Spatial Bricolage - Space Making in the works of Bawa by Jainee Gusain

Declaration This work contains no material which has been accepted for the award of any other Degree or Diploma in any University or other institutions and to the best of my knowledge does not contain any material previously published or written by another person except where due reference has been made in the text. I consent to this copy of thesis, when in the library of CEPT Library, being available on loan and photocopying.

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FOUNDATION

We all have our own admiration towards an ideal architect, which could be related to their language of work, material choices, design philosophy, techniques, system, etc. Architects in south Asian countries have been recognized internationally for their regional architecture and the revolutions they brought to their respective countries. Sri Lanka is one country that was inspired by Geoffrey Bawa, The Protagonist who acted like a catalyst between the culture and the vernacular resources of the Island, who now has become an inspiration in Asia and has managed to pass on the legacy in the Islandâ&#x20AC;&#x2122;s Architecture till today. Geoffrey Bawa has brought a remarkable evolution through his discovery of a new era of architecture after modernism which was most suitable for the climatic conditions and geographic location. His contribution in our ďŹ elds has not only inspired the architectural generation but also planners, artists, designers, space makers. His understanding about the usage of the appropriate local materials through his vernacular practice has played a key role in promoting sustainable designs throughout south-east Asia. Bawa is among very well documented personalities in the profession of architecture. This study is an attempt of an aspect that has not been focused upon yet in his documentations which is the morphology of elements used in his projects. The other part of this thesis will introduce some very skilled identities who followed a similar ideology in the space making elements. The study will identify and decode the impact of elements supporting the culture of the region designed by these personalities along with the elements of architecture through Bawaâ&#x20AC;&#x2122;s application of the same material in the spaces. The study will also help learners have an exposure towards the making of a space with respect to the design principles applied behind it as well as interior elements as a variety. The research is an attempt on studying the materials and their application and amalgamation of varied elements in the spaces formed. This will bring a better understanding of how sometimes interior space making also leaves a large impression of style of the architect and artists who created the space. The work will be presented through a chart of the elements used in the same material but by architect and the artist separately to show the importance of their cont contrasting works. 15

THE PROTAGONIST

Sri Lankan Architect is known as one of the most inspirational architects of Southern Asia has made a huge contribution to Sri Lanka's architecture. He was known for his vernacular approach for the tropical region of the country. His design sensibilities were majorly towards climatic response and using local resources. Bawa is known as one of the main ďŹ gures who introduced Tropical Modernism in architecture. His works were an insightful blend of traditional interiors with sustainable design. He always had a keen interest in arts and crafts which we can witness in his interiors toda today. He worked with traditional details in architectural components like columns, smaller and larger courtyards, windows, doors. Similarly with the interior elements like wooden and metal furniture along with tapestries. He was fond of wall hangings and fabrics on the ceilings done by Sri Lanka's known artists. There is a sense of closeness towards nature in each of his works which tells us about his interest in landscape designing. His brother, Bevis Bawa was a landscape artist who did his own garden "Brief" in Bentota which has different species of vegetations and plantations. Bawa's devoted love for water bodies was a part that was inspired by Bevis Bawa's gardening and water gardens. Though Bawa came from a background of a lawyer family, he found himself more into architecture and decided to do a course in architecture after he ďŹ nished studying law. Bawa had his ways of looking at architecture. He believed architecture is something that can not be explained in theories but only experience. His approaches towards all of his projects where user-based. He had his own set of clients some of them also happened to be his near ones. When a set of skillful creative minds gather, the outcomes are always as imaginary ideas have been turned into reality and for this creation, the collaboration of such skillful and like-minded ďŹ gures is an essential deed for architecture. 20

Bawa was also offered bawa to re-build the Sri Lankan Parliament. Bawa worked with different artists and as his career approached further he also came up with different typologies of work. Compared to his earlier projects, Parliamentâ&#x20AC;&#x2122;s architecture was more inspired by the Japanese sense of architecture. Although his approaches were always in the favor of Tropical Modernism, he achieved building different typologies in his way. In his 40 years of career, he was always accompanied by other creative architects and artists. Some of his inspirations had come ac across from his travels through the world. Illustrations of the inspirational elements from the sites he visited are shown to make an understanding of the details that caught his eye to draw inspiration from and implement them further in his design techniques and aesthetics. Places that are set as examples of inspirations are as follows Palaces of Rajasthan Hadrian Villa in Tivoli Renaissance gardens of Italy Alhambra in Granada

Indoor- Outdoor visual connectivity

Elements of Inspiration

Screen (Jaali) Jaalis are the elements used in the palaces with amusing ornamentat-ions. It gives a sense of visual connectivity. It also allows very accurate light to enter in the space without affecting the temperature of the interior space.

Enclosed Balcony (Jharokha) Jha Jharokhas are mainly part of the front facades of the palaces for the frontal views to be had. The Jharokhas alows one to be visually connected to the outside activities playing a key role for a user in social aspects of design.

Open Pavilion (Chatri) Chatris are a semi-enclosed area which are generally secluded from the main activity building. It offers visual connections with the main building.

Sculptural Elements

Elements of Inspiration The Maritime Theater at Hadrian Villa. The enclosed island is in the entrance with a revolutionary and grand scale ďŹ ts well in an irregularly formed site.

The Central Vestibule was also inspired from the renaissance garden of italy showing the imporatnce of garden in order and beauty for the viewer to enjoy the sight. Gardens we an inspiration to be were called as a place to think, relax and escape. The Canopus in Hadrian Villa included elements of experience like fountains, statues, grottoes and water organs. The alternation between semici circular and ďŹ&#x201A;at on top of the columns segregates the placements of statues from other elements.

Elements of Inspiration

Landscape Design & Courtyards

The Renaissance period had its cultural impact on Italian gardens. It looked into architecture, botany, natural history. Recreational courtyards were among one of the inspi inspirational elements.

Symmetry, geometry and proportion were a few architectural characters adapted from Roman principles. Elements like gardens, sculptures, fountains were mirrored in the villas as well as in the gardens. Architectural elements like arches, columns, terraces and porticoes along with other forms were incorporated in the Renaissance gardens which gave an inspiration to follow a language and particular grid in order.

Ornamental components Water bodies

Court of the lions and fountain are the elements that depict symbolism which can be seen strongly in Bawa’s interiors today. It was done for it’s meaning and powerful signs it delivered to a user’s delive

Hall of Ambassadors in Alhambra was a space were one would gaze into the outdoor landscapes and water organs. It had simple stuccoed walls which depicted it’s simple aesthetics for its inhabitants. inhabitants

Royal complex was one bright and colorful part of Alhambra which depicted true sense of color schemes used. From ceiling to ﬂooring, each corner shows how speciﬁcally chosen colors impact the inhabitants to feel the comfort.

TROPICAL MODERNISM & The Collaborators

Tropical Modernism

Tropical Modernism is a kind of practice which happens when the local context combines with the principles of modern architecture. The term is an idea that dictates the sensibilities of using local resources, open spaces, and a buildingâ&#x20AC;&#x2122;s climatic factors. As one can note, Sri Lanka falls in the tropical zone on the globe. Practicing tropical modernism in the tropics has helped us gain a set of true architectural gems produced by Geoffrey Bawa. This practice can bring humans close to nature since landscapes play a key role in the making of this kind of architecture. It is necessary to be aware of the climatic conditions one is building in. The usage of local materials also promote sustainable architecture. Using local materials also helps economically. Bawa was one of the original founders of Tropical Modernism while he was pursuing architecture in Britain. Bawaâ&#x20AC;&#x2122;s approach to tropical architecture led to forming some aesthetical tropical environments in Sri Lanka. The sensibility bawa had, to use the appropriate materials in context to the climatic has created a huge benchmark for architects to get inspired from all around Asia. Soon Bawaâ&#x20AC;&#x2122;s tropical approach was recognized by some of the south east countries which as well included Bali, Indonesia. After Sri Lanka, Bawa also practiced in Bali and introduced Tropical Modernism through his sensible design decisions. Many projects done by Bawa in Bali had Bamboo as one of the main materials used in his builts forms. Some of his projects also included works from India. Although Indian architecture during that era was more inclined towards a modernist approach, Tropical Modernism was not practiced as much in India as in Sri Lanka. Every architect today has a different approach towards tropical architecture, some have materials as major elements, some have shown climatic importance whereas some have an approach which includes the spatial inside-outside connections with nature.

The Collaborators Ena De Silva Sri Lankan Artist who revived Batik-Art in the country

Laki Senanayake Sri Lankan Artist and Artisan who contributed with his paintings, drawings and sculptures

Barbara Sansoni Sri Lankan Artist who contributed with her vibrant paintings and batik work

Ismeth Raheem Sri Lankan Architect, Artist and Photographer

Garden Retreat of Bevis Bawa in 1950s

Beachside kingdom at Bali in 1970s

Aga Khanâ&#x20AC;&#x2122;s Trust in Singapore in 1980s

Ena was one leading woman in Colombo Society in those days in the ﬁeld of crafts in textiles. She brought up the revival of Batik -Art with the assistance of her son Anil -A Jaisurya and Artist Laki-Senanayake in 1960s when batik was soon recognized to be one of the famous and common craft in the country.

Ena was offered to collaborate with Bawa, through her skills in Batik-making, she created vibrant wall hangings, canopies, ceilings along with furnishings. It can be said that her Batik work on the walls made the space look more enhanced along with the elements and landscaping in the interiors. With De Silva, he developed a close friendship and a series of professional collaborations over many years. Flags in such batiks designed by her were also used, alluding to the long history of textiles in processions and pageantry. From the 1960s onwards, De Silva brought new life to the age-old technique of wax-resist and hand-painting, at a time when it was more fashionable to use imported machine-made textiles. Expressively bold, using symbols and motifs from mythologies and living traditions, her designs have subsequently spanned several generations of replicas seen in popular tourist bazaars everywhere in the country. She assembled a sizable collection of South Indian and Kandyama printed clothes and ﬂags. She had a reputation for her innovative re-interpretations of traditional ways of dressing. Apart from Batik, she also worked with wood carving, brass casting and embroidery work. She was one of the key ﬁgures in the group associated with Bawa.

Wood carved chess play set from Bawa+De silva Exhibition

Handwoven Batik wall-hanging at Bawaâ&#x20AC;&#x2122;s residence number 11 by Ena De Silva

Fabric on ceiling by Barbara Sansoni and Barefoot

Batik paneling done in the ceiling of reception area at Bentota Beach Hotel

Laki Senanayake was a Painter, an Architect, landscape artist and a painter but largely he was an innovator. He was one of the lead ﬁgures who collaborated with Bawa. Many o f bawa’s projects were done in association with Laki. The liveliness we can witness in Bawa’s drawings are an example of one of his impact in Bawa’s works. One of his ventures was Batik-Making with Ena De Silva. He assisted her with her Batik work along with Ena’s son, Anil Jayasuriya. Along with his keen interests in Batik and Art, he was also indulged in landscape design which made him participate more with Bawa also. As an artist his mastery lied in oil painting, acrylics, water colors, erotic art and landscape drawings. His artistic ventures with Bawa were like a phase of experimentation. He was fond of growing trees and vegetation and since he was known for it, he provided 150 trees to the veget Kandalama Hotel architectured by Bawa. He was enchanted by nature, animals and birds and had been close to ﬂora and fauna since childhood. This explains his initiative in the making of Sri Lankan currency with graphics of animals and birds in it. Laki was involved in work contribution for Sri Lankan government. The Sri Lankan parliament done by Bawa with Laki’s metal installation of a chandelier suspended in tne assemby hall is a great examples for their political indulgence with the constitution of Sri Lanka.

Laki Senanayakeâ&#x20AC;&#x2122;s Canvases | Oil, Acrylic, Water Colour

Mask | medium : water colour

medium : water colour

Seated ďŹ gures medium : water colour

Galle Fort | medium : oil pastel

The pink cat| medium : oil pastel

Party on beach medium : water colour Landscaped Design

Graphics for Sri Lankan currency

Nude with pink | Erotic Art

Window Oil Paint

Galle Fort | medium : oil pastel

Laki with his owl sculpture at Kandalama Hotel

Frog metal sculpture

Owl sculpture at Ena De Silvaâ&#x20AC;&#x2122;s Residence

Barbara Sansoni was born in Kandy, Sri lanka with her education in Ceylon and South India. She was one of those artists who had an intense connection with the colours. Her use of the vibrant hues can be seen in many of bawa’s works. Apart from her interest in art, she was also a devoted painter. He painted on walls, paper, door and windows giving them a sense of liveliness in bawa’s interiors. Sansoni always looked at weaving as an expression. She learned the art of weaving and it was soon enough when she started exploring weaving in creative ways. Her inspirations came from the colours of nature around her. Her woven handlooms with the use of vibrant hues were soon recognized by it’s relevation. Some of her colour scheme inspirations came from the colour tones of landscapes and seascapesmof Sri Lanka. Combinations of different colors in the fabrics woven by her were inspired by nature, flora and fauna. Some of her recognized works were “peacock flying” in Yale, hill terraces, bamboo forrest and the striped squirrel fish. The spirit of her work was modern and well inspired by Sri Lanka. Today we can find a chain of a clothing brand “Barefoot” which was established by Barbara in 1964. The brand serves sri lankan people with batik fabrics, clothes, toys, crafts and books. The company has also offered a Gallery to display other artist’s wor along with a cafe in the city of Colombo, Sri Lanka. works

Barbara with a hand coloured sketch of her residency in Matale

Faces in St. Lucia, West Indies. from the book, Faces by Barbara Sansoni

Faces by Barbara Sansoni

Batik design by Barbara Sansoni 41

Ismeth Raheem worked as an artist reﬂected a set of inﬂuences and choices along with his professional work in architecture and interior design, his research and publications which ere majorly based on colonial history, art history and history of nature and a life-long interest in a taste for mythical, abstract and surreal styles.

Ismeth Raheem was an artist initially with Laki Senanayake. He studied architecture at Katubedde and in Copenhagen and also he assisted Geoffrey Bawa between the years 1968 and 1976 and participated in several projects like the Serendib Hotel and the Agrarian Research and Training Institute.

During this time, he also designed furniture and did artworks for various hotels designed by Bawa. Architect by profession, his art has always been his initial and long-lasting talent. In 1958 he won a special award for his painting ‘Railway’ (based on a work by Monet) at the Ceylon Society of Art’s annual exhibition, which led him to choose a career in art and painting. In 1961, Ismeth met Ena de Silva through Laki whose art skill in the batik fabric stimulated his interest in batik as a medium for art. Ismeth Raheem also had the privilege of meeting Geoffrey Bawa and Ulrik Plesner through Laki Senanayake. With Ulrik Plesner’s inﬂuential support, Ismeth secured a scholarship at the Royal Danish Academy in Copenhagen where he acquired a knowledge of engraving, etching, lithography and ceramics as he was able to work with and learn from artists and ceramists in the Academy’s studios. ar

During his years at Bawa’s ofﬁce, he learnt that Bawa strove to provide clients with interiors, furnishings and artwork that complimented the aesthetics of his buildings. Ismeth Raheem was one of the key collaborators in the works of Bawa. 42

door designed by Ismeth in Bawa’s Residence “Number 11”

owl, pen and ink sketch (Ismeth Raheem, 1970)

batik as an art form

oil painting

collage apainting

SPATIAL BRICOLAGE

Example 1

Element Type A

Element Type B

Example 2

material

form

style

function

Space frame Furniture falls under Type A Sculptures, Artifacts, Fabric Hangings fall under Type B

Number 11 | St. Bridgetâ&#x20AC;&#x2122;s Montessori, Colombo Lunuganga | Bentota Beach Hotel, Bentota

Typologies & Timelines

Project Name

Residential

Number 11

1960-70

Architectâ&#x20AC;&#x2122;s Residence Colombo

Estate

Lunuganga

1948-98

Country Estate Bentota

Hospitality

Bentota Beach Hotel Bentota

1967-69

Institutional 1963-64

St. Bridgetâ&#x20AC;&#x2122;s Montesori School Colombo

N U M B E R 11 Architectâ&#x20AC;&#x2122;s Residence

Architectâ&#x20AC;&#x2122;s Residence

Typology - Residential Built Year - 1960-1970 Architect - Geoffrey Bawa

Above shown are the basic drawings of the Ground Floor in the building. Visitors enter from a glass etched door towards the long alley which leads to the epicenter of the house. The epicenter is a verandah which is located in the middle of three functional spaces - living room, dining room and bedroom.

Entry to the residence is followed through a glass etched door by done by Laki Senanayake, moving ahead in the space as we enter we see Bawa’s collection of two priced Rolls Royce besides a wall hanging called “sunburst” by Ena De Silva. This opens up the idea of having a car parking at the entrance that has different techniques to execute it and make it look like a casual entry. Following through there’s a main alley along with the numerous cou courtyards acting as lightwells in the space. The idea of landscape being a part of interior elements is considered in the space. The space well experiments with the given natural daylighting conditions. These courtyards were properly protected with the help of wooden and steel pergolas. Moving ahead in the space the alley after the entrance leads to the epicenter of the space according to the activities. Three-way epicenter where one on the right leads to Bawa’s bedroom, one on the left towards the living room following with dining area on the left white approaching towards living. Each space is allocated according to specific purposes whereas reading is one task which Bawa has kept free for any space to use. Bawa was fond of books hence he had his book collections placed properly in his bedroom and living room. Today the books are catching the humidity and are at risk hence they are sto stored in a place where its unable to be accessed by visitors. Each of these spaces has small courtyards connected which makes the inside-outside connection as an essential need as a part of the experience. It gives us a sense of visual connectivity with nature which is one of the most common characters of relationships of humans with nature that Bawa captured in all of his projects. The white painted walls multiply the effect of light in the space and make it look visually larger than it is. ma Number 11 is considered as one of the prominent examples of architectural bricolages. The involvement of a completely diverse set of elements, furniture, artifacts, and architectural components all with opposite context, goes along well to set an example of a spatial aesthetics that can break the barrier of having minuscule amount of choices in the space. To get down with this experiment, Bawa had elements designed by his artist friends. Painted doors, paintings, paintings wall-hangings were done by various famous figures like Donald Friend, Barbara Sansoni, Laki Senanayake, Ena De Silva. Architects like Ismeth Raheem also contributed in the making of the dor at the entrance, placed right beside the staircase. Number 11 can be said as a set of contributions by different figures in the making of the spatial bricolage.

NUMBER 11 33rd Lane Colombo 03

The selected space shown in the key plan of the ground ďŹ&#x201A;oor plan above.

Area : Living Room

The detailed living room clarity in elements type

plan of the shows the the listed A & B both.

The form and styles can be depicted in the plan on the right. It consists of three chairs with unique form of individual chairs. The existing plan has the quality and style of the space contained. The courtyard has been added in the diagram to show itâ&#x20AC;&#x2122;s connection with space and each space in the residence has a its own courtyard. 55

2 1

3 4

1. Furniture Type : Lounge Chair Material : Wood, Fabric 2. Furniture Type : Ornamented Chair Material : Wood, Cane

Animal Sculpture Buddha Artifact Miniatures

3. Furniture Type : Outdoor Chair Material : Cane, Fabric 4. Furniture Type : In-built seating Material : Concrete with epoxy paint coat

The selected space shown in the key plan of the ground ﬂoor plan above.

Area : Dining Room

The detailed plan of the dining room shows the form of the furniture and how particularly it’s been placed in its arrangement The diagram shows the connection of the dining to its courtyard along with the backyard. The linear formof the space suggests the form of the dining table to ﬁt in the area of the space. The opening beside the wall shows the importance of the visual connectivity of the space 59

2 1

3 1 2

1. Furniture Type : Tulip Chair by Saarinen Material : Aluminium base, Fiberglass frame. fabric cushions 2. Furniture Type : Traditionally ornamented storage Material : Wood 3. Furniture Type : One Seater Chair Material : Wood, Fabric 61

The selected space shown in the key plan of the ground ﬂoor plan above.

Introducing the master bedroom in Bawa’s residence. The detailed plan of the bedroom shows the most of the speciﬁc details in the space from a ﬂoor rug to the bedsheet batik fabric done by Barba Barbara Sansoni. In the elevation behind the bed a batik cloth from 18th century can be seen in the next image which was given by Ena De Silva. The unit shown on the right after the entrance is the book storage. In this case as well we can witness the connectivity to the courtyard. 63

1 3 2

1. Furniture Type : Modern Storage Unit Material : Chettinad Wood 2. Furniture Type : Outdoor Chair (spare one seater) Material : Cane Fabric 3. Furniture Type : Storage Unit Material : Chettinad Wood 65

The selected space shown in the key plan of the ground ďŹ&#x201A;oor plan above.

Area : Study Room Mar Marked above is the study room located adjacent to the master bedroom in the residence. The detailed plan of the study room attached to the bedroom has a reading space where different kinds of seating are provided as per the ar comfort. A little study corner along with an informal gathering space for meetings from work. As observed earlier there is a connectivity created through semi-open space provided.

1 indoor

2 5

outdoor

4 3

1. Furniture Type : Curvy Sofa Chair Material : Metal, Fabric Cushions 2. Furniture Type : 2 Seater Sofa Material : Wood, Batik 3. Furniture Type : Low Center table with top Material : Carved wooden legs, Stone top 4. Furniture Type : ButterďŹ&#x201A;y Chair/ Bat Chair by Dennis Marquart Material : Metal, Cognaq Leather 5. Furniture Type : Low height side table with round top Material : Metal legs, Stone top

LUNUGANGA Country Estate

Architectâ&#x20AC;&#x2122;s Outhouse

Typology - Residential (second home) Built Year - 1948 Architect - Geoffrey Bawa

site plan

section

On arrival, there is a choreographed walkway. The drive was replaced by an arrival court which is hidden under the trees below the corner of the bungalow in the southeast. The arrival court is connected with a series of terraces and wide staircases that leads to the loggia in the entrance which is formed beneath a guestroom, further leading to the south terrace. The main bungalow is the space occupied by Bawa since he lived there in his aged years. The bungalow contained two bedrooms and kitchen along with servant quarters which are now converted into open rooms. The series of small courtyards and verandahs wrapped the bedrooms well. The south-west portion was Bawa’s bedroom which had a study and bath. There were two pool courts linked with the bedroom which were courtyards with a little privacy. After the entrance loggia, there’s a linear connection towards the north-west view which was lead by a living and dining room. Both living and dining were not much in use since Bawa had his particular spot outdoors in the garden where there was a bell hanging from the tree beside, which he used as a tool to communicate for his feast time. In the east, beyond the servant room and kitchen, he provided a series of terraces. The principle terrace was dominated by the pavilion which was known as “Sandela”. It served as a studio and library to Bawa. It acted as a meeting space as well whenever his clients came over. In the early 1990s, He decided to build a new addition to the series which was located on the top of the cinnamon hill and known as “Cinnamon House”. It served as a guest room whenever his friends came over. The garden seems so natural now that it’s hard to imagine its a man’s creation and how much effort it took to get results of the scenic beauty that it is today. The maintenance of the air of casualness is one effort which is been taken by the managers of the estate. The paths will clog full of leaves, the grass will grow wild and the jungle will return if there is a lack of maintenance even for a week. It’s an artwork of a mastermind and not nature along with hundreds of hands in working with nature to produce the supernatural. Lunuganga came as a good example for Scenographic pictures which changed with the moods, seasons, and time of the day. Lunuganga is an assemblage of tropical plants of different scale and texture. It is an ever-changing play of light and shade. A succession of hidden surprises and vistas. A landscape of memories and ideas and beyond all, it is a civilized wilderness.

The garden room in Lunuganga is appropriately named so, as it opens out into a large courtyard and brings the outside elements within. It also has windows overlooking the outside surroundings comprising of lush green tropical trees. The shape of the room is rectangular, the longer side being approximately 3 times the shorter. The length of the room is further exaggerated through the use of a rectangular table-oriented along the longer side. The color scheme used in this room is a very saturated one, consisting of shades of blue and mustard. This coloor palette forms an appropriate frame and backdrop for the surrounding greenery. In contrast with this colour scheme is a continuation of the checked flooring pattern previously spoken about in bold black and white, acting as a base for the rest of the room. The flooring pattern is continued in the surrounding area outside the room in monochrome stone. This maintains homogeneity between the outside and inside and blends the two. Along with the checks, square panels are also a recurring pattern and can be seen on the face of the doors oriented inward, on the mezzanine railing, as well as the bay window glass panels. The staircase in this room blends in with the wall and is not highlighted at all, the tread and risers are the same color as the wall behind it, it and it is devoid of any railing. Each piece of furniture within the room is unique, creating numerous points of interest as well as giving the space different characteristics which are what define it. All the furniture is made of wood and is handcrafted, using a variety of techniques. The roof in this room is a variation of a barrel roof and can be looked at as half a hexagon. It also has a skylight, which brings in warm sunlight giving the room a welcoming feeling. Along one side of the room is a window running from the ceiling to the floor, taking the shape of the hexagonal ceiling and framing the greenery that lies behind. Lunuganga came as a good example for Scenographic pictures which changed with the moods, seasons,and time of the day. Lunuganga is an assemblage of tropical plants of different scale and texture. It is an everchanging play of light and shade. A succession of hidden surprises and vistas. A landscape of memories and ideas and beyond all, it is a civilized wilderness. The garden seems so natural now that it’s hard to imagine its a man’s creation and how much effort it took to get results of the scenic beauty that it is today. The maintenance of the air of casualness is one effort which is been taken by the managers of the estate. The paths will clog full of leaves, the grass will grow wild and the jungle will return if there is a lack of maintenance even for a week. It’s an artwork of a mastermind and not nature along with hundreds of hands in working with nature to produce the supernatural.

3 1

Furniture type

4 6

Material

1. Ornamental two seater sofa

Chettinad Wood, Fabric

2. Sofa two seater

Wood, Plain Batik Fabric

3. Chest of cabinet and drawers

Chettinad Wood

4. Study Table with chest of drawers

Chettinad Wood

5. Ornamental chair

Chettinad Wood

6. Ornamental Side Table

Chettinad Wood

Artifacts 18th century Chandelier

2. 3

Furniture type 1. Vast Meeting Table 2. Vintage black painted chair 3. A quarter circle formed corner table 4. Ornamental side chair

Material Single plank of rain-tree wood Painted black wood Painted black wood Chettinad wood

1. Wooden beams and purlins built from salvaged parts 2. Wooden column connecting beam junction 3.L 3.Lattice window panels acting as a balustrade of the upper gallery

Artifacts 17th century St Anne ďŹ gurine 20th century wooden car

Miniature handpainted storage

2. 3.

Furniture type

Material

1. Moving Chair for easy shift to outdoors

Teak chair, Metal wheel

2. Round table with ornamentally curved legs

Wood painted and carved

3. Chest of Drawers for storage

Chettinad Wood

Artifacts

1. Wooden Beam between the metal work 2. Wooden truss with glass ďŹ xed between metal fframing 3. Metal frame perpendicular to the beam with ďŹ xed glass

Peacock Sculpture

1. 1.

Image A 1. Wooden framed white painted plain glass window

Image B

Furniture type

Material

1. Wooden window frame with illustrations of birds painted by Laki Senanayake Senanaya

Image A 2. Study table

Wood

Image B 2. Bed

Wood, Fabric from fabindia 1970s. 1970s

BENTOTA BEACH HOTEL Cinnamon Hotels

Hospitality Project

Typology - Hospitality Built Year - 1960-1970 Architect - Geoffrey Bawa

site plan

section

Previously used as the site of a colonial Dutch fortification is now where the central building to the hotel sits on the topmost part of the existing sand mound. The first level of the building is formed as a square in plan, excepting a trapezium-shaped extension of the northern gallery beyond the eastern edge of the square. This projection contains public spaces adjacent to the service area of the resort, out of the way of the major guest circulation and magnificent views of the ocean. A simple round loop of galleries surround a vast open central courtyard, the whole of which is occupied by an elongated formed reflecting pool. Approximately one-quarter of the floor area of the first level is occupied by the pool, and it is located on the southeast direction of the center of the plan so bringing an extension in the ocean-facing northern and western galleries is possible. Planters scattered as green islands within the corners of the central pool provide space for large trees to grow in the courtyard. The leafy canopy of branches shades the central open area of the courtyard and defines the ceiling of this calm interior room through its organic inspiration from the nature outside. The second and third levels are both L-shaped, located above the north and west galleries of the first floor. The second and third levels are narrower in plan than the galleries of the first level, The floor plane of the second level is elevated above the pitched roof of the first level such that the second level appears to be cantilevered over the roof of the first allowing it to overlook from the balconies. In turn, the balconies of the third level are cantilevered beneath those of the second level. This building profile is likely to be a reminiscent of an inverted pyramid, recalls a distinctively local architectural tradition seems to be inspired from the places like the palace of Padmanabhapuram and the temple of Saman Devale at Ratnapura. The ground level of the hotel sits inside a vast stone podium built around the original sand mound. The massive stone walls belong to the history of Dutch fortification structures on the island and are an architectural nod and the ground is carved forming the spaces in the ground behind the walls which are used for shopping arcades as well as a pedestrian walkway between the first level surrounding the grounds. The entrance to the hotel is a grand porte cochère carved into the masonry podium on the east direction of the building A large stone staircase leads from this enclosed doorway up to the building. reception lobby which is in the east gallery. The Bentota Beach Hotel offers a total of ninety guest rooms. Originally there were thirty rooms all located on the first level. All guest rooms face either the Indian Ocean to the west or the Bentota River to the north, assuring all visitors spectacular views from their private balconies.

Anchoring the main hotel building toward the Indian Ocean, the site slopes down from the hill. The elevational change on the first level of the building allows the west side of it to form a terrace that overlooks the pool and outdoor cafe on the ground level. The restaurant of the hotel is located on the western direction of level one affording to create a dramatic vibes from the oceanic views to diners. A variety of natural materials were used in the structure along with the outdoor elements and interiors to give it an organic aesthetic. The materials belonged to the local resources, as imports were highly restricted due to the political condition of the island during the years in which the hotel was constructed. Baw was very selective in terms of the material to be used since his Bawa’s approach has always intended for it to age well with time and exposed to the humid tropical climate. Materials like terracotta tiles, dark wood columns and balustrades, unfinished granite bastions, and polished concrete floors form an earthy palette of surfaces used in the building. The ceilings of the public spaces in the building are done with wax dyed batiks with organic designs in it to maintain the aesthetics of the space and hand-loomed fabrics in warm colors. Though Bawa intended that the building would be completely exposed to the elements in the public spaces, the client insisted that the first floor restaurant and lounges are enclosed with glass walls and air-conditioned. The original clay tile roofs were replaced with green metal sheets during the major renovation of the hotel in 1998. The renovation also included the guest rooms, lobbies, and reconstruction of the stone podium along with its extension to the base of the building. Though the renovations were made in hopes of increasing the value and luxury of the hotel as a four-star tourist destination, architectural critics have argued that the changes detract from the success of Bawa's iconic design Guests to the hotel today continue to admire its tranquil courtyard, dramatic ocean vistas, and well-landscaped grounds.

2. 2.

Furniture type

Material

1. Reception Desk

Teak chair

2. Contemporary Bar Chair

Teak Wood

1. Wax resist and dye on batik cloth mounted on ply board 2. Column with wooden panelling

Fabric designs on Batik by Ena De Silva and Anil Jaisuriya

1. 1. 3.

Furniture type

Material

1. In-Built Seating

White stuccoed partition wall

2. Single Seater Chair

Teak Wood, Cane backrest

3. Center Table

Concrete table top, leaf pattern obtained while casting

1. Fabric on a panelled ceiling by Barbara Sansoni 2. In-built small niches to provide indirect p lighting

1. Emulsion paint and felt tip pen on ply board by Ismeth Raheem 2. Painting by Barbara Sansoni 97

Furniture type

Material

1. Open Cabinet for books

Teak Wood

2. Single Seater Chair

Teak Wood, Cane backrest

1. Fabric on a panelled ceiling by Barbara Sansoni 2. Staircase Entrance with a railing made out of o brass 3. Column cladded with wood panels

Standing Peacock Installation by Laki Senanayake

100

ST. BRIDGETâ&#x20AC;&#x2122;S Montessori School

101

Institutional Project

Typology - Institutional Built Year - 1963-64 Architect - Geoffrey Bawa

102

ï¬&#x201A;oor plan

section

103

104

The school contains two vastly open spaces, one on each storey connected by spiral staircases on ends. A surrounding terrace and the staircases are tossed in rough, curving concrete in a method that is remindful of traditional rammed earth constructions. Used by various classes at the same time, there is no room separately done and no internal doors eventually. Teaching areas are set out in low walls and child-sized shelves that create small-scale folds within the main structu of the roof along the floor slab. The walls are low and thick structure enough to form small niches to offer additional storage for each enclosed store. The upper floor is wrapped by a vast umbrella of Portuguese tiles which are done on cement sheeting that cantilevers jutted out beyond the perimeter of the area of the classroom to protect the interior from heavy monsoonal rains and direct sunlight. In some areas, translucent sheets of the roofs bring indirect daylight from the top supporting the anatomy of some special spaces like the ‘walking on the line space’ of the upper floor right in the center. Timber rafters are gracefully supported by an interlinked mesh of concrete framing. The upper-floor slab sits on mushroom-topped columns and its soffit is modeled to create a cave-like quality. Despite the huge roof extending outwards, the ground floor was affected by a sudden violent rainstorm, making the practice of school almost impossible during monsoonal seasons. To resolve this, glass on the foreparts had been installed discarding the fresh openness of the atmosphere which still exists in the upper floor. The wide-open sides and the roof atop boost natural ventilation and the surrounding vegetation supports the cool in the atmosphere around. Tutors and students get mixed in the soundscapes of the surroundings – chirping birds, the motor traffic, the harmonious chant of a Hindu march. Originally, Bawa had positioned toilets in independently-standing organically formed concrete chambers that suggested a hollowed-out cave. These chambers were removed because they were avoided by the children as it failed to offer natural light and ventilation. Instead of this, well ventilated toilets have been installed at the top of each storey, covered by low walls and half doors, the new compartments allow the cove tutors to observe the child within respecting the need for privacy. The elimination of the concrete chambers created empty floor space now used by pupils as additional workspace and play area. On the other hand, it provided the possibility of installing freestanding small sinks guaranteeing quick access to drinking, washing, and cleaning water. The most used workspace is at one of the small wooden tables in front of a low part of the parapet, which captures the view of the greenery of the garden. Hence, Bawa with Laki and Barbara achieved in the making of this village school as he intended. 105

106

The Art Work on the concrete wall was painted by Barbara Sansoni

Curved concrete chamber created by mesh framing. The chamber gives a cave like experience.

107

108

1. The staircase of an organic form has been made out of curved concrete.

4. 3. 2. 1.

2. Organically curvy peep holes were ccreated for children. 3. Curved concrete chamber created by mesh framing. The chamber gives a cave like experience. 4. Concrete beams and columns done in concrete

The Art Work on the curved wall painted by Barbara Sansoni

109

110

2. 3.

1. Segmental arched wooden window framing with ďŹ xed glass, to follow the language in the space. 2. Organically curvy peep holes were created for children. 3. Curved concrete staircase created by mesh framing.

Free Standing wooden study boards made low focusing on the userâ&#x20AC;&#x2122;s height

111

ANALYTICAL STUDY Design Matrix

112

Proportion is how all the elements of the space relate to each other based on their scale and size.

Proportion

Constrast is to analyze the difference between two or more elements of visual communication. It can be identiďŹ ed through color, shape, and type of the element.

Contrast

The Emphasis is used to analyze the focal point of the space. It varies in cases in terms of size, form and style.

Emphasis

Balance

The Balance refers to a visual relationship be-tween the components on a vertical or horiz-ontal axis. It can be depicted through size, type, or lines.

Dominance and emphasis are alike but in a different way. Dominance refers to the elements based on their placements in the foreground/ background of the space.

Dominance

113

C A S E ONE Design Matrix

114

Balance

Proportion

Dominance

Emphasis

Contrast

The axis created by the vertical lines in the space is due to the vertical proportion of the space. Hence, the visual and symmetrical balance with proportion are interlinked with architectural components. Thereâ&#x20AC;&#x2122;s a contrast created due to different styles of furniture in a single space frame hence, it is dominent on the other elements. Art work are the parts that stand out in the space due to itâ&#x20AC;&#x2122;s emphasis on the space. Despite of the furniture being a dominant element in this space the art work is focus. 115

Dominance

Proportion

Balance

Emphasis

Contrast

The architectural components like the chettinad column is acting as a dominant as well as a contrasting element in reference to the tulip chairs. The dining table and the planks of the ceiling is visually creating a balance through itâ&#x20AC;&#x2122;s length and occupancy in the space. The art work has an impact in the space by creating a contrast through its different form and size. Itâ&#x20AC;&#x2122;s emphasis is due to its form which makes ma it like a surprise element in the space 116

Balance

Proportion

Contrast

Emphasis

Dominance

In the following space, the architectural components like the ceiling creates a balance through the grid used and also due to the materiality of the grid helps create a balance in the space. The wall hanging art work has its emphasis as well as the dominance in the space due to its huge presence. Outdoor furniture is placed for its placement in the connected outdoor which creates the contrast in the style of the elements. The wooden beams and purlins on the ceiling form makes the space more proportionate. 117

Proportion

Contrast

Dominance

Emphasis

Balance

In the following space, the architectural components like the inclined cantilevered roof is giving a sense of openness towards the outdoors and gives an idea of the height of the space in proportions. Whereas the furniture has a contrasts through its different in terms of materials and styles like a low seating with the leather buttery chair. According to the size of the space, the furniture furnitu is the major occupant of the space hence, its emphasis. The artifacts forming a balance with the furniture through their forms. 118

C A S E TWO Design Matrix

119

Architectural Components

Balance

Dominance

Furniture

Artifacts

Contrast

Emphasis

Proportion

The architectural components of the space form an equal of vertical and horizontal axis with the help of the ceiling grid, the chettinad columns on the other is the dominant element due to its proportion in the entire space. The furniture stands out creating a color contrast due to its white fabric on the dark ďŹ&#x201A;ooring. The emphasis of the centrally suspended chandelier can be seen as the focal point due to its antique vibe in the space space. 120

Proportion

Dominance

Contrast

Emphasis

Balance

The architectural components of the space with those lattice windows of different sizes of horizontal division along with vertical ones to follow itâ&#x20AC;&#x2122;s original axis which is horizontally framed proportionately. The art works have an emphasis on this space since its converted into a gallery. There is a paradox seen in all the furniture used in many spaces where we could see modern coming together with traditional. 121

Proportion

Emphasis

Contrast

Balance

Dominance

The form of the structure makes this case different from other cases. The form of the structure opening outside is the most focused frame in the space, hence making it dominant on other elements as well as emphasizes the space. The chair on the wheels is for its easy access to the outdoors when needed, the table with traditional legs paired with it makes a contrasting impression. The art work on the table is balancing the proportion of the table and ďŹ lls the voidness of space. 122

Proportion

Contrast

Dominance

Emphasis

Balance

In the following space, the art work has the most emphasis with the balance it creates by occupying one-third part of the space. The furniture as in the bed occupying the major area becoming dominant to other elements of the space. The architectural component like the window in the ďŹ rst image is to overlook into the courtyard which supports its purpose as a study area. 123

C A S E Three Design Matrix

124

Proportion

Balance

Dominance

Emphasis

Contrast

The reception space has a huge emphasis on the hand made batik ceiling, it ďŹ&#x201A;ows in the space giving a dominent impression with complete contrast from the other elements. The fabric is ďŹ xed on the wooden planks bringing architectural component in the picture of a play with proportions of the space. The furniture on the other hand has balanced the uniformity of the space through its monotonous m material usage. 125

Proportion

Contrast

Balance

Emphasis

Dominance

The proportion of the space can be depicted by size of the elements in the space. The white painted walls creating a contrasting with the batik ceiling of a vibrant color. The art works by different artists has an emphasis on the space by speaking two different art forms with different mediums. The furniture elements balances the contrast in the space by using batik in the seating. 126

Balance

Contrast

Proportion

Emphasis

Dominance

In this space there is a balance in the ceiling and ďŹ&#x201A;ooring, also play as a contrasting element of the space. The standing peacock sculpture in the middle focus of the space creates an emphasis on its presence. It is in the foreground of the frame in the central part of the entrance staircase makes it a dominance on other elements of the space. 127

C A S E FOUR Design Matrix

128

Proportion

Contrast

Dominance

Emphasis

Balance

This space is a part of a chamber made for the children to play within. The chamber is proportionately odd due to its organic form coming from the concept of building an organic village school. It is a huge element of contrast in the space due to its form and size. The artwork done on it helps it balance with the space and is a focus since it was done to catch every eye around and get inspired through nature. 129

Proportion

Contrast

Dominance

Emphasis

Balance

The organic character of the space delivers the idea of having a safe play area for kids by not using edgy built. The architectural components in this particular project are very prominent and are proportionately made according the the users of the space. The contrasting vibrant colour has been used to attract the kids towards the play area. The peepholes create a visual balance in the space. The art work from the userâ&#x20AC;&#x2122;s eye level comes under the focal point of the space. 130

Proportion

Contrast

Dominance

Emphasis

Balance

The space above is on the ground ďŹ&#x201A;oor where the central staircase is located. The proportion of the windows where segmental arches are used suggest the continuity in the language of the forms used in the building. The color palette of the staircase emphasizing the space creates a contrast that comes into focus to approach the further spaces atop. The low height furniture elements help with the visual connectivity in a space where it is signiďŹ cant to keep eye contact for the well being of the user. 131

132

CONCLUSION

133

134

135

136

137

138

Principles of Design

Number 11

Lunuganga

Bentota Beach Hotel

St. Bridgetâ&#x20AC;&#x2122;s Montessori

Proportion

Contrast

Emphasis

Balance

Dominance

Above shown is a chart of Design Matrix created after the analytical observations through the principles of design. The design matrix allows one to examine the elements of space which depicts an achieved proportion, contrast, emphasis, balance and dominance of the elements in spatial bricolage. Through this analysis, one can derive that presence of Element A (architectural components) and Element B (furniture) both are equally impactful in the space as they fall in any varied category through the character of different styles, form and purpose it plays in the space. 139

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Frearson, A. (2019, February 18). 10 staircases designed by Sri Lankan modernist Geoffrey Bawa. Retrieved May 07, 2020, from https://www.dezeen.com/2019/02/14/geoffrey-bawa-stairca ses-sri-lanka-modernist/ Rm Rmp, Suravi, &amp; Knoll. (2019, April 29). RMP SL - Interior Design Blogger, Author at RM Perera: Page 3 of 8. Retrieved May 07, 2020, from http://www.rmperera.lk/author/wp-admin/page/3/ Sketch by Author Dasw Daswatte, C. (2019, July 16). Geoffrey Bawa, Sri Lanka: House No 11 and Bawa's own office are nothing short of works of art. Retrieved May 07, 2020, from https://www.architecturaldigest.in/content/geoffrey-bawa-sri -lanka-house-no-11-bawas-office-nothing-short-works-art/ Sketch by Author Geo Geoffrey Bawa Trust. (n.d.). Modernism East West. Retrieved May 07, 2020, from https://www.knoll.com/knollnewsdetail/number-eleven-geof frey-bawa Sketch by Author Dasw Daswatte, C. (2019, July 16). Geoffrey Bawa, Sri Lanka: House No 11 and Bawa's own office are nothing short of works of art. Retrieved May 07, 2020, from https://www.architecturaldigest.in/content/geoffrey-bawa-sri -lanka-house-no-11-bawas-office-nothing-short-works-art/ Sketch by Author Dasw Daswatte, C. (2019, July 16). Geoffrey Bawa, Sri Lanka: House No 11 and Bawa's own office are nothing short of works of art. Retrieved May 07, 2020, from https://www.architecturaldigest.in/content/geoffrey-bawa-sri -lanka-house-no-11-bawas-office-nothing-short-works-art/ Office. (2018, November 12). Geoffrey Bawa - beautiful: Colonial Furniture: Indonesia Colonial Furniture: Colonial Furniture: Colonial Furniture Manufacturer. Retrieved May 07, 2020, from https://www.indonesiacolonial-furniture.com/geoffrey-bawabeautiful-colonial-furniture/

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Posingis, S., &amp; Sansoni, D. (n.d.). Geoffrey Bawa Country Estate. Retrieved May 07, 2020, from http://www.lunuganga.com/gallery.php Robson, D. (2014). Gallery of Remembering Bawa - 30. Retrieved May 07, 2020, from https://www.archdaily.com/460721/remembering-bawa/52b 0a5b5e8e44e04e300004d-remembering-bawa-image Robson, D. (2014). Gallery of Remembering Bawa - 30. Retrieved May 07, 2020, from https://www.archdaily.com/460721/remembering-bawa/52b 0a5b5e8e44e04e300004d-remembering-bawa-image Office. (2018, November 12). Geoffrey Bawa - beautiful: Colonial Furniture: Indonesia Colonial Furniture: Colonial Furniture: Colonial Furniture Manufacturer. Retrieved May 07, 2020, from https://www.indonesiacolonial-furniture.com/geoffrey-bawabeautiful-colonial-furniture/ Dasw Daswatte, C. (2019, July 14). Geoffrey Bawa, Sri Lanka: AD presents a cinematic storyboard of Bawa's biopic set in his personal homes. Retrieved May 07, 2020, from https://www.architecturaldigest.in/content/geoffrey-bawa-sri -lanka-ad-celebrates-man-work/ S. &amp; Seemapratheesh. (2013, September 17). S., Lunuganga final(check). Retrieved May 07, 2020, from https://issuu.com/seemapratheesh/docs/lunuganga_final_ch eck_ Posingis, S., &amp; Sansoni, D. (n.d.). Geoffrey Bawa Country Estate. Retrieved May 07, 2020, from http://www.lunuganga.com/gallery.php Posingis, S., &amp; Sansoni, D. (n.d.). Geoffrey Bawa Country Estate. Retrieved May 07, 2020, from http://www.lunuganga.com/gallery.php Posingis, S. (n.d.). Geoffrey Bawa077.jpg. Retrieved May 07, 2020, from https://sebastianposingis.photoshelter.com/image/I0000JtL Xc_c3Dfg Guzman Guzman, J. (n.d.). Lunuganga - Bawa II: Bungalow design, Tropical architecture, Cottage design. Retrieved May 07, 2020, from https://www.pinterest.cl/pin/433260426634978584/ 149

SRI LANKA Once in the Lifetime. (n.d.). Retrieved May 07, 2020, from https://theboutiqueking.com/blogs/news/sri-lanka-once-in-t he-lifetime Dasw Daswatte, C. (2019, July 14). Geoffrey Bawa, Sri Lanka: AD presents a cinematic storyboard of Bawa's biopic set in his personal homes. Retrieved May 07, 2020, from https://www.architecturaldigest.in/content/geoffrey-bawa-sri -lanka-ad-celebrates-man-work/ Mins Minsky, C. (2016, February 11). Geoffrey Bawa: An Inspirational Icon in the Architectural Field. Retrieved May 07, 2020, from https://thuppahi.wordpress.com/2016/02/11/geoffrey-bawa -an-inspirational-icon-in-the-architectural-field/ S. &amp; Seemapratheesh. (2013, September 17). S., Lunuganga final(check). Retrieved May 07, 2020, from https://issuu.com/seemapratheesh/docs/lunuganga_final_ch eck_ Taken by Vinithra. (2016, June 10) Lunuganga S. &amp; Seemapratheesh. (2013, September 17). S., Lunuganga final(check). Retrieved May 07, 2020, from https://issuu.com/seemapratheesh/docs/lunuganga_final_ch eck_ SRI LANKA Once in the Lifetime. (n.d.). Retrieved May 07, 2020, from https://theboutiqueking.com/blogs/news/sri-lanka-once-in-t he-lifetime Dasw Daswatte, C. (2019, July 14). Geoffrey Bawa, Sri Lanka: AD presents a cinematic storyboard of Bawa's biopic set in his personal homes. Retrieved May 07, 2020, from https://www.architecturaldigest.in/content/geoffrey-bawa-sri -lanka-ad-celebrates-man-work/ Frearson, A. (2019, February 18). 10 staircases designed by Sri Lankan modernist Geoffrey Bawa. Retrieved May 07, 2020, from https://www.dezeen.com/2019/02/14/geoffrey-bawa-stairca ses-sri-lanka-modernist/ Sri Lanka Luxury Resort: Cinnamon Bentota Beach: Official Site. (n.d.). Retrieved May 07, 2020, from https://www.cinnamonhotels.com/cinnamonbentotabeach 150

Robson, D. (n.d.). Bentota Beach Hotel: Aerial view from the south. Retrieved May 07, 2020, from https://archnet.org/sites/3011/media_contents/29587 Robson, D. (n.d.). Bentota Beach Hotel: Aerial view from the south. Retrieved May 07, 2020, from https://archnet.org/sites/3011/media_contents/29587 Sri Lanka Luxury Resort: Cinnamon Bentota Beach: Official Site. (n.d.). Retrieved May 07, 2020, from https://www.cinnamonhotels.com/cinnamonbentotabeach Adejokun, A. (n.d.). Hotel Bentota Beach, Bentota. Retrieved May 07, 2020, from https://www.easyvoyage.co.uk/hotels/bentota/bentota-beac h-1951 Taken by Author. (2016, June 12) Bentota Beach Hotel Sri Lanka Luxury Resort: Cinnamon Bentota Beach: Official Site. (n.d.). Retrieved May 07, 2020, from https://www.cinnamonhotels.com/cinnamonbentotabeach Bawa country, Bentota, Sri Lanka. (2014, December 02). Retrieved May 07, 2020, from https://art-random.net/art-blood/some-panoramas-2/bawa-c ountry-bentota-sri-lanka/ Sri Lanka Luxury Resort: Cinnamon Bentota Beach: Official Site. (n.d.). Retrieved May 07, 2020, from https://www.cinnamonhotels.com/cinnamonbentotabeach (n.d.) (n.d.). Retrieved May 07, 2020, http://www.cadrerie-royale.com/actualites/

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Robson, D. (n.d.). St. Bridget's Montessori School: Elevation. Retrieved May 07, 2020, from https://archnet.org/sites/3003/media_contents/29761 Posingis, S. (n.d.). St.Bridgets-27489.jpg. Retrieved May 07, 2020, from https://sebastianposingis.photoshelter.com/image/I0000dxs SpBuK70g Robson, D. (n.d.). St. Bridget's Montessori School: Elevation. Retrieved May 07, 2020, from https://archnet.org/sites/3003/media_contents/29761 Posingis, S. (n.d.). St.Bridgets-27489.jpg. Retrieved May 07, 2020, from https://sebastianposingis.photoshelter.com/image/I0000dxs SpBuK70g Silva G. (2019). Graham Foundation Grantees Giovanna Silva. Silva, Retrieved May 07, 2020, from http://www.grahamfoundation.org/grantees/5916-mr-bawa-i -presume Dasw Daswatte, C. (2019, July 16). Geoffrey Bawa, Sri Lanka: House No 11 and Bawa's own office are nothing short of works of art. Retrieved May 07, 2020, from https://www.architecturaldigest.in/content/geoffrey-bawa-sri -lanka-house-no-11-bawas-office-nothing-short-works-art/ Geo Geoffrey Bawa Trust. (n.d.). Modernism East West. Retrieved May 07, 2020, from https://www.knoll.com/knollnewsdetail/number-eleven-geof frey-bawa Dasw Daswatte, C. (2019, July 16). Geoffrey Bawa, Sri Lanka: House No 11 and Bawa's own office are nothing short of works of art. Retrieved May 07, 2020, from https://www.architecturaldigest.in/content/geoffrey-bawa-sri -lanka-house-no-11-bawas-office-nothing-short-works-art/ Mins Minsky, C. (2016, February 11). Geoffrey Bawa: An Inspirational Icon in the Architectural Field. Retrieved May 07, 2020, from https://thuppahi.wordpress.com/2016/02/11/geoffrey-bawa -an-inspirational-icon-in-the-architectural-field/ Taken by Vinithra. (2016, June 10) Lunuganga

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