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.

The Landings Resort & Spa in St. Lucia Puts Focus on Women’s Health and Cancer Recovery

The Landings Resort and Spa is delighted to unveil a new spa programme designed to help women navigate the challenges they face at every stage of life.  This personalised approach customises treatments to address women’s specific life events, including motherhood, menopause, hormonal changes and even ageing, whilst also providing a space for women to reconnect with themselves, offering a sanctuary centred around women and their needs.
This new female-focused spa menu includes the only Oncology Spa Programme in the Caribbean, which launched in late 2024 when the resort became the first spa in the Caribbean and the fourth in the Americas to partner with Ricardo Fisas Natura Bissé Foundation. The goal of both spa programmes is not only to engage spa guests through a hyper-personalised treatment plan, but also to foster emotional connection and promote healing from the inside out.
“We have seen too often that traditional medicine doesn’t always treat the whole person, particularly when it comes to women’s health.  Our spa is about so much more than treatments; it’s about creating a sanctuary where guests feel nurtured, restored, and heard,” says Ana Shierla Sanchez, Spa Manager at The Landings Spa.
“We ensure our guests’ needs are met for their specific areas of concern, and we take the time to find out what will work best for them.  Every treatment begins with a thorough consultation to ensure it is tailored to the guest’s individual needs and wellbeing goals.”
At the heart of any effective spa programme is an expertly trained, nurturing team, and the spa staff at the Landings Resort Spa are among the best in the Caribbean. Therapists undergo specialised Oncology Wellness certification training as part of the resort’s annual professional development programme, equipping the team with the knowledge and skills to safely deliver treatments tailored to the unique needs of oncology guests.  The spa’s treatments offered for this programme include Pre or Post Radiation Comfort Skin Treatment, Soothing Scalp Experience, Restore & Replenish Body Hydration and more. Used effectively across hospitals in Spain for over a decade, all treatments incorporate products from Barcelona-based luxury skincare brand Natura Bissé. Spa therapists are also trained in the use of natural oils and teas to support menstrual cycles, menopause night sweats, as well as postpartum treatment therapy.
The Landings Resort & Spa’s innovative spa treatments and services reflect its unwavering commitment to excellence, innovation, and the pursuit of the highest standards in luxury hospitality in all areas of the resort.  At The Landings, it isn’t all just about a holiday or one spa treatment; it’s about the overall experience of a luxurious retreat to Saint Lucia, on one of the most beautiful beaches in the Caribbean. Guests of the resort experience personalised care at the spa and beyond, encouraged to slow down and to embrace often overlooked rest.

Eram Garden

 

Eram Garden is, without a doubt, the most gorgeous Persian garden in Iran, a blend of classical and modern styles, in the historical and cultural city of Shiraz. It is definitely at the top of every tourist’s list. The fragrant blossoms of sour orange trees and the unique tall cedar trees that are surprisingly called “Shirazi Cedars” are the major reasons why Eram Garden has become a point of attraction both for national and foreign tourists. The mesmerizing wonder of Eram Garden is also manifest in the mystic poems of Hafiz, the outstanding 14th-century sonneteer. This beautiful garden also serves a scientific purpose, as it hosts unique plants suitable for academic research. Within this context, the prestigious University of Shiraz was accepted as the institute in charge of Eram Garden in 1963. Later on, in 2011, UNESCO World Heritage registered Eram Garden in its list as the prototype of the Persian-style garden.

 

Currently, it is the core of attraction for the interesting tourists from all over the world, not just due to its historical background, but also because of its unique beauty and location situated in the lovely city of Shiraz with its delicate, pleasing weather. Although the pond in front of the building is the classic structure of Persian gardens, its form and positioning are very special. It has bestowed a serene, friendly feeling on the garden, unlike other Persian gardens that offer a majestic and grand sense. The three-level building is towards the south along the extended axis. A famous Shirazi architect, Haji Mohhamad Hassan, who designed thirty-two nice rooms with poem engravings on their walls, planned the form. It is moderate in height and is very close to the front pond with the short palm trees symmetrically in its four corners. The facade of the building is basically made of white stone and white reticulated windows, and the blue and white tile works have created a bright and cheerful scene. Originally, the building belongs to the Qajar period and is considered to be one of its masterpieces because of the alluring artworks used in its architectural style, like paintings, tile works, tori, and lithography, together with exemplary chiseling.

 

There is an eye-catching atrium with a flat roof exactly in front of the building, with two royal pillars to support it. Following the Qajar era, at the end of the Zand period, the chiefs of the Qashqai tribe of Fars owned the garden. One of the heads, named Mohammad Qoli Khan, actually ordered to construct his impressive house nearly at the beginning of the eighteenth century with the ideal surrounding plant coverage, including Shiraz sour orange, cedar, pine, pomegranate, olive, and persimmon trees. However, the very original form of the garden belongs to the eleventh century, dating back to the Seljuks era. It appeared in the famous standard Persian garden style with its quadripartite form known as “the garden of the king” or “Bagh-e-Shah” in a relatively simple manner with limited embellishments. In its historical course of development, the garden has had different owners during its one hundred fifty years of existence. Once, it was also the property of one of the distinguished families of Shiraz, named the Qavami family.

 

 

 

Exclusively, there are seven rare colorful tiles stylishly used all around the building, which reflect scenes from historical folktales with religious or national and cultural themes. The poles are made of single large blocks of Gandomak marbles with engravings of famous verses of Shirazi poets like Hafiz, Saadi, and Shourideh on them. The spectacular view of the building, the singular fragrance of Shirazi blossoms, the elegant place the garden is located, the academic significance of its botanic value, and the surreal trees that do belong to the culture of Shiraz, are only examples of the attractions that mesmerize the national and international tourists and have made the heavenly garden of Eram to stand as the must-be-seen spot in the list of every tour operator in Iran.  

This calm and gorgeous garden hosts the beauty of more than forty-five plant types, signified and labeled meticulously as a botanical park. There is a specific area where various kinds of fruit trees like Shirazi sour oranges, pomegranates, persimmons, olives, and walnuts are collected. There is another section in this garden that is called the “Rock Garden” where many rare kinds of sub-tropical plants are preserved. The outstanding wonder of Eram Garden is its two hundred-year-old tall cypress trees universally known as “ Sarv-e-Naaz-e Shiraz”. They are unique and the way they are set in ordered rows in and around the garden. Still more amazing is the area where about three hundred types of roses are displayed, which makes every visitor feel a heavenly fragrance, especially during the spring.

Many photographers and Persian dress stylists come and take iconic pictures with the imaginary background of the well-known old cedar tree ( Sarv-e-naaz e Shiraz) that dates back three thousand years.  Other symbolic scenes that highlight Shiraz Eram Garden are the myrtles that appear as the pretty brides of Shiraz Eram Garden. Among the historical events that took place in Shiraz Eram Garden, one can mention the evening party hosted by the British ambassador, Sir Denis Wright, in 1965, at the time of the chancellor of Shiraz University. It also hosted the Asia Institute when Eram Garden was considered to be part of the College of Law. Although both the building and the garden are under the support of Shiraz University as Shiraz Botanic Garden, it is open to the public every day and is safeguarded by Iran’s Organization of Cultural Heritage.

The tourists could pleasantly enjoy walking on the beautiful traditional rubble-stone works of the pavements of Eram Boulevard and remember the golden time of the past Shiraz city. They can easily experience the memorable Shirazi dishes in the nearby restaurants like Shater Abbas, Dehliz, or a bit farther, Haft Khan Complex, which are available either by walking or by taxi. Enjoy the aromatic fragrance of Bahar e Shiraz (Shiraz Blossoms) in Eram Garden.

A New Season of Festivals Arrives in Greater Palm Springs This Autumn

Greater Palm Springs has long been recognised as a destination where culture, creativity and community come together. This autumn, the region will build on its internationally recognised events scene with a vibrant line-up of new and returning experiences celebrating music, culture, design and sport. From the launch of major new electronic music festival Head Trip to the 40th anniversary of Palm Springs Pride, here is what is happening in Greater Palm Springs this autumn:
Head Trip brings a new sound to Greater Palm Springs | 10-11th October
Greater Palm Springs welcomes a brand-new addition to its renowned festival landscape with the desert debut of Head Trip, a next-generation electronic music festival taking place at the iconic Empire Polo Club.
The inaugural event will bring together a powerhouse lineup of global artists, including Calvin Harris, Skrillex, Swedish House Mafia, FISHER and Chris Lake, creating a one-of-a-kind desert festival experience that adds a fresh chapter to the region’s events scene.
Greater Palm Springs Pride celebrates 40 years | 6-8th November
Greater Palm Springs Pride reaches a major milestone in 2026, celebrating its 40th anniversary with the theme “Be Included.”
The celebration marks the culmination of a three-year campaign focused on inclusion, belonging and community – reinforcing the destination’s reputation as one of California’s most welcoming and diverse destinations.
Modernism Week showcases the destination’s iconic design heritage | 15-18th October
Known worldwide for its mid-century modern architecture and design legacy, Greater Palm Springs will again celebrate its creative identity during the October installment of Modernism Week.
The event invites visitors to explore the destination’s architectural treasures through exclusive home tours, architectural experiences, design talks and special events – a must for design lovers.
Día de los Muertos honours heritage and tradition | November
The autumn season also spotlights Greater Palm Springs’ vibrant Hispanic heritage through a series of Día de los Muertos celebrations across the valley.
Highlights include Run with Los Muertos in Old Town Coachella on 7th November, Coachella Valley Days of Los Muertos at Sunnylands, and the Palm Springs Art Museum’s Día de los Muertos Festival. Each event honours the tradition of remembrance through art, music, culture and community, offering visitors an authentic insight into one of the region’s most cherished celebrations.
BOOK: Palm Springs Fly-Drive Package at Westin Mission Hills Resort
Travellers looking to experience autumn in Greater Palm Springs can book a seven-night fly-drive holiday with Bon Voyage.
Staying at The Westin Mission Hills Resort & Spa in Rancho Mirage, guests can enjoy mountain views, championship golf courses, multiple swimming pools and award-winning spa facilities, while travellers have the flexibility to explore Palm Springs’ celebrated mid-century architecture, boutique shopping and acclaimed dining scene.
The package starts from £2,195 per person, based on two adults sharing – including a saving of £150pp
Includes return flights from London Heathrow to Los Angeles, a midsize SUV rental car and seven nights at The Westin Mission Hills Resort & Spa Based on October 2026 departures.

Carpet Museum

It has been Ages since that Persian Carpet became universally iconic. Aren’t you interested in knowing the reason why it has been so? It is not irrelevant if one ascribes its worldwide fame to the long history that authenticates the quality and origin of the Persian Carpet. The most reliable source that every interested researcher could rely on and find valuable information about Persian carpets is the Iran Carpet Museum in Tehran. The museum hosts a variety of fascinating carpets in different styles and various backgrounds, not only the colors, but also the treads and knotting styles, and the patterns are reflective of distinct stories standing behind each single Persian carpet there.

When we refer to the origin of the Persian carpet, its unrivaled value becomes clearer. The art of Carpet weaving in Iran is amazingly older than any art or literature. It dates back five thousand years BC. This is incredible compared to the emergence of drama or epic as the early manifestation of human artistic experience. What is left from the advent of carpet weaving in Iran are, unfortunately, some worn-out chunks belonging to the antique times. In Persian culture, carpets are highly important, as they are the core point of interior design in every Iranians’ house. Depending on personal taste, they appear in various colors, types, and even shapes and sizes.

However, the traditional form of the Persian carpets is rectangular, which reflects connotative symbols that suggest their own hidden, legendary stories. Iranians call this Traditional shape of the carpet “ Farsh” or “ Ghalee”, which normally reflects a garden of beautiful flowers, or mystic curves and motifs. They might even reveal mythological figures, celestial bodies, natural sceneries, and epic scenes from the ancient history of Iran. These images are deeply ingrained in the minds of the Iranian people from childhood. They remember well how the Persian epic figures on their house carpets were their friends they played with, or maybe the enemies they imaginatively challenged.

Although there are many Persian carpets stylistically different from each other, such as Kilim, Ghalicheh, Khersak, or Gabbeh, all of them are traditionally called Ghali or carpet. The way they are used completely depends on personal tastes, but they are normally used to cover the floor, hang on the walls, or put on beds or sofas. The artistic and spiritual value of Persian Carpets is so great for Iranians that they do not walk on them with shoes on.  Persian carpets also reflect the diverse cultures of different ethnic groups. The most precious carpets in Iran are those that are woven by hand, not by machines. Surprisingly, the most valuable pieces are those that have any written weaving designs. Often, the women or the men who weave them only use their imaginations.

Although the scope of information about these cultural arts is so vast and unlimited, the reference source on Persian carpets is the Iran Carpet Museum. This museum acts as a treasury that provides the observers with thousands of artistic pieces that include the most luxurious silk carpets of Tabriz, the eye-catching artistic carpets of Isfahan and Kashan, and the carpets imaginatively hand-woven by the nomads of the Qashqai tribes in Fars. As fascinating as the Persian carpet itself, the building of the Carpet Museum of Iran is so marvelous. Looking at the building closely, it appears to be a carpet-weaving tool. The architect who constructed this building was Abdol-Aziz Mirza Farmanfarmaian.

Still more surprising, the pillars used in the building were consciously planned so that their shadows on the main walls of the building could reduce the temperature during summer seasons. This beautiful building has two grand halls, both for showing the gallery of beautiful carpets and temporary exhibitions that can showcase items in different seasons. Historically, this museum was opened in 1978. When it was opened for the first time, only a couple of carpets were shown. Gradually, other pieces were added to the museum. The main target of this museum was to improve the culture and art of Iran’s carpet weaving. Because of hosting diverse types of carpets, the museum actually functions as a research center for anthropologists, artists, and those who are interested in the art and culture of Iran.

The good news is that the museum is very well located and is very easily accessible. It is very close to Laleh Park, situated on the North-West side of it. It is on the Kargar and Fatemi junction. It is easily accessible both by car and by the city station. Enqelab Square train station, which is reachable by the yellow line, is the nearest transportation zone to the museum. On the north side of Kargar Street, specific buses take visitors to the museum. The close distance of Laleh Park to the museum makes it possible for the visitors to experience both inside and outside. There is also another interesting museum called The Museum of Contemporary Art, located at Laleh Park itself. The Yellow Line that belongs to Tehran Subway would take the visitors to the Moghadam Museum, the Jewelry Museum, Negarestan Museum, the Palace of Golestan, the Grand Bazaar of Tehran, Iran’s National Museum, Bagh-e-Melli, Library, and Malek Museum. The Glassware and Mosaic Museum, the City Park, and the Palace of Masoudieh are the greatest tourist sites that are very close to the Carpet Museum of Iran. Even the famous Valiasr Street, which is one of the most famous streets in the Middle East, is worth seeing and window-shopping in.  

Valiasr Street does have plenty of nice restaurants, both modern and traditional, where tourists can sit and enjoy. Shandiz, Avani, and Grill are only famous examples. There are many cozy tea-houses and coffee shops that welcome guests as well, both in Valiasr and Kargar streets. Additionally, as the Carpet Museum is located at the core of Tehran, tourists can easily find many pleasant hotels and guesthouses there. They range from grand, luxurious hotels like the 5-star Laleh International Hotel, which is very close to the museum, to other great hotels like Omid, Idea AP Hotel, and Persian Gulf. Try to take the unique opportunity of looking at the gallery of colors, art, and culture in the Iran Carpet Museum.