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The Hindu
5 days ago
- General
- The Hindu
Hyderabad Gulzar Houz fire tragedy: Smoke, sorrow and a system on fire
The stench of smoke still hung heavy over Hyderabad's Gulzar Houz circle, hours after the blaze had died down. Locals gathered in stunned silence, staring at the blackened ruins of what was once the bustling ancestral home of the Modis near the historic Charminar. The fire broke out around dawn. Smoke was first spotted rising from a ground-floor shop in the century-old ground plus 2 structure, and within minutes, flames leapt from the windows, engulfing the building. Parked motorcycles at the entrance turned into fuel, blocking the only access point and intensifying the inferno. This was no ordinary residence. Built in the early 1900s by Manoharlal Poonamchand, founder of Modi Pearls, the home had housed generations of the Modi family — pearl merchants who migrated from Rajasthan. The traditional Nizam-Hyderabadi structure, with its central courtyard and narrow staircases, had no external balconies or fire escapes. Just a day before, on May 17, the family had gathered for a rare reunion at a relative's home in Attapur, about 10 kilometres away. Summer vacation had brought the extended family, scattered around different parts of the country, under one roof — elders exchanging memories, children darting through hallways. No one imagined it would be their last evening together. By the next morning, 17 members of the family, including eight children, had perished. At the time of the fire, family heads Prahlad and Rajendra Modi, their wives, children, and grandchildren were in the house. Some survived — one of the five brothers, Bankat Chand Modi, his wife Shakuntala, and his sisters Aasha and Varsha. In a moment of tragic heroism, Bankat's son, Abhishek, had rushed back in to save the others. He did not make it out alive. As news spread, family members rushed to Gulzar Houz. Dhruv Modi, barely in his 20s, arrived in shorts and slippers, sprinting from Attapur. From Himayatnagar and other parts of the city, relatives followed, only to find the fire still raging and no fire engine in sight, despite a station just 800 metres away. Ignoring the danger, Dhruv and a few locals entered the smoke-filled home. 'One of my aunts was holding a baby. Neither of them was breathing,' he later said. Soot, ashes and unanswered questions What Dhruv saw still haunts him. 'The claim that the fire team arrived within a minute of receiving a call is absurd. Even when they showed up, they didn't have proper gear or working hoses, not even water pressure. They struggled to open basic valves. What is the point of fire trucks if they can't deliver water?' His father, Govind Modi, voiced the family's anguish. 'This wasn't just one department's failure. Fire, electricity, disaster response... everyone failed.' Inside, Dhruv says, he saw confusion and hesitation. 'One fireman just stood there, flashing a torch from the doorway. I told them that people were stuck upstairs, but they hesitated because of the smoke. I took a surgical mask and climbed up myself. My grandfather was unconscious. His skin was peeling off as I tried to carry him,' he recalls. With help from locals, Dhruv managed to rescue three people. 'One policeman tied a handkerchief over his face and came in with me. Another man, a local maybe, joined us too.' The failure didn't end there. 'Even the ambulances didn't have oxygen,' adds Govind. 'Stretchers came only after we screamed at them. Until then, we used blankets to carry people down.' Dhruv went inside thrice. 'Got one person out. Went back, got another. The third time, the smoke was too much. Only after three people were pulled out did proper equipment show up. That's how bad it was.' Govind dismisses the claim that the building was poorly ventilated, stating there were two large openings and a skylight. 'If smoke needed a way out, it had one. But even that didn't help. YouTube videos are full of lies. Wrong names, wrong ages, wrong everything. They say the Fire department acted in time. They didn't. And the system? This is India. We all know how it works.' Among those who rushed in were two locals, Mir Zahed and Mohd. Azmath, who, after finishing morning prayers, had stopped by for chai on their way home. They were strolling around Gulzar Houz when they heard women screaming: 'Bhaiya, bachao!' That was enough. With no fire engines yet on scene, the duo ran into the smoke, smashing through barriers until they found a woman huddled in a room, shielding four or five children with her body. 'The flames were already at the door. We broke it down,' says Zahed. From outside, the house seems untouched — its facade masked by rows of pearl and jewellery shops. The only hint of the horror inside is a faint black scar on a shutter. But beyond it lies devastation: charred beams, crumbling walls, ash-covered rooms. Ironically, it was the same shop where Miss World 2025 contestants had bought pearls just days before. Now barricaded and under constant police watch, the building sees daily visits from officials of Forensic Science Lab, Fire department, Child Rights Commission, and a State-appointed six-member probe committee. But for the survivors, answers remain as distant as relief that never came. The six-member panel includes top officials — Fire Services director general Y. Nagi Reddy, Greater Hyderabad Municipal Corporation (GHMC) commissioner R.V. Karnan, Hyderabad Police Commissioner C.V. Anand, Southern Power Distribution Company Limited of Telangana chief Musharraf Faruqui, Hyderabad Disaster Response and Asset Protection Agency commissioner A.V. Ranganath, and Hyderabad Collector Anudeep Durishetty. Just outside the narrow passageway to the gutted house, a scorched jewellery cabinet stands behind smudged glass, salvaged from the ashes — its pearls dulled by soot. It now sits like a mute witness to the abrupt end of a century-old family business. Since that morning, their shops have remained shuttered, cloaked in silence and grief. A move that never was The Modis had built modern, three-storey buildings in Upperpally, Attapur. Grey-and-white facades, elevators on each floor for the elderly — everything was ready. Everything but for the shifting part. 'We wanted them to move out of the Gulzar Houz residence, but my father, Prahlad, insisted on staying at the ancestral home. My younger brother Pankaj and his family stayed back to care for my parents, till they were ready to shift,' shares Govind. 'But they were finally going to move this year,' Dhruv adds quietly. The dusty verandah turned into a mourning hall. The day after the fire, people streamed in — politicians, neighbours, distant relatives. The heat was stifling, but it was the weight of loss that hung heavier. All the men in the family had tonsured their heads, shaved their beards, save for a small tuft left at the back — a mark of mourning. Among the mourners was Nawab Mir Najaf Ali Khan, great-grandson of Hyderabad's sixth Nizam, whose family once wore jewels crafted by the Modis generations ago. As he entered, Sunil Modi broke down and clutched him tightly, sobbing in his arms. 'Because the Fire Services personnel did not come on time, our little ones are gone. If only they had acted sooner, maybe some of our children would still be alive,' Sunil whispered as his words dissolved into helpless sobs. No checks, no licences Chief Investigator at Nagpur-based Forensic Fire and Cyber Investigators, Nilesh Ukunde, who inspected the scene on May 22, attributed the fire to a short circuit in an inverter battery installed in a ground-floor shop. 'The battery was continuously receiving power, and multiple short circuits occurred within it. That sparked the initial fire, which then triggered a short circuit in the air conditioner, releasing dense, choking smoke,' he explains. Normally, a Miniature Circuit Breaker (MCB) would trip and cut power in case of a fault. 'But here, the battery kept supplying power, allowing the fire to spread quickly through the building,' he notes. Electrical Inspector with the Telangana government, Kantha Rao, who was part of the inspection team, confirms the AC compressor was burnt out and both the inverter and AC unit were suspected ignition points. 'The MCB didn't trip, which raises questions. If it had, we would suspect overload, but there is no evidence of that,' he says. Ageing insulation often causes short circuits in old homes, he adds. 'If multiple ACs are running, like the eight here, and the system isn't rated for it, the MCB may fail to respond. Most residential MCBs aren't built for such sustained heavy loads, especially in buildings with outdated wiring.' The century-old house had no recent record of electrical testing. Rao says while modern interiors often include woodwork, false ceilings and mood lighting, electrical safety is usually overlooked. 'Appliances keep getting added, but no one checks system capacity. In old homes with poor ventilation and no fire exits, it is a deadly mix.' On regulatory checks, he clarifies: 'We don't oversee homes drawing below 650 volts [above 650 volts is considered high voltage and unsafe for general use]. It is the owner's responsibility. Sadly, no one checks anything unless there is a disaster. Stricter enforcement is essential. Unlicensed, untrained electricians are doing installations unchecked and no one stops them until it is too late.' Apathy fanned the flames The Modi family has called out the Telangana State Disaster Response and Fire Services for issuing what they say is a factually incorrect statement. From the names and ages of the deceased to the claim that 17 people were rescued, they say the department failed to verify basic details. 'There was no rescue. All 17 of our family members trapped inside died. Four got out on their own. Who did the Fire department save? They came asking us for torches and water. Is that how an emergency team should operate,' asks Govind. Sunil, aged around 60, says the fire crew arrived unprepared: 'It took them 15 minutes to unroll a hose, and even then, there was barely any water pressure to fight the flames.' In its official statement, the Telangana State Disaster Response and Fire Services said they received the call at 6.16 a.m. The Moghalpura water tender was dispatched a minute later and reached the site by 6.20 a.m. A total of 12 fire tenders were eventually deployed from across the city, including from Gowliguda, CLB, High Court, and the Secretariat. The fire began on the ground floor and quickly spread. A Bronto Skylift was used to reach upper floors, but the building's design, lacking windows facing the road, forced firefighters to drill through a wall to access the first floor. An official, Venkanna, was injured during the operation and hospitalised. In all, 11 vehicles and 87 personnel responded. A fire-fighting robot was brought in but not used. Only eight firefighters used breathing apparatus. Four people were rescued from the terrace via ladders. The blaze was brought under control in about two hours. Challenges included a narrow staircase, heavy smoke, intense heat, no alternate exit and bikes parked at the entrance that blocked access and fuelled the fire. Officials mention coordination efforts with GHMC, police, Health, Revenue and Water Board teams. 'Despite constraints, we stopped the fire from spreading to nearby buildings,' says an official.
Time of India
27-05-2025
- Business
- Time of India
Travel Super App: HOI Soars Towards Super App Status with AI Concierge and Strategic Partnerships, ET TravelWorld
Advt Advt By , ETTravelWorld Join the community of 2M+ industry professionals Subscribe to our newsletter to get latest insights & analysis. Download ETTravelWorld App Get Realtime updates Save your favourite articles Scan to download App In a rapidly evolving aviation landscape, where convenience and connectivity are becoming key differentiators, travel-tech platform HOI is quietly reshaping how Indian passengers experience airports. With services now operational at major airports including Delhi, Hyderabad, and Goa's Manohar International Airport, HOI is on a mission to reduce travel anxiety and make the airport experience smoother, smarter, and more intuitive—especially for India's growing segment of frequent flyers and corporate travellers Speaking exclusively to ETTravelWorld, Dhruv Godara , Deputy CEO of HOI, offered a deep dive into the platform's growth, strategic roadmap, and the newly inked partnership with Encalm Hospitality, which marks another leap in HOI's ambition to become a comprehensive travel super app "Like all good startups, we started with a problem statement," says Dhruv, reflecting on HOI's founding vision in 2018–19. "Air travel is inherently stressful. The need to report early, understand gate changes, wait times—all of it creates uncertainty and anxiety." This observation laid the groundwork for building a platform that integrates airport infrastructure with passenger-facing services—from real-time flight updates and gate wait times to lounge access and duty-free partnerships with high-footfall airports like Delhi and Hyderabad helped the company validate its product-market fit. 'Access to airport systems—like people monitoring, congestion tracking, and operational databases—was key,' Dhruv explains. These integrations now form the backbone of HOI's defensibility, making it harder for competitors to replicate at most recent example of HOI's expanding ecosystem is its partnership with Encalm Hospitality, provider of the Atithya meet-and-greet service. As part of this collaboration, international passengers at Delhi, Hyderabad, and Goa airports who book Atithya services will receive a complimentary international eSIM, valid in over 90 countries.'Connectivity is no longer a luxury—it's a necessity,' says Dhruv. 'By integrating eSIM distribution with premium airport hospitality, we're tackling a real-world problem for travellers: staying connected without hassle or high roaming charges.'Passengers can redeem the eSIM by scanning a QR code at the lounge—no paperwork, no waiting. It's part of what Dhruv calls the "invisible experience"—where technology works quietly in the background to simplify complex moments during vision extends far beyond terminals and tarmacs. The platform is actively evolving into a travel super app—one that aggregates flights, hotels, airport services , cabs, e-commerce, and more into a single ecosystem."We're launching an AI concierge agent that will act as a digital travel assistant ,' Dhruv reveals. 'Tell it your destination, budget, and dates, and it will recommend flights, hotels, book your airport cab, notify you of deals, and even pre-order duty-free items.'This AI-driven experience is designed to make travel hyper-personalised—nudging users to take action at the right moment. 'Our goal isn't just to offer services, but to present them in a meaningful, intuitive way,' he business model is clearly tilted toward India's booming frequent traveller segment—especially corporate passengers who often navigate airports multiple times a month. 'If a traveller is coming to the airport more than five or six times a year, that's our user persona,' says this end, HOI is building out hotel and flight aggregation engines tailored for corporate use. A loyalty program is already live at Hyderabad Airport, with plans to extend it to Delhi and Goa. A subscription model and OTA integrations are also in the works.'We are speaking with OTAs and travel agents for bundling HOI services,' Dhruv confirms. 'We aim to offer a plug-and-play loyalty solution that integrates directly into corporate travel workflows.'Despite strong presence and deep integrations, HOI has largely operated under the radar. That's set to change. "Until now, we were focused on building tech and securing partnerships,' Dhruv says. 'But now we're pushing on brand awareness and user acquisition.'From digital marketing and influencer tie-ups to IPL-themed campaigns and airport activations, HOI is now focused on scale. 'We've reached a stage where the foundation is solid. Now we're ready to create buzz and scale across geographies.'On the international front, Dhruv remains cautious but optimistic. 'It's premature to name locations, but we're in conversations to expand our platform beyond India,' he an age of hyperconnectivity and digital convenience, HOI represents a new kind of travel infrastructure—one that complements physical airport systems with intuitive digital layers. Whether it's notifying you of a gate change, suggesting a meal at your terminal, or helping you book a cab home, HOI's mission is clear: to reduce friction and amplify delight in every stage of air Dhruv succinctly puts it: 'We want HOI to be the go-to app for travellers—not just at the airport, but for the entire journey.'
The Hindu
27-05-2025
- Entertainment
- The Hindu
‘Maargan' trailer: Vijay Antony investigates a ‘devil' in this unique investigative thriller
Tamil star Vijay Antony on Monday (May 26) unveiled the trailer of his upcoming fantasy murder mystery, Maargan. Directed by editor Leo John Paul in his directorial debut, the film is set to release in theatres on June 27. The trailer begins to show Vijay Antony as Dhruv, a senior ADGP from Mumbai, who comes to Chennai following the trail of a serial killer with a shocking modus operandi — he injects his victims with a drug that chars their bodies. In an expected turn of events, we see even Dhruv getting injected by the mysterious drug, leaving one half of his body completely charred. At one point, Dhruv and his team zero in on a suspect named Tamilarivu (Ajay Dishan), who is put in solitary confinement 'to bring out the devil in him.' As Tamilarivu struggles to maintain his sanity within those walls, the final moments of the trailer hint that perhaps calling him a devil wasn't just a figure of speech. Maargan, previously titled Gagana Maargan, features an ensemble cast including Samuthirakani, Brigida Saga, Mahanathi Shankar, Prithika, Vinodh Sagar, Deepshikha, Kalakka Povadhu Yaaru Archana, Kanimozhi, and Anthagaram Natarajan. Leo John Paul, an award-winning editor known for films like Soodhu Kavvum, Attakathi, Kadhalum Kadandhu Pogum and Indru Netru Naalai, leads a technical team featuring Yuva S as cinematographer and Raja A as art director. John Paul also edits the film, while Vijay Antony has composed the music for the film. Meera Vijay Antony produces Maargan under the banner of Vijay Antony Films Corporation.
The Hindu
23-05-2025
- Business
- The Hindu
Inside Studio Medium's Dhan Mill Flagship by Chennai's Whitedge
Over a decade ago, Dhan Mill compound, a former warehouse in New Delhi's Chattarpur, reopened to the public as a luxury retail hotspot. Now home to over 65 boutiques, the fashion destination's latest entrant is apparel label Studio Medium's debut physical store. Helmed by designers Riddhi Jain and Dhruv Satija, the brand's first physical store is aimed at giving the 'Studio Medium ethos a tangible dimension'. Over time, the duo says they felt that the 'breadth of what we do at the studio — from textiles to collaborations — needed to be experienced with the correct context and narrative'. Therefore, the store is envisioned as a space where people can engage with their textiles firsthand. Dhruv explains that their fascination 'with the tools and processes that create textiles' guided the material choices for the store. 'We wanted a palette that allowed the textiles and colours to take center stage. Steel is used extensively — in the facade, racks, consoles, and mirror frames — a material that deeply resonates with us. It reflects qualities we value: precision, fluidity, strength. The vessels we use for dyeing are also steel, and its reflective surface reminds us of water, a key element in resist dyeing,' he says. The store's design has an industrial undercurrent running through. With India being the second-largest steel producer globally, using the material felt like a nod to the country's industrial prowess and future, says Dhruv. 'We also created furniture from our tools, such as a console table with old arashi pipes (a Japanese dye resist method wherein fabric is wrapped around old PVC pipes) as legs,' says the designer, adding that their ongoing work with pre-consumer thread waste has also been integrated throughout the space by way of wall panels, frames, and upholstery. 'Objects and sculptures made from this material are featured on the mezzanine,' he says. Another recurring element in the store's design is the circle — a form the duo constantly interpret in their work. 'You'll find it subtly across the store — in racks, floor inlays, and the textile installation titled 'If Circles Could Fly'. Even the pateela, a traditional tool and motif we often return to, is a circle and has its place in the store,' says Dhruv. A key collaboration in the project was with Chennai-based architecture firm WHITEDGE, who were 'instrumental in shaping the store's spatial experience — keeping it minimal yet tactile, and ensuring the textiles and craftsmanship remained at the heart of it'. Gaurav Kothari, Principal Architect, explains how the store is designed to ensure the apparel and products take centre stage, with the architecture acting as a backdrop. 'We used steel for the facade because the material's clean lines and neutral tone blend beautifully without stealing the spotlight. Inside, the flooring is Kota stone: simple, grounded, and very Indian. To add a touch of fun, we inlaid Indian white marble in key spots,' he says of the project that took five months to complete. Since the Dhan Mill compound was once sheds, he retained the tall ceiling and used it to create a mezzanine. 'A sleek, folded steel staircase connects the levels, keeping that industrial feel while feeling light and open. The trial rooms have stretched fabric ceilings and soft lighting that make the clothes pop. Up on the mezzanine, we designed a minimal handrail,' says Gaurav, adding that all the stainless steel display racks are custom-made and movable, 'so the store can shift and evolve with new experiences'. Elaborating on the sustainable angle to the design, Gaurav says he stuck to steel and Kota stone as the main materials. 'Steel is tough and recyclable, while Kota stone is low-maintenance and built to last. We also skipped things like gypsum false ceilings or plastered walls, opting for a steel ceiling to stay true to the shed's raw, honest feel. We used PVC pipes that were used in the arashi dyeing process to create furniture,' he says. Elaborating on the interactive and 'subtle, fun touches' in the studio, Gaurav says these come in the form of polka-dot-shaped white marble inlays that have been embedded in the Kota stone floor to mark special areas, like outside the trial rooms or near particular racks. 'They're like little signposts that catch your eye and guide you through the store, adding a playful experience. The storefront window is also a mirror by the day and an art display at night,' says Gaurav. With Dhruv and Riddhi working closely with artisans across India, the collaborations extended in putting together the store as well. 'For a few signature furniture pieces such as Terrasan (two seater bench), Levitate (a chair with an acrylic seat) and Ombra (a chair), we collaborated with Kolkata-based architect Abin Choudhary and his firm, Hands & Minds,' says Riddhi. The store is also home to a window display that doubles up as an artistic showcase. 'Every few months, we'll collaborate with an artist, designer, or create something in-house to reimagine the window — through installations, textile art, or experimental works. It's our way of keeping the space dynamic and offering something unexpected to anyone passing by,' concludes Dhruv.
The Hindu
23-05-2025
- Business
- The Hindu
Inside Studio Medium's Dhan Mill Flagship by Chennai's Whiteedge
Over a decade ago, Dhan Mill compound, a former warehouse in New Delhi's Chattarpur, reopened to the public as a luxury retail hotspot. Now home to over 65 boutiques, the fashion destination's latest entrant is apparel label Studio Medium's debut physical store. Helmed by designers Riddhi Jain and Dhruv Satija, the brand's first physical store is aimed at giving the 'Studio Medium ethos a tangible dimension'. Over time, the duo says they felt that the 'breadth of what we do at the studio — from textiles to collaborations — needed to be experienced with the correct context and narrative'. Therefore, the store is envisioned as a space where people can engage with their textiles firsthand. Dhruv explains that their fascination 'with the tools and processes that create textiles' guided the material choices for the store. 'We wanted a palette that allowed the textiles and colours to take center stage. Steel is used extensively — in the facade, racks, consoles, and mirror frames — a material that deeply resonates with us. It reflects qualities we value: precision, fluidity, strength. The vessels we use for dyeing are also steel, and its reflective surface reminds us of water, a key element in resist dyeing,' he says. The store's design has an industrial undercurrent running through. With India being the second-largest steel producer globally, using the material felt like a nod to the country's industrial prowess and future, says Dhruv. 'We also created furniture from our tools, such as a console table with old arashi pipes (a Japanese dye resist method wherein fabric is wrapped around old PVC pipes) as legs,' says the designer, adding that their ongoing work with pre-consumer thread waste has also been integrated throughout the space by way of wall panels, frames, and upholstery. 'Objects and sculptures made from this material are featured on the mezzanine,' he says. Another recurring element in the store's design is the circle — a form the duo constantly interpret in their work. 'You'll find it subtly across the store — in racks, floor inlays, and the textile installation titled 'If Circles Could Fly'. Even the pateela, a traditional tool and motif we often return to, is a circle and has its place in the store,' says Dhruv. A key collaboration in the project was with Chennai-based architecture firm WHITEEDGE, who were 'instrumental in shaping the store's spatial experience — keeping it minimal yet tactile, and ensuring the textiles and craftsmanship remained at the heart of it'. Gaurav Kothari, Principal Architect, explains how the store is designed to ensure the apparel and products take centre stage, with the architecture acting as a backdrop. 'We used steel for the facade because the material's clean lines and neutral tone blend beautifully without stealing the spotlight. Inside, the flooring is Kota stone: simple, grounded, and very Indian. To add a touch of fun, we inlaid Indian white marble in key spots,' he says of the project that took five months to complete. Since the Dhan Mill compound was once sheds, he retained the tall ceiling and used it to create a mezzanine. 'A sleek, folded steel staircase connects the levels, keeping that industrial feel while feeling light and open. The trial rooms have stretched fabric ceilings and soft lighting that make the clothes pop. Up on the mezzanine, we designed a minimal handrail,' says Gaurav, adding that all the stainless steel display racks are custom-made and movable, 'so the store can shift and evolve with new experiences'. Elaborating on the sustainable angle to the design, Gaurav says he stuck to steel and Kota stone as the main materials. 'Steel is tough and recyclable, while Kota stone is low-maintenance and built to last. We also skipped things like gypsum false ceilings or plastered walls, opting for a steel ceiling to stay true to the shed's raw, honest feel. We used PVC pipes that were used in the arashi dyeing process to create furniture,' he says. Elaborating on the interactive and 'subtle, fun touches' in the studio, Gaurav says these come in the form of polka-dot-shaped white marble inlays that have been embedded in the Kota stone floor to mark special areas, like outside the trial rooms or near particular racks. 'They're like little signposts that catch your eye and guide you through the store, adding a playful experience. The storefront window is also a mirror by the day and an art display at night,' says Gaurav. With Dhruv and Riddhi working closely with artisans across India, the collaborations extended in putting together the store as well. 'For a few signature furniture pieces such as Terrasan (two seater bench), Levitate (a chair with an acrylic seat) and Ombra (a chair), we collaborated with Kolkata-based architect Abin Choudhary and his firm, Hands & Minds,' says Riddhi. The store is also home to a window display that doubles up as an artistic showcase. 'Every few months, we'll collaborate with an artist, designer, or create something in-house to reimagine the window — through installations, textile art, or experimental works. It's our way of keeping the space dynamic and offering something unexpected to anyone passing by,' concludes Dhruv.
