Architecture News

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.

Czech artist Matyáš Chochola is making waves at Frieze Sculpture 2026 in London, where his three extraordinary 3D-printed concrete sculptures—BRUTALIST, METEOR, and MACE II—are captivating audiences. These imposing artworks, on view in the picturesque Regent’s Park until November 1, 2026, represent a compelling fusion of cutting-edge technology and artisanal craftsmanship. Chochola’s creative process involves digital modeling, robotic fabrication, and intricate hand-finishing, resulting in pieces that intertwine architectural elements, classical references, science fiction aesthetics, and unexpected forms.

Artist Matyáš Chochola Unveils Innovative 3D-Printed Concrete Sculptures at Frieze Sculpture 2026 in London

In the vibrant heart of London, at the esteemed Frieze Sculpture 2026 exhibition in Regent’s Park, Czech artist Matyáš Chochola is presenting a groundbreaking collection of three 3D-printed concrete sculptures: BRUTALIST, METEOR, and MACE II. These monumental works, which stand approximately three to four meters tall and weigh around one ton each, are on public display until November 1, 2026.

Chochola's creations are an integral part of his larger series, titled "Virtues and Vices of Our Time: 300 Years Later." This series offers a contemporary reinterpretation of the Baroque allegories originally embodied in Matthias Bernard Braun’s iconic "Virtues and Vices" sculptures, crafted three centuries ago for Kuks Hospital in eastern Bohemia. Unlike Braun's sandstone figures, which are now preserved indoors with concrete replicas gracing their original outdoor sites, Chochola’s twelve-work collection draws inspiration from a diverse range of influences, including Antiquity, Cubism, Brutalism, mythology, science fiction, and contemporary popular culture.

Developed in collaboration with Czech firm Voxell, Chochola’s artistic methodology is a testament to innovation. It intricately blends robotic fabrication with manual intervention through 3D concrete printing. The printing process itself is dynamic and sophisticated, employing varied orientations, non-planar paths, and significant overhangs bolstered by lightweight clay aggregate, alongside deliberately programmed irregularities. Following the initial printing, each concrete sculpture undergoes a meticulous finishing process, including grinding, carving, and polishing. Hand-applied additions of glass, bronze, brass, and pigments further enhance their unique aesthetic, transforming them into a harmonious blend of digital precision and human artistry.

The three sculptures exhibited at Frieze Sculpture, BRUTALIST, METEOR, and MACE II, form what Chochola describes as a 'solemn triad.' BRUTALIST masterfully deconstructs a classical column, integrating elements of Brutalism, the Memphis Group's aesthetic, twentieth-century architecture, and futuristic cinematic visions. METEOR bridges the gap between classical architectural forms and cosmic and geological phenomena; it is inspired by Tomanowos, a revered meteorite known to the Chinook people, and features hand-embedded glass shards that shimmer within its concrete surface. MACE II, an evolution of its predecessor MACE I, is a striking piece that references Brutalist architecture, fantasy, and 1980s science fiction. Its sharply angular structure evokes both a formidable weapon and a futuristic technological relic, finished in anthracite-tinted concrete with a metallic copper powder coating.

These sculptures are strategically placed amidst the lush trees and winding paths of Regent's Park. Curated by Fatoş Üstek, Frieze Sculpture 2026 invites viewers to explore a 'vibrant hybrid ecology,' fostering a dialogue between the art and its surrounding natural and public environment.

Matyáš Chochola’s works remind us that art is a continuous conversation across time and media. By reinterpreting historical allegories with modern tools and materials, he challenges our perceptions of tradition and innovation. His sculptures invite contemplation on how contemporary art can embody layers of meaning, drawing from the past, embracing the present, and envisioning the future. This exhibition exemplifies the enduring power of sculpture to transform public spaces and engage diverse audiences in a profound and thought-provoking manner.