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Ever wondered what a 150-year-old house looks like when the light hits it just right?
At 4:17 pm, the balcao comes to life. The oxide seating turns golden, and the plants by the pool lean into the warmth of the setting sun.
It is as if the house, in its own rhythm, syncs with the time of day.
Have you ever felt that your home has its own pulse? A natural rhythm, just like us?
That is when the light hits the balcao just right.
And if you listen closely, you will hear the pool ripple and the neighbor’s chicken complaining about something.
We once caught a frog chilling on the oxide seating - do you think he noticed the groove pattern?

Material trivia: The cement floor has a matte finish with a subtle tactile grain. No polish. Just patience.

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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Poster sourced from Sunaparanta

On April 10th, 2025, Sunaparanta opened Shadow Script, an exhibition of works from the 5th edition of the Goa Open Arts Catalyst and Engage Artist Grants 2024-2025. The exhibition was on view from April 10th, 2025, to May 3rd, 2025. Since 2020, these grants have supported Goa’s artist community in sustaining and expanding their creative practices. This year’s showcase highlights the works of the latest grantees, developed over six months of exploration.

Presented in collaboration with Goa Open Arts, Shadow Script features works by Divyesh Undaviya, Kiran Tamboskar, Pragya Bhagat, Shilpa Mayenkar Naik, Shyam Pahapalkar, Sumit Naik and Studio Button, led by Katerina Kubareva, in collaboration with Nataliia Marynenko.

Theme / Setting
Exploring themes of time, memory, and perception, the exhibition examines what is seen, what remains hidden, and what endures. Shadows — both real and symbolic, become a language of storytelling, revealing histories, shifting landscapes, and evolving identities.
Shadow Script lets you step into a world where art becomes a poetic meditation on the ways we shape and inherit meaning.

Image of artists and team, sourced from Sunapranta

Shyam Pahapalkar
Shyam Pahapalkar is an environmental artist whose practice explores the intersection of nature, materiality, and environmental change. With a background in art and mathematics, his site-specific installations and sculptural interventions reflect a precise yet intuitive engagement with landscape, memory, and time, responding to Goa's evolving environmental and cultural landscape. He uses natural materials and found objects to examine the fragile relationship between human influence and nature, tracing historical and ecological transformations.

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Pahapalkar's works map subtle shifts in nature and memory, revealing how decaying structures and discarded remnants speak to time, erosion, and human touch, often referencing Goa's heritage and the tensions between preservation and consumption. His sculptural installations create meditative spaces where light, shadow, and form converge, inviting reflection on the impermanence of landscapes and the impact of human intervention. As a Catalyst Grant recipient, Pahapalkar has expanded his work, experimenting with new materials and processes to engage more deeply with Goa's changing landscapes and layered histories.

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Pragya Bhagat
Pragya Bhagat is a poet, essayist, performer, and storyteller whose work feels like a living poem, intimate and lyrical. She weaves narratives that explore displacement, identity, and vulnerability, blending spoken word, text, and performance into immersive experiences.

Rooted in her travels across India and inspired by the mystical practices of women, Bhagat's work invites us into a world where memory, myth, and resistance coexist. Her art, including works like Magical Women, delves into these traditions, examining the complex realities of these women and reflecting on gender, power, and the violence of witch hunting. Bhagat's works use poetry, song, and sculpture to evoke the mystery and resilience of these practices, drawing from her experiences across various Indian regions. Through her diverse practices, which include founding the Poetry Circle in Goa, she creates spaces for collective storytelling and dialogue.

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Divyesh Undaviya
Divyesh Undaviya's work explores the feeling of being in-between, shaped by his experience of moving through many homes. His drawings, sculptures, and installations, often using natural materials like ash and charcoal, carry traces of places left behind and a longing for roots. Undaviya's practice, now based in Goa, creates quiet, immersive spaces that reflect on memory, care, and transformation. His art examines the transitions between places - physically, emotionally, and metaphorically - and how landscapes hold memories and emotions. Inspired by the relationship between self and landscape, his works invite contemplation, self-awareness, and reflection. As a Catalyst Grant recipient, Undaviya has deepened the emotional and spatial impact of his work, shaping immersive gallery experiences.

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Studio Button in collaboration with Nataliia Marynenko
Studio Button, an animation studio based in Goa, uses art as a therapeutic tool, particularly for communities recovering from trauma. Led by Katarina Kubareva and Nataliia Marynenko, the studio provides a creative platform for expression and healing. Their 10-month project with the children of Isha Kripa Sadan, a home for girls in distress, involved weekly animation sessions. These sessions empowered the girls to transform their emotions and experiences of trauma and displacement into visual storytelling. The resulting film, shaped by the children's voices, demonstrates the power of art in fostering resilience and new narratives. Studio Button's work highlights how art can offer a space for play, expression, and transformation, enabling healing and growth.

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Sumit Naik
Sumit Naik's practice merges hyperreal charcoal drawings with sculptural paper forms, exploring narratives of loss, remembrance, and transformation. Deeply influenced by architecture and emotion, his works intertwine figurative drawing with the structural possibilities of paper. Naik's intricate drawings and sculptural interventions express themes of grief and acceptance, reflecting how loss shapes our internal landscapes. Paper, used both as surface and structure, becomes a metaphor for impermanence, holding traces of the past while allowing for renewal. His works capture the intimate and universal experience of loss, from quiet echoes to gestures of release, reflecting the interplay of memory, time, and space. Through this interplay of fragility and form, Naik's art speaks to the tension between holding on and letting go.

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Shilpa Mayenkar Naik
Shilpa Mayenkar Naik's work finds poetry in the everyday, where domestic life, memory, and nature converge. Her practice transforms the familiar into the meditative, reflecting on how objects carry ritual, presence, and personal histories. Naik draws inspiration from her surroundings, engaging with mundane objects, flora, and fauna to explore deeper narratives.

Her installations, like those featuring suspended ceramic Ovala flower garlands, evoke the fleeting beauty of Goan traditions. These works play with perception, blurring the line between permanence and ephemerality through light, movement, and shadow. By capturing the tension between ephemerality and permanence, Naik's art invites stillness, reflection, and an awareness of subtle transformations.

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In conclusion, the exhibition proved to be a thought-provoking exploration of shared themes by diverse artistic voices. It was compelling to witness each artist's unique interpretation, demonstrating a deep engagement that extended beyond the mere creation of the work. The installations fostered a heightened level of viewer engagement. The thoughtful management of space within Sunaparanta, along with the deliberate layout of the installations, played a crucial role in shaping the overall experience. Furthermore, the strategic use of lighting was pivotal, enhancing the artworks' impact and, in some cases, serving as a vital element in their completion.

Text and Images by V V Kusum Priya

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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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Standing at Miramar Beach, gazing at the structure on the nearby hill, I realized how little attention the forts of Goa receive compared to its famous beaches. Living in Goa, the narrative often revolves around the coastal beauty, but these forts hold stories of architectural and historical significance that are equally captivating.

This realization led me to explore more about these forts, and I came across Amita Kanekar’s book, "Portuguese Sea Forts – Goa with Chaul, Korlai, and Vasai." The book delves into the architectural details and historical relevance of these structures. It highlights how the forts were not just military strongholds but also played a crucial role in shaping the regions they protected.

Source: The Blue Kite

Source: Vianaar

Source: Carvel Beach Resort

Source: Carvel Beach Resort

Kanekar’s meticulous research and clear narrative reveal the unique features of each fort, from the sturdy walls of Fort Aguada to the more delicate ruins scattered across the state. She draws comparisons with similar forts in Maharashtra, showing how regional architecture has been influenced by shared histories and geographies.

This book is essential for anyone interested in the historical and architectural fabric of Goa. If you are a history geek and enjoying going to heritage walks, and explorations, this book is for you.

PC Parnavi Bangar

A compelling statue of Abbe Faria has been standing in the middle of a public square in Panjim, for 75 years, depicting him hypnotizing a woman. At a liminal place, between the current Panjim city and the history of Goa, with a forgotten legacy.  

Abbe Faria

(31 May 1756 – 20 September 1819)

was a Goan Catholic priest and one of the pioneers in the scientific study of hypnotism. Born José Custódio de Faria in Candolim, Bardez, Goa, he moved to Lisbon with his father in 1771.

Convincing the King of Portugal to support his studies, he went to Rome to pursue the priesthood, earning a doctorate and another degree focused on the Holy Spirit.

Faria departed from the then-popular theory of "magnetic fluid" in hypnotism, emphasizing instead the power of suggestion and the concept of autosuggestion. He demonstrated that what he termed "nervous sleep" was a natural state, laying the groundwork for modern hypnotism.

Faria’s impact extended beyond his scientific work; he also inspired the character Abbé Faria in Alexandre Dumas' 1844 novel "The Count of Monte Cristo." In the novel, the character is an imprisoned priest who teaches the protagonist various skills, reflecting Faria's real-life intellectual legacy.

PC Gaurav Sawant

Interestingly, the statue's location across from the gaudy casino boats on the Mandovi River offers a striking contrast. This juxtaposition encourages tourists to consider Goa beyond its party image, appreciating its rich history and Panjim’s historic urban fabric. The statue is hard to miss for those living in Goa or driving into Panjim, forgotten but in plain sight.

At Grounded, we design villas in Goa that embrace the cultural roots of the state. Each of our projects reflects the essence of living in Goa, connecting with the rich heritage and slow, peaceful ‘Sussegad’ lifestyle. You’ll find home objects familiar to Goa in every corner of our designs, from rooster-shaped water jugs to coconut shell spoons and charming terracotta figurines. 

To find these unique artifacts we love to go treasure hunting at the special Friday market of Mapusa in North Goa. A labyrinth of streets, the market is filled with local flavor and vigor. Village ladies travel from all over Goa to sell their wares, local produce, and home-cooked goodies. 

mapusa market, north goa

In the bylanes, there is a section dedicated to the local terracotta pottery only on Fridays. Along with the famous Goan terracotta roof figurines, one can find other lovely pieces of pottery like terracotta wall hangings, Ghumotts (terracotta musical instruments), piggy banks, pots, and a lot more. It is the pinnacle of local arts and crafts. The collection keeps changing as new designs and new pieces are made. Every item is handmade, showcasing craftsmanship and offering a glimpse into the traditional Goan way of life.

Terracotta pottery and figurines

Whether you’re looking for unique Goan home décor or simply want to immerse yourself in retail therapy, this market is a must-visit for finding Goan treasures in North Goa. Everything from local pottery to everyday life is available here in one place. 

Read more about the Mapusa market here. 

Read about the significance of Terracotta Figurines. 

During a recent visit to HH Art Spaces in Aldona, Goa opened in 2014, I saw the ‘Déjà vu’ exhibition, which was a part of a few live performances. This exhibition, photographed by Shivani Gupta, with a focus on performances using masks as props beautifully captured the essence of live performances. The photographs preserved the emotions and energy of the performances, allowing viewers to engage with themes of identity and change even after the live acts ended. One photograph of the exhibit particularly stood out to me, it was Farah Naz Moon’s performance with a green paper sheet.

In this simple piece Called 'How to live together?’, the artist held a large sheet of green paper that moved with her breath and the wind, seemingly merging her with the background. The paper gently covered her face, blurring her identity while locating her presence in the space. Like she was becoming one with her surroundings, not by disappearing but by blending into the context around her.

How to live together?

This reminded me of our architectural practice- Grounded in Goa. When we design villas in Goa, especially with projects that engage with the natural beauty of the land like the House with Three Pavilions and Nivim, we strive for something similar. Architecture that doesn’t dominate but complements. We don’t hide the building behind metaphorical paper sheets, but we design in a way that responds to the environment. 

Spaces that belong

HH Art Spaces

If you're in Goa and love art, be sure to visit HH Art Spaces in Aldona. Located beside a beautiful St. Thomas’ Church with a stunning view, they showcase exhibitions that bring together contemporary art and performance. It's a must-visit for art enthusiasts, young artists, and art collectors looking to explore something unique.

St. Thomas’ Church

Living in Goa during the monsoon is the most calm and serene experience. The weather is windy and rain is just around the corner, raining without a warning. Rains put a halt to the fishing boats and festivals are also about to come. It is also the breeding season of fish and many people prefer to turn to a vegetarian diet. Whether you're tending to your own vegetable garden at your villa in Goa or you visit local markets like Panjim Market for grocery shopping, you will see a wild range of seasonal produce in the rainy season.

Markets in Goa transform into a wild vegetable garden, with exotic wild monsoon veggies that most city dwellers are not even aware of. Panjim market in the monsoons is taken over by Goan women selling local vegetables. These veggies are naturally grown in nature’s organic garden. They grow commonly in the state’s green patches and are rich in vitamins and minerals.

Panjim Market

These are some commonly known monsoon veggies in Goa: Naval Kol (German Tulip), Kurdu (Celosia), Haldi (turmeric) leaves, Chauli (black-eyed peas) leaves, Aalu (Colocasia), Telpat Ranbhaji (Wild Veggies), Neerfanas (Breadfruit), Kantoli (Spine gourd), Shirali (ridge gourd), and Vaghate or Ranmeva (Ceylon Caper).

The veggies are also a part of the local festivals and rituals like the Rishi Panchami and Ganesh Chaturthi. Where a special meal is prepared for pooja with these wild local monsoon veggies. Apart from vegetables, there are local mushrooms which have very good taste, some late mangoes, Ole Khajur (raw dates), and local fruits like Papaya, Pumpkin, and Kohla (Ash Gourd).

Monsoons in Goa bring a quiet beauty to everyday life. The rains refresh the land, and the markets fill with fresh, wild vegetables. It’s a season where everything slows down, and people come together to enjoy simple meals made from local produce. There’s a calm in the air, and a sense of connection to nature and tradition. It’s a reminder of the peaceful, meaningful moments that make life in Goa so special.

pc: Sanjeet Wahi

Google might suggest that winter is the best time to be in Goa, but have you ever experienced Goa during the monsoons? The weather in Goa during this season is slow and peaceful.  Just taking a walk around gives you a glimpse into the everyday life in Goa.

Cloudy sky | Cool breeze | Green landscapes

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A post shared by Grounded (@buildgrounded)

You can watch people in their daily routines, cycling to places, fishing with a stick near creeks, and simply enjoying the weather. An evening visit to a nearby cafe can be a great way to end the day. Though the monsoons here can get heavy at times, a cup of coffee or tea by your window with a good book captures the essence of ‘Susegad’, the relaxed Goan lifestyle. A big plus is that Goa is less crowded with tourists during this off-season. Monsoon in Goa is a perfect escape from city life, offering a calm and natural retreat.

Goa is known for its vibrant tourism with its stunning Goan villas, traditional wadas, and modern Goan houses lining the scenic streets. These picturesque homes are nestled among lush plantations and swaying trees in Goa. But have you ever paid attention to the intriguing details on the roofs of these old houses?

Take a closer look, and you’ll notice terracotta figures perched on the entrance gateways and atop the roofs. These old Portuguese houses in the Goa residential area date back 150 to 400 years. The tradition of placing these figures on the rooftops has been there from the beginning, though living in Goa many homeowners may not know their history or meaning. These figures are of soldiers, cockerels, rabbits, pigs, lions, and even seated human figures.

Soldados (Portuguese for soldiers) Saluting at the entrance of a house in Goa

They symbolize the identity of the homeowners, offering a glimpse into who resides beneath the roof without directly knowing them. For instance, lion motifs, mostly seen on the entrance gateways represent strength and signify a connection to the Kadamba Dynasty. The lion was the royal emblem of the Kadamba Dynasty which ruled Goa from the 10th to 14th centuries. Roosters, on the other hand, are linked to the rooster of Barcelos, a character symbolizing integrity and truth from a beloved Portuguese folktale, often seen on the roofs of Goan Catholic houses. Landlords' houses often featured animal motifs like lions, with the animal pointing in the direction of the property.

Rooftop Human, Source: Reddit

Lion on Gateways, Source: Soultravelling

Rooftop sentinel, Source: Gomantak Times

Architecturally, these figures contribute to the aesthetics of the rooftop by sitting on the meeting point of multiple roofs, adding to the visual appeal. The figurines on the gateways give a sense of richness to the visitors, like the massive fort gates. Today, these miniature ornaments are not just decorative; they are an integral part of Goa’s culture, reflecting the community’s rich past. They also connect us to the local artists of Goa who craft these terracotta artifacts, including the charming miniatures.

Curiosity often unveils hidden treasures. So, next time you wander through the streets of Goa, pause to admire these rooftop details. Who knows what stories you might uncover?