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Svasa Life Magazine Svasa Life is a luxury lifestyle magazine with its origins in Bangalore, India.

Created with an essence of art, heritage, business, entrepreneurship and the finest things that appeal to both the heart and intellect.

South Asian tunes have long been embedded in a global, sonic memory. Sampled music, groovy riffs attached to videos, spe...
01/08/2026

South Asian tunes have long been embedded in a global, sonic memory. Sampled music, groovy riffs attached to videos, speak of a sound tradition easily forgotten in common history. Running parallel to cultural efforts at reclaiming personal heritage, attempts at reviving South Asian music dominate the community.

These efforts reject haughty glass walls, and pull people in an experience. Club nights reminiscent of bhangra parties, curated listening parties, and spotlighting underrated recordings — these musical archivists and artists extend the meaning of cultural preservation beyond text, and indulge audiences in a movement that speaks of memory, migration and the enduring power of sound. With their work, one encounters a musical tradition that continues to evolve.

Some evenings call for us to slow down and revisit the pillars of craft — place, perspective, and practice.Leading voice...
29/07/2026

Some evenings call for us to slow down and revisit the pillars of craft — place, perspective, and practice.

Leading voices from across the arts come together for _Inherited Futures_ — a discussion exploring the ideas, practices, and perspectives that shape how a place is carried forward.

In conversation: Rigzin Wangmo Lachic Monisha Ahmed Raki Nikahetiya Tsering Motup Siddho VKD and Virkein

An invite-only event.

Every government requires symbols of legitimacy, and a country’s bureaucracy gladly awards that authority. The civil ser...
27/07/2026

Every government requires symbols of legitimacy, and a country’s bureaucracy gladly awards that authority. The civil services recount a nation’s political system, existing as a practical bridge between the citizens and the administration. An indispensable token of power, the branch became the focal point of photographer Jan Banning’s photobook titled Bureaucratics, co-authored with Will Tinnemans. The artist recently revisited the body of work, and published an expanded study — Bureaucratics Revisited, extending the visual, and sociological investigation to twelve countries, from eight.

India found itself a part of the original selection, where both Banning and Tinnemans travelled to the country, away from the organised capital of New Delhi to an utterly chaotic city of Patna through a common connection. Nearby towns were also shot. While the primary exploration of state vigor prevails, the photographer manages to shed light on the officers’ own lives — their personalised desks, their salaries, and how the offices become their own little community. Almost two decades later, with the revisited edition, he contemplates the same queries in an evolving, closed political atmosphere.

With his photobooks, Banning materialises Max Weber’s understanding of bureaucratic apparatus, a rationalised system of administration, whose impartiality could eventually tip into rigidity, and furthermore, alienation. A system built for fairness can still fail to see the person standing in front of it. By capturing the bureaucrats themselves, Banning manages to create what he understands as a window into a regime.

Image 1: India-17/2003 [Pat., SP (b. 1962)] Sushma Prasad is an assistant clerk in the Cabinet Secretary’s office of the State of Bihar (population 83 million) at The Old Secretariat in the state capital, Patna. She was hired “on compassionate grounds” following the death of her husband, who worked in the same department until 1997. Her monthly salary is 5,000 rupees (about US$110 or €100).

France-16/2006 [Cle., RV (b. 1957)] Roger Vacher is a narcotics agent with the national police force in Clermont-Ferrand, Puy-de-Dôme department, Auvergne region. His monthly salary

At N O R L H A on the Tibetan Plateau, weaver Pagpa Tso wears her hair in two long braids, often draped behind her as sh...
20/07/2026

At N O R L H A on the Tibetan Plateau, weaver Pagpa Tso wears her hair in two long braids, often draped behind her as she works. Braiding here is deeply cultural, and spiritual, an age-old tradition tethered to identity. It is an extremely practical skill too, one that is passed down to generations to come.
Norlha’s Autumn Winter collection draws from the same world Pagpa Tso belongs to. Built around the Chuba, adjusted at the waist with a wide cloth belt, the garment is loose, adaptable, worn by town dwellers and nomads alike — equally suited to horseback, motorcycle, or ceremonies. Between the braid and the Chuba, Norlha’s imagery points to the fact that craft on the Tibetan Plateau isn’t separate from daily life, but instead, it is woven into it.

Photographed by Roosmarijn Pallandt

Ask someone what they remember from a stay months later, and the conversation does not end at the estate alone. For thes...
18/07/2026

Ask someone what they remember from a stay months later, and the conversation does not end at the estate alone. For these properties, the experience begins before one enters the four walls — the arrival, too, is guided by the same essence that envelopes the stay. A boatman rows past ghats with no signage. A jeep idles behind a herd of goats crossing a dirt track, in no hurry to move. A guide gestures towards pine trees with no visible trail. The arrival means for guests to sink into local living.

What visitors bring home isn’t a review of good service, but a story: A goat herd, a boatman’s face, the exact moment pine trees gave way to a chimney. It’s a journey where luxury is realised through true immersion.

Slide 1: ‘He Wasn’t a Wizard After All’ - 2022 (panel 3) by Waswo X. Waswo

How did an Italian architect’s work come to carry the weight of a country he wasn’t born in? In 1961, Ettore Sottsass sp...
16/07/2026

How did an Italian architect’s work come to carry the weight of a country he wasn’t born in? In 1961, Ettore Sottsass spent seven months travelling through India, moving through Tamil Nadu, Rajasthan, Uttar Pradesh, and Kashmir in the aftermath of a serious illness. The expedition became a turning point in his life, pushing him to question modernism and turn, instead, toward symbolism, spirituality, and the textures of everyday life.

Tamil Nadu left the deepest mark on him. In the temples of Madurai, Kanchipuram, and Mahabalipuram, Sottsass came across architecture that combined functionality and emotion, where colour, ornament, geometry, and ritual co-existed without hierarchy. He found the same principle outside the temple walls too. Wayside shrines, vessels, painted walls, vernacular buildings — all ceased to be merely functional objects for Sottsass, and started being the carriers of memory and culture.

When Ettore Sottsass founded the Memphis Group in 1981, he used what he had learned in India. The use of playful colours, stacked forms and decorative surfaces were not only a rejection of strict modernism but also alluded to his life a continent away.

The gaudy South Indian houses that inspired Ettore Sottsass
Photos by Vincent Leroux

Photos by Vincent Leroux

Some of the selection of Memphis designs borne from Indian inspiration: Ashoka desk lamp

Carlton bookcase

Bay table lamp

Casablanca sideboard

Bel air chair

Pepper mills designed by Sottsass for Alessi in 1989, a year after he presented an exhibition of products crafted in India that also used turned wood and coloured lacquers

His love affair with India

Photographs taken by Sottsass on his travels through India, 1983

Ettore Sottsass in India 1988

Across India, a new generation of filmmakers is drawing from the places they know intimately: the languages they grew up...
14/07/2026

Across India, a new generation of filmmakers is drawing from the places they know intimately: the languages they grew up speaking, the homes they inherited, the rituals they witnessed, and the communities that shaped them. Whether it’s Achal Mishra’s Maithili-speaking Mithila, Rima Das’ rural Assam, or Natesh Hegde’s coastal Karnataka, these artists remind us that the exploration of place is the discovery of memory, identity, and a way of seeing the world.

In their cinema, geography becomes a character in its own right. Villages, forests, rivers, courtyards, dialects, and everyday rhythms carry stories that could belong nowhere else. These filmmakers are testament that the most universal stories are often the ones rooted closest to home.

Slide 1: still from Gamak Ghar (2019) Achal Mishra

Across India, a new generation of filmmakers is drawing from the places they know intimately: the languages they grew up...
14/07/2026

Across India, a new generation of filmmakers is drawing from the places they know intimately: the languages they grew up speaking, the homes they inherited, the rituals they witnessed, and the communities that shaped them. Whether it’s Achal Mishra’s Maithili-speaking Mithila, Rima Das’ rural Assam, or Natesh Hegde’s coastal Karnataka, these artists remind us that the exploration of place is the discovery of memory, identity, and a way of seeing the world.

In their cinema, geography becomes a character in its own right. Villages, forests, rivers, courtyards, dialects, and everyday rhythms carry stories that could belong nowhere else. These filmmakers are testament that the most universal stories are often the ones rooted closest to home.

Slide: still from Gamak Ghar (2019) Achal Mishra

Stone that has been shaping itself for millions of years does not usually make room for anyone. Here, inside the Yandang...
12/07/2026

Stone that has been shaping itself for millions of years does not usually make room for anyone. Here, inside the Yandang Mountains, it did. The Yandangshan Cliff Cafe, designed by Slow Coral Design and Research Office and completed in 2024, sits inside a UNESCO Global Geopark known for its fog and its stone. The Yandang Mountains have been shaping these caves for millions of years, long before anyone thought to build inside them.
Each platform follows a curve the rock has decided on its own, settling into gaps instead of cutting new ones, where even the glass room keeps low, letting the mist pass over it the way it always has.
Xu Jinglei, the designer behind it, calls this “weak design” — treating restraint from reshaping the mountain as the harder skill.
Everything here still belongs to the mountain. The café is just borrowing space for a cup of coffee.

Shahpura Bagh has never known of a quiet summer. Before the structure opened its gates for guests — now reimagined as a ...
11/07/2026

Shahpura Bagh has never known of a quiet summer. Before the structure opened its gates for guests — now reimagined as a heritage stay in Rajasthan’s Bhilwara — friends, relatives, and other visitors of the custodian family found a home in the estate. Days were spent cooking, training dogs and basking in the estate’s bounty. Hospitality was entrenched in the fort since its inception centuries ago, but it was only in 2006 that the Singh family of Udaipur extended the warmth.

Now as a coveted retreat deep within unexplored Rajasthan, Shahpura Bagh offers a pause that immerses its guest in the family’s history, and by extension, the community’s history. The Singh’s encourage their guests to shed the persona of tourists, and become active participants in the shared life surrounding the estate. Long walks through the gardens, visits to the private fort, and recounting the family’s embedded legacy in the region, make for a stay where every moment counts as meaningful.

Slide 6: Just beyond the estate stands Dhikola Fort, the Shahpura family’s 400-year-old ancestral fort overlooking a landscape of lakes, farmland and villages. Passed down through generations and carefully restored, it remains an enduring part of Shahpura’s story.

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