Architecture Crafted - Contemporary crafts in the architecture of Geoffrey Bawa

Architecture Crafted

Contemporary crafts in the architecture of Geoffrey Bawa Summer School 2016, CEPT University in collaboration with Design Innovation and Craft Resource Centre(DICRC),CEPT University

Architecture Crafted

Contemporary Crafts in the architecture of Geoffrey Bawa Summer School 2016, CEPT University in collaboration with Design Innovation and Craft Resource Centre(DICRC),CEPT University

Overview Sri Lankan architect Geoffrey Bawa has been an influential contributor to the island’s architecture. He fused local construction traditions with modern forms and sensibility to create harmonious and pleasurable buildings that have become legendary in the region and influential around the world.

A huge contribution to his works was made by various artists and craftsmen. He provided for insertions of craftsmanship in the form of building elements ranging from doors, windows and columns to interior elements like tapestries and furniture. The crafts used in the works of Geoffrey Bawa are deeply traditional in their technique yet perfectly blended into his modern sensibilities of space making.

His works have helped create awareness and ensure a sustained interest in the arts and crafts of Sri Lanka.

This course looked into understanding various works of Geoffrey Bawa under three main aspects.

Capturing spatial essence, where spaces and spatial experiences were translated into drawings and written narratives. Configuring components involved identifying and digitally mapping the building elements, details, furniture and objects that are part of the building.

The elements were also measure documented by the team. Natural elements and envelopes are an integral part of Geoffrey Bawa’s works. Aspects of context analysis and landscape details were represented in the form of drawings and analytical sketches. The course looked at providing exposure to the multifaceted aspects of Geoffrey Bawa’s works beyond architecture.

The course was conducted in association with Design Innovation and Craft Resource Centre, CEPT University.

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The Team Course Faculty Rajdeep Routh Mansi Sathyanarayan Students Aditi Agarwal Harsh Shah Ira Singh Jainee Gusain Karrthik Subramanian Kush Bansal Nimmi Mehta Nupur Bhakri Parshvi Vakil Shailaja Shah Vinithra Vishnuram Yash Parikh

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Acknowledgement The team would like to thank the following people and organisations for making our trip to SriLanka enriching.

Ms. Priyanka Tisseveerasinghe at The Geoffrey Bawa Trust for arranging our visits to Number 11. Mr. Mike Daniels for organising the visit to Lunuganga. Mr. Dooland de Silva and the team at Brief Garden for a wonderful day at the garden. The property managers and staff at Jetwing Lighthouse, Bentota Beach Hotel and Heritance Kandalama for assisting our visit and study at the hotel properties.

A special thanks to Ms.Amila de Mel for her hospitality and providing us a personal insight into her experiences with Geoffrey Bawa.

The team would also like to thank the SWS office,CEPT University, Design Innovation and Craft Resource Centre and Faculty of Design,CEPT University for their support throughout the course.

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Schedule Summer School 2016 - S16FD007 Day wise itinerary

Sri Lanka

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Date

Location

Details

Place of stay

9/6/2016 10/6/2016 11/6/2016 12/6/2016 13/6/2016 14/6/2016 15/6/2016 16/6/2016 17/6/2016 18/6/2016 19/6/2016 20/6/2016 21/6/2016 22/6/2016

Colombo Colombo Colombo Colombo Bentota Beruwala Colombo Galle Dambulla Dambulla Dambulla Colombo Colombo Colombo

Reach Colombo No.11 - The Architect's house, Seemamalaka temple Gallery CafĂŠ, Parliament Work day Lunuganaga Bentota Beach Hotel, Brief Garden Work day Lighthouse Hotel. Free day at Galle Leave for Dambulla, Aluwihare Heritage Centre Kandalama, Sigirya Work day Return to Colombo . Free day Work day Work day

Colombo Colombo Colombo Colombo Colombo Colombo Colombo Colombo Dambulla Dambulla Dambulla Colombo Colombo Colombo

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No. 11 - The Architect’s House Colombo

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About the Building The architect’s residence, Number 11 was cautiously concealed at the end of a small lane. The building was in modest white screened by vegetation. One’s curiosity would be driven as soon as the large wooden door opens and one enters a space highlighted by an impressively maintained Rolls Royce. Apart from the car, the space had a beautiful Batik printed textile that hung as a background to the car.

One is then taken to a room which housed Bawa’s office in his later period, where one is given a brief about the house through an audio visual. The residence was an annexation of four row houses which was combined in a way which merges the inside and the outside.

The residence has spaces flowing into each other that has entirely transformed the primeval house, which makes the original division of the bungalows unidentifiable. The building can be conceived as an introverted one with courts and light wells flushing in light into the spaces.

The ground floor of the residence has rooms connected through transition spaces such as corridors with light wells and landscape courts. Amongst these spaces, the highlights being the waiting space beyond the garage with a discreet roof light and the pool court framed by vernacular pillars. The usage of materials for the various surfaces complements the play of light and shadow in the interiors.

Worth mention is the transition of the floor palette from white marble to pebbles in the courts with a line of rustic stone dividing them. The intimate low height dining leading to the rear side courtyard and the reading room with a full height glazed window framing a huge tree were further highlights of the space. A small sitting area was also lit up by natural light on the ceiling which depicts that every little space was well thought about.

Another thing that strikes one’s attention was the use of white to define the various elements within the space. Right from the floor, walls up to the ceiling, all the space making elements were white in 14

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colour and it had a calming effect on the minds of the viewer. The palette of white enables in highlighting the furniture and artefacts in this space.

Progressing to the upper floor, one realizes the transformation of a compact staircase into a spacious one, through the usage of light.

The staircase had an opening in the middle of the wall that brought in natural light to illuminate the space and make it feel visually bigger.

The elegant white stairwell lined with a stylized handrail, leads one to the guest room where one is confronted by the Aluminium and gold plated door and further by an entire wall adorned by a textile cloth. It is believed that Bawa got pieces of cloth from the places he visited which was then stitched into one a single piece. Inside the room, the space was full of artistic elements perfectly placed with the modern furniture. There was a wall in this room embellished with handmade drawings of Bawa’s works. The fenestrations of these spaces opened into the lush greenery outside. The heights of the furniture were kept low to make the space feel much bigger with openings on two sides through which light penetrates the interiors.

Heading to the next space there was a lamp and a stereo which conveyed depicted the age of the house and a bedspread adding to the overall ambience of the space. The architect followed geometry in the interiors of the space which gives a tranquilizing experience to the user.

Proceeding to the terrace, the experience that one would feel was that of being disconnected from the rest of the world and indulging into the landscape around. This level is graceful with minimal furniture and a level of potted plants. This level of vegetation is amplified by a wall of glass blocks and the structural elements such as the columns serve as a frame for the view beyond.

The residence could be perceived in terms of the static art which enhances the interior spaces and the dynamic art, the landscape which changes according to the time of the day. Thus one experiences a distinct variation in the overall mood and experience of a particular space. Bawa’s residence can be considered as a canvas where he has experimented and implemented his thoughts and ideas. It is a living 16

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collection of artworks and crafts which highlights his collaboration with various other creative fields and braces the fact that a space is enlivened not just through the built components, but through the

Documenting the Building

amalgamation of art and landscape. The artwork and sculptures designed by his colleagues, the furniture that were detailed out, the planning of the outdoor courtyards and the overall craftsmanship involved in the making of the residence, makes the space a living museum of Bawa’s life and makes one realize the significance of a multidisciplinary approach to architecture.

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The Elements

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The indoor-outdoors

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Textures and transitions

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Planting

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Seemamalaka Temple Colombo

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About the Building Buddhism was introduced in Sri Lanka in the third century BCE in the region of Anuradhapura.

During this time, a sapling of the Bodhi tree was brought to Sri Lanka and religious monuments were contructed. 120 years ago, Seema Malaka temple established in Beira Lake, Colombo. After years, the original structure sank into the water of Lake Beira in 1970s. The temple is in the middle of the Beira Lake and the design was inspired by the ancient monasteries in forests of Anuradhapura and Ritigala.

In 1979, Sir Geoffrey Bawa was brought in to redesign the structure and create the temple, which stands today. There is a Bodhi tree sapling brought from Anuradhapura to the temple. Idols of Hindu gods, Lord Vishnu and Lord Ganesha are also present. The Japanese statue, in the core part of the temple, was brought in from Japan. This is made of marble, conveying the message of Buddha’s achievement of enlightening by touching the mother earth. Statues of Lord Buddha crafted by Sri Lankans, standing on two corners inside the temple, were made out of glass fibre and coated with cement. The temple is surrounded by Buddhas with different gestures, each conveying spiritual messages.

Geoffrey Bawa intended his design to echo the jungle temples of Anuradhapura. Seema Malaka is small and with the cool breeze coming off the lake, a sense of serenity and simplicity dominates the scene of the chaotic Colombo.

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A Spatial Experience It is late noon on a Saturday and the sun in Colombo shines hot.

Amidst the hustle and bustle of the city, sits a small temple on a lake.

Smalls steps as an approach, lead you to the outer walk of the South Beira Lake. A ‘modern’ suspension bridge leads to a small island flanked with trees and kids. The Seema Malaka, on the other edge, designed by Mr. Geoffrey Bawa, hides itself from the locale.

The setting of the temple reminds oneself of a Chinese garden of the Imperial Era with a Classical garden scale. Legend says that it was built on a plot of land that was originally a small hermitage on a piece of marshy land. The central plinth is connected to the lakeside by a boardwalk with two bridges linking the smaller plinths on either side. The imposing structure of the preaching hall guides one to the space. The transition is a quiet one. A wooden boardwalk over the lake welcomes you in with a small statue of a sleeping Buddha in a water pool made of marble. One can imagine this as a water court of a smaller scale. The preaching hall for the monks has Buddha statues gifted by the devotees from all over the world. One enters through a moonstone set on the platform of the lake. The structure is a modern expression of a Buddhist Dagoba derived from Sinhalese architecture style. It seems to float over the plinth on massive concrete cross beams. (1) The space is enclosed by vertical wooden rafters inspired by the temples of Kerala. This structure is held by a peripheral walk with Thai Buddha statues of preaching mudras (2) forming a circumambulation. The experience is thus quiet and serene.

Passing through these Buddhas, lays a Bodhi tree on the West, whose sapling was brought from the Sri Maha Bodhi of Anuradhapura.

The space forms a court of worship with smaller shrines of Hindu Gods at the four corners of the court. On the North of this court lies a Dagoba denoting the Buddhist culture of worship. As the day progresses, chanting reveres the sound of this space. On the West of the Assembly hall is a smaller hall, the Upanampada, of inauguration.

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Sadly, the space couldn’t be looked at the noon since it was chained.

The structure of the built form is anticipated to be derived from the design of a forest monastery which is essentially an enclosure over raised plinths.

The simplicity of the Seema Malaka makes the place astonishing and tranquil. The spatial configuration of the temple can also be compared to the final design of the Parliament of Sri Lanka at Kotte designed by the same architect. And while I ponder upon these thoughts, I listen to the music of chants, watch people milling into the temple, the devotees are engrossed and the tourists stare in awe of their surroundings.

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Documenting the Building

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The Elements

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The landscape The landscape of the Seemamalaka temple seemingly merges the built component with the surrounding lake. While the major landscape component in terms of the plantation, is the Bodhi tree which houses a Buddha statue, the surrounding landscape of the lake, which serves as a backdrop for the temple from all the four sides, needs to be taken into consideration.

A viewshed analysis in landscape is done to determine the visibility from specific points of the site. Hence a viewshed analysis of the circulation path around the temple was done and the following inferences were derived.

The geometry of the temple being a square, it majorly overlooks the lake in 4 distinct directions, which had varied typologies. The five major landscape components in these views are the sky, vegetation, water, built components of the temple and the buildings in the context, which also appear in the frame.

The NE part of the edges of the lake has two tiers of vegetation, the temple and the lake being at a lower level from the ground.

Upcoming new construction in the context, though away from the temple, appears in the frame, due to the multi-storey nature of the buildings. The vegetation has medium porosity with the rubble wall visible through it. A major component of this frame is the boardwalk which connects the temple across the lake.

The views from the rest of the 3 sides of the temple are framed by the Buddha sculptures. Beyond these, in the SE side, one visually experiences dense vegetation in the backdrop gradually turning into built forms. The dense vegetation is reflected by the lake, thereby enhancing its quality. A major portion of this frame comprises of the Boddhi tree, with its shimmering leaves.

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The SW frame is the most composed frame with horizontal bands of the sky, the dense greenery, its reflection gradually fading away into the lake and all of this framed vertically by the Buddha sculpture and horizontally by the parapet wall. As one walks along this path around the temple, this frame gradually diminishes.

The NW is an interesting frame where in the water in the left reflects the trees from the island initially, followed by the reflection of the buildings from the backdrop. An extra element in this frame is the bridge connecting the edges to the island.

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Bentota Beach Hotel Bentota

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About the Building The Bentota Beach Hotel, considered to be Sri Lanka’s first purpose built resort hotels and sets the standard against which all subsequent hotels would be measured, was constructed between 1967 and 1969 is located on a picturesque site in Bentota, about sixty kilometre to the south of Colombo, Sri Lanka. A glimpse of the hotel with its iconic sloping roof and the upper floors floating over the palm trees can be seen from the road bridge as one approaches the site. This is followed by the parallel rail that runs along the front edge of the hotel.

The Bentota Hotel opens up with a bulky cave-like stone structure that is carved out from a huge rock, which gives a mystery feeling with a huge sculpture in the ceiling. The series of steps leads one to the most magnificent part of the entire hotel, the richly covered batik ceiling over the reception area. A series of batik panels arranged geometrically over the sloping roof gives an insight to the local craft of Sri Lanka which a visitor seeks into. The colour combinations, the positioning of the panels, the proportionate sizes, and the motifs are something one can delve into. The overall visual composition of the space with wooden panelled reception areas on the right and the opening up views to the courtyard on the left, the fabric ceiling, the simple furniture, the contrasting colours of the furnishings and the leaf engraved concrete tables leave a delightful and a refreshing impression in one’s mind. A stare on the central courtyards gives one an image of a soothing pool with a trio of temple trees and a further glimpse into the ocean beyond through the columns of the main lounge and the coconut palms beyond. A ring of galleries surround this central courtyard which house the restaurants and the lounges.

One can then take the lift or walk through the series of corridors that are adorned with huge bastion like stone walls with regular slit openings to the exterior. This ends into the sculptural staircases that turn into the various floors up and down. The open balconies run around the courtyard at first and second floor levels giving access 56

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to the rooms. As one moves along these corridors, on one hand they can observe the magnificent courtyard below, a series of linear handrails and the roof of the cascading corridor below and the series of rooms on the other hand. Every room has a private balcony, offering guests their own view across the palm trees towards the ocean. Interesting elements to be noted in the rooms would be wooden louvered windows, the built-in seating, the wooden carved chairs with woven mat backrests, the brightly coloured fabric panels and the glass bricks partitions of the bathroom. Another feature to be noted of these subtle interiors is the use of smooth chamfered edges in all the elements.

The lounge offers various other elements to ponder like the handloom ceiling, the copper peacock sculpture that guards the winding staircase, the iconic brass handrail, the textured plaster finish of the seating around and finally the sculptural wooden staircase that leads down into the bar. One can then observe the painting by renowned Laki Senanayake. The bar lounge has other features like the wall adorned with traditional Sri Lankan masks and the chamfered stone faced windows. This space leads to the exterior with stone steps leading out into the pool area. One can look around to see the rocky poolside splayed walls with small punctures. The distinctive element of the pool is the blend of the natural rock into the built-in tiles.

Even when the hotel was new, the choice of materials – rough granite, polished concrete, terracotta, timber – and the palette of colours- dark stained timber, warm handloom ceilings, ochre coloured soffits – gave it a well-worn and lived-in feel, and a strong sense of continuity with an unspecified past. Research says that the building offered subtle hints of a lost world of ancient palaces, medieval manor houses and colonial villas while still addressing the needs of the modern traveller. On the whole, one can completely agree to the fact that how successfully Ar. Bawa has resolved some of the key dilemmas facing the designer of a resort hotel: how to pander to the needs of global travellers while providing them with a memorable local experience and how to safeguard and celebrate the values of the host community.

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The Elements

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Planting

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Lunuganga Bentota

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About Lunuganga Lunuganga, ‘Lunu + Ganga’-‘salt water’, simply cannot be described as a ‘15 acre property situated along the banks of the Dedduwa Lake’ or ‘a country retreat’, or ‘estate of Geoffrey Bawa‘, it is much more than that. It is a transformation over four decades, of an abandoned rubber plantation into a garden that celebrates life and nature. It is sited into the land cutting into the northern and southern halves of the lake Dedduwa, rising and falling across two low hills in the coastal town of Bentota. From the beginning, it was conceived as an extension of the surroundings- “a garden within a larger garden”. (1) One enters the estate through a winding path amidst nature’s silence.

The site opens up into a series of steps that lead you to the main house; the steps are an extension of the site. Adjacent to the foot of the steps is a semi-open seating area where one can observe some striking features of architect Bawa’s designs like built-in seating areas which are an extension of the structure, Chettinad columns, etc. Traditional wood carving is used in the columns. An interesting point to notice here is the transition of the scale of the columns in accordance to the site topography. This area is an extension of the glass house that sits adjacent to it.

The space below the glasshouse gives one a view of the surrounding landscape as it opens out with a large double height space while the upper private space sits above. The openness of this space is complemented by the unique pieces of furniture arranged in it such as the metal lamp, the pot, the wooden sofa, the metal candle stand and the ‘bell’ which is a prime feature in each of the houses of the estate. These elements are made up of recycled timber. The flooring is set within the earth and follows the traditional cross checked tiles language of Mr. Bawa. The scale of these tiles start slowly diminishing as we advance further; and lead us into the open and then, into the Garden Room.

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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 colour scheme used in this room is a very saturated one, consisting of shades of blue and mustard. This colour 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 together. 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 colour as the wall behind 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 hand crafted, 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.

The mezzanine as well as the parapet is made of reused timber, giving the room a unique character. Two sides of the room have doors, which can be drawn open through wheels. Hence it can be seen that all four sides of the room have openings, in the form of windows and doors. This feature of the room is what makes it special and seamlessly unites it with the outside environment; hence giving it the name ‘Garden room’.

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The built spaces blend into the site making them seem as though they are growing from it. Every element of the building is simple, uncluttered and of a large scale that accentuates the landscape around. The building gives one the feeling of the descending levels.

The flow of the spaces is such that there seems to be continuity but yet there is none.

The garden room then opens out into vistas outside. Next, one is lead to a flat platform with the solitary dining table. A peculiar detail not to be missed here is the impression of the leaves on the concrete table.

The pavilion adjacent to it, situated a little lower is inspired from the Seemamalaka Temple. Moving further down through series of steps sculpted from the landscape one is lead across to the Gallery House.

This smooth flow of spaces gives the feeling of descending terrain.

The gallery house is a multileveled structure looking down as the site folds down.

A closer inquiry into the spatial planning of Lunuganga garden unveils that it was not planned at once but was conceived as a series of spaces combining different parts of the garden into a variety of sequences. It can be experienced in parts, i.e. each part presents a different story about the world, many smaller worlds within a world.

The garden is a mysterious space in which a visitor can easily lose his way and sense of direction. Numerous exploration options present themselves here wherein one is able to find various spots with sculptures that open out into various beautiful scenic views. It is also worth noticing that the garden combines both nature and culture with details like the Chinese jars, the French windows, the leopard, the roman bust, the roman Pavilion, etc. And hence, evidently a garden being formed, which though being a manifestation of Geoffrey Bawa’s personal beliefs, allowed the varied set of visitors to the garden to rejoice in it. (2) The form of the garden as well as the spaces formed within it is unusual. It is a highly constructed garden, tamed, and obliged to behave in a prescribed manner. Each element whether it be trees, plants, water or sky, is determinedly planned to open up views, to frame views, to evoke the senses and intrigue.

Further transcend into the moulded landscape gives on several 78

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instances of serendipity in terms of the views perceived. The Cinnamon Hill House breaks the linearity and juxtaposes the spaces in a not so linear pattern. It is a series of private spaces that open out sequentially. The final semi open large space has minimal furniture built of stone and also has a concrete inlayed table with the highlight being the metal carved light sculpture accentuated with a traditional art frame.

As one moves over the mound, it leads to the ‘House that is defined by the bold black and white finished doors and windows and adjacent to it is the sculptural pathway to the cow shed. The pathway gives you the views across the two sites and it acts as a bridge for the same. The cow shed has Chettinad wooden carved columns with Laki Senanayake’s (2) painting as the highlight. The main house is positioned in such a way on the terrain that no views are obstructed in all the directions. The private spaces enclose the core with semiopen spaces that surrounds the house. The wooden crafts and the traditional batic are observed in the furniture of the main house.

When analyzed it can be stated that overall construct of the garden was one that combined many memories of his travels to the western world and that of the native Sri Lankan landscape i.e. formed of water, tropical forests, boulder gardens, royal pleasure gardens and bungalow gardens during the British rule in Sri Lanka. Research says that in the case of Lunuganga, though its physical construct seems like a forest or a natural landscape that is extended into the garden, it is the added layer of art for contemplation that imparts it distinctiveness.

“A psychological construct, a story, and a strong basis about which the space is looked at as a garden that is a private oasis upon which a variety of smaller worlds are depicted, the garden seen as an extension of the surroundings, a garden within a garden.” (3) Notes:1) This information has been referred from Garden Book, Works of Geoffrey Bawa 2) This information has been referred from Garden Book, Works of Geoffrey Bawa 3)This information has been referred from Garden Book, Works of Geoffrey Bawa 80

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The Elements

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The landscape

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Brief Garden Bentota

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About Brief What is paradise?

When one tries to answer such a question, the notion is often laden with pastoral images. It is a place of contentment, a land of luxury and idleness. In paradise, there is only peace, prosperity and happiness.

Even though all these notions are cross-cultural, the setting lies in the landscape.

How does one create a paradise? The answer lies in Brief.

A rubber estate spread over an area of 80 hectares on the northern bank of Bentota River, with a dairy farm and plant nursery to support the livelihood of Mr Bevis Bawa, was altered to create a wonderland.

The spatial setting is perceived as a series of fragmented courts joined together by walkways like a thread. The result is a sequence of discreet gardens, each celebrating different moods and experiences each propagating the idea of nature over mankind.

The visitor cuts through the trees and wilderness to find an ornamental gatepost. One is then directed towards the red-barked sealing-wax palms to find a circular ‘foyer’ enclosed with bamboos.

A tiny little door hides from the leaves. This blank space gives a feeling of anticipation as to what lies behind the little door. It is Bevis Bawa’s paradise.

The gardens lie in threefold. After cutting through thickets, mosses and ferns, one enters the first space via steep steps to find a circular pool surrounded by giant bamboos. When one walks further down, one starts finding fragments of gardens of various scales. One flight of stairs would lead to a barbeque party space and the other one would have a garden for two on the landing. Passing through another thread of walk of thickets lays the second space which has a large square lawn with a short flight of steps leading to the moonstone, carefully placed as if it were something pristine. A small pathway leads to the forest where nature is allowed to take over its course.

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One then moves to the third area of the garden which overlooks a house. The Cascade reminds oneself of Villa Lante. It leads to a gazebo with a pineapple on top. One enjoys a view of the house from this gazebo.

The house is a series of outdoor rooms with almost little or no view of the exterior. The larger garden serves just as a mere backdrop now and the house unfolds itself into two distinct gardens. The first one is explored through a Chinese moon wall to find a sculpture of a man straight out of a French garden. The second garden has a subtle approach from the corridor with a circular lily pool.

Brief Garden is a journey into the wilderness. It allows oneself to find momentary spaces of peace and as you join the serpentine trail back again, you join the game of what I call ‘Treasure Hunt of Gardens’.

And this to me is Paradise.

Craft techniques 1. Batik Fabric Batik is a technique, to make a batik prints, selected areas of the cloth are blocked out by brushing or drawing hot wax over them, and the cloth is then dyed. The parts covered in wax resist the dye and remain the original color. This process of waxing and dyeing can be repeated to create more elaborate and colorful designs. After the final dyeing the wax is removed and the cloth is ready for wearing or showing.

2. Metal bending Metal bending is a process that bends a sheet of metal or a strip of metal to from uneven curves or sometimes to form a typical shape.

3. Metal welding Welding is a fabrication or sculptural process that joins materials, usually metals or thermoplastics, by causing fusion, which is distinct from lower temperature metal-joining techniques such as brazing and soldering, which do not melt the base metal

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4. Stone finishes Surface finishing is the treatment that brings out the esthetic features of the material. The ornamental function and also some technical characteristics (e.g. its resistance to wear and weather conditions or its slipperiness) are strongly influenced by the surface finishing applied to the product.

5. Wood carving The art or technique of carving objects with a sharp handheld implement by hand from wood or of carvingdecorations into wood, from the decorative bas-relief on small objects to life-size figures in the round, furniture, and architectural decorations.

6. Wood turning Woodturning is a form of woodworking that is used to create wooden objects on a lathe. Woodturning differs from most other forms of woodworking in that the wood is moving while a stationary tool is used to cut and shape it. Many intricate shapes and designs can be made by turning wood.

7. Stone carving Stone carving is an ancient activity where pieces of rough natural stone are shaped by the controlled removal of stone. Owing to the permanence of the material, stone work has survived which was created during our prehistory.

8. Glazed Tiles A tile is a manufactured piece of hard-wearing material.Glazed tile is a type of ceramic tileto which a glaze has been applied. After the glaze is painted or sprayed on,Glazed tiles in general are tiles with sheen on the surface. Glazed tiles allowsto produce an unlimited assortment of colors, hues, and designs. The glazing also protects the tile from staining from dirt, grime, and water.

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The Elements

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The landscape

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Jetwing Lighthouse Galle

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About the Building Down in the south somewhere in the Indian Ocean Lorenzo de Almeida (Dutch Invader) looking through the telescope in search of land accompanied by his army, horses and equipped with western weapons, Where in the north sits Shri Vikrama Raja Singha (Sri Lankan King) playing flute and his army of leopards and tribal equipped with bows and arrows to fight against Lorenzo De Almeida’s army. With this story put into sculptures on the grand circular staircase you are welcomed into Jetwing Lighthouse Hotel.

Mr. Bawa was inspired by ships for designing the hotel as it lies in the southern coast of Galle Province. It’s facing towards Light house, hence it is named as lighthouse hotel.

“A ship which is going towards the light house”.

As you enter the main lobby the first view and the sound which you hear is of Indian Ocean. Breezy, refreshing, peace are the feelings when you encounter the Hotel Lobby.

In the Sports Bar of the hotel the ceiling is done with flags of different cities in the Batik print which is a delight to watch at.

Very interestingly the suites are named on the famous travelers like Ibn Batuta which has a Moroccan theme, Fa Hsien suite is a Chinese theme based suite and Spilbergen suite is based on Dutch theme.

The most unique feature of the hotel is the Anchor Bar which is supposedly to be the deck of the ship. It is made like a deck overlooking to the Indian Ocean where one can sit and enjoy their drink.

The entire hotel is set on the rock where one can enjoy the view of Indian Ocean.

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Craft techniques used in the hotel are: 1. Batik Fabric Batik is a technique, to make a batik prints, selected areas of the cloth are blocked out by brushing or drawing hot wax over them, and the cloth is then dyed. The parts covered in wax resist the dye and remain the original color. This process of waxing and dyeing can be repeated to create more elaborate and colorful designs.

After the final dyeing the wax is removed and the cloth is ready for wearing or showing.

Technique used in what elements – • Panels of batik are used in ceiling with the help of wooden frame structure.

2. Wall finishes Wall finishes are given to enhance the look of the wall and sometimes to protect the masonry from the environment.

Technique used in what elements – • The wall has been painted on the rough plaster to obtain a texture on it.

• Another wall has been painted with strips.

3. Metal bending Metal bending is a process that bends a sheet of metal or a strip of metal to from uneven curves or sometimes to form a typical shape.

Technique used in what elements – • Iron strips used in place of balusters are bended unevenly in stair railings.

4. Metal welding Welding is a fabrication or sculptural process that joins materials, usually metals or thermoplastics, by causing fusion, which is distinct from lower temperature metal-joining techniques such as brazing and soldering, which do not melt the base metal 114

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Technique used in what elements – • The iron stripes used in stair railings are welded with the • Different elements of the artifacts are welded together to form one.

5. Metal beating Metal beating is a process that makes the surface to form a shape by hammering the metal to form a shape or a type of a texture.

Technique used in what elements – • The artifacts have elements which have been made from a plate by beating them up.

6. Metal joinery Forming simple and complex structures while joining metals together with different methods.

Technique used in what elements – • The brass locks and decorative elements are screwed to the wooden chest.

• The brass basin has been stuck to the wooden frame with the help of cement.

• The stainless steel c section is screwed to the wooden cladding to ensure the light conditions by LED. 8. Stone finishes Surface finishing is the treatment that brings out the esthetic features of the material. The ornamental function and also some technical characteristics (e.g. its resistance to wear and weather conditions or its slipperiness) are strongly influenced by the surface finishing applied to the product.

Technique used in what elements – • The flooring on the stairs had • The stone laid on the table had a black paint over it.

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9. Laying tiles Flooring is the general term for a permanent covering of a floor, or for the work of installing such a floor covering. Floor covering is a term to generically describe any finish material applied over a floor structure to provide a walking surface.

Technique used in what elements – • The tiles laid in the water body were • Tiles were laid in a crisscross pattern.

10. Wood carving The art or technique of carving objects with a sharp handheld implement by hand from wood or of carving decorations into wood, from the decorative bas-relief on small objects to life-size figures in the round, furniture, and architectural decorations.

Technique used in what elements – • The wooden bench has its backrest carved.

11. Wood turning The art or technique of carving objects with a sharp handheld implement by hand from wood or of carving decorations into wood, from the decorative bas-relief on small objects to life-size figures in the round, furniture, and architectural decorations.

Technique used in what elements – • The wooden bench has its legs, leg-rest, and the back-rest.

• The legs of the chest are also made from turned wood.

12. Wood cladding Wood cladding is an exterior finish for a structure which is made from wood. Cladding is also sometimes referred to as the skin or envelope of the building, adding to the layers of insulation used to keep internal temperatures stable. Cladding also serves an aesthetic function, as it is generally attractive and interesting to look at.

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Technique used in what elements – • The stairs are cladded with wood planks.

Others • The handles and stoppers were metal casted

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The Elements

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635

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60

50

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210 460

180

25

50

25

424.9

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35.4

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The landscape

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Kandalama Dambulla

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About the Building The Kandalama hotel lies amidst a dense forest overlooking the Kandalama Lake.The hotel is an unobtrusive structure which has been designed in response to its context; which consists of a reservoir and a lush green forest.

The features within the building are such that the views are given importance to and are highlighted. The flooring inside the building is of black tiles, while the walls are white, the windows too consist of black frames. This combination of colours enables the surrounding greenery to be highlighted and each view framed as a picture. While the interior walls are white, the exterior ones are olive green. This camouflages the building with the forest around and allows the building to be understated while nature takes the spotlight. The use of white interior walls and green exterior walls indicates the fact that more importance is given to the visitor looking out of the building than the visitor looking at the building.

All features of the building are subtle and understated in order to ensure that all attention is paid to the different views rather than to the interiors of the building. The circulation spaces, too, have been designed in such a way that the surrounding lush greenery and waterbody are unmissable. Some staircases are semi open, merging the interiors with the exteriors, and allowing the visitor to enjoy the outside environment. It is also worth noting that ample seating has been provided within the hotel, allowing visitors to sit and enjoy each and every view.

The building elevation does not lie along a flat plane, but an undulated one. This allows for the building to have multiple faces with varying views from different angles and different distances. The rocky terrain over which the building was built has been largely preserved, and the rocks incorporated within the building. This gives the building a unique character, as well as creates a contrast and a harmony 130

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between the stark interiors and the lush exteriors.

Different flooring materials have been used for areas with different functions in order to highlight them.The building circulation pattern is largely an open one, with no fixed directions. The corridors have largely been placed along the elevation of the building which faces the forest and the waterbody. Glass panels run along the corridor allowing the visitor to look out and appreciate the views while transiting. The location of corridors as well as public spaces have been according to where a visitor may get the most desirable view.

While most of the building is geometric with sharp edges, some interior walls are curved, allowing for smooth flowing circulation, as well as contrasting the rigid geometry.

The various levels in the building allow for terraces to overlap and overlook one another. The terraces, too, are green in order to blend in with the surroundings. The serenity and calmness of the outside can be felt inside the building due to the unobtrusive interiors which allow the spotlight to be only on the outside environment with no other distractions.

The overall experience of the hotel is like being lost in an enchanted forest giving delight to the senses by feeling the nature.

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The Elements

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The landscape

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At work

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The lighter moments

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Notes

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