Architect Channa Daswatte, a close friend of Sri Lankan architect Geoffrey Bawa, once pointed out in a lecture about Bawa that it is because of Bawa’s private residence design that Sri Lanka has a unique regional character. modernism. This late-blooming architect traveled around the world when he was young and was deeply impressed by the architectural cultures and styles fostered by different civilizations. It is this rich sojourn experience that shaped his unique values for land and history.
In Bawa’s view, architecture is the product of civilization, and housing is the social epitome of human survival. The living space exists for "life", and it is naturally and inevitably subject to feedback from life itself. It does not have to strictly adhere to the conventional style or design. The changes caused by the factors of the residents are the expression of its strong vitality. Every space and detail is a natural expression of our emotions.
During Bawa's life, he designed more than one house for himself, and the most famous and longest-lasting home, Lunuganga, was the biggest reason that prompted him to embark on the path of architecture. In addition to living here, Bawa's architectural practice is also usually carried out in residences. Therefore, if you want to have a deeper understanding of Bawa, you must start from his own house.
1
33rd Lane
Sri Lanka · Colombo
The residence located on Street 33, Colombo, is the center of Bawa's daily life and work. He rented a bungalow here as a temporary residence in 1958, and over the next ten years he gradually acquired three surrounding cabins and transformed them into the current residence. The entire site is close to a regular rectangle, with a width of 15-16m from north to south and a depth of 36m from east to west. The total area is about 560 square meters. Although the spatial structure inside the residence is very complex, it can be roughly divided into three areas: residence, tower and office according to functions.
Entering from the main entrance, the first thing that catches the eye is a small gray space on one side. The patio cut by the wooden frame is filled with light, and at the same time promotes the growth of natural plants. Beyond the foyer, you reach the living area where Bawa lived. The space separated by a wall was originally a fully functional guest suite and was later transformed by Bawa into his architecture studio.
In order to provide a clean display background for the rich and diverse collection, the residence uses white cement floors, while the walls are finished with milky white paint. The simple lines and spatial sequence of the building itself are reminiscent of Le Corbusi. The Citroën residential structure system designed by , but at the same time, the design interspersed with outdoor spaces shows the strong colors of Sri Lankan local architecture. Bawa's masterful combination of European modernism and tropical modernism resulted in the residence's unique architectural appearance.
Bawa’s interest in collage of elements is clearly demonstrated in Residence No. 11. Painted fabrics from Bali decorate the walls of the suite, and charcoal rubbings of ancient temple columns brought back from his trip to the Soviet Union are displayed in the living room. , in sharp contrast to the blank walls. The unique sofas, rocking chairs and handicrafts were created by Bava and his friend Saarinen. Bava also collected many artworks from friends and clients, turning Residence No. 11 into a private museum.
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2
Lunuganga
Sri Lanka·Bentota
If the house on Street 33 is the epitome of Bawa’s architectural philosophy, then Lunuganga in Bentota is a self-portrait of him. When standing in front of the manor's shutters and looking out, visitors may understand Bawa at that moment, understand his awe for the land and nature, understand his original intention of patiently waiting for the landscape to grow, and understand his regional modernity. expression of doctrine.
The story of Lunuganga began in 1948. This paradise surrounded by water was originally an abandoned rubber plantation. The area near the lake evoked memories of Bawa’s life in Italy and the Mediterranean (before Bawa’s mother fell ill, He had wanted to settle in Italy), so he bought this 15-acre (about 6 hectares) site and blended Sri Lanka's native architectural aesthetics with the style of European modernism, narrating it in a "first-person" way told his own story.
The garden overlooking Dedduwa Lake is the starting point of Lunuganga. Two David statues brought back from Italy stand on the lakeside, while crafts and structures from the UK, Myanmar and China lead people all the way to the manor. 's main residence. The architectural style of the main house is quite Italian-style. When designing this work, Bawa particularly emphasized the importance of the "roof", an easily overlooked element, to tropical architecture. He used simple columns to support the red roof tiles, which will have no The wall space is completely open, allowing the building to blend into the landscape.
The interior of the house shows Bawa’s dialogue with artists. He boldly chose a series of works from different designers and artists in terms of decoration and furniture, but he avoided rigidity through clever logic and repetition of elements. The combination gives the space a strong flavor of life.
In Bawa’s world, sensory experience trumps architectural ideas. The natural design based on the five senses reflects his respect for the environment and the land. From the paths surrounded by woods to the clay bricks that can be walked barefoot, these details are also handled appropriately, interpreting Bawa's design. Subtle insights. After Bawa's death, his ashes were buried under an inconspicuous stone in Lunuganga. There was no tombstone or mark. He became as much a part of nature as the architecture.
