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This Is Epic

A curation of our design ideas and inspirations for houses in Goa, contemporary art and architecture.

 

 

 

 

Posts tagged goa
Open House at Toybox - June 21st, 2025

On June 21st, 2025, we opened the doors to everyone curious about architecture design craft and old spaces given new life. We wanted to share the work, the decisions and the stories, to spark conversation across students, designers, architects and neighbors, and to show how careful restoration can celebrate history while making room for contemporary living. The open day also fostered learning, dialogue, community and a deeper public connection.

Toybox is a contemporary restoration of a 150-year-old Portuguese house in the village of Aldona in North Goa. It is a home where old and new dance together, where every corner tells a story and joy lives in the details. Each chamber in the restored house is singular and draws from both historic and contemporary ways of making, with larger openings that invite light and breeze and create a seamless connection between inside and outside. Earthy finishes, reused timber, laterite and handmade terracotta complete a sense of barefoot luxury that feels rooted in place. The house sits behind a long front garden shaded by two full grown mango trees, a giant chikoo tree and two coconut trees. A gentle walk links Toybox to the backwaters of the Moira River.

Over 60 people had registered to see Toybox, and around 50 actually showed up. We were a bit worried about how we would host so many visitors at once, but the team, Sanjeet Wahi, Sarang Karmarkar, V V Kusum Priya, and the rest of the crew, handled it smoothly and without any hassle. As people arrived, we grouped them into small groups of 4 to 5, and Wahi and Sarang guided each group through the house, explaining the process, the project, and answering questions along the way.

Visitors wandered through the rooms, and I remember catching glimpses of them pausing, whispering, or tilting their heads in thought. The old, compartmentalized spaces felt different now, more open and light-filled, and questions came in soft, curious bursts. Each space felt unique, blending history with contemporary design, and people asked why some areas felt intimate while others were more open. The larger openings invited light and breeze, and questions arose about how this affected the mood of the rooms. We explained how these choices encouraged a connection between indoors and outdoors, and visitors lingered in quiet reflection, imagining themselves moving through the spaces. We found ourselves explaining how the balcao had been carefully transformed into a verandah that opens to the garden, and there were moments of quiet reflection as people imagined living there. The raised roof and mezzanine sparked gentle debates about communal zones, kitchens below, dens above, and how the spaces might shape daily life.

The approach to Toybox became part of the conversation as well. Guests noticed the long front garden, the mango, chikoo, and coconut trees, and the walk toward the backwaters of the Moira River. They asked how these elements influenced the experience, and we shared how the landscape and the sense of arrival shaped the overall feeling of the house.

They lingered over materials, touching the timber, the terracotta, lifting shutters, examining reused wood, wondering about choices. These moments led to conversations about designing with care, sustainability, and making old elements feel alive again.

The central courtyard and operable openings drew eyes up and across. Visitors noticed the shifting light, the soft movement of air, and we talked quietly about indoor-outdoor flow and natural cooling. Laterite and red oxide flooring prompted murmurs on grounding the home in its setting, giving a sense of calm and place.

Looking back, it was clear that the smooth flow of visitors and interactions owed a lot to the careful planning and attention of our team. The team behind the day deserves full credit. V V Kusum Priya (@the.paper.city) handled the posters, event organization, and everything in between. Sanjeet Wahi (@sanwahi), Sarang Karmarkar (@sarangkarmarkar) and Praveen Sankar who not only led the restoration but also guided visitors through these spaces in intimate group walkthroughs, sharing stories and insights along the way. The rest of the team includes Xena Mendonça, Anagha A Chinchalkar, Harshada Kulat, Anjana B Dev, Vaishnavi Kannalath, Ananya Hojge.

Mareena Michael (@mareena_m_) and her team (@_storeystory_) captured the day beautifully. Mareena has been part of our journey before, and it is inspiring to see her now shaping stories for others with the same care and clarity.

The Open House was more than a showcase of our work. It was a reminder of the conversations, collaborations, and shared curiosity that keep spaces like Toybox alive. We are grateful to everyone who came, asked questions, and explored with an open mind. It made the day feel meaningful, alive, and well, just right.


Photographs and videos were taken by Micheal Mareena (Storeystory)
Text written by V V Kusum Priya

Old Goa Heritage Walk with Noah Fernandes

Old Goa is a place where time either stands still or carries you elsewhere entirely. Walking through its avenues and ruins feels like a quiet teleportation into another world, one shaped by centuries of faith, belief, myths, hymns, power, and artistry. At moments it resembles stepping into a fragment of old European architecture, yet it remains distinctly Goan in spirit. Team Grounded experienced this magic firsthand on a heritage walk guided by the engaging and insightful Noah Fernandes. It was not just a walk but an immersion into stories carved in stone.

Our Lady of Rosary Church

We began at the Our Lady of Rosary Church, perched quietly on the Holy Hill. It’s simple laterite façade does not boast the grandeur of some of Old Goa’s other monuments, yet it holds deep significance. It is one of the oldest surviving churches in Goa, a silent witness to the early years of Portuguese conquest and settlement. Standing there, we felt the weight of beginnings, not just of a building, but of a whole era.

As architects, we were struck by how restraint in design can hold more power than ornament. In a world where façades often compete for attention, the Rosary’s simplicity commanded stillness and reverence.

Santa Monica Church

Whispers of Grandeur

From there, we walked to the Santa Monica Church, once Asia’s largest convent. The scale of the structure was overwhelming, yet within its aged walls lingered stories of faith, discipline, and devotion. Noah spoke of the nuns who lived cloistered lives here, shaping a religious culture that extended far beyond Goa. Even in its quiet decay, Santa Monica felt alive, as though its history still resonated through the silence.

Within the Convent of Santa Monica stands the Museum of Christian Art, a remarkable institution that preserves and celebrates the fusion of Indian craftsmanship with Christian themes. Established inside the Convent, the museum holds exquisite works of sculpture, paintings, textiles, and liturgical objects that reflect how local artisans reinterpreted European styles through their own traditions. What struck us most is how unique the museum feels, not only because it houses an extraordinary collection of Indo-Portuguese art, but because of the way it is integrated into the convent itself. MoCA is not just a repository of objects; it acts as a living bridge between worlds of art and devotion.

Through its carefully curated displays, it reveals how local Goan artisans reimagined Christian themes with Indian materials and techniques, creating a body of work that is both global and rooted in place. But beyond its collection, MoCA opens its doors to the community in meaningful ways - through workshops, lectures, heritage walks, and educational programs that invite the public to engage with history on a personal level. In doing so, it transforms art from something to be observed into something to be experienced, keeping the dialogue between past and present very much alive.

We felt the tension of a cultural transplant: European forms re-rooted in a tropical climate. Architecture absorbs the context it inhabits, and here, the marriage of style and environment was palpable.

St. Francis of Assisi

Where Cultures Met

Next was the St. Francis of Assisi Church, a place where the Portuguese Manueline style meets Goan artistry. The gilded altars, the intricate frescoes, and the detailing in every corner spoke of craftsmanship born of both European and Indian hands. It was here that the idea of Goa as a cultural crossroads truly struck us - a place where traditions didn’t just coexist but merged into something new and enduring.

Se Cathedral

Awe in Stone

Nothing quite prepares you for the sheer scale of the Se Cathedral. Its towering façade, its soaring ceilings, and the famed Golden Bell all commanded reverence. As Noah recounted its history, dedicated to St. Catherine and built over nearly a century, we could not help but feel humbled by its presence. It was more than architecture. It was a statement of faith and power carved in stone.

In contrast to human-scaled villages, this grandeur reflected colonial ambition. Today, oversized architecture often feels impersonal, but here scale carried the weight of history and conquest.

St. Cajetan Church -

A Grand Finale

Our walk concluded at the St. Cajetan Church, a Baroque gem inspired by Rome’s St. Peter’s Basilica. With its Corinthian columns, intricate altars, and harmonious proportions, it stood as a reminder that even in Goa, thousands of miles away from Europe, echoes of the Renaissance found a home. It was a fitting finale, graceful, elegant and full of presence.

This imitation does not mimic but transforms through material, climate, and context. Unlike replicas in global cities, here the architecture becomes distinctly Goan.

Reflections Beyond the Walk

Looking back, what made the walk so memorable was not only the grandeur of the churches but the way Noah wove history into lived experience. His storytelling connected stone to soul, helping us see Old Goa not as a collection of monuments, but as a living story of faith, power, art, and resilience.

For us at Grounded, it was a reminder that history isn’t just about the past. It is about how we carry it forward, how it shapes our spaces, our culture, and even the way we see ourselves. We ended our walk under the graceful arches of St. Cajetan’s with a quiet sense of gratitude for the heritage, for stories, and for the chance to walk through history together.


Noah Fernandes is a Conservation Architect, presently working as Assistant Professor at Goa College of Architecture. He has been conducting heritage walks of the Holy Hill in Old Goa since 2013. He has studied and documented the cultural landscape along the River Mandovi during his Masters in Architectural Conservation from the School of Planning and Architecture, New Delhi.

Text by V V Kusum Priya (@the.paper.city)
Photographs by Sanjeet Wahi and Arshita Mehta

Discover Arthshila Goa: A New Art Gallery in Nachinola, Aldona

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

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.

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.

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.

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.

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.

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.


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


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


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

A Book Summary: GOA, Subodh Kerkar’s Canvas

Authored and curated by Kunal Ray, ‘Goa: Subodh Kerkar’s Canvas’ by Subodh Kerkar elucidates the multifaceted and often-untold history of Goa. Through the eyes of the artist Subodh Kerkar, the book delves into the state's diverse historical elements, spanning its architecture, diaspora, culinary traditions, and colonial heritage. Offering a visually compelling journey, the book examines Goa's people, its vital waters, and their intricate connection to its past. Furthermore, it traces Kerkar's personal evolution from childhood to adulthood as reflected in his paintings, revealing how his early exposure to his father's artistic practice, his travels, and his exploration of diverse artistic approaches shaped his growth and broadened his horizons.

From an early age, Kerkar began painting under his father's guidance, focusing on watercolor depictions of idyllic Goan village landscapes. His initial lessons centered on capturing the nuances of his surroundings in Goa, particularly the use of shade and light to replicate the patterns of leaves. Kerkar's early artistic explorations also included architectural works, his first serious series of artworks, inspired by his interest in the unique architectural heritage of Goa.

In this book, the author tries to show that the artist's roving eye misses nothing: the ocean's imprint on boats, seashells, the lives of fisher folk, and Goan cuisine. Subodh's daring and experimental works include 500 terracotta heads planted on the beach, expansive sand-and-light installations, oysters growing on plates immersed in the ocean, fisher folk depicted in ink, crochet, laterite sculptures, and much more.

Subodh has created several artworks connected with food. One of his most playful sculptures shows different food items growing on Vasco da Gama's head. He has used coconut leaves for installations and made discs with coconut shells. For an art installation, he planted rice, replicating Vasco da Gama's travel route. Subodh says that Goa's fields grow both rice and footballers. During monsoons, the fields grow rice and, in summer, they yield footballers. Football is one of the most important sports in Goa. Subodh planted footballs in the fields to draw the attention of the authorities to the condition of open spaces, urging them to construct more fields for the local youth. The activist coexists with the artist. Subodh doesn't want to disengage one from the other.
~ Excerpt from the book

This book integrates art and environment in a work of enduring beauty and resistance. Ultimately, the author's intended message is to reveal how Subodh Kerkar's artistic journey is deeply intertwined with his observation of Goa's history, culture, and natural environment, and how his art serves as a powerful medium to explore and express these connections.

‘There is a wide-prevailing misconception confusing Goan houses with Portuguese architecture. While Portuguese or European architectural styles could have been an influence, the architecture of the Goan house which includes a balcao (balcony with an inbuilt seating arrangement), decorative windows with coloured glass and oyster shells, railings, columns, compound walls, gate designs, and mosaic floors is a style unique to Goa. Subodh Kerkar, amongst many several other artists, architects, and historians of Goa, believes that to identify this architectural style as Portuguese is an incorrect gross generalisation. Subodh also says that during his long and extensive travels in Portugal, he had never seen such homes. Therefore, these should be termed as Goan houses.’
~ Excerpt from the book

‘It must be acknowledged that in the work of Subodh Kerkar, the beach is a site of performance and exhibition. It is also a marker of his identity as a Goan artist who integrates his surroundings into his art. Further, this can be construed as an expression of the artist's inner resolve to take art beyond the confines of a gallery or closed museum space by bringing it out in the open amidst multitudes of people, many of whom may have had nothing to do with art in their lives. We also sense a kind of freeing up in his art, refusing to be constrained by closed spaces through these installations held in the open.’
~ Excerpt from the book

On Saturday, April 5th, 2025, artist and founder of the Museum of Goa, Dr. Subodh Kerkar, led attendees at Kala Academy, Panjim, on an exploration that transcended conventional understanding. His highly anticipated lecture, 'Glimpses of Goa's Histories,’ offered a profound dive into the region's intricate past, uncovering narratives often overlooked in popular accounts.
This lecture organised by the Museum of Goa in Pilern, beautifully merged art, history, and identity through the perspective of an artist whose creations have consistently resonated with the essence of his native land. Notably, the lecture also served as the launch for ‘Goa: Subodh Kerkar's Canvas,’ a book by cultural critic Kunal Ray that meticulously chronicles Kerkar's artistic journey and his sustained dialogue with Goa's heritage.

Subodh’s artwork exists at the confluence of aesthetics and social consciousness. Subodh’s art is interdisciplinary, immersive and thought provoking to say the least.
— Kunay Ray, cultural critic

Text by V V Kusum Priya


About Subodh Kerkar
Subodh Kerkar is a qualified medical professional who gave up medicine to pursue the visual arts. He has carved out a niche for himself, especially in the field of conceptual art. He is the founding director of Museum of Goa, which is one of the largest privately owned contemporary art spaces in the state. His work has been shown at exhibitions and several art events in India and abroad. He is also a well-known public speaker and educator.

About Kunal Ray
Kunal Ray teaches courses in literary & cultural studies. He studied at Fergusson College, Pune where he also taught briefly before joining FLAME. He is a leading cultural commentator, and his writing regularly appears in The Hindu, The Hindustan Times, The Indian Express amongst other publications. He recently co-edited Shabd aur Sangeet - Unravelling Song-Text in India (Three Essays Collective, May 2019). He is also the co-founder and co-editor of On Eating - A Multilingual Journal of Food & Eating (oneating.in)

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Finding Art in Goa

As architects, we are always on the lookout for art to incorporate into our projects, especially for our artisanal villa developments in Goa. As we design only one home at a time, we take our time with every detail, ensuring each home is unique and thoughtfully designed. One of the important aspects of this process is selecting the right art to complement the design. Over time, we've come across many wonderful galleries across Goa, and we're excited to share our favorite spots with you.

You don’t make art, you find it
— Pablo Picasso

Explore more in Goa…

Déjà vu by hh art spaces

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. 

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

Goa in Monsoon

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

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.

Terracota figures atop Goan roofs

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?

Material palette: Indigo and Terracotta

The upcoming project of sister villas, The Terracotta House and the Indigo House are taking shape on-site. Set in the Pomburpa Village in Goa, the houses are designed to connect with the land with an ecological design, enjoyed barefoot with the calm interactions of nature. To experience the outcome's look and feel, here’s our material palette.

The selection and finalization of materials is an important and lengthy design process. Colors and textures define the space. The feel and the vibe we experience are a product of it. Terracotta house is earthy and serene with warm tones, harmonizing the interiors and exterior. Indigo House is calm with quiet views of water, and tones of blue merging with the view.


Our Journey with Rammed Earth

In celebration of World Earth Day 2024, we wanted to share our journey of building a small house in Goa using rammed earth construction. We've divided our experience into three parts:

PART 1: the project's inception,

PART 2: the challenges we encountered, and finally,

PART 3: the successful execution of our first rammed earth wall on-site.

Our story begins with the start of the project and a hands-on workshop on Rammed Earth led by Gia Mantra Village. Sanjeev Wahi the COO of Grounded attended this workshop.

Following this, we delved into research and development specific to our site living in Goa, conducting tests, and facing various challenges along the way.

Through our dedication and with assistance from Thumb Impressions, we overcame these obstacles and successfully completed the first wall of the house.

From researching and trying out different mixes to solving real-life challenges with the walls, we've come a long way. Building rammed earth walls depends a lot on the specific site and many factors need to be taken into account. We've successfully built these walls at our site and want to share our experience to help others interested in rammed earth construction find all the information they need in one place. You can find more about our journey on our Instagram. If you have any questions, feel free to send us a direct message.