Thailand plans free tours for passengers on long layovers

Thailand is preparing to launch free short tours for international transit passengers with long layovers, with a pilot planned at four major airports from early 2027.
The stopover tours would allow eligible travellers with around six to eight hours between flights to leave the airport for brief cultural, food or wellness experiences before returning for their onward journey. The pilot is planned for Suvarnabhumi, Don Mueang, Phuket and Krabi airports.
Deputy Prime Minister and Transport Minister Phiphat Ratchakitprakarn said the project follows an agreement between six organisations aimed at linking Thailand’s aviation network more closely with tourism businesses and local services.
The partners are the Department of Airports, Tourism Authority of Thailand (TAT), Thai Airways International, Airlines Association of Thailand, Suvarnabhumi Airport Hotel and Kasetsart University’s Faculty of Engineering.
The cooperation agreement will run for three years, with the first services targeted for early 2027.
The scheme, Amazing Thailand Transfer Passenger Privilege, will be coordinated by TAT. Organisers will develop short itineraries based on passengers’ available transit time, with safety, convenience and sufficient time to return for onward flights taken into account.
Three formats are initially planned: City Express, Food Express and Wellness Express. Proposed experiences include visits to cultural attractions, Thai food and street food trips, spas and traditional Thai massage.
Suvarnabhumi handles around 1.3 million transfer and transit passengers a year, according to the Tourism and Sports Ministry. Officials estimate around 10% have layovers long enough to potentially join the programme.
TAT Governor Thapanee Kiatphaibool said the agency hopes to attract about 10% of that target group during the initial stage. The first packages are expected to be offered free, using TAT’s existing budget.
Phiphat said the project is intended to turn airport waiting time into tourism spending while introducing transit passengers to Thailand. Officials also want spending to reach restaurants, shops, attractions and other businesses near participating airports.
The initiative forms part of the government’s wider effort to strengthen Thailand as a regional aviation and passenger-transfer hub, while improving connections between airports, city centres and tourist attractions.
Passengers joining the Thailand stopover tours would have to formally enter Thailand rather than remain in the international transit area. Visa, visa-exemption and Thailand Digital Arrival Card requirements would therefore depend on each traveller’s nationality and circumstances.
The exact booking process, final routes and eligibility rules have not yet been announced. The participating organisations are now working on the programme ahead of the targeted early-2027 launch.

TOKYU HOTELS Releases a Whisky Aged on the Subtropical Island of Yakushima

From 1st November 2026, TOKYU HOTELS original Japanese whisky Blended Malt Yakushima Ageing Special Edition GOTOH will be available at 15 TOKYU HOTELS properties. This special bottling from Hombo Shuzo Mars Distillery in Kagoshima was aged on Yakushima, a UNESCO World Heritage island renowned for its spectacular ancient forest and unique ecosystem.
Blended Malt Yakushima Ageing Special Edition GOTOH is the third whisky in a collaboration between TOKYU HOTELS & RESORTS CO., LTD (THR) and Kagoshima-based Hombo Shuzo Mars Distillery. It follows 2024’s Single Malt KOMAGATAKE Special Edition GOTOH and 2025’s Single Malt TSUNUKI Special Edition GOTOH. From 1 November 2026, guests at 15 THR properties across Japan can enjoy the whisky.
Blended Malt Yakushima Ageing is a blend of two single malts from Hombo Shuzo’s Komagatake distillery and one from its Tsunuki distillery. The blended whisky was aged in Hombo Shuzo’s cellar on the subtropical Japanese island of Yakushima in Kagoshima Prefecture.
Yakushima is known for its spectacular primeval forest, mountainous terrain and over 1900 different species of vegetation. The island is warm and rainy year-round, creating a rich and unique ecosystem, and in 1993 the island was designated a UNESCO site of natural world heritage.
Whilst the first and second releases in the Special Edition GOTOH range were single malts, this third is a blended malt. However, it is more than just a blend of base whiskies and represents a new challenge for Hombo Shuzo. The distillery has selected three distinctively individual and compelling cask-strength malt whiskies, then combined them to produce a characterful blended whisky that is far more than the sum of its parts.
There are many Scottish and Irish “island-aged” whiskies, but this is one of the first from Japan. Hombo Shuzo describes the special personality of Blended Malt Yakushima Ageing Special Edition GOTOH as “tropical and salty”, evoking hints of tropical fruits and the mineral-rich, umami character of seafood.
First impressions are the sweet, lively aroma of milk chocolate and caramel, complemented by the floral notes of Ceylon tea. On tasting, the robust depth of the Tsunuki 2020 single malt comes into play, followed by umami and minerality from the whisky’s aging on Yakushima Island, with a hint of dashi fish stock. The finish is soft and gentle, boasting a roundness that stems from the inclusion of Komagatake 2021, a single malt fermented in wooden washbacks. The special Yakushima ageing process and interplay of three highly distinctive single malts create a complex, harmonious, and highly unique flavour profile.
A focus on fine food and drink
TOKYU HOTELS & RESORTS CO., LTD is a Japanese operator of hotels, restaurants, and membership-based resorts, with a network of 67 hotels in Japan and abroad. Ever since its establishment in 1960 in Tokyo’s Ginza district, it has focused on fine food and drink using the best local ingredients. In addition to preserving traditional and regional cuisine, THR has developed new signature dishes, worked to accommodate dietary needs such as allergies and vegan preferences, and, for over 20 years, staged an internal cooking contest for chefs to continuously elevate culinary skills and cuisine across its hotels.
This whisky project is rooted in the TOKYU HOTELS & RESORTS CO., LTD company Purpose, which is “creating moments with people and the community, fulfilling hearts and minds.” By connecting with guests at diverse touchpoints to introduce whiskies and create memorable moments, THR aims to “create heartwarming moments together with its guests”.

Tourism and hospitality elite honoured at World Travel Awards 2026 in the Maldives

The Maldives honoured the best travel organisations in Asia, Oceania and the Indian Ocean at a VIP gala ceremony.

The ceremony, with the Maldives as Official Host Destination, Bank of Maldives as Platinum Sponsor, and CROSSROADS Maldives as Host Partner, marked the third leg of WTA’s Grand Tour 2026, a global search for the finest travel and tourism organisations.

Winners included Vietnam, which took the title for ‘Asia’s Leading Destination’, with the Philippines voted ‘Asia’s Leading Beach Destination’ and ‘Asia’s Leading Tourist Board’. New Zealand claimed the title for ‘Oceania’s Leading Destination’, with Sydney hailed as ‘Oceania’s Leading City Destination’.

The Maldives confirmed its reputation as a tourism powerhouse in the region by securing five titles, including ‘Indian Ocean’s Leading Destination’. Seychelles also enjoyed a strong performance, collecting ‘Indian Ocean’s Leading Beach Destination’.

The hospitality sector shone brightly, with winners from across the region recognised for their exceptional achievements, from luxury city hotels to island resorts. The St. Regis Maldives Vommuli Resort collected double honours, winning ‘Indian Ocean’s Leading Honeymoon Resort’ and ‘Indian Ocean’s Leading Luxury Island Resort’. Omana, New Zealand, took ‘Oceania’s Leading Boutique Hotel’.

In the newcomer categories, InterContinental Sapporo won ‘Asia’s Leading New Hotel’, and InterContinental Brisbane was named ‘Oceania’s Leading New Hotel ’.Here, Baa Atoll, Maldives, claimed ‘Indian Ocean’s Leading New Resort’.

In the aviation sector, Hong Kong International Airport won ‘Asia’s Leading Airport’ for its world-class facilities, innovation and traveller experience. Vietnam Airlines collected ‘Asia’s Leading Airline – Customer Experience’ and ‘Asia’s Leading Airline – Premium Economy Class’. Velana International Airport, Maldives, claimed ‘Indian Ocean’s Leading Airport’. Maldivian was named ‘Indian Ocean’s Leading Airline Brand’, while Trans Maldivian Airways took to the podium to collect ‘Indian Ocean’s Leading Seaplane Operator’.

Other winners included Vietravel (‘Asia’s Leading Tour Operator’); Hard Rock Hotel Maldives (‘Maldives’ Leading All-Inclusive Resort’); SAii Lagoon Maldives, Curio Collection by Hilton (‘Maldives’ Leading Family Resort’); and SO/ Maldives (‘Maldives’ Leading Lifestyle Resort’)

Qavam House

 

Shiraz, Iran’s cultural capital, hosts a variety of traditional houses that reflect family structures, relationships, social manners, and characteristics of old Persian lifestyles. Qavam House ideally defines what the spirit of long-established Persian houses looks like and how they differ from the modern way of living. The first thing to note about such houses is privacy, which respects individuals’ zones, even when quite separate from family members. While social relations were warmer than today, personal spaces still played a pivotal role in Old Persian houses. Art and culture in Shiraz are actually understandable, friendly, and at the same time beautiful and charming. While it lacks the complexity of other Persian schools’ styles, it does offer a standard which I may refer to as “ Shirazism,” reflecting coziness, hospitality, perfection, and easygoingness. What the present article tries to reflect about Qavam House is the symbolic description of this specific school of art.

 

During the Qajar period, the governor of Fars, Qavam Al- Saltaneh, built a spectacular house in the posh place of Lotf- Ali Khan e Zand in 1878. The area was important as it was close to other remarkable places like the Darb Sheikh neighborhood on the farthest east side of Shiraz at that time. When he was appointed the governor of Fars province, he decided to build a house and live in the lovely city of Shiraz. The name of this specific residential house was “Bala-Kaft,” later called Qavam House or “Naranjestan-e Qavam”. Back to the word root, this means a garden that is full of sour orange trees. Qavam House, having a big yard full of sour orange trees, fits this suggestive name. Qavam House is thus highly symbolic. Not only does it signify the delicate fragrance of Shiraz orange blossoms, but also every single architectural art style is present and manifest in its external and internal structure. Immediately after entering the house, the aromatic smell of the orange trees intoxicates the visitors. A few steps following the entrance, you face a gallery of Shirazism including mosaics and stalactites, mirror work, brickwork, plaster stuccos, and fine paintings. This splendid house complex includes several sections connected to each other.

 

They consist of the inner courtyard, which is called “ Zinat Al Moluk private house, Gachineh bath house, Husseiniah Qavam, Maktabkhaneh Qavam (school), Divan khaneh or the courthouse, Qavam private bath house, stable, and Zanjir khaneh Qavam ( nothing left now from this section). The crown section of this house is a mirror portico that overlooks the garden filled with flowers, palm trees, and animating fountains. The artistic taste applied in this spectacular house is reflective of the prestige and elegance of the family indeed. The Qavam family was one of the high-ranking families during the Qajar dynasty who were powerful and influential in the court. They controlled Fars province and the surrounding areas during that era for a long time.

They were the grandchildren of Haj Ibrahim Khan Kalantar e Shirazi, who was a noble political leader of both Zand and Qajar kings. Haj Ibrahim Khan Kalantar e Shirazi and his forefathers were originally the chiefs of the ” Bala Kaft ” district of Shiraz, who became the confidants of Zand and Qajar kings following their faithful services to them. Most of the interesting places were constructed, designed, or even rebuilt by the members of this family in Shiraz. Among the amazing places we can name are: Afif Aad Garden, Eram Garden, Delgosha Garden, Kalantar Garden, BiglarBeigi Garden, Naranjestan Garden, Zinat Al-Moluk inner courtyard of Qavam Garden, Husseinieh Gavam.

Historically speaking, Haj Ibrahim e Kalantar was the governor of Karim Khan e Zand, betrayed Lotf-Ali Khan e Zand, and joined Aqa Mohhamd Khan e Qajar. As a reward, the Qajar king appointed him as the governor of Fars province. The next Qajar king, Fathali Shah, challenged him and ordered his execution. His only son, Ali Akbar Khan, who was saved because of his tuberculosis, reproached Fathali Shah for killing his family members, and the guilty-conscious Qajar king paid him back by offering him a rank as Qavam Al- Moluk and appointing him the governor of Fars. Following his death, his son started to build Qavam House. It had several parts, including the courtyard, which functioned for official and legal affairs. It was also very appropriate for reception ceremonies.

 

The design of this beautiful garden is quite symmetrical, as the usual style of Qajar architectural models and the artistic style of the mansion part are focally that of Zand’s pattern.  The forehead of the main entrance is a red marble stone with inscriptions dealing with the date of construction and the man who built it. There are different mansions on the northern, eastern, and southern sides of the garden. The main mansion, Makhtab khaneh (school), and Gachineh Bath house are the major buildings. The first one consists of twenty connected rooms, including the basement for storing goods, food, and an armory. The porch represents the iconic double-pillar style, which was the dominant trend during the Zand era. The inner decorations, including the engravings, mirror-works, plasters, and paintings, however, represent Qajar style. The rooms that are located on the upper level were meant for the guests, including the colorful glass shades and marble fireplaces with paintings of birds and flowers.

 

The northern side of the garden is actually the Qavam School area, where the building also includes the interior lobby and the kitchen. Gachineh Bathhouse, one of the five traditional bathhouses of Shiraz, was connected to the inner courtyard or Naranjestan by a passageway. The basement was also considered the summer residential hall for the family, with stone reticulated windows. The area between the major mansion and the one in the south is a lovely garden surrounded by fences. The central pool nicely reflects the building and the sour orange trees. The old palm trees also add to the specific culture of Fars’ beauty in this old-fashioned house. There are other buildings here as well, like the servant rooms and a building in the southern part that has alluring wooden pillars and a mirrored ceiling, very representative of Shirazi architectural style.

 

Just join us and see how the Qavam family enjoyed their affluent life in their lofty mansions.

 

Blue Lagoon Island Brings Community Together for 41st International Coastal Cleanup

Blue Lagoon Island’s Project B.E.A.C.H. brought more than 500 volunteers together at Yamacraw Beach on Saturday, Sept. 19, for the 41st annual International Coastal Cleanup, removing marine debris while raising awareness about the importance of protecting The Bahamas’ coastal environment.
Held from 8 to 10 a.m., the cleanup attracted students, youth organizations, corporate partners, and community volunteers who worked along the shoreline to collect and categorize litter. The effort is part of the International Coastal Cleanup, a global initiative led by Ocean Conservancy that engages communities in removing marine debris and documenting the types and quantities of waste found along coastlines and waterways.
This year, volunteers collected more than 1,200 pounds of debris, including nearly 5,000 items such as glass and plastic bottles, metal cans, plastic bags, food wrappers, and other waste. The data collected will support Ocean Conservancy’s annual research, helping researchers, policymakers, and environmental organizations better understand the sources and scope of marine pollution.
“Every piece of debris removed from a beach represents a small but meaningful step toward healthier coastlines,” said Te-Shalla Clarke, education and sustainability officer at Blue Lagoon Island. “International Coastal Cleanup is an opportunity to take action while helping participants understand how everyday choices can affect our marine environment. We are grateful to everyone who gave their time this year and to the partners who continue to support these efforts.”
The Yamacraw Beach cleanup brought together a broad cross-section of the New Providence community, including the Governor General’s Youth Award (GGYA), Boys’ Brigade, St. Andrew’s International School Eco Club, Eco-Schools Bahamas, Temple Christian School Eco Club, Aquinas College, Doris Johnson Senior High School, Rotary International, Team Z from Zane Lightbourne Team, Yamacraw Urban Renewal and Girl Guides, along with corporate sponsors and community partners.
Participating organizations included Bahamas Waste, Bahamas Wholesale Agencies (BWA), Coca-Cola Circular Seas, ALIV, Fun Foods Wholesale Ltd., Marco’s Pizza, Rubis Bahamas, Sandals Foundation, Sandy Toes, Suntee, J.S. Johnson Insurance Agents & Brokers and Garnier, among others.
Shelton Burrows, chairman of the 12-member Yamacraw Urban Renewal Advisory Board, expressed gratitude on behalf of the board and residents for the cleanup effort.
“We deeply appreciate Blue Lagoon Island and its business partners for choosing Yamacraw Beach for this cleanup effort,” he said. “In partnership with ENV Launch, we look forward to building on this initiative with ongoing maintenance at Stokes Cabana. It is especially inspiring to see our young people volunteering, engaging in positive activities, nation-building and fostering civic pride across The Bahamas.”
Among the young volunteers was Kevin Bowe, a 12th-grade student and Environmental Club member at Aquinas College, who said the cleanup reinforced the need for greater environmental responsibility.
“When I saw the amount of garbage on and along the beach, I thought we really need to do a better job when it comes to preserving our environment,” Bowe said. “We need to be more aware of how we interact with the environment around us and respect it by cleaning up after ourselves. That would be very good for all of us, especially in the future.”
For Blue Lagoon Island, the International Coastal Cleanup is part of a broader commitment to sustainability, environmental education, and conservation. Through Project B.E.A.C.H. (Bahamas Education of Animals and Conservation of Habitat), the island supports initiatives designed to deepen understanding of The Bahamas’ marine ecosystems and inspire more responsible choices both on land and in the water.
“Environmental conservation is a key area of work for the Sandals Foundation, and key amongst that is building education and stewardship. International Coastal Cleanup stands as the largest global voluntary movement. It builds awareness of environmental consciousness and provides a platform for people to take action,” said Snovakia Watson, public relations manager at Sandals Royal Bahamian.
Watson added: “This year, we are pleased to partner with Blue Lagoon Island Bahamas and its dedicated volunteers as we come together to protect our delicate marine ecosystem. Together, we can make a difference, one coastline at a time.”
The cleanup reinforces a simple message: Keeping beaches clean is a shared responsibility. By combining hands-on action with the collection of valuable marine debris data, the initiative addresses the immediate problem of litter while contributing to the broader global effort to protect oceans and coastal communities.
Blue Lagoon Island’s Project B.E.A.C.H. organizes cleanups and educational initiatives throughout the year to deepen appreciation for The Bahamas’ marine ecosystems. The International Coastal Cleanup is part of a global effort to remove trash from beaches and waterways, identify pollution sources, and inspire behavior changes that protect the environment.

The Tabatabaei Historical House

A Gem of Persian Residential Architecture

 

Kashan, a historic city on the edge of the central Iranian desert, is renowned for its rich cultural heritage and exquisite architecture. Among the city’s many architectural treasures, the Tabatabaei Historical House stands out as a symbol of elegance, craftsmanship, and the refined lifestyle of 19th-century Persian aristocracy. Built during the Qajar dynasty (1789–1925), the house embodies the aesthetic and cultural values of its time, as well as the innovative architectural solutions developed to combat the harsh desert climate. Here, we will explore the history, architectural features, cultural significance, and ongoing preservation efforts of the Tabatabaei House. Through its story, we will gain a deeper understanding of Persian residential architecture and the lifestyle of Kashan’s elite during the 19th century.

Historical Background

 

Seyed Jafar Tabatabaei, a wealthy carpet merchant and member of the prominent Tabatabaei family, commissioned the Tabatabaei House, constructed around 1880. The house was built as a symbol of the family’s affluence and social standing in Kashan, and it served as both a private residence and a space for receiving important guests and conducting business. Seyed Jafar Tabatabaei chose the master architect Ustad Ali Maryam, one of the most renowned architects of the Qajar era, to design the house. Ustad Ali Maryam was renowned for his contributions to several notable historical buildings in Kashan, including the Borujerdi House, which was constructed shortly after the Tabatabaei House. His mastery of Persian architectural elements, combined with his ability to adapt to the local climate, made the Tabatabaei House one of the most impressive residences in the region. The house is in the heart of Kashan’s historic district, surrounded by other grand residences and important cultural sites. It reflects not only the wealth and status of the Tabatabaei family but also the broader social and cultural trends of the Qajar period, when Persian elites sought to express their power and sophistication through grand architectural projects.

The Architecture of the Tabatabaei House

 

The Tabatabaei House is an extraordinary example of Persian residential architecture, combining traditional design elements with innovative features tailored to the desert climate. The house spans over 4,700 square meters and includes three main sections: the interior or private area (Andaruni), the public or guest area (Biruni), and the servant quarters. Each of these sections is carefully designed to serve specific functions while maintaining the overall harmony and beauty of the structure.

The Central Courtyards

 

One of the most defining features of the Tabatabaei House is its three central courtyards, which are integral to the aesthetic and practical aspects of the design. These courtyards serve as the heart of the house, providing natural light and ventilation to the surrounding rooms. The courtyards are beautifully landscaped, featuring pools (Howz), gardens, and walkways that create a serene and refreshing environment in the middle of the desert. The largest courtyard, located in the public area of the house, is framed by an elegant veranda (Iwan-like spaces) on all sides.

This courtyard is designed to impress guests, with its central pool and meticulously maintained gardens, which include trees and flowers that add to the overall beauty of the space. The pool also plays a practical role, as the water helps cool the air in the courtyard, providing relief from the intense heat of Kashan’s summers. The two smaller courtyards, located in the private and servant areas, are more intimate in design but still maintain the same level of architectural detail. These courtyards provide private outdoor spaces for the family and servants to enjoy, and they are connected to the surrounding rooms through large windows and doors that create a seamless transition between indoor and outdoor living.

Windcatchers (Badgirs)

 

Like many traditional houses in Kashan, the Tabatabaei House has windcatchers (Badgirs), which are tall, chimney-like structures designed to capture and direct cool breezes into the house. These windcatchers are a remarkable example of Persian architectural ingenuity, as they provide natural ventilation in a region where temperatures can soar during the summer months. The Windcatchers of the Tabatabaei House serve a dual purpose, combining functionality with aesthetic beauty. Adorned with intricate brickwork, they add to the building’s visual charm while channeling cool air into the interior spaces. This ingenious design provides natural ventilation, maintaining a comfortable indoor climate without relying on modern air conditioning.

 

 

Symmetry and Geometric Design

 

The architectural design of the Tabatabaei House exemplifies Persian craftsmanship through its flawless symmetry and precise geometry. Every element of the house, from the courtyards to the Iwans and living spaces, is meticulously arranged to achieve a harmonious balance, reflecting the cultural emphasis on order and tranquility in traditional Persian architecture. This sense of symmetry extends to the house’s decorative elements, such as the intricate stucco work, meticulously arranged tile patterns, and vibrant stained-glass windows, all of which contribute to its harmonious and visually captivating design. The use of geometric designs in Persian architecture is not merely decorative. It is imbued with symbolic meaning, representing the order and beauty of the universe as seen through the lens of Islamic art.

Stucco Work and Stained Glass

 

The interior and exterior walls of the Tabatabaei House are adorned with intricate stucco work (Muqarnas), which showcases the skill of the craftsmen who worked on the project. The stucco designs include floral motifs, arabesques, and geometric patterns, all common features of Persian decorative arts. These designs are not only beautiful but also serve to enhance the visual impact of the space, creating a sense of elegance and refinement. One of the house’s most striking features is its use of stained glass (Orsi) windows, particularly prominent in the main rooms that overlook the central courtyard. These windows, with their colorful geometric patterns, allow light to filter into the rooms in a way that creates a kaleidoscope of colors, adding to the overall atmosphere of luxury and beauty. The stained glass also provides privacy by obscuring the view into the rooms from the outside while still allowing light to enter.

Underground Spaces (Sardabs)

 

Another unique feature of the Tabatabaei House is its extensive underground spaces (Sardabs), used as living areas during the hottest months of the year. These subterranean rooms are naturally cooler than the upper levels of the house, as the thick earth and walls help to insulate against the heat. The Sardabs connected to the rest of the building through stairways and passageways, allowing the family to move between the different levels easily. In addition to serving as living quarters, the Sardabs were also used for storage, particularly for food and water, which needed to be kept cool in the desert climate. This ingenious use of underground spaces demonstrates the advanced understanding of environmental design that Persian architects had developed over the centuries.

The Cultural Significance of the Tabatabaei House

 

The Tabatabaei House is not just an architectural masterpiece. It is also a cultural symbol that reflects the lifestyle, values, and social structure of Kashan’s elite during the Qajar period. The house was designed to accommodate the needs of a wealthy family, with separate areas for private family life, entertaining guests, and housing servants. The division of the house into distinct sections for private and public use is a reflection of the importance of privacy and hospitality in Persian culture. The private areas of the house, including the inner courtyard and family rooms, were reserved for the exclusive use of the family, while the public places, such as the main courtyard and reception rooms, were designed to impress and accommodate guests. The house also reflects the social hierarchy of the time, with separate quarters for the servants and spaces for the family to conduct business and host important guests. This hierarchical structure is evident in the house’s layout, with the public areas being more ornate and lavishly decorated. The private and servant areas are simpler but still elegant.

Preservation and Restoration Efforts

 

In recent years, significant efforts have been made to restore and preserve the Tabatabaei House, ensuring that future generations can continue to appreciate its architectural and cultural significance. The house had fallen into disrepair over the years. Thanks to the efforts of the Iranian government and cultural heritage organizations, it has been restored to its former glory. The restoration process focused on repairing the delicate stucco work, reviving the vibrant stained-glass windows, and strengthening the building’s structural framework. These efforts aimed to preserve not just the house’s physical form but also its historical authenticity, ensuring it continues to embody the essence of 19th-century Persian residential architecture. Today, the Tabatabaei House serves as a museum, welcoming visitors from across the globe who are drawn to its stunning architecture and the rich history of Kashan’s prominent families. It stands as a testament to the architectural and cultural achievements of the Qajar period. It continues to inspire admiration for the ingenuity and artistry of Persian builders.

Conclusion

 

The Tabatabaei Historical House exemplifies the brilliance of Persian residential architecture, seamlessly blending aesthetic appeal, practicality, and cultural importance. Its elaborate design, featuring courtyards, windcatchers, intricate stucco work, and vibrant stained glass, showcases the sophisticated architectural and environmental design expertise cultivated by Persian architects over the centuries. More than just a house, the Tabatabaei House offers a glimpse into the lives of Kashan’s wealthy families during the 19th century, showcasing their values, social structure, and way of life. Today, it remains one of Kashan’s most important cultural landmarks, a symbol of the city’s rich heritage, and a source of pride for Iranians and architectural enthusiasts. Through careful preservation efforts, the Tabatabaei House will continue to inspire future generations, offering a timeless example of the beauty and sophistication of Persian architecture.

World Travel Awards reveals Middle East 2026 winners at Dubai Gala Ceremony

The Middle East’s leading travel and tourism organisations and destinations have been honoured at a VIP gala ceremony in Dubai. Industry leaders gathered at One&Only One Za’abeel to celebrate the winner.
Dubai reinforced its standing as a global tourism powerhouse after being named ‘Middle East’s Leading Destination’, whilst Abu Dhabi was voted ‘Middle East’s Leading Business Travel Destination’, and Saadiyat Island claimed ‘Middle East’s Leading Beach Destination’. Saudi Arabia was recognised with titles for ‘Middle East’s Leading Heritage Destination’ and ‘Middle East’s Leading Cultural Destination’, with Riyadh declared ‘Middle East’s Leading City Destination’. Ajman was named ‘Middle East’s Leading Emerging Tourism Destination’. Sharjah’s Mleiha National Park, home to remarkable geological formations and desert landscapes, won ‘Middle East’s Leading National Park’.
In the fiercely contested hospitality sector, Emirates Palace Mandarin Oriental won the coveted title of ‘Middle East’s Leading Luxury Hotel’. Four Seasons Hotel Abu Dhabi at Al Maryah Island was voted ‘Middle East’s Leading City Resort’.
In the newcomer categories, Mandarin Oriental Downtown, Dubai, won ‘Middle East’s Leading New Hotel’ and InterContinental The Red Sea Resort, Saudi Arabia, claimed ‘Middle East’s Leading New Resort’.
Brand winners included Four Seasons (‘Middle East’s Leading Luxury Hotel Brand’), and The Ascott Limited (‘Middle East’s Leading Serviced Apartment Brand’).
Aviation winners included Emirates, which secured ‘Middle East’s Leading Airline – First Class’, while Emirates – Skywards claimed ‘Middle East’s Leading Airline Rewards Programme’. Etihad Airways took ‘Middle East’s Leading Cabin Crew’ and ‘Middle East’s Leading Airline – Economy Class’. Qatar Airways claimed the coveted title of ‘Middle East’s Leading Airline’. flynas took to the podium to collect ‘Middle East’s Leading Low-Cost Airline’.
Graham Cooke, Founder, World Travel Awards, says: “Our winners represent the very best of the Middle East’s travel and tourism sector, and I congratulate each of them. They are all playing starring roles in raising the collective benchmark of our industry to even greater heights.”
The announcement comes as part of WTA’s Grand Tour 2026, a global search for the finest travel and tourism organisations, with other ceremonies in the Maldives, Zanzibar, Jamaica and Montenegro, culminating in the Grand Final in Tanzania.

Shah Mosque

 

Known as the artistic capital of Iran, the city of Isfahan owes much to its post-Islamic heritage under the Abbasid caliphate. Shah Mosque, or the Royal Mosque, or what is quite popularly known as Jame Abbasi Mosque, is the manifest indication of the Abbasids’ cultural contribution to Iran’s history of civilization. It is at the beating heart of Isfahan, adjoining Naqsh-e-Jahan Square. Shah Mosque is considered one of the most prominent historical sites in Isfahan and throughout Iran.

It was built during the Safavid period, by direct decree of the Safavid king, Shah Abbas. Regarding the dazzling architectural style, it is not hyperbolic if one claims that it is the crown example of artistic modus operandi during the Islamic epoch. This elegant monument truly shines as a brilliant gem of Islamic carpentry, embellishments, and tile work.  Shah Mosque was recorded as one of the significant historical and artistic monuments of Iran in 1931. UNESCO also added it to its heritage list, in addition to its neighboring cultural heritage Naqsh-e-Jahan Square.

Its construction started in 1611, when Shah Abbas of the Safavids ordered the building of an Islamic masterpiece. It was finished in 1630 when Shah Safi, King Abbas’s heir, took the throne and was the king of the dynasty from 1629 to 1642. The motivation behind King Abbas’s plan was to build a magnificent mosque so that the holy spirit of King Tahmasb of the Safavid dynasty would lie in everlasting heavenly peace. In 1638, the external façade of the mosque underwent some renovations, the most important of which was adding marble layers to the foundational base.

As the architectural trend of the Islamic and Safavid method was concerned, even the specific information about the famous artists of the era who did the artistic job of construction and decorations is quite available through the stylish inscriptions attached to the walls or the pillars’ bases.  Among them, we can refer to the pompous name of the great Safavid artist, Badi Al- Zaman Tuni, who was actually the master planner of the project and its manager. Other prominent names are also included in the precious historical document of the inscription, such as the lofty name of its engineer, Ali Akbar Isfahani, and Muhib Ali Beg as the famous contractor of Isfahan’s artistic monuments.

There are major divisions in the Shah Mosque. The first one is the majestic entrance port with two prayer towers or minarets, and the second one is the main part of the mosque, including the elevated dome and its own minarets. The yard space is actually between these two sections. The form of the entrance section appears in the shape of a leapfrogged structure that is the symbolic feature of Islamic structures during the Safavid and the Seljuk eras.

 

What sounds unusual in Shah Mosque is its structural direction. While it was common among all the Islamic architectural styles for monuments to be built towards Mecca, the front side of Shah Mosque was directed another way. Surprisingly, when one enters the mosque and turns right, it gets in line with the right Islamic direction. It means that when the performers come out in the yard, they are automatically facing Mecca. The magic of this architectural trick lies in the fact that both the main entrance and the central dome of the mosque are quite visible from the grand square. Another architectural wonder of the mosque lies in its sound reflection, which is specifically about the echoing characteristics of the building. Practically, if everyone speaks under the dome, anybody in the mosque can hear. Last but not least, concerning the outstanding features of the mosque is the multifariousness of the blue colors used in the tiling and the heavenly ambience they create in their juxtaposition with the pale madder color of the base stones applied in the walls.

The acoustic characteristic of the dome is due to the core stone that is used in the center of the dome. This peculiar stone is basically different from the other ones used elsewhere all around the dome. This way, the preaching Imam is clearly audible even if he speaks in a low tone.  It has been one of the entertaining tests for the visitors over the years, and they are usually seen standing under the dome tapping on the books at hand with a piece of stone and listening to the way it echoes.  

Aesthetically speaking, the minarets appear in turquoise blue colors encircled by vaulted verandas. Beautifully, on this azure background, there are shining white calligraphies all in geometric forms of the names of the holy prophet Muhammad and Imam Ali. Each side of the haven, from east to west, is the courtyard of the schools that provides a spectacular view of the dome area with its heavenly blue reflections of the light on the polished tiles. In addition to this amazing architectural structure, the mosaic artworks are indeed sumptuous.

Towards the center of the dome, the density of the navy and turquoise blue gets less and less apparent, and the yellowish golden colors become prominent. To add to the visual wonder of the architectural structure, the reticulated parts of the ceilings are visibly divided into two categories. The first section concerns the deep netted parts where the used tiles are dark blue, and those that are protruding and projected are sky-light blue ones. The twisted bands that are to separate different layers appear in yellowish gold to create an eye-catching contrast.

All in all, the outstanding look of Nagh-e-Jahan Square owes a lot to the peculiar position of Shah Mosque that is clearly visible from everywhere in the square. The spectacular view of the mosque also owes a lot to the particular calligraphy of Master Reza Abbasi, who preferred the usage of seven-color tiles that were also cheaper and look more Persian. Floral patterns help the spiritual delicacy of the tile figures. Four major Islamic and Persian colors madder red, azure, turquoise blue, gold, and white are masterfully arranged together, which are not only thematically remarkable but also harmoniously symbolic.  

Welcome to the heaven of art and architecture in the Shah Mosque.

The Spring Feeling: Why travellers are redefining wellness by doing less

In recent years, the idea of a wellness holiday has often been shaped by carefully planned programmes. From sunrise yoga and fitness retreats to longevity treatments and curated daily itineraries, the focus has frequently been on making the most of every moment. Whilst there is still a place for that, Spring Hotels is seeing guests across its six-hotel portfolio in south Tenerife increasingly seek something a little simpler.
Rather than returning home feeling like they’ve completed another programme, they’re looking for holidays that leave them rested, reconnected and genuinely refreshed. More time together. More time outdoors. Less pressure to plan every hour of the day.
It’s a shift the hotel group has seen become increasingly apparent throughout 2026 – one it has come to describe as The Spring Feeling.
It’s not a prescriptive approach to wellness. It’s simply the feeling guests leave with after enjoying the things everyday life often doesn’t allow time for: long breakfasts, afternoons spent with a good book, leisurely dinners, live music and quality time with the people they love.
This observation reflects wider changes taking place across the travel industry. ABTA reports that 90% of 25 to 34-year-olds believe holidays are important for their mental wellbeing, compared with 80% of UK adults overall. British Airways has also identified a growing appetite for slower travel, with almost one in five UK travellers saying they ignore the clock entirely on holiday, choosing to eat, sleep and explore whenever they choose.
Together, these trends point to a broader shift in what travellers want from their time away: less pressure to maximise every moment, and more freedom to rest, recharge and enjoy a holiday at their own pace.
Jo Robinson, Chief Sales Officer at Spring Hotels, says the change has been gradual, but unmistakable.
“Guests still want to enjoy themselves, explore and make the most of their holiday, but there’s definitely been a shift in what that looks like. More people are telling us they simply want to switch off. They’re less interested in sticking to a schedule and more interested in feeling better than when they arrived.”
Across its six-hotel portfolio in south Tenerife, Spring Hotels has focused on creating experiences that give guests more freedom over how they spend their days. Tenerife’s climate means days are lived outdoors, with breakfast on the terrace, afternoons by the pool or sea and evenings that continue outside long after dinner.
A standout example is Beats & Brunch at Spring Hotel Vulcano, where guests can enjoy brunch until midday alongside live DJs, removing the pressure of setting an alarm to make breakfast by 10 am. The experience creates a relaxed, sociable atmosphere where the morning doesn’t feel rushed, setting the tone for a day shaped by choice rather than a timetable.
Although it wasn’t created as a wellness product, the experience naturally reflects what many travellers now value most: holidays that feel easy.
For Jo, that’s exactly the point.
“We don’t think people are necessarily searching for another version of wellness. They’re looking for holidays where they don’t have to think too much. Sometimes the best part of the day is sitting by the pool with a book, staying a little longer over dinner or listening to live music without checking the time. Those are often the moments guests remember long after they’ve gone home.”
The appeal of that slower pace isn’t surprising. Mental Health UK’s 2026 Burnout Report found that 91% of adults experienced high or extreme levels of pressure or stress during the previous year. Against that backdrop, it’s perhaps unsurprising that more travellers are looking to use holidays as an opportunity to step away from the demands of everyday life rather than simply fitting more into their time away.
For Spring Hotels, that’s the essence of The Spring Feeling. Not prescribing how people should relax. Not asking them to optimise every moment. Simply creating the space to enjoy the simple pleasures that make people feel like themselves again.
Because sometimes, feeling good doesn’t come from doing more. It comes from finally permitting yourself to do a little less.

Pars Museum

 

Encircled by a gorgeous garden, the Pars Museum appears as an octagonal gem, formed like an edged, ridged hat, which used to be a pavilion to host the prestigious foreign authorities of Karim Khan Zand in Shiraz. Although it houses Iran’s precious historical collection, it is highly valuable in its own right, boasting a unique and elegant architectural design. When you look at the building from the main entrance door, surrounded by a green area, the construction stands as a large hat in the center of the Garden. From within, it is also extremely dazzling with its practical traditional paintings. The Pars Museum by itself is part of a costly treasure that holds the most beloved ancient cultural works in the history of Iran. The history of this stylish construction dates back to the Zand period, when it was designed to host royal guests and representatives of foreign countries. Gradually, it turns into the resort of the kings and the princes.

Later, this royal building was converted into a museum open to the public. It was once renovated and reopened, welcoming national and international tourists. Pars Museum is at the top of the list for every tourist visiting Shiraz. Surrounded by Shirazi cedar and pine trees, the building shines in the middle of Nazar Garden. Its octagonal construction was incredibly designed and is so sight-catching with azure blue tile works representing the majestic haunting scenes all around the top edge. The building is 1.5 meters from the ground. That is why there are some steps to get in. When you enter, you will see the main central hall and a spectacular dome in the ceiling. There are also several king chambers close to the main hall. If you would like to visit the grave of Karim Khan Zand, you need to visit the eastern chamber first. One of the reasons this building is so attractive to tourists is the appealing paintings that are on the walls. On the ceiling, under the luxurious dome, there are stalactites.

 

The internal design of the halls and chambers is highly decorative so that every visitor would feel the atmosphere of a luxurious setting. The antique works collected in the Pars Museum are the main attraction for this tourist spot. The pieces are indeed grand in value, ranging from the Achaemenid, Sassanid, and even pre-Islamic era. The precious paintings of Agha Sadegh, the famous painter, are also collected there. The works are categorized into three sections: Islamic, Prehistoric, and historic eras. Within this context, the building is not only for the visual pleasure of the visitors, but also for the cultural and historical research works for those who are interested in the history and art of Iran. The best season for visiting this memorable monument is Spring, which coincides with the blooming Shirazi sour orange blossoms, spreading the mesmerizing aroma that is the individual characteristic of Shiraz.

During the time, Karim Khan was in power and ordered to construct this alluring garden area, it got so popular and the target of attention that it led to the construction of other Zand complex buildings like Karim Khan Citadel, Forum, and the central building that looks like an octagonal hat. This peaceful place turned out to be the host of official rituals. During the Qajar period, Hossein Ali Mirza Farmanfarma, Fathali Shah’s son, who was the governor of Shiraz, ordered the construction of two other buildings on the western side of this garden. These marginal constructions are called “The Mirror” and “The Sun”. Unfortunately, the only building that is left is the central construction, which looks like an octagonal hat.

The unique aqueduct system of the garden is surprisingly connected to the big subterranean of Rokn Abaad in the northwestern side of Shiraz. On the four corners of the garden, you would see four basins and water views, two of which were so big that during the construction of the nearby road, they were destroyed, with their stones removed to the garden of Hafiz Shrine. A historical cylinder stone tablet is on the west side of the garden, which is the main attraction of this place. On this stone, there are three tablets with Pahlavi Naskh script, Nastaaliq Persian calligraphy of the three historical periods of the Seljuks, the Safavid dynasty, and the Qajars.

 Another historical work in this garden is the unique stone piece of the Sun Palace on the east side of the area. Two lion figures are engraved on this stone. Other figures carved on the stones here are the images of the famous Iranian heroes who were presented in the wars against the Ottoman Empire, the first Hero of the Zand period, named Moosa Khamis. Other images represent the legendary figure of The Shahnameh, the greatest Persian secondary epic by Ferdowsi. The artworks that are collected indoors, in the octagonal building, are as follows:  some antique Qurans ascribed to Imam Ali, Imam Hassan, and Imam Sadiq’s handwriting. They were once stored in the Atiq Mosque. A Quran that belonged to Osmas, the second Islamic Caliphate, with his blood drops on it while he was being murdered. About 13 pages of The Mathnawi by Rumi, which Mulla Sadra, the famous philosopher of Shiraz, wrote. Surprisingly, a marriage licence that belongs to a famous minister named Hassan Mostawfi.

Last but not least is the tomb of Karim Khan. In his will, he had asked to be buried in the eastern chamber close to the main hall. The amazing historical event that happened during Agha Mohammad Khan Qajar when he ordered to exhumate Karim Khan so that his bones got transferred to Golestan Palace in Tehran, and he could pass over and kick them in disrespectful, avenging behavior. Fortunately, years after the end of the Qajar dynasty, Karim Khan’s bones were returned to Shiraz and were buried again with full respect. Therefore, the Pars Museum, or the peaceful palace where Karim Khan is sleeping forever, attracts visitors with its historical stories, arts, and the environment that are part of the puzzle of Iran’s rich history.