Geoffrey Bawa is an unforgettable and continuous inspiration to most architects. There is an intangible relationship with nature that is so beautifully established. To see our inspiration translate into our work - in design, in spatial character, in connection and reverence towards nature - finding new meaning in every site we build on, feels wonderful and magical.

As we look back on our projects, it feels great to see many of our spaces carrying the sensibilities and sensitivites that Bawa inspired throughout his practice. The following set of images puts our project photos alongside some expertly crafted spaces byt the tropical wizard. It is our ode to the master architect, a reflection of the small but diverse ways in which he has touched our design thinking and building values.

The Balcao Connection

The interesting architectural connection between Goa and Sri Lanka is visibly articulated in elements such as inbuilt seats. The first picture is a site picture of a porch at our project, The House With Three Pavilions. The Goan Balcaos face each other, framing the entrance to the home pavilion. The second photograph is from Bawa's Lunuganga garden, with the in built seats looking out into the surrounding greenscape.

Windows for trees.

There is always time to frame a view. Vistas of green, however small bring a sense of freshness and colour into any space. The first picture is from our project Navovado, as the building volume is punctuated by foliage and fenestration. The second photograph is from Bawa's Garden, the bark of a tree framed through the small verandah window.

Seats built in to live with nature⠀

The first picture is of an insitu seat built next to the champa tree, watching the coconut plantations beyond on site at The House With Three Pavilions. The second photograph is from Bawa's estate, with an in built seat, finished with a wooden railing back, set in the enclosed gazebo to immerse oneself into the sights and sounds of nature around.⠀

A Hidden Pool⠀

The first picture is of a terrace pool overlooking the trees and the hills at our project Nivim. The second photograph is from Geoffrey Bawa's House for Dr Bartholomeusz, with the pool quietly tucked into the indoor-outdoor courtyard.

Finding Bawa ~ The Stairway Composition⠀
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The first two pictures are from our project Navovado, looking at the stairway as it adds sculptural value and the play of different levels to one end of the living room. The second photograph is from Bawa's Bentota house, looking at his minimal, yet artistic stairway composition.⠀

Read Part I of Finding Bawa here.

Geoffrey Bawa is an unforgettable and continuous inspiration to most architects. There is an intangible relationship with nature that is so beautifully established. To see our inspiration translate into our work - in design, in spatial character, in connection and reverence towards nature - finding new meaning in every site we build on, feels wonderful and magical.

As we look back on our projects, it feels great to see many of our spaces carrying the sensibilities and sensitivites that Bawa inspired throughout his practice. The following set of images puts our project photos alongside some expertly crafted spaces by the tropical wizard. It is our ode to the master architect, a reflection of the small but diverse ways in which he has touched our design thinking and building values.

Building with nature

Watching these two pictures side by side leaves us with a sense of achievement and happiness. The first picture is from our project, The House with Three Pavilions in Goa. The second picture is from Ena De Silva's house, built by the master Geoffrey Bawa.

Verandahs celebrating the trees of the land
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The first picture is from our project Navovado, looking at the old mango tree preserved during construction on site for this vacation house in Goa. The second photograph is from Bawa's Lunuganga estate, framing the magnificent tree by the lake.⠀⠀

Making greenery part of the building elevation
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The first picture is from our project Navovado, as boundaries are blurred between the house and its landscape. The second photograph is from Bawa's Lunuganga country estate, picturing the house among the greenery perceived from the lawn.

A Place in The Shade⠀
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The first picture is from our project The House With Three Pavilions, as the semi open corridor faces the internal courtyard on one side, touching it with an in situ seat and transitioning into different rooms on the other sides, each celebrating different views. The second photograph is from Bawa's estate, as the corridor behaves like a verandah even as it connects the indoor spaces from side to side. ⠀

A Welcoming Wilderness⠀
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The first picture frames the entrance to a pavilion at The House With Three Pavilions, brought alive with the growth of native plant species. The second photograph is from Bawa's Lunuganga garden, with the entrance pathway bordered by the lush wildscape on one side. ⠀

Read Part II of Finding Bawa here.

Geoffrey Bawa is an unforgettable and continuous inspiration. With every project we embark on, we see our inspiration translate into our work - in design, in spatial character, in connection and reverence towards nature - finding new meaning in every site we build on. Finding Bawa is a gallery we have compiled as an ode to the master architect. As we reflect on our projects, it feels great to see many of our spaces carrying the sensibilities and sensitivites that Bawa inspired throughout his practice.

Geoffrey Bawa was one of the original proponents of Tropical Modernism, a design movement in which sensitivity for local context combines with the form-making principles of modernism. His architecture led to the formation of a new architectural identity and aesthetic, redefining what it meant to be modern, celebrating a close connection with one’s built and natural environments.

In 1960, Bawa was commissioned to design the house for artist Ena De Silva. Set in Colombo, the plot was very much enmeshed in the busy urban fabric with the activity and movement of any capital city.

Bawa’s first response was to turn the house in on itself and resurrect the courtyard. The house was conceived as a series of pavilions and verandas contained within a high surrounding boundary wall. A major central courtyard led forward to five smaller satellite courtyards. Light and air poured into every room, with notions of inside and outside blurred nearly beyond distinction.

Its spatial qualities were enhanced by the choice of materials: walls of plastered brick, roofs of half-round Portuguese tiles, columns of satin wood, windows of timber lattice, floors of rough granite- materials that were used in ancient Sri Lankan mansions, but brought together in the contemporary open plan format, assembled in an entirely different manner.

After nearly 40 years of living here, Ena was finally forced to sell the house owing to health concerns and mounting bills. Her land in central Colombo was immensely valuable and was quickly snapped up by an adjoining hospital. But the idea of demolition was met by public outcry that made Urban Development Authority insist that the house must be preserved in its entirety.

This is when the Bawa Trust proposed an unusual solution - to move the house in order to reconstruct it. A team of architects, archaeologists and development contractors came together, led by conservation specialist Nilan Cooray. Everything that could be salvaged from Ena de Silva’s home, including the doors and windows, was carefully collected, stored, and moved.

Unlike examples from Japan and Norway, where timber structures had been relocated successfully, Cooray had to work with masonry, some of which was falling apart. The house was stripped down to its bones - every pebble in the courtyard was numbered, every shape was traced, before he was done. They paid particular attention to replicating the structure’s orientation to the Sun, because that was essential to Bawa’s original palette of light and shadow. Working from the roof down, they dismantled the house, which was boxed up and loaded on to lorries to be carted off to a plot next door to Lunuganga, Bawa’s beautiful garden home.

The process took six years from start to finish, and the Ena De Silva house was finally assembled to completion in its new home in 2016.

Relying on black and white photos and surviving furniture, the Bawa Trust intends to return Ena’s house to a spitting image of how she had kept it, even replanting the garden with her choice of plants. It takes the spirit and act of conservation to uncharted territory, preserving Bawa’s legacy for generations to come.

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Unlike the other colonial powers in India, the Portuguese managed to leave a much more visible mark on the residential architecture of the area they ruled. The British and the French left their mark on the architecture of huge buildings such as assemblies and railway stations which have since become landmarks of the period.

The Portuguese in Goa built residential houses reflecting a style which is hardly found elsewhere on the Indian subcontinent. These magnificent palatial houses inspired by European architectural style are still found in Goa today, although they are confined to the rural areas such as Chandrapura, Chandor and Loutolim. These mansions were built in an era when the Portuguese had handsome profits from their trading colonies in Africa and South America.

This blogpost looks at some of the old heritage houses of South Goa which were inspired by European architectural styles and stand tall even today.

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Braganza House

The Braganza House is 350 years old and occupies one entire side of the village square in Chandor. This elaborate mansion is spread over 10,000 sqm and is divided into two wings that are occupied by the Braganza family. The palatial house has a stunning ballroom, massive Belgian crystal chandeliers, exquisite antiques collected over centuries and the oldest private library in Goa with over 5000 books.

Palacio do Deao

Palacio do Deao, a 213 years old mansion, was built by a Portuguese noble man, who was the Dean of the Church, and founder of Quepem town. The house faces the Church he built and is on the banks of the wildly beautiful Kushavati River. Here’s a video about the lovely house.

Figueirido House

The magnificent Figueirido House in Loutolim took shape as early as 1590, at a time when the Taj Mahal was yet to be conceived. The Figueiredo family had a prominent presence in Goa as lawyers, diplomats and ambassadors. Today, the family has converted part of this palatial home into a historic museum with yet another section opened out as a breathtaking heritage homestay for visitors. Take a virtual tour through this palatial estate here.

Casa Araujo Alvares

This 250-year-old mansion belongs to the Alvares family and forms part of the Ancestral Goa tourist complex, set up to recreate Goan village life under Portuguese rule. The house has a spacious courtyard, a quaint chapel at its centre, old European furniture like most of its contemporaries and eclectic seashell windows that bring the beach inside.

To know more about the hidden gems of South Goa, read The Charms of South Goa - Part I

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As our company policy, we certify all our development projects with green certification from the Indian Green Building Council.

Green Certification often gets a bad reputation as it is a standardized platform of measuring sustainability across various cultures and geographies. We follow the system as we find it to be a good way to keep ourselves accountable to the various aspects of sustainability from the very start of the design process. Certification forces us to keep detailed accounts, and make accurate calculations such that our sustainable efforts are not only in name but are real with measurable impact.

That said, certification is usually the starting point for us in our journey into sustainability. I firmly believe that ‘sustainability is common sense’. In architecture, it involves following sound design principles, respecting the land while planning new buildings and responding to the local climate and conditions.

To pursue sustainability,

• we must try to conserve the natural resources within our own site (through rain water harvesting, renewable energy use and grey water recycling),

• use materials and employ design ideas that keep the building interiors cool or warm (and reduce the use of air-conditioning and heating),

• allow for ample daylight (to reduce the energy use for lighting during the day),

• use half flushes in bathrooms along with aerators to reduce the water flow in bath and kitchen fittings (to reduce water-use),

• maximize the use of materials that are produced locally, and

• use materials with a high recycled content.

These strategies for me are the low-hanging fruit that are easy to achieve with minimal cost escalation in the process. It’s also key to understand the lifespan of materials (regardless of their green features). If they have to be replaced in a short period of time, then they fail the test of sustainability. Finally, to achieve actual impact, we have to think about sustainability at every stage and factor it in every decision during the design and construction process.

LINKS TO PREVIOUS BLOG POSTS:

WHY BUILD GREEN

GREAT ONLINE RESOURCE FOR GREEN BUILDINGS IN INDIA

GREEN FEATURES AT NIVIM

CREEPY CRAWLIES!!! 
Try as you might, you can’t keep these beauties out of your lives and homes in Goa! The idea is to co-exist with them. Simple mosquito screens in doors and windows go a long way in keeping them out of your immediate space. Our efforts of sustainability in our architecture and construction is an effort to preserve the beautiful biodiversity flourishing on the sites we built on while we can live in harmony with them. 

Living in Goa is all about looking closely and admiring the lovely colors and patterns that only nature can create. 

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The earth in Goa is a distinct red color due to a higher iron content hence the laterite stone which is local to Goa has the same red hue and a beautiful porous texture. We tend to feature exposed laterite stone walls often in our buildings and landscaping. We also use red terracotta roof tiles on our building roofs. We find that this allows our buildings to merge into the landscape.

RED TERRACOTTA ROOF TILES

In our building interiors, as a thumb-rule we tend to use a single floor finish throughout the house. Our preference has been in the use of natural stone and we tend to use locally available stones such as Kudupah, Kota, Tandoor and Jaisalmer. We often use the same stone in the interior and exterior of the rooms, sometimes varying the texture and finish of the indoor and outdoor stone for a subtle difference that can mostly only be felt under one’s bare feet.

In the building interiors, we also have a great preference for the use of cement finish or IPS. For us, this finish works very well with our desire for an earthy look and feel. An IPS finish feels smooth and cool to one’s touch and its natural weathering, slight patchiness and cracks mimics the imperfections found in nature.

(ABOVE) INDOOR-OUTDOOR FLOORING AT NAVOVADO

We used mirror polished Kota stone in the interior and the verandah in the central courtyard at Navovado. I really like the way the same flooring flows in and out. This accentuates the connection of the indoor-outdoor. I also feel that the faded green color of Kota stone works very well with the green landscape outside. The flow if very pleasing to the eye and not jarring with unnecessary boundaries. We took the Kota in a rough texture on top of the swimming pool edge to once again tie all the elements together into one unified composition. This goes back to our design philosophy, where we feel that the central focus in our houses in Goa must be on the connection with the landscape.

(LEFT) IPS FINISH IN PROGRESS AT THE HOUSE WITH THREE PAVILIONS

EXPOSED LATERITE WALLS

INDOOR-OUTDOOR FLOORING AT NIVIM

We used mirror polished Kudupah in the interiors and a rough Kudupah in the verandahs.

INDOOR-OUTDOOR FLOORING AT NAVOVADO

We used mirror-polished Jaisalmer stone and a similar color vitrified tile on the terrace. The connection was further highlighted by using Jaisalmer again in the exterior skirting.

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In-built seats are one of my favorite features to design across projects. In-built seats truly capture the ‘sussegad’ spirit of Goa, where afternoons are meant for relaxing in shaded verandahs, napping in the afternoon breeze and enjoying the company of friends and music in the evenings!

In-built seats offer transition spaces for indoor and outdoor living. These are all interpretations of the traditional ‘balcao’ that is so integral to Goan architecture and is seen present in the old Portuguese houses in Goa. The ‘balcao’ emphasizes the importance of enjoying nature and the good life. The images are examples of in-built seats across our projects.

Photography: Sanjeet Wahi

Balcao from front entrance at House of Three Pavilions

Outdoor seating at the House of Three Pavilions

References of traditional balcao

Outdoor seating at the House of Three Pavilions

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I was invited by India Today Home to create a Masterclass for their readers during this lockdown. I recorded a session detailing how one can adapt the principles of Japanese Minimalism in the design of one’s home.

I chose two real-life examples by two contemporary architects I admire- Bijoy Jain and Kengo Kuma- to demonstrate how this has been achieved in their projects. Watch the video here, that has been reposted from India Today Home. This was something I really enjoyed making. 

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We work hard to keep our buildings simple and our focus is on creating exemplary indoor-outdoor spaces that blend seamlessly together. We do this through carefully placed openings/ fenestrations that frame views and focus on the surrounding nature. 

Images from Navovado. Photography by Sanjeet Wahi

Images from Navovado. Photography by Sanjeet Wahi

Images from Navovado. Photography by Sanjeet Wahi

Image from our ongoing project House with Three Pavilions.

Image from our ongoing project House with Three Pavilions.

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