As I travelled from Panaji to Aldona, I observed the horizon change, from the colourful architecture of Fontainhas through ancient churches, to lively beachfronts, and eventually to the backwaters. When I arrived in Aldona, there was silence and peace, along with a foreign language.
This experience is architecturally embodied by the Glass Villa. At first glance, it was definitely visually stunning; the wood frame was simple and resembled an artist’s preliminary sketch on canvas.
This location feels like an amalgamation of diverse ideas and philosophies. A space where nature and sustainability meet design. But it is also a tribute to our heritage and a study of a very peaceful experience. It hints at future design possibilities, as it does not stand in opposition to nature but rather blends with it without difficulty.
When I entered The Glass Villa, the wide courtyard immediately captivated me. Teak trees rose towering against a brilliant blue sky, resembling the ancestors’ dwellings from the past. A gentle melody of chimes and calming music floated in, and I felt a sense of connection wash over me. The home was acquired by Aditya Gupta, the founder of The Rug Republic, who had a well-curated playlist. During our conversation, he explained why he was instantly drawn to the property. “This is for a different Goa experience, away from the beaches and the parties,” he remarked. Aditya goes the extra mile to incorporate the sentiment he shares with the villa into the things he acquires for the property, proving that he was correct in stating that this was about unity and introspection.
Beginning with two enormous restored ancient windows that have been changed into mirrors to protect a stairway leading to the second floor, to the large Turkish rug that hangs in the corner of the property’s sitting area.
I discovered something surprising at The Glass Villa. The majority of the furniture was restored, and as an added bonus, several of the items, including two large cupboards in the hallway and the cabinets in the rooms, were exquisite art deco pieces. Aditya connected me to Shujaouddin, an Aldona-based furniture restorer from whom he purchases a number of these items. Shujaoddun has a workshop next to the residence. “I simply go to his workshop, select the pieces I desire, and he performs an outstanding job restoring them.” Aditya said.
Shujaouddin is modest and a man of few words, but he smiled with pride as he showed me the Glass Villa’s rebuilt supper seating arrangement by the pool. I discovered that Shujaouddin creates a range of items, such as brilliantly coloured wooden furniture, beautiful four-poster beds, cane-woven wooden seats, and dividers. Even the artwork shown throughout the property was acquired by Aditya throughout his travels. Aditya described how this contributed to a sustainable lifestyle and how he disapproved of mass production.
These antique artefacts told a tale, which was echoed in nearly every part of the house.
There are a total of four rooms, three of which have modest private gardens and direct access to nature. These natural enclaves were brimming with luscious creepers, peace lilies, and the occasional bird of paradise and dracaena. The room somehow embodied the spirit of the entire villa.
The courtyard and these nooks invite nature into the villa, so whether it rains or there is a wind, it feels as though it is flowing through the space and in some ways a part of it. The master bedroom on the second floor features a balcony with a view of the backwaters and a peaceful workplace. Those wishing to connect with their inner astronomer might use an ancient telescope to observe the night sky. Perhaps the most remarkable aspect of these rooms is that they not only enhance the functional, but also deliver something much more natural.
The light reflected off the walls and pillars of the estate and formed fascinating patterns of geometric light as the sun set. The backwaters and the infinity pool that overlooked it were illuminated by the soft light. When the sun set and the lights came on, the appearance of the villa changed. The combination of industrial and Moroccan lights was stunning. A large brass chandelier hung above the central seating area, where one could spend hours working or simply relaxing. So much of the villa consists of an unavoidable light show.
The Glass Villa is by no means an empty tale of minimalism, beginning with the use of laterite, which is prevalent in Goa’s mediaeval architecture, and culminating in a negative space within the wall created to resemble a church tower. It is attempting to have a conversation. The designers Tarun Tahilani and Sameep Padora, who cooperated on this property, attempt to question one’s notion of what the space needs to be while remaining comfortable inside its contradictions.