THE TROPICAL WISDOM

THE TROPICAL WISDOM

The Contemporary Sri Lankan Architecture

The most celebrated feature of architecture in Sri Lanka is how the Inside, Outside and In-between come together in harmony. It is said that gardens are not a part of the building but the building is a part of the garden. The In-between is the magic creator which also responds to the climate providing ample of ventilation. It seems that on the canvas of nature, the Outside is decorated, the Inside is sprinkled and they both are connected through a well thought In-between transitional spaces which are more than just passages. The flawless transition happening between Inside, Outside and In-between is the heart of the study done in Sri Lanka. Creating vantage points and connecting to the Tropical Canvas is the major role played by the transitional spaces.

About Collaborative Programs

At Indus and IDEA we believe that good things happen when people get together. For this we ensure that our students get ample time with faculties who guide them at every step. Regular RSPs are conducted that enrich students with detailed understanding of the built architecture. How do we better this? We have figured that the electric environment when students and faculties get together can only be bettered by having our students interact with professionals in the field and other students and faculties from other universities. To this effect, we designed “Collaborative Programs” which work in the following ways:

1. Shared Resources

2. Shared Experiences

3. Collective Enrichment

These programs help bolster students’ holistic development, in line with the Indus philosophy of making competitive, adaptive professionals with problem-solving abilities and wisdom of context and consideration of society and environment. Through collaboration with other universities and agencies for teaming up with students and facilities, students are brought out of their comfort zone and they get hands-on experience with materials, artisans, other professionals and peers working in the same domain and are able to understand the larger picture that exists around any built-form. They are able to better understand the context, the conception, the process of implementation and the resultant consequence of the built-form on individual and their environment.

© Winter School 2015,IDEA, INDUS University.

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Publisher Information

IdeaResearchCell

THE TROPICAL WISDOM

Contemporary Sri Lankan Architecture

Publication Team

On Field Co-ordinators :

Ajay Jacob

Buddhinie Kaushalya

Siddharth Srivastava

Muntaha Rushnaiwala

Authors :

Siddharth Srivastava

Muntaha Rushnaiwala

Advisors :

Vivek Sheth

Rana Swarajsinh

Editor :

Bhanupratap Sharma

Ishita Jain

Shubhanyu Jain

Student Editorial Team :

Rana Divyarajsinh

Priyanshi Pathak

Zalak Patel

Contributors

Acknowledgements

We are grateful to Laki Senanayake, Vijetha Basnayake and C. Anjaledran for the amount of time they spent with us, talking about their work and their ideology. We would like to express our gratitude to Maulie, Jayasiri, Ritihi saree shop, ‘Geoffrey Bawa foundation’ and the security officials of the New Parliament for allowing us to visit their place.

We also acknowledge our gratitude to everyone else who helped put this book together.

Preface

The architecture of Sri Lanka has attained a stature of prominence and more importantly, that of being regional and pragmatic. The contemporary architecture in Sri Lanka is one of the finest examples wherein its practitioners have been able to put it up not only as an “expression” but also as a response to its context.

The study began with a brief orientation lecture about Tropical Architecture before leaving for Colombo. The travel to Sri Lanka included seeing and studying the works of some of the prominent contemporary architects there. Interactions with them provided us an insight into the factors/ forces that influenced them. They also shared their aspirations as an individual who believed themselves responsible for creating an “image” of the place through built forms.

The trip included travelling to some of the important historical sites in order to understand the influences of tradition in imparting a language to the tectonics and the formal aspects of architecture.

THE SRI LANKAN ISLAND: A Brief History

A strong influence on Sri Lanka`s history is that of her position in the Indian ocean: as a small island midway between east and west, she served for at least 2000 years as a safe and important haven in the contact between two great regions. On one hand, it is important that one keeps in mind the uniqueness of Lankan civilization, but on the other hand, there is a multitude of cultural traits that point to influences from, and contacts with the outside world.

Although the basic cultural characteristics of the people were solidly established in antiquity, nevertheless individuals or small groups from other lands brought with them artifacts or ideas that stimulated the Lankan people to parallel or slightly divergent development, generally unknown elsewhere in South Asia.

The gesture of an entrance in Brief garden

Steps in Rithigala Monestary in Anuradhapura

Sri Lanka is positioned next to India, and relates to India in the same way as Japan to China – close enough to be considerably influenced and yet fiercely independent so as to preserve a distinct individuality. Sri Lanka`s cultural dependence on India is often thought to relate primarily to Tamil Nadu and Kerala in the south, yet it is significant that Buddhism is reputed to have come to Sri Lanka from Northern India, continuing a tradition of links with, and settlement from, the great city civilization of the Ganges basin.

Buddha Statue at Kelaniya Raja Mahavihara

Influences from India were of fundamental importance from pre historic times, nevertheless only thirty miles separate Lanka and India, and the ancient people of the island were probably close cousins to the pre-Dravidian hill tribes of southern India. Later invasions meant that Hindu and particularly Saivait, elements were closely integrated into the island culture. For a thousand years before the arrival of the Portuguese, successive waves of south India invaded Sri Lanka and established dependencies there. There was a long history of Sri Lankan rulers sending to Southern India (Madurai) for their queens.

There is another important but vaguely understood1, early influence on Sri Lanka. This is also derived from its position in the Indian Ocean; it was exposed, like many other islands – as far afield as Madagascar – to influence from the prehistoric maritime expansion of the Indonesian people. Anthropologists deduced the links between the religious practices, beliefs and superstitions of the pre-Buddhist and pre-Hindu people of the South East Asia and those of Sri Lanka.

Nallur Kandaswamy Temple in Jaffna

Vallipuram Vishnu Temple

But the extent of Cultural connection between Sri Lanka and Sumatra and Malaya in pre-Buddhist times is yet to be fully established. There is an emerging consensus among researchers, however, that in the pre-historic period there were many more contact around the indian ocean littoral than ahad hitherto been suspected, to such an extent that it is possible to postulate the

existence of an Indian Ocean littoral culture, with many charectaristics in common, which brought together to a great extent the vernacular cultures of Sumatra, Malaya, Bengal, Sri Lanka, Kerela, Gujarat, Sind, Oman, Yemen, Madagascar and the east cost of Africa. All these influences must be remembered when we consider the richness of the vernacular architecture of Sri Lanka.

Rithigala Monestary in Anuradhapura

REGIONAL EXPRESSIONS

One of the factors shared by these regions around the Indian Ocean in the similarity in their climate – many regions are hot, humid and rely on the annual monsoon for rain and trade. The monsoon also makes possible easy communication between various parts of the littoral around the ocean; their steady winds, which blow for up to four months at a time in one direction and then reverse to blow for an equal period in the opposite direction, allow commerce to proceed securely and predictable using fairly small boats with simple sails.

The similarity of climate around much of the edge of the Indian Ocean has meant tHat development in response to physical conditions – methods of cultivation, the design of houses and towns, and innovation in crops and technology – could be easily and rapidly transferred from one region to another.

Courtyard in one of the restaurant in Galle Fort

Agrarian Research and Training Institute

The coastal regions of Indian Ocean thus generally display related vernacular architectures, a similarity of building materials and functional needs. On the shores, or near the coast where humidity was high, construction was either of palm or other light materials, which allowed cooling breeze to pass through. Elsewhere, traditionally thick walls were used against the heat.

They were built of stone, coral rock, or bricks made up of sticky clayey soil of the agricultural lands. Roofs of palm mats, thick thatch or several layers of thick tiles, the latter made up of same clayey soil, were used to keep the heat of the sun`s rays from penetrating into the building. Palm leaves and thatch solved the problem best because they provided better insulation against the transfer of heat, for this reason they were favoured even in affluent conditions.

Related climatic problems such as dampness induced by the heavy rainfall and in some areas the need created by high humidity for providing cooling ventilation across people`s skin resulted in other innovations: the floor level of the building was raised two to three feet above the surrounding ground and the building was organized around courtyards or else long thin buildings were preferred which ensured that cross ventilation was possible in every enclosed room.

To achieve the raising of the floor level, a masonry platform was built using stone, coral or soil, or short vertical posts were embedded into the ground made of stone or hardwood, which was resistant to moisture and termites. The structure of the building was erected on the masonry platforms or on the tops of the posts, using a framework of wood or stone pillars. Occasionally, masonry walling was used, in which case, cross ventilation could be provided though openings left in the walls. Satisfactory privacy could be provided inside the rooms by screening the openings with matting grill work or shutters; considerably ingenuity was lavished on the design of the patterns of these screens.

One of the cottage in Diyababula

PREMISE OF THE STUDY

Vernacular architecture around the globe has always been a great source of learning and inspirations for architects. It imbibes in itself multiple layers of knowledge and understanding of material, climate, culture, society and economics. The built forms, like languages, act as anecdotes of a society at that point in time. The Bhungas of Kutchh, the Tinnai houses in Chennai, the mud houses of Sidhauli in Lucknow are to name just a few.

The island of Sri Lanka possesses a bounty of such traditional built forms. A quick look at the contemporary architecture of Sri Lanka makes you believe that its practitioners have learned from their past and its wisdom. The architectural language, whether it comes to its structural elements or the roofing systems, The notion of the “inside” and “outside” or just being a canvas for the nature to perform, seems to accept its predecessors as the sage. And yet it is neither repetitive nor imitative.

One can feel a deep love and liking for the heritage, but at the same it showcases a great desire to “express”. The fusion of this desire to express with the respect towards the indigenous knowledge system have created an extremely fecund ground wherein the architects of Sri Lanka have been able to put up architecture not just as a response to set of conditions but as way to express thereby playing a major role in establishing an “image” of Sri Lanka globally

To understand the phenomenon discussed above, the framework through which one sees and studies the works of architects, becomes one of the most critical questions. The initial observations (through drawings, pictures and discussions with people who have been to Sri Lanka and have seen the works of some contemporary architects) of the architectural journey of Sri Lanka from the Sinhalese classical architecture to the radically important influences of Geoffery Bawa to the those who followed him, induced in us a curiosity towards the notion of “inside” and “outside” and the fluidity between the two as the idea that guides the spatial configuration and, in this case, to a great extent, the language in general. The understanding of this idea, thus becomes the central theme of this study.

METHODOLOGY

On site

The approach taken on site was very personal in terms of capturing the essence of the place. On each site we went through the entire journey and absorbed the essence in any medium possible. Major mediums used were photographs, quick sketches and write-up. The motive to capture things on site was to express and record the sensory experiences in terms of what was felt there, keeping in mind the relationship between the inside, the outside and the in-between.

Post processing

The data collected from each student was categorized in order to go through the entire journey and recall the observations made on site. Architectural drawings were collected from books and internet and further analysed in terms of layers- the tropical canvas, the outside, the inside and the in-between and patterns were extracted in order to define what constituted the tropical wisdom.

The Tropical Canvas represents the gardens the forests the waterbody

The Outside are the open accessible spaces

The Inside are the built spaces.

The In-Between are the transitional spaces from inside to outside and vice versa.

Image Credits

1. Courtyard in one of the restaurant in Galle Fort, Ajay Jacob

2 Courtyard in one of the residence in Sri Lanka, Ajay Jacob

3 Courtyard in one of the residence in Sri Lanka, Muntaha Rushnaiwala

4 Courtyard in Light House Hotel, Ajay Jacob

5 Dining space in Jayasiri House, Muntaha

Rushnaiwala

6 One of the cottage in Diyababula, Divyarajsinh

Rana

7 A courtyard in Jayasiri House, Muntaha

Rushnaiwala

8 A courtyard in Light House Hotel, Muntaha

Rushnaiwala

9 View from window in Brief Garden, Ajay Jacob.

10 View of Lounge in Kandalama Hotel, Ajay Jacob

11 The gesture of an entrance in Brief garden, Muntaha Rushnaiwala

12 Steps in Rithigala Monestary in Anuradhapura, Divyarajsinh Rana

13 Buddha Statue at Kelaniya Raja Mahavihara, Image Source - http://www.lonelyplanet.com/ sri-lanka/colombo/tours/small-group-tours/6-dayheritage-sri-lanka-tour

14 Nallur Kandaswamy Temple in Jaffna, Image Source - https://en.wikipedia.org/wiki/Nallur_ Kandaswamy_temple

15 Vallipuram Vishnu Temple, Image Sourcehttps://en.wikipedia.org/wiki/Vallipuram

16 Rithigala Monestary in Anuradhapura, Divyarajsinh Rana

Sketch by: Priyanshi Pathak

1

Location: 11, Dambulla, Dambulla 21106, Sri

Lanka

Architect: Geoffrey Bawa

Period: 1992-1995

Building type: Hotel

3

Google earth image showing location of Kandalama

Google earth image showing location of Kandalama

Section of Kandalama Hotel

VIEWS AND VISTAS

Pause Points for Movement Modulation

The hotel does not sit on the landscape but is part of it. The unpaved road through the jungle gives no clue about the hotel. There are no views of the hotel on the horizon.

ENGAGING WITH THE REGIONAL EXPRESSIONS

Heritance Kandalama is an architectural marvel by Geoffrey Bawa, built on the rock fortress of Sigiriya. The Kandalama Hotel, designed by Geoffrey Bawa, was constructed between 1992 and 1995 on the outskirts of Dambulla, Sri Lanka.

Ramp to Kandalama Hotel

Entrance of Kandalama Hotel

View from terrace of Kandalama Hotel

As one drives up a ramp, a cave-like entrance appears to suddenly welcome in. It is made of a smooth curving wall opposite to the natural rocks that penetrate into the building. The hotel sits on the land spreading out its wings ready to take off any moment but its interlacement with the landscape keeps it grounded. The total span of the hotel is 11 km from end to end and has 7 floors in total, yet it seems to be an extension of mountain. The flat roof supported on columns amalgamates with topography.

Column of Kandalama Hotel

Entrance Passage of Kandalama Hotel

The abundance of real-life animals around the hotel is complemented by wonderful sculptures of the same within it. A metal owl is placed near the reception area, wooden elephants inhabit the lounge, a stone cobra uncoils along the terrace overlooking the natural rock pool.

Nature plays a very important role where trees, water body and mountains form a protective shell over build form. Vertical gardens are grown in the corridors and on the façade walls.

Sculpture of owl in Kandalama Hotel

View from garden of Kandalama Hotel

Passage between balcony and vertical garden

Special care was taken so that the built form does not overpower the context. Some corridors are narrow and dark, leading to semi open spaces that gives a view of mountains, lush green landscape and pool with glittering water. On each floor, due to the landscape around, you feel as if you’re on the ground floor. There is no single place from where one is not connected to the nature, be it restaurant, lounge, reception, private suits, swimming pools or spa.

The hotel has 3 swimming pools, two of them common while third, the main one made by carving the natural rocks. Swimming in the pool, one can enjoy the environment along with the cool breeze and the chirping birds.

Passage in Kandalama Hotel

Swimming pool with existing stone

Semi open passage in Kandalama Hotel

OBSERVATIONS MADE ON SITE

Section from the lounge through swimming pool towards the cliff.

Towards the restaurant from the spa.

A landing offering places to sit ,overlooking the staircase

The foundation detail where the built invites the nature in

A view from one of the passages towards the cliff.

The entrance to the hotel where one wall is the rock itself and the other wall is framing the rock.

The foundation detail where the nature merges with the built.

A view from one of the garden terraces.

RECORDING THE PATTERNS OF INTERACTION

The journey through the hotel happens on a composition of terraces, gardens and lawns. While they are the open spaces which are perceived to be the ‘outside’, they act as the ‘in-between’ for nature and building. These spaces have been thoughtfully designed so that one feels a part of nature while he is a part of the built - outside.

The canvas for Hotel Kandalama includes the “Kandalama Tank”, the rocky outcrop, the dense vegetation and extends all the way to incorporate the Sigiriya ruins. Bawa’s penchant to contextualise his works also ensure that the canvas took into consideration the location of the site in the central dry region of Sri Lanka.

The Tropical Canvas

The semi-open spaces or verandahs are designed to create a visual and spatial sequence that gradually opens up a path that leads to the revelation of Sigiriya. This choreography of spaces prolongs and maintains the tension of the interaction between nature and architecture. This tension then ruptures as the passage ends into the expansive open-air lobbies and panoramic views.

The closed built cellular rooms make up the ‘inside’. The spatial organization is designed to meander with respect to the cliff behind. It opens up towards the water tank.

The In-Between

ANALYSING THE LAYERS OF ‘IN-BETWEENNESS’

Layers of In-Betweeness

The superimposition of all the layers of interaction result into patterns of Inbetweenness. The denser part facing the Sigiriya with the lighter part acting as a buffer between the both. The hierarchy of spaces respects the fact that it faces its front to Sigiriya and its back to a cliff.

Image Credits

1 Kandalama Hotel, Divyarajsinh Rana

2 Google earth image showing location of Kandalama, Image Source - Google Earth

3 Google earth image showing location of Kandalama, Image Source - Google Earth

4 View of Kandalama Hotel, Divyarajsinh Rana

5 Ramp to Kandalama Hotel, Muntaha Rushnaiwala

6 Entrance of Kandalama Hotel, Muntaha Rushnaiwala

7 View from terrace of Kandalama Hotel, Muntaha Rushnaiwala

8 Column of Kandalama Hotel, Divyarajsinh Rana

9 Entrance Passage of Kandalama Hotel, Divyarajsinh Rana

10 Sculpture of owl in Kandalama Hotel, Divyarajsinh Rana

11 View from garden of Kandalama Hotel, Ajay Jacob

12 Passage between balcony and vertical garden, Divyarajsinh Rana

13 Passage in Kandalama Hotel, Ajay Jacob

14 Swimming pool with existing stone, Ajay Jacob

15 Semi open passage in Kandalama Hotel, Divyarajsinh Rana

Drawing Credits

Plan of Kandalama Hotel, BAWA by David Robsson

Section of Kandalama Hotel, BAWA by David Robsson

Sketch Credits

1 Drashta Gyayak

2 Priyanshi Pathak

3 Rushavi Shah

4 Manaswi Shah

5 Vishwa Undaviya

6 Manaswi Shah

7 Krishna Variya

8 Krishna Variya