Lukshmi Vilas Palace, a historic behemoth in India, is not merely a monument but a thriving, adaptive home, as revealed to Architectural Digest India by resident Radika Rajay Gaquar. The palace's construction began in 1879 and was completed in a remarkably short time—just 11 years—by 1890. Now over 135 years old, the structure stands as an "amazing mix of countries and cultures," showcasing collaborations between India and the rest of the world that existed over a century ago. While the core stone was locally sourced Dhangadraas sandstone, specialized elements were imported, including stained glass from Europe, chandeliers from England and Belgium, and mosaic and chiseled shells from Italy, alongside sculptures from around Europe.
The palace was notably revolutionary for its era. It was equipped with sophisticated, modern amenities like one of the oldest lifts in western India and concealed lighting, and over time, received air conditioning before most institutions. Furthermore, the original vision was strikingly modern, having been built only for the Maharaja and Maharani, and offering equal positioning for both. Crucially, purdah—the practice of defining cloistered space for the women of the house—was not followed, which was "quite unusual for its times".
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The Darbar Hall is highlighted as the grandest and most important public space, traditionally where the Maharaja would host and greet his subjects. This space retains its contemporary relevance, having recently hosted bilateral talks between Prime Minister Narendra Modi and the Spanish premier. The hall’s craftsmanship "knocks the wind out of" observers, featuring mosaic flooring inlaid with malachite and mother of pearl, and walls adorned with gold leaf mosaic that "still glints" when catching the light. The ceiling features Islamic lacquer work, while beautiful jarokas are constructed from a mix of rose and sandalwood, complemented by reliefs by Felichi. The palace consistently demonstrates creative fusion; for example, a traditional Indian rangoli pattern—typically made outside doorways using powdered rice—is stunningly adapted into a mosaic form by Italian craftspeople. Another striking example is found in the stained glass, which depicts Hindu deities such as Yoshoda and Balak Krishna, and Ram and Sita. At the entrance, the palace features angels that are "completely Indianized," wearing nine-yard Maharashtrian saris, complete with beautiful crowns and earrings, and are shown blowing trumpets.
In the most sacred area of the palace, the Coronation Room, lies the Gadi, or throne, described as "very humble and simple". The Maharaja is seated on this throne only once in his life. Facing the throne, blessing the "legacy and the dynasty," are the originals of Raja Ray Warma’s most recognized paintings of Indian mythology: Lakshmi and Saraswati. Behind the Gadi, the profound depiction of Sith Bhumi Pravesh (Sita retreating into the earth) serves to indicate to the Maharaja that "duty always comes first".
Despite its grandeur, Gaquar emphasizes that Lukshmi Vilas has "always been a home" during her 23 years of residence. She recalls sitting in the courtyard, listening to music "trickle down" from her father-in-law's music studio and having coffee with her husband on winter mornings. She notes that as more memories accumulate, the spaces "no longer remain just walls and carvings". The residents continuously face the challenge of striking a balance between maintaining the traditional buildings in a "puritan way" and bringing in modernity to provide basic comforts. This adaptation has led to creative repurposing, such as converting a former boiler room into one of their "coziest" guest rooms. Even after 23 years, the home continues to reveal secrets; Gaquar recently discovered hidden carvings of monkeys, scorpions, and snakes in a specific area she had "been walking past all these years but never noticed". The ultimate feeling remains that if the walls of Lukshmi Vilas Palace were to speak, they would affirm that it has been "a happy home for generations of gaiku," and for the current family, it "will always be home".
