![]() Bawa continued to develop these themes throughout his career, refining them to a point where some of his late works are almost indistinguishable from the landscape around them. He also drew inspiration from the topographically-governed aesthetic of ancient Sinhalese architecture, with its tropisms toward landscape and water. Working in the parlous economic conditions of the Sixties and early Seventies, he was forced to use cheap local materials and finishes and made a virtue out of necessity by highlighting instead of disguising them - a coup de theatre that was to lay him open to accusations of 'vernacularism' in later years. He grasps a multiplicity of perspectives as he moves, considers the interaction of various lines of vision, and finally integrates all of this information into a unified design.īawa’s concept 2/2 Early in his career, Bawa revolutionized the Sri Lankan concept of urban living space, turning houses in on themselves to make the most of limited building plots and subverting the distinction between indoors and outdoors. As he says, "A building can only be understood by moving around and through it and by experiencing the modulation and feel of the spaces one moves through. For Bawa, a space cannot be conceived from a stationary perspective: movement is essential to both its concept and the experience of it. He thinks through the landscape, opens space up to it His structures are airy and light, open and outstretched they speak of bright winds, partake of greenery, breathe the warm breath of the beach.
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