Architecture News

In Mibu, Tochigi Prefecture, Japan, Tato Architects has completed a striking two-story timber residence for a family of five. This innovative dwelling is strategically positioned within the backyard of the family’s ancestral home. A notable feature is its living floor, intentionally lowered by approximately 500 millimeters into the ground, crowned by a green roof that effectively extends the surrounding garden space over the entire structure.

The architectural design thoughtfully considers the existing environment, particularly a large, aged barn used for parking and work. To preserve the open character of the garden, the house is subtly rotated to align with the passage of vehicles, carving out protected zones where the roofline approaches the barn and creating open areas where it recedes. This strategic placement not only respects the site's history but also fosters dynamic spatial relationships.

A key element of the home is its half-sunken living area, nestled by the earth and a low timber ceiling, yet opening expansively towards the garden. This lowered perspective allows the garden to appear at eye level through the glass, forging an intimate connection with nature. Upstairs, a more secluded arrangement of nest-like rooms is connected by two staircases, leading to a raised loft area that serves both as a workspace and a sleeping quarter. This thoughtful interplay of levels establishes visual connections among family members, whether they are in the garden or inside the living room, extending the firm's signature split-level design philosophy to encompass the broader relationship between the residence and its natural surroundings.

The house's design masterfully integrates with its context through material choices and a conceptual roof. Clad in charred cedar, known as yakisugi, beneath a corrugated galvanized steel roof, the exterior presents a resilient yet organic aesthetic. Inside, lauan plywood complements troweled mortar floors, offering a warm and inviting atmosphere. By submerging the living space and allowing the garden to flow across the roof, the architecture transcends conventional boundaries, creating a unified and enriching living experience that beautifully merges with the existing backyard and barn, evoking Aldo van Eyck's concept of an 'in-between' space where enclosure and openness coexist. This thoughtful integration of built form and natural landscape culminates in a dwelling that is both a sanctuary and a celebration of its environment, fostering a deep and meaningful connection between residents and their surroundings.

The Vitra Design Museum is currently hosting a compelling exhibition titled 'Geoffrey Bawa: Architecture for the Senses,' which offers an insightful exploration into the work of the distinguished Sri Lankan architect. Bawa, a native of Sri Lanka, spent his formative years globetrotting, particularly across Europe. Despite a strong pull to remain in Italy, he ultimately chose to return to his birthplace, a decision that coincided with Sri Lanka's declaration of independence from British rule, and embarked on a career in architecture.

It is plausible to view Bawa as a keen observer of the significant historical shifts occurring around him. As Shayari De Silva eloquently states in her essay, 'In Time: The Architecture of Geoffrey Bawa,' featured in the exhibition catalogue, Bawa recognized early in his career the relentless impact of tropical decay in Sri Lanka's intense heat and humidity. His early architectural creations were designed to harmoniously interact with the country's rainfall and moisture. His work closely mirrors Sri Lanka's journey to redefine itself in the aftermath of colonial rule. Through his residences and resorts, Bawa offered a discerning perspective on his nation's evolution, charting its responses to political currents, external influences, and its inherent drive for progress.

The exhibition also sheds light on 'Tropical Modernism' and its historical ties to European influences. Bawa (1919–2003) is widely celebrated as a pioneer of the 'Tropical Modernism' style. This movement ingeniously integrated traditional, indigenous forms with the prevalent modernist aesthetics that gained popularity in the 1920s, stemming from the Bauhaus movement. The Vitra exhibition meticulously explores the nuances of this fusion. Before gaining independence, Sri Lanka was characterized by imposing British colonial buildings, distinguished by their intricate embellishments and pale facades—a style introduced by the colonizers. Their departure created an opening for a novel architectural expression.

It is crucial to note, however, that Tropical Modernism was not merely imported to Sri Lanka or other tropical nations. Rather, it was an adaptation of a modernist architectural style that originated in Europe and was disseminated through these regions by architects like Maxwell Fry and Jane Drew. The V&A museum astutely points out that the term 'The Tropics' itself carries problematic connotations, as it was a colonial construct encompassing a vast geographical area and a significant portion of the British Empire's territories, largely disregarding regional climatic variations and diverse local customs and traditions.

In the newly independent Sri Lanka, Bawa skillfully embraced effective architectural principles, such as the rejection of Eurocentric ornamentation, and advanced this approach by incorporating methodologies suited to his local environment. A recurring theme throughout the exhibition is Bawa's consistent collaboration with local artisans and craftspeople, including Ena de Silva, Laki Senanayake, and Barbara Sansoni. The vibrant batik artworks showcased in the exhibition mirror their presence in Bawa's designs, as seen in the expansive, colorful ceilings of the Bentota Beach Hotel.

Kavindu Sivaraj's large-scale three-channel video installation, which showcases the surroundings of Bawa's architectural projects, immerses the viewer in the lush landscapes that became an integral part of his design philosophy. It is said that upon his return to Sri Lanka, Bawa initially intended to create a garden on his estate. Recognizing his lack of technical expertise for the task, he resolved to formally pursue architecture. The initial segment of the exhibition, featuring his country estate and personal residence, Lunuganga in Bentota (1948–2003), and his Colombo home, Number 11 (1958–1969), demonstrates how he seamlessly blended historical influences, local context, and his unique personal style, transforming these spaces into experimental hubs for his architectural endeavors.

During his lifetime, Bawa achieved a rare distinction for an architect: he oversaw the construction of his nation's parliamentary building. Located near the capital city of Colombo, the structure was completed in 1982, overlooking a man-made lake. It brilliantly integrates both modern and vernacular architectural elements, with the exhibition catalogue describing it as 'a floating ensemble of pavilions that appear to rise from the water.' Reflecting on De Silva's essay, a particular phrase stands out: 'Bawa is not precious about what was existing or historical and seamlessly marries the language of the past with the needs of the present.' Through this fluid perspective on time, the past, and the future, Bawa, in his lifetime, was able to use his architecture to encapsulate Sri Lanka's position in the broader global context of the latter half of the 20th century.

Geoffrey Bawa's architectural vision transcends mere construction; it is a profound testament to how design can articulate national identity and engage with its environment. His work embodies a forward-thinking approach that respects tradition while embracing innovation, demonstrating that true progress lies in harmonizing heritage with contemporary needs. Bawa's ability to weave the narrative of a newly independent nation into the very fabric of its buildings offers a timeless lesson in cultural resonance and architectural sensitivity, inspiring us to seek beauty and meaning in our surroundings.