India’s Historic Haveli Homes Caught Between Revival and Ruin

 This photograph taken on February 2, 2026 shows a hospitality staff arranging tableware at the Dharampura Haveli, an 18th-century haveli-turned-heritage hotel in the old quarters of Delhi. (AFP)
This photograph taken on February 2, 2026 shows a hospitality staff arranging tableware at the Dharampura Haveli, an 18th-century haveli-turned-heritage hotel in the old quarters of Delhi. (AFP)
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India’s Historic Haveli Homes Caught Between Revival and Ruin

 This photograph taken on February 2, 2026 shows a hospitality staff arranging tableware at the Dharampura Haveli, an 18th-century haveli-turned-heritage hotel in the old quarters of Delhi. (AFP)
This photograph taken on February 2, 2026 shows a hospitality staff arranging tableware at the Dharampura Haveli, an 18th-century haveli-turned-heritage hotel in the old quarters of Delhi. (AFP)

Once the grand residences of Mughal-era nobility, the Indian capital's haveli homes now stand at a fragile crossroads -- a handful lovingly restored but many more sliding quietly into ruin.

Across Old Delhi -- the 17th century walled city founded as the Mughal capital Shahjahanabad -- cracked facades, shuttered gateways and sagging balconies tell the story of a heritage under siege from neglect, inheritance battles and relentless urban pressure.

Only a few restored pockets provide a glimpse of what once was -- airy courtyards, carved sandstone pillars and homes built around a deeply social way of life.

Inside one restored mansion that now houses a cultural center, sunlight filters through stained glass onto carved sandstone arches, the air infused with freshly polished wood and rosewater.

Musicians tune their instruments in a frescoed courtyard, where nobles may once have entertained guests, offering a rare peek into Old Delhi's rich architectural past.

But outside in the narrow lanes of Old Delhi's Chandni Chowk district, the contrast is stark.

Many havelis are abandoned or on the verge of collapsing, their carved facades fading beneath peeling paint.

The contrast reflects two futures -- one of careful restoration and the other of gradual decay.

- 'Who will pay?' -

The Kathika Cultural Centre's founder Atul Khanna said his initiative hoped to create an immersive cultural space inside a restored structure.

But he admitted that conservation in Old Delhi remains a huge challenge.

Many havelis are split among multiple heirs, with no single stakeholder willing or able to invest in costly upkeep.

"When there are multiple ownerships, that becomes a challenge," he said.

"If the haveli is decaying, who is going to spend the money?"

Khanna also blamed bureaucratic hurdles for discouraging restoration.

"There should be some kind of a single window for anyone who is working with heritage," he said, arguing that easing red tape would be more effective than offering subsidies for restoration.

Another prominent restoration is the 18th century Haveli Dharampura, now converted into a heritage hotel.

"Restoration in Old Delhi is still isolated unless there is sustained support and awareness," said Vidyun Goel, whose family owns the property.

Residents say family disputes and the push to convert properties into shops or apartments have led to rapid decline.

In nearby Roshanpura, only a scattering of old homes still stand. Among them, the century-old Mathur ki Haveli is a rare example of a lived-in heritage home.

- Showpiece projects -

"We are in love with this house," said Ashok Mathur, a fourth-generation resident who continues to live in the ancestral property despite mounting challenges.

Wooden ceilings are deteriorating, floors are wearing thin and doors require constant repair, he said, walking through rooms that bear only traces of intricate craftsmanship.

Still, he said he has never considered leaving -- although he can only imagine the social world that once defined haveli life.

"There is no community left," Mathur, 56, said. "We are living in a cocoon."

Conservationist K. T. Ravindran said that while Old Delhi is economically vibrant, its havelis suffer from unclear titles and multiple claimants.

"Often buildings that look intact from outside conceal deeper damage," he said, noting that the condition was worse in the inner lanes hidden from public view.

Ravindran said revival was still possible, but only through neighborhood-level regeneration rather than isolated showpiece projects.

Oral historian Sohail Hashmi said each haveli once formed part of "a larger social ecosystem of neighborhoods, crafts and traditions", with architecture and community deeply intertwined.

As Khanna put it, the loss goes beyond architecture.

"When you lose a haveli, you are not only losing the structure," he said.

"Every element in it is a piece of art."



Saudi Culture Minister Meets with Indonesian Minister of Creative Economy

The Saudi Minister of Culture met on Tuesday with Indonesia’s Minister of Creative Economy in Jakarta. SPA
The Saudi Minister of Culture met on Tuesday with Indonesia’s Minister of Creative Economy in Jakarta. SPA
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Saudi Culture Minister Meets with Indonesian Minister of Creative Economy

The Saudi Minister of Culture met on Tuesday with Indonesia’s Minister of Creative Economy in Jakarta. SPA
The Saudi Minister of Culture met on Tuesday with Indonesia’s Minister of Creative Economy in Jakarta. SPA

Saudi Minister of Culture Prince Bader bin Abdullah bin Farhan on Tuesday met with Indonesia’s Minister of Creative Economy Teuku Riefky Harsya in Jakarta.

The ministers discussed cooperation in the creative economy between the two countries through the exchange of artistic and technical expertise in film, fashion, and handicrafts.

They also explored opportunities for collaboration to promote innovation and sustainability.


‘Life Through a Royal Lens’ Exhibition Showcases British Royal Photography

“Life Through a Royal Lens” runs until June 7. (Kensington Palace)
“Life Through a Royal Lens” runs until June 7. (Kensington Palace)
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‘Life Through a Royal Lens’ Exhibition Showcases British Royal Photography

“Life Through a Royal Lens” runs until June 7. (Kensington Palace)
“Life Through a Royal Lens” runs until June 7. (Kensington Palace)

A photography exhibition showcasing more than 100 photographs taken of and by the British Royal Family is on tour following its launch at Kensington Palace.

The “Life Through a Royal Lens” exhibition explores the enduring relationship between the Crown and the camera over 200 years.

It was first launched at Kensington Palace and is now on tour, starting at The Amelia Scott in Tunbridge Wells, according to the BBC.

Jeremy Kimmel, arts, heritage and engagement director at The Amelia Scott, said: “Royal Tunbridge Wells has been shaped by centuries of royal connections, from the first royal visit in the early 1600s to what was then just woodland, to becoming the favorite summer retreat of Princess Victoria.”

He said “Life Through a Royal Lens” was not just about royalty.

“The images reflect moments of national identity, cultural change, and shared experience,” said Kimmel.

The royal family are one of the most photographed families in the world and the exhibition captures state ceremonies and royal tours as well as personal images which share a glimpse of life behind the scenes.

It also features the last public photograph taken of Elizabeth II taken on 6 September 2022, just two days before she died at the age of 96.

Kimmel said: “It was taken at Balmoral Castle before the historic 'kissing of hands' ceremony in which she publicly appointed her 15th British Prime Minister, Liz Truss.”

The public can also view portraits and press photographs from the first three years of King Charles III and Queen Camilla's reign.

The exhibition was created by Historic Royal Palaces, the independent charity that cares for Kensington Palace.

Eleri Lynn, chief curator at Historic Royal Palaces, said the display of images spanning 300 years of family photoshoots, commissioned portraiture and official engagements would embark on a tour planned to span the UK.

“We are thrilled that visitors to ‘Life Through a Royal Lens’ at The Amelia Scott will be able to explore the history behind the iconic image of modern monarchy we know today,” she added.

“Life Through a Royal Lens” runs until June 7.


French Lawmakers Pass Bill Simplifying Return of Colonial-era Art

People sit at a bistro, enjoying the sun in Paris, Thursday, April 9, 2026.(AP Photo/Michel Euler)
People sit at a bistro, enjoying the sun in Paris, Thursday, April 9, 2026.(AP Photo/Michel Euler)
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French Lawmakers Pass Bill Simplifying Return of Colonial-era Art

People sit at a bistro, enjoying the sun in Paris, Thursday, April 9, 2026.(AP Photo/Michel Euler)
People sit at a bistro, enjoying the sun in Paris, Thursday, April 9, 2026.(AP Photo/Michel Euler)

French lawmakers on Monday passed a bill to simplify the return of artworks looted during the colonial era to their countries of origin, AFP reported.

France still has in its possession tens of thousands of artworks and other prized artefacts that it looted from its colonial empire.

The draft legislation to return them was unanimously approved by the lower house National Assembly late on Monday.

The upper house had unanimously passed the measure in January.

President Emmanuel Macron has made it a political promise to return the cultural items, and has gone further than his predecessors in admitting past French abuses in Africa.

Speaking on a visit to the Burkina Faso capital Ouagadougou shortly after taking office in 2017, Macron vowed that France would never again interfere in its former colonies and promised to facilitate the return of African cultural heritage within five years.

Designed to streamline the process, Monday's bill specifically targets property acquired between 1815 and 1972.

Former colonial powers in Europe have slowly been moving to send back some artworks obtained during their imperial conquests -- but France is hindered by its current legislation, which requires every item in the national collection to be voted on individually.

France has been flooded with restitution demands, including from Algeria, Mali and Benin.