Paper presentation

The contextual response of the Ena de Silva House through the incorporation of features of traditional Kandyan Manor Houses.

Melissa Anne Mei Hong Li 0320729

Concept Mapping Sri Lankan Vernacular Architecture Influence of Traditional Kandyan Manor Houses

Courtyard Design

Roof Design

Response to Context

Balance between Past Traditions and Contextual Design in the Ena de Silva House

Structure of the Paper  Main Objective:  To create an understanding of how Geoffrey Bawa struck a balance between designing the Ena de Silva house in response to its context while at the same time interpreting influences of the traditional Kandyan Manor House.

 Addresses the following questions:  What was the existing context at the time of the commissioning of the Ena de Silva house?  What are the significant features of a traditional Kandyan Manor House?

I.

Design of the Courtyard

II.

Design of the Roof

 How have these features been adapted into the Ena de Silva House to suit its context?

Findings addressing the given questions‌

1. Introduction  The significance of Bawa’s work for Sri Lanka lies in its reflection of the political, economic and cultural status during the 50’s and 60’s as the country had emerged Independent from Colonialism.

 To instill the idea of Nationalism, he sought inspiration from local traditional building forms and techniques that were unique to the country.  His work took a sharp ideological twist from the then prominent references of the International Style.  A complete twist however, was difficult to achieve.  So he used local traditions in the form of their aesthetic and technical content to fit into the present context.

2. The Existing Context of the Ena de Silva house  Late 50’s - population consisted of peasant folk – continued to build using their own traditional methods.  The profession ‘Architect’ was only constituted in 1957. Only a handful of professional architects at that time.  Bawa’s clientele consisted of less than 5% of the population and comprised the urban upper middle classes.

 In 1960, the Ena de Silva house was commissioned by the de Silva family.  To be built on a site of about 750 sq.m in Alfred Place, a suburban area in the heart of Colombo.

 Born in Kandy, Ena de Silva requested that there be influences of the Kandyan traditional style.  Urban development and Reduction of plot sizes:  A typical colonial house became inadequate in terms of visual and aural privacy for residents.  Insufficient sunlight and ventilation.  Lack of views looking out.

 Local Climatic conditions:  Colombo is located in the low flat country in the Western Province.  High temperatures

 This region falls under the wet zone and is subject to the South West Monsoon experiencing heavy rainfall during this period.

3. Analysis of the features of a traditional Kandyan Manor house  The Kandyan Walauwe: The term ‘Walauwe’ in Sinhalese means ‘Manor House’ for ‘Aristocratic dwelling’  Factors in determining its built form:  Culture/Religious beliefs  climatic environment  Economy  Defense

3.1 Design of the Courtyard  Orientation - ‘Pada-Bedum-Chakre’  Zoning - ‘Bhoomi-nagechakra’

Important in achieving a successful design.

 Site was classified into 4 sections for placement of the house: I.

Outer-most - Area for Spirits

II.

First Inner - Area for Humans

III.

Second inner - Area for Gods

IV. Center - Area for Brahma (creator God)

(Source: A. Perera, 1991)

 It was important to orientate the main door of the house towards the North, South or East according to ‘Bhoominage’ (the earth serpent) of the site.  Door should be placed at the center - prosperity would prevail and it would bring the occupants great wealth.  This meant that ideal forms of this generic plan had to be square or rectangular.  This plan was further divided into equal vertical and horizontal squares termed ‘Pada.’  The courtyard of the house with its open views to the sky was placed at the center-most square - most prominent feature of the house.  All other spaces were then placed around the courtyard and connected by an open passageway.

 Kandyan families at the time were quite large.  Hence their dwellings were usually built by connecting two or more of the generic plans to form extended versions.  This connection also allowed for smaller courtyards to be created.

(Source: A. Perera, 1991)

3.2 Design of the Roof ď‚´ Designed expertly in response to the climatic conditions of Kandy.

I.

Steep slope allowing the rainwater to easily flow off.

II.

Covering materials i.e. clay half round tiles - impermeable to dampness.

III. Due to open courtyards and linking passageways: ď‚´ Parts of the interior of the house were exposed to the elements. This problem was solved by the low wall-plate height and long eaves.

IV. Gaps created between the roof and walls to allow ventilation and diffused light into the rooms maintaining a comfortable temperature.

4. Adaptation of these Features into the Ena de Silva House  Main problems faced:  Compact area of the site.  Less visual/aural privacy

 Lack of natural features  Climatic conditions

 Used the Courtyard and Roof in order to respond to these limitations.

4.1 Adaptation of the Courtyard ď‚´ Bawa created his own connection to nature by adding the courtyard surrounded by open verandahs and making sure that all the spaces within the nearby vicinity had views looking into it.

ď‚´ The existence of a large temple tree and more vegetation in the courtyard showed care for nature.

Source: Archnet.org, n.d)

 The Ena de Silva house has 5 smaller courtyards arranged sequentially according to the program.  Each space is orientated to its own courtyard bringing about the idea of functionality.  They also facilitate water ponds helping to reduce the temperature of the interior spaces surrounding them.

(Source: Archnet.org, n.d) (Source: Archnet.org, n.d)

4.2 Adaptation of the Roof  Intentionally designed the roof as a visual element so that it would become prominent in the architecture of the island.  Simplified the design of the roof to its most generic triangular shape perceiving it to be like an ‘umbrella’ that provides protection from the elements.

(Source: Archnet.org, n.d)

5. Conclusion  It is clear that the contexts of the traditional Kandyan Walauwe were different to the contexts of the Ena de Silva house.  The architects did not simply replicate traditions of the past, but used them to fit their present context.  The Result:  Creation of a sense of familiarity of certain features that takes the client back to the past while they at the very same time remain firmly grounded to their present context.

Reference list



Jayawardene, S. (1986). Bawa: A Contribution to Colonial Regeneration. Mimar 19: Architecture in Development(19).



Kunkel, P. (2015, July 23). Spotlight: Geoffrey Bawa. Retrieved from Archdaily: http://www.archdaily.com/770481/spotlight-geoffrey-bawa



Osmund and Ena de Silva House. (n.d.). Retrieved from Archnet: http://archnet.org/sites/2996



Perera, A. (1991). Court Yard Concept in Sri Lanka with Special Reference to Traditional Dwelling in the Central Province: Matale’, B.Sc. Dissertation,. University of Moratuwa.



Robson, D. (2002). Geoffrey Bawa: The Complete Works. London: Thames and Hudson.



Setiawan, A. B. (2010). Modernity in Architecture in Relation to Context.



Wijetunge, N. R. (2011). Kandyan Elitism as an Eastern Brand of Elitism and Formulating Kandyan Elite Domestic Architecture. Built Environment-Sri Lanka, 09-10(01-02), 21-36.