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GA: We have visited Sri Lanka to see someworks by Geoffrey Bawa (tqts-zootr, and Ihad an impression that the essence ofBawa's architecture has yet to be discov-ered by the world. That is why we wouldlike to ask you, Mr. Harano, to tell us aboutthe kind of person that Bawa was, his archi-tecture, his cultural background and theparticularities of Sri Lanka, since you havebeen living in Sri Lanka for four years as amember of Shigeru Ban's lab supervisingconstruction sites of Ban's houses, andbeen familiar with most of Bawa's works.

A Connoisseur of LocationYasunori Harano: Initially, what launchedBawa's fame was hotel architecture. Kerry

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:i not trying to create something totallyreu and revolutionary. They are both capa-:le of presenting new, fascinating things.rsing familiar things that already exist.\-ukio Futagawa once said that 'Bawa's ar-;hitecture is a rich man's avocation' but*hen you look at what he has created, youlre amazed how high the quality is.

Also fascinating is his use of antiques.The antique market is quite popular in SriLanka where you can easily find doors and'.r'ooden columns that are more than 100'. ears old, in the spirit of recycling. Bawa is:rcellent at using them.G.{: Was Bawa the first to do that?Harano: There had been markets carryingrntique fumiture and building components,

but when it comes to choosing and arrang-ing them, no one can do it like Bawa. Manypeople go looking for antiques and try toalrange them, but they come nowhere nearBawa.

His being good at choosing terrains, aconnoisseur oflocation, is certainly a point,but that is not a11..... For example, withBlue Water Hotel (1996-98) which is locatedin a hot weather area, Bawa turned the en-tire first floor into a pilotis, making it an al-most external space, and surrounded it witha number of small basins that became thesource of constant cool breeze blowing tothe pilotis. So it is comfortable as long asyou are in the shade. Bawa in person neverdined indoors, insisting that 'meals should

be taken outside, under the shades'. This iswhy he is bad at restaurants (laughs). Hisindoor restaurants are large but with lowceilings. They feel cramped. Instead, theoutdoor tables are extremely comfortable tosit and dine. And his way of proposing awhole lifestyle for a certain climate is an-other point of fascination.

Caltural BackgroundGA: I have come upon a text on Bawa'scultural background stating that 'Bawa is ahybrid'. That there is a mixed-race culturein the island of Sri Lanka, which is a meet-ing point of Europe and Asia. It also men-tioned about his elder brother. While theirparents both had European blood in them,

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his brother was a big man with dark skinlooking definitely non-Caucasian, andBawa was a tall, blond-haired handsomeguy who looked very European.

Which brings me to the point that, it isthe self-notion of who he is that has be-come the background to his creations in ar-chitecture. With a cultural background thatis partly European, he is an expert in Asianspaces through his own experiences in SriLanka, and he still had a longing for Europe.Harano: I think that he was quite aware ofthe fact that he has Western blood in hisveins. What is interesting though is that heeventually gave shape to this notion in SriLanka. He never wanted to build a success-ful career in England.

GA: After all, he started his life as an ar-chitect when he discovered a vast gardenthat became Lunuganga (1948-98). And it oc-curred to him that he wanted to build therea house of his dreams.Harano: Bawa is especially skilled in ar-ranging the Colonial style which was intro-duced during the time of English, Dutchand Portuguese occupancy in a way that theColonial flavor itself remains unnoticed. Soif people ask me if Bawa's works are Colo-nial, I would say no, not really.GA: Those elements are used in a contem-porary context. And the result is a sort ofimagery that is not as extravagant as astyle, but is transnational and yet appealingto Europeans, the likes that would capture

the eyes at Aman Resorts right away.I understand that looking from a dis-

tance you feel a great amount of Colonialaspect and a closer look reveals the con-trary. Still, even though you can tell an ar-chitecture specialist that 'this is differentfrom Colonial style', the public visiting th;resort villas are more likely to perceir esome Colonial-like flavor in them. So theway I see it, while maintaining such im-ageries, he was actually challenging a vari-ety of new things. Would you give us sonreexamples of his arrangements that breakdown the Colonial aspects?Harano: As you might realize from hisportfolio, what makes Bawa interesting isthe fact that he has designed a lot of Mies-

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.ike or Le Corbusier-like buildings. Proba-:11 . he did so in attempt to create modern:rchitecture with local techniques, based on:nformation from international sources.f'onstructors in Sri Lanka are not so tech!l\'\'y. If you look at Mies' Glass Skyscrap-:rs and wish to do the same thing, you just--ln not. In fact, with State Mortgage Bank.q-o-28) he did that in concrete and added

--riginality in the arrangement of the uppersection. In ASH de Sitva House (tsss-oo),\lies' plan for the Country House is used.r.-is. Ena de Silva House which was com-pleted two years later features heavy use of:he golden proportion. A quite conscious',rse of it, as dimensions split up exten-sir ely, like Le Corbusier used to do. Al-

though this house was one of the most dis-tinguished among Bawa's houses, it wasalas demolished last year.

He was certainly always determined touse new information as soon as he had ac-cess to them, in his own original way. AndI guess that he took advantage of such in-formation in his arrangements to neutralizethe Colonial aspects.

In terms of materials, Colonial architec-ture often makes use of brick columns, andsometimes concrete ones, whereas Bawa,adopting a wood-based local buildingmethod, tends to use wood or coconut trunkcolumns.GA: How about the issue of scale? IsBawa's space in a Western type of scale or

is he accepting Colonial scale on a certainlevel?Harano: Colonial scale is somewhat huge.But the moment it is taken in Bawa's de-sign it becomes comfortable.GA: Do you mean it becomes smaller? Inother words, in an Asian type of scale?Harano: For instance, BartholomeuszHouse ltoot-03), former Geoffrey Bawa'sOffice which is now converted into arestaurant, features a colonnade in thecourtyard that is rather short-spanned.GA: I have a feeling that this space focuseson the very act ofbuilding a colonnade. Soit does not matter if as a whole it looks likea miniature. He just needed to have onethere. Even though he claims to discard

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style, it might be a person who is consciousof it. There was also a pond in the court-1.'ard. If you were to place a colonnadethere, it has to be bigger to make the spatialproportion right. But he does not care andgoes on creating his scenery that fits inthere, like a miniature garden.Harano: He surely intended to 'fit'. Thespan between columns could be moresparse, but he made it dense. But in thisrestaurant you do not feel like there are toomuch columns. Because there is a good bal-ance between their diameter, pitch andheight. Speaking of fitting like a miniaturegarden, this restaurant and Ena de SilvaHouse are the best examples.

An lcon of GlocalityGA: I believe that his international recog-nition came when he received the AgaKhan Award in 2001, around the time whenin a worldwide trend the term 'glocality'became increasingly popular, taking overfrom 'international'. One example wouldbe Glenn Murcutt, an architect who hasbeen building nothing but houses in Aus-tralia, who won the Pritzker Prize, an inter-national award 1zooz.y. But Bawa came underthe spotlight before that. When I come tothink of it, in terms of glocality, he is prob-ably the first person to be exposed to theworld. I suspect that it was the presence ofsuch global backdrop that led a person fromutterly domestic to wider recognition. And

of course the presence of Aman Groupmade a big difference, for sure (laughs).Harano: Exactly. Bawa has been widelrknown throughout Southern Asia, but alierhe received the Chairman's Award of th.'Aga Khan Award he became the focus o:international attention. Then with his pon-folio being published he came to be bette:recognized. But before that, there was th.new tide of resort architecture led by AmanResorts, that attracted the public by ventur-ing into setting up luxurious spaces in re-mote areas surrounded by nature. And sinceBawa has been looked upon as the pionee:of such trend, he was already considerabl'.famous through his hotels.

Bawa's reputation being built solell' r.r::

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-,:s hotels, Lunuganga and other housesirre rarely mentioned. But I believe that it. his houses that Bawa should be appreci-.::d for. Mentalities involved in design are::l-l'erent in hotels and houses. The recent3-rs'a boom started from his hotels, but if..-.u pay attention to his houses, you should:: able to find much more.

For Bawa, a plan for execution is not.:rportant. When he works on a house, he::,.-uses on what is necessary to the site, be-.-:r'ing in his own senses. So the plan con-:-rues to change, even during construction.'.i.ith Lunuganga, which took fifty years to:.rmplete, Bawa had it his way and kept al-::ing through the years. His own residence-

Colombo, the 33rd Lane itero-es1, is a

product of ten years of purchasing andadding up row houses and subsequent end-less remodeling that culminated in thelabyrinthine state that it is today.GA: It is likely that he demonstrated a sortof systematic mentality while working onhotels. He develops his images to a certainpoint but avoids further elaboration. Afterall, they are commercial facilities. On theother hand, his houses, especially his ownresidence, are designed in an extremelypersonal manner with much delicacy. Everydetail is laid out to the inch. He does it withdetermination, true to his senses. A designthat no one else is allowed to lay a hngeron. That would be possible with a house,but never with a hotel, so he had to switch

his mentality.Harano: His hotels clearly show a transi-tion in style, from his early Bentota BeachHotel (1967-69), Triton Hotel (tszs-at) adecade after, to the series of three hotels-Lighthouse Hotel (199s-92;, Blue WaterHotel (1996-9s) and Kandalama Hotel (tsst-eq-that are largely different in style.GA: Kandalama Hotel is a building that ap-pears to assimilate into the jungle. Somecall it Bawa's magnum opus.Harano: At first, it was planned on anothersite. But Bawa did not like that place andaccording to an anecdote went hunting for abetter one aboard a helicopter.GA: Bawa began working on hotels in the1960s. Was it an instant success back then?

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The images that he created were certainlytargeting vacationers from abroad. Did theycatch on frorn the start'lHarano: The success of a hotel dependsnot only on the architecture but on a varietyof factors such as service. so I guess thatthe client's side played a rather importantpart in it. But Lighthouse and Kandalamawere popular right frorn the start. And sorvas Blue Water after a while since it wasthe only luxury hotel in Colombo. Theywere not the foreign-investment type ofcommissions as the clients were mostlylocal investors who knew Bawa in person.so in terms of architect-owner relationship,both parties could work in mutual under-standing. That rnight be the reason why he

had a constant flow of clients from the be-ginning. The Japanese see Sri Lanka as oneof many developing countries, but E,uro-peans see it as a resort island surrounded bysea, so the country has always been atourist destination.GA: And where did those travelers used tostay, before Bawa started to design hotels?Were there any resort hotels?Harano: Yes. there were.GA: What types of architecture were they?Harano: To cite one characteristic. the roofdesigns tend to be ratlrer awkward. Theywould put roofs on virtually everything. Abuilding with a tiled roof on top of eavesthat run along two houses would be a typi-cal example.

GA: A folklore style... or a sort ol C r.lnial-ish (laughs) style?Harano: Ycs (laughs).

Prior to Bawa, a 100-room hotel ur....-either be a local type offeatureless buildi::-with brick walls for the most part and c.: -crete used only in beams and columns. ..: ,,recycling of old building from the Coltrr'...,period. Probably because during the I 9r.the increase of plane travels created :r:demand for 100-room class hotels to

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Architecture nrust be ExperiencedHarano: Bawa's architecture is diftil.'. '

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trom others in that it deals with a space inrvhich people are expected to walk aroundb1' design. When people are in a dark placeand see there is a bright light ahead, theysould want to walk up there. His designmakes the best of such natural physical re-sponses. Putting people in darkness and let-ting them walk toward the light. Whatau,aits them there is a space that Bawa re-ally wants to show.

A dark place is usually a corridor, nar-row in width and with low ceiling. Andri.hen you see a light down the hall youspontaneously start to walk. Ifthe dark cor-ridor is too long it gets boring so he pro-vides a sequence that is in a way dramatic,* ith a small bump here and a slight curve

there. He was an artist who did not work bythe plan, so he would throw such gimmicksin the layout along the process.

A bright place is usually a vast, openspace which consists of a spot garden or apond, sometimes lined with colonnade.Corridors surround the space so that peoplecan, as they wader about, really feel howwonderfully comfortable that space is.

There is a quote that Bawa left behind:'architecture must be experienced.' I thinkthat he was an artist who placed more im-portance on building up a prelude toward aplace that he wanted to show the most bymaking people walk, rather than creatingphotogenic forms. His own residence con-sists of four connected row houses. He first

bought the second house from the end, sohe made a long hallway to reach it, which isreminiscent of a runway in a Kabuki the-ater. It gives an impression of a device thatleads up to the main stage. Although archi-tects today are not so eager to use corridors,it is interesting to see that Bawa's corridorsare devices that are necessary for creating asequence.

Le Corbusier used slopes and spiralstaircases in order to make people walk in avisual manner. In Bawa's case, human na-ture is effectively architecturized, not aspart ofsuch visual elements.GA: Contrast of light in a space-com-pressed in dark places and exploding in thelight-as a method was frequently used by

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people such as Frank Lloyd Wright andLuis Barrag6n.

Back in the time when he attended theAA School of Architecture he seemed tohave developed a penchant for Wrightrather than Le Corbusier or Mies. He musthave studied about him. But Bawa isunique in that he does not appear to have'studied'. He just 'gets it right' with non-chalance. When I say 'a rich man's avoca-tion' there is nothing negative about it.Even Barrag6n would ultimately reach thatstate of the rich man's avocation. In Bar-rag6n's case, he was at first very much intomodernism and created modern architec-ture, but at one point in time he stoppedthat and began creating contemporary ar-

chitecture based on motifs from traditionalhouses. So my impression on Bawa wasthat he resembled him.Harano: Certainly. He and Barrag6n sharemany aspects. Other examples would betheir aristocratic descent or their commit-ment to landscape and gardening. Even theclimate in Sri Lanka seems to be close tothat in Mexico.

While Wright and Barrag6n both en-joyed worldwide fame during their lifetime,the best that Bawa could do was to put outhis messages as far as South Asia. The pro-longed civil war made it difficult for him totransmit information overseas. Also, theneighboring India had an advantage in thatit was in possession of works by Le Cor-

busier and Kahn that allowed names likeBalkrishna Doshi (tqzz-) and Charles Correa(1930-) to launch to the world. And tharnever happened to Bawa.GA: But would he want that to happen? Imean, he was born rich. Maybe the manwas not full of blazing ambition in thatsense.

Harano: You have a point. We do not findin him an ambitious person who wouldwish to promote his works around theworld and rise to stardom. Through hisupper-class background, it is quite obviousthat from the earliest stage of his practiceas architect he already had access to a cer-tain amount of power inside the country: trtook him only ten years to become the

33rd Lane (Geoffrey Bswu's House)

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102

ihairman of Sri Lanka Institute of Archi-:icts.G.{: I have been visiting Bawa's buildings'.i hile accompanying Yukio Futagawa's:hoto sessions, and my architectural experi-:nce there was, as you mentioned, some-:hrng that a still camera can hardly capture.Str in that sense, they are like landscapes'lnd gardens. Gardens in general cannot be:rasped in a panoramic way. You have torialk there to see the whole picture. Archi-:ecture usually has a package-type ofaspect:hat is dominant, so a look of its exterior re-'. eals pretty much everything. But Bawa's.rrchitecture is nothing like that. Still, itItres flot demonstrate a unified imagery or.tnlthing, because some of his buildings are

totally different from each another. Perhapsthe fact that even though he keeps addingthings and expanding his buildings, theirform never becomes annoying, means thathe is not competing on external forms andcompleteness.Harano: I suspect so. He is competing onthe spatial experience including the innercourtyards, rather than on the outer appear-ance.

The other day when I visited his resi-dence I took a look at his bookshelves andwas amazed at how much he has been read-ing about gardens. The number ofbooks onthe garden was way beyond that of bookson architecture.GA: I remember you were taking pictures

of them (laughs). Maybe it all started u,rththe desire to do something with his oungarden, which lead him to a definitive ar-chitectural attitude.

And I have a feeling that it all comesdown to this point. These type of things areat the other end ofthose that can be learnedflipping through a textbook at school.which is also the reason why I would de-scribe them as a rich man's avocation. Aconnoisseur's ability to appreciate thingscan never be taught.

Interview by Yoshio Futagawa (G.1tJanuarr 5th, 20 I t I

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