xavier Church, Velim

Regina Martyrum Church, Assolna

Cristo Rei, Assolna

Read more about South Goa and Goan Heritage

On one of our Villas in Goa sites for Grounded Villas, we faced the need to cut down a few teak trees onsite. Instead of letting this valuable wood go to waste, we saw an opportunity and decided to reuse it creatively.

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Working with a local craftsman, Nereus Drego in Goa, we designed the teak into custom-made furniture pieces. The furniture pieces are a long country table for the eat-in kitchen for Toybox, along with two uniquely designed center tables.

These furniture pieces not only stand out for their beautiful design but also hold sentimental value. It's crafted from the very trees that once were a part of the site, creating a lasting connection. It's our little effort to savor the precious resources of the environment and the trees in Goa.

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Using natural materials in our interiors aligns with our philosophy of ecological design by blending indoor spaces with nature. One of the center tables is interactive and designed for a family that opens up into small storage for display. The long table in Toybox's kitchen serves as a focal point, as the double-height kitchen space is the heart of the house. Toybox is about to launch soon! Subscribe to our newsletter to learn more about Toybox and our sustainable design practices.

Sakshi R Ghodake

“When we reconnect with nature, we will be able to restore ourselves.”
― Lailah Gifty Akita

Kishan Bagh, Jaipur

Jaipur has been touched upon by Architect Pradip Kishan and his team to ornament the existing gift of nature which Kishan Bagh holds. He had a great vision of how the park should be designed well enough to convey the importance of restoring and conserving our ecosystem. Having worked on Rao Jodha Rock Park in Jodhpur, Pradip Kishan took on the mammoth task of restoring Kishan Bagh dunes into a natural desert landscape.

Kishan Bagh

Scenic view from the park.

The design proposes restoring the vegetation of sand dunes, designing a place for people to understand the ecology and bringing the endangered plant community of the Thar to be conserved.

Heteropogon Spa (grass)

Rohida

Saccharum

Akara

Kumatha acacia sengal

Phragmites Australis

The design is influenced by the explorations of the desert landscape of western Rajasthan, called Roee by the locals, also seen in the jungles of Thar with different plant communities which have evolved in that particular changing climatic condition. Hence, native flora like Saccharum, Rohida, Kumatha acacia sengal, Akada, Dhatura, and Phragmites Australis have been planted according to the different soil textures where each contributes to the ecosystem in the desert.

Distinct color layers of sandstone due to the presence of different minerals.

Migmatites – double-cooked stones, consisting of two or more constituents often layered repetitively

According to Pradip Kishan parks have always been remembered in colonial style, while they should ideally be reminisced based on the native nature of the plants and surrounding. Parks have now become sanitized spaces and the trees which are featured are grown for their colourful blossoms which will eventually last for a certain period that add an aesthetic charm in landscape and does not talk about the habitat. This clearly says that the idea of beauty should change.

Sand dune desert park

The Grounded team had visited Rao Jodha Park in Jodhpur which is also an ecology restoration project led by Pradip Krishan. Read about it here. From this we have understood that experience stands out based on the interpretation which is based on telling the story of a landscape and the wildlife that it supports. Here at Grounded, we are making an effort to sensitize the urban and rural populations to the wild through our designs.

Watch more about Kishan Bagh, here.

A few years ago we were set the task of designing an outdoor spa for one of our projects. The site was a house in Goa and surrounded by spectacular heritage buildings with unique forms and features that are no longer found in present day construction. We decided to use this as the inspiration and decided on a relaxing outdoor spa which would embody some of these details and elements found in these quaint, old structures. We set out to map and document these historic houses, institutions, and simple details of Goa through photographs and drawings. The illustrations below are part of this extensive archival project, and a fun take on some of the beautiful Chapels and Gateways that characterise Old Goa.

Geoffrey Bawa is an unforgettable and continuous inspiration. With every project we embark on, we see our inspiration translate into our work - in design, in spatial character, in connection and reverence towards nature - finding new meaning in every site we build on. Finding Bawa is a gallery we have compiled as an ode to the master architect. As we reflect on our projects, it feels great to see many of our spaces carrying the sensibilities and sensitivites that Bawa inspired throughout his practice.

Geoffrey Bawa was one of the original proponents of Tropical Modernism, a design movement in which sensitivity for local context combines with the form-making principles of modernism. His architecture led to the formation of a new architectural identity and aesthetic, redefining what it meant to be modern, celebrating a close connection with one’s built and natural environments.

In 1960, Bawa was commissioned to design the house for artist Ena De Silva. Set in Colombo, the plot was very much enmeshed in the busy urban fabric with the activity and movement of any capital city.

Bawa’s first response was to turn the house in on itself and resurrect the courtyard. The house was conceived as a series of pavilions and verandas contained within a high surrounding boundary wall. A major central courtyard led forward to five smaller satellite courtyards. Light and air poured into every room, with notions of inside and outside blurred nearly beyond distinction.

Its spatial qualities were enhanced by the choice of materials: walls of plastered brick, roofs of half-round Portuguese tiles, columns of satin wood, windows of timber lattice, floors of rough granite- materials that were used in ancient Sri Lankan mansions, but brought together in the contemporary open plan format, assembled in an entirely different manner.

After nearly 40 years of living here, Ena was finally forced to sell the house owing to health concerns and mounting bills. Her land in central Colombo was immensely valuable and was quickly snapped up by an adjoining hospital. But the idea of demolition was met by public outcry that made Urban Development Authority insist that the house must be preserved in its entirety.

This is when the Bawa Trust proposed an unusual solution - to move the house in order to reconstruct it. A team of architects, archaeologists and development contractors came together, led by conservation specialist Nilan Cooray. Everything that could be salvaged from Ena de Silva’s home, including the doors and windows, was carefully collected, stored, and moved.

Unlike examples from Japan and Norway, where timber structures had been relocated successfully, Cooray had to work with masonry, some of which was falling apart. The house was stripped down to its bones - every pebble in the courtyard was numbered, every shape was traced, before he was done. They paid particular attention to replicating the structure’s orientation to the Sun, because that was essential to Bawa’s original palette of light and shadow. Working from the roof down, they dismantled the house, which was boxed up and loaded on to lorries to be carted off to a plot next door to Lunuganga, Bawa’s beautiful garden home.

The process took six years from start to finish, and the Ena De Silva house was finally assembled to completion in its new home in 2016.

Relying on black and white photos and surviving furniture, the Bawa Trust intends to return Ena’s house to a spitting image of how she had kept it, even replanting the garden with her choice of plants. It takes the spirit and act of conservation to uncharted territory, preserving Bawa’s legacy for generations to come.

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