Situation

The Railway station in Matara is a significant destination end point in the coastal railway line of Sri Lanka. Majority reach Matara to experience its historical and architectural character derived from its rich past dating back centuries. The lack of interaction between two major transportation modes has threatened to isolate the railway station, which is located away from the city centre. Although the railway station is easily accessible from the main roads, the adjacent area lacks activities that will help liven the atmosphere and prevent the station from becoming completely abandoned until the arrival or departure of the next train.

Site Analysis

Assuming that the coastal railway line will extend up to Katharagama, it will lead to Matara becoming a modern regional city centre with technological and infrastructural development. Given that the surrounding environment is redesigned to complement the function of the railway station, the main access point of the railway station increases permeability of the area through connecting the various amenities. Proposal of the Bus Terminal at the starting point of the Station Road strengthens the connection between the two transportation modes. And also pedestrianizing the Station Road will increase the walkability of the area allowing greater opportunity for activities to develop along that road.

Design

With the development of new technology, the form and shape of the train has been moderated to maintain the high speed. Furthermore, trains have become more lightweight than previous models. The transformation of these aspects, namely speed and the weight of the train, has served as inspiration to achieve the same dynamic quality through the building.

The building is designed, incorporating different levels to achieve the aspect of progression and also to allow people to experience the building form as well.  Levels are placed in a hierarchical order according to people’s activity patterns. The entry level unites all levels together whilst the double height space at the middle and the wide flight of steps increase the spaciousness of the building, where there is most activity, enhancing the mobility of the crowd. Lightweight roof structure using appropriate materials tries to enhance the idea of sustainability and adds to the openness of the design. Overall it can be said that the design makes an effort to symbolize the current technological advances pertaining to its era and to act as a catalyst to revitalize the surrounding areas.

USER – ENTHUSIAISTIC CITIZENS OF PANADURA

CLIENT – PANADURA URBAN COUNCIL

AMINAH MARIKA – CDP 2011/12

“No man is an Island entire of itself ”  

Meditation XVII, 1624: John Donne

Panadura grew with a distinct and unique character, in consonance with the three identifiable stages of Sri Lanka’s culture: the immigration of persons into the country, the onset of trade relations between Sri Lanka and other countries, and colonization, the last of which stilted the development of indigenous identity. The tension created by the introduction of the last of these factors was brought to public attention by the ‘Panaduravadaya’, a great religious debate that took place in Panadura during British rule. Through this, reconciliation and adaptation took place in this location. However, this process was disturbed and disrupted further by the advent of the open economy in 1977, creating changes too drastic and sudden to be merged into the existing social fabric, creating a rift and a divide that exists to this day. It is an inability for the society to function as a cohesive whole that pervades this town presently.

In order to achieve “cultural change” the public need to identify the importance of interacting with, depending on and complimenting their fellow beings.

The focus was to (concept)

“tap on the positive/negative MEMES in Panadura to rebuild a connected society.”

What is its Main Function?

The main function of the civic centre is to make society a part of decision making, to get people involved in the discourse that precedes change, and to thus ensure that the voice of the stakeholders do not go unnoticed.

This civic centre was designed in order to facilitate and encourage much needed interaction between people. The pivotal feature is the open-to-sky oratory theatre located in the centre of the building, overlooked by a ramp that tapers around the building spiraling upwards and acting as a balcony to this space complementing it. This oratory theatre acts as a place for public events to be held, or for people to carry out discourse. Its setting is one that is both informal and unintimidating, intended to make such activities commonplace. The ramp travels both upwards and downwards, the latter leading down towards galleries that can be rented by the public for expositions of talent, or to be used in any manner they wish.

The ramp functions as a walkthrough along which vendors and street hawkers can offer their services. The civic centre thereby seeks to address some of the core issues that plague Panadura, such as unemployment, poverty and the eviction of slum-dwellers.

Upon entering the premises, the feature that strikes the sculpture garden, which is open to the public to hone their workmanship, and to possibly display their creations as well. The youth centre which is below the cinema is made available in order to create interaction through entertainment. It will be accessorized with musical instruments, board games and the like, and includes a cyber café and a stationery shop/communication centre. The office and front desk are also situated in the ground floor.

Above the youth centre is the cinema, the outside wall of which constitutes a media wall that is wired to display advertisements as well as both local and international news. The section of the ramp leading up to the cinema is a ‘walk of contribution’, so called because it has kinetic paving that produces energy upon people treading on it, and also because the media wall lends itself to creating a need for news and information, in turn leading to an opportunity that newspaper vendors can utilize. The cinema protrudes over Jayatilake Mawatha.

WALK THROUGH  …………

Archt M M G Samuel is an award winning Chartered Architect and a Fellow Member of the Sri Lanka Institute of Architects. Among the numerous awards won are the Geoffery Bawa Award for the Best Comprehensive Design and Technology Report in M Sc (Architecture); several SLIA Design and Colour Awards; joint winner of SLIA House of the Year (2008) and he is also a short-listed candidate for the inaugural Geoffery Bawa Design Award. Archt M M G Samuel shares some of his views on his journey and architecture.

By Kasuni Dayananda

What inspired you to become an architect? 

As a child, during school days I used to admire buildings and I enjoyed drawing and entering art competitions. Interest in becoming an architect manifested when I helped an architecture student studying at the university with his drawing assignments.

My parents’ sacrifices made
for my siblings and me had a lasting impact, and the discipline my school principal Mr R I T Allas inculcated in me shaped me into who I am today.

Is there anything in your life/experience which in any way relates to how you create architecture and vice versa? 

     I gain inspiration from the essence of good architecture created by other architects not only in new architecture but even in particular features of traditional architecture, both local and abroad.

Among your design project which would regard as your best and why? 

I’m greatly enjoying the process of building my own house, [currently under construction] as I have the ability to create and construct exactly what I desire.

Any limitations/challenges you face in creating architecture locally?

I find that problems often arise from limits in technology, knowledge and budget.

Describe the general process you go through to design.

I study the client and project needs from the inception and mold it into my design principle. I think along a simplistic precept, avoiding unnecessary complications.

What’s your favorite part about conceptualising a design?

I enjoy envisioning how people would perceive and appreciate my design.

Brief description of your architectural practice.

My practice, MMGS Architects is based as an architectural company, and we outsource consultants for other related services. Currently we encompass a crew of five Chartered Architects, six architecture students and supporting staff. We have done a number of houses and projects for organisations such as HNB, USAID, AUSAID, UNICEF, Ladies’ College, the Anglican Diocese of Colombo, Sarvodhaya, Stassens Exports, Cargills and a number of other NGO’s and INGO’s. We enjoy each project we do and give the best to our clients.

In your opinion, what are the attributes needed to become a successful architect?

Honesty and hard work.
One should enjoy your own creation.

What have been the rewards of practicing architecture?

When clients and end users appreciate the work we have done, and of course the recognition received by winning design awards.

What are your experiences and contributions to the SLIA.

I have served in Council for over six years, serving as student councilor from inception (since 1999). Also, helping as an examiner and in addition I served in different boards for many years.

What do you believe is the future for architecture in Sri Lanka? Are there any changes you would like to see in the profession?

Sri Lanka may not produce technically advanced architecture, but it will produce simple, creative architecture within the available resources and will be foremost in terms of producing architecture in this region. Despite being a small community of architects, we Sri Lankans have produced better architecture than those of neighbouring countries, creating a unique Sri Lankan style which is not ostentatious, but simple and elegant.

By Benjamin Fowler  |  Photography  Waruna Gomis and Sandun De Silva

The idea of a tent for many would conjure up images of nomadic wanderings, or grittily braving the elements. Dolphin Beach in Kalpitiya, is a tented resort, which aims to dispel this common notion and prove that closeness to nature and opulent comfort need not be poles apart.

Dolphin Beach resort features seven luxury tents comprising 11 rooms, which are made of cotton canvas fabric and sheltered under thatched roofs. The general theme of the design has been to maintain a natural look and feel wherever possible. Commenting on the design considerations for the property, Archt. Christine Wallbeoff said, “what we tried to do is avoid having heavy buildings, so that it blends with the surroundings, the community and the palm trees. There aren’t many structures and hotels here, and we didn’t want to disrupt the natural environment by plonking concrete buildings here. Concrete only if we must, is what the overall concept is based on.”

On the layout of building and tents, she said, “we were careful to ensure that each room had a view of the sea. Common leisure areas constructed toward the beach, like the dome, deck, ice lounge and dining area were carefully sited to ensure that they did not block the view from the accommodations.” It’s all in the detail, and a look through the resort’s guest book bears testament to this, with many guests commending the overall design.

The use of wood is extensive throughout the property. The raised deck is the best example of this, with its floorboards having been culled from the vicinity and are over fifty years old. The deck, offers the best view of the ocean, and is sheltered by a modern canopy of long strips of white fabric interwoven between the wooden beams. The ceiling perfectly mirrors the floor of the deck in a sleek, minimal style, but is in striking contrast with the natural curvature of the eight tree trunk pillars that support it.

The floor of the dining area is similar to the deck and sits on a concrete bordered platform. The floor is strewn with sand, which makes it feel like walking on a thick pile carpet. The consistency in design follows that of the deck with curved tree trunks being used as opposed to conventional pillars.

The Dome is a unique structure intended as a common relaxation area and is aptly named considering its shape. The circular room, with cool concrete floors is roofed with illuk thatch, enhancing the beach atmosphere of the property. According to the Architect, the curvature is inspired by the architecture of Buddhist stupas. The seating is white concrete topped with large white cushions and blue pillows providing a soothing atmosphere. At the apex of the roof, hangs a translucent fibreglass sphere stuck like a pincushion with coconut twigs and lit from within with warm yellow light. When lit, the structure resembles the sun and is indeed a captivating centrepiece, made all the more striking by its contrast with the blue hues and cool concrete of the rest of The Dome. It might as well be a metaphor for the whole project – simple yet striking contrasts, a sense of the exotic, the presence of nature, all wrapped up in a local feel. It’s very much a luxury resort with a Sri Lankan aspect to it.

Larger than the Dome is the Ice Lounge –  another space for lounging and relaxation. Here again, emphasis has been placed on the use of natural materials for its construction. The floor of the lounge, like many of the resort’s pathways, comprise of large stone slabs the client has collected over the years. Pillars used follow the trademark of the property – tree trunks – and the roof is of cadjan thatch. The concrete seats are an alabaster-white and contrast sharply with the darker shades of the stone flooring. All this is set off by translucent blue fiberglass tables, resembling giant ice cubes when lit from within, adding an ethereal feel to the space. The use of concrete and stone throughout the resort illustrates the Architect’s desire to keep things cool with her choice of materials.

The large building that houses the kitchen, office, stores and massage room has been built to give the impression that the building has stood for many years. Portraying the look of a ‘walauwa’, its large wrap around verandah with blue concrete floor and warm yellow lighting adds an eclectic touch to the building.

The client is involved in the marine industry, and his deep interest in the subject is reflected across the property’s décor and fixtures. A dug-out boat serves as the buffet table in the dining area and in the Dome, a wooden theppam lies under the unique lighting fixture and is the centerpiece of the building. Other marine based artefacts include old brass port holes, brass and copper ship lamps and even an anchor strategically placed around the property.

The minimalist style does wonders elsewhere in Dolphin Beach to highlight the property’s personality and luxury. The thatched roofs that cool and protect the tents make the fabric’s colours that much more vivid. The fabric of the tent has little printed motifs on and also sequins sewn on, so that at night they sparkle like stars, making the atmosphere romantic. “It’s very warm, there’s a good vibe when you walk in,” is one guests comment on the accommodation. The colour scheme in each tent is unique, as is its décor. Every tent includes a verandah, with deck chairs and long concrete benches made comfortable with matching pillows and cushions. In fact, the verandah sometimes becomes a sleeping area for guests. Large, airy en suite toilets have a large mirror as well as a shaving mirror and feature an outdoor area with hot and cold rain shower. Handpicked art displayed in the toilet and rooms reflect the local community.

Though definitely more comfortable than conventional tents, a stay in a luxury tent at Dolphin Beach is far from devoid of a sense of adventure and mystery.

Principle Architect: Christine Wallbeoff

Area of Site: 2.5 acres

Contractor: Local community

Client: Makara Resorts

Architecture is a broad subject encompassing different elements. These elements could range from building a new structure to renovating an already existing one to give it a new life. The Crown Spa and Salon project undertaken by the PWA Interiors is an example of the latter as it has been salvaged from its dilapidated state to glow with a new found life.

Photography Waruna Gomis

“This is an interior architecture project,” said Archt. Philip Weeraratne. Built in the British Era, the building on Park Street was originally a warehouse. In response to the client’s need to move to new premises, PWA Interiors transformed this dilapidated warehouse, to create the uniquely designed architectural space. “The building had intricate old details which the team took much care to repair and restore, in an attempt to preserve something of the colonial architectural flavour of the building” said Sharon Jayasuriya, the Chief Interior Designer at PWA.

“Most of the exterior of the building was kept as it was, we just enhanced it,” said Archt. Weeraratne. Many window openings were created as there were no windows in the original structure while some doors were closed to give a warmer feeling. The periphery of the building was cleared up so that devoid of distractions the sole focus would be on the building itself. A cement driveway with a simple design running along the length, enables patrons to drive up to the entrance, while flower pots and a strip of lawn with trees and grass add a complementary feature to the building. Furthermore, drawing inspiration from a suggestion of the client, the design team hoisted up flags decorated with the Salon’s emblem atop “specially designed flagpoles and brackets to create an eye catching frontage,” said Archt. Weeraratne.

When renovating the building the PWA Interiors had several challenges to overcome. “The first was to get the civil work completed in a relatively short time. One of the main design challenges was that the floor space was linear in proportion and the space did not flow in a conventional form,” said Sharon Jayasuriya. However, the design team has worked within these constraints to create a floor space that was filled with distinctive features. Their goal of making ‘an ordinary space, extraordinary’ has been met in every aspect of the structure.

Their goal of making ‘an ordinary space, extraordinary’ has been met in every aspect of the structure

A corridor, which runs the length of the building provides access to each individual space of the Spa. To make it more exciting the designers have installed oversized skirting with hidden lights that illuminate the walls, drawing attention to the different textures used to construct the walls, while sculptures and various other features adorn the length of the corridor. “As the client was a repeat client, we had to bring in already existing features while modifying and giving something different,” said Archt. Weeraratne disclosing another challenge that they had to face.

“We wanted to make it very modern and international without prescribing to any particular culture,” said Archt. Weeraratne. However, the design team was very keen on somehow retaining the characteristics of a warehouse, while reflecting the luxury and comfort of a spa. Therefore, while preserving most elements of the warehouse, the interior was imbued with warm colours and wooden tones, with fabric and textures playing a vital role in crafting a comfortable space. For example, the pedicure area is designed with many shades and textures of white “with sculptural ceiling features, white planters with white pebbles, and double height white sheer curtains, lit from above,” said Sharon.

“When we were designing the furniture we looked at it in terms of fitting it in like sculptural elements. All things have a decorative purpose as well as a practical purpose,” said Sharon expanding on the interior decor of the Spa. One unique feature were the panels textured in dark tones with one side acting as a panel that houses a TV while the other side acts as the backdrop of a mirror. Furthermore, the panels that are used to separate the spaces are interspaced with glass “to visually link the spaces beyond while providing adequate privacy for the hairdressing areas beyond,” said Archt. Sharon.

Throughout the building a very neutral colour palate has been used, including shades of white, with some amount of dark timber utilised to render a contrast. Depending on the usage and the amount of natural sunlight that streams in, LED lighting is used to generate the required ambience. “Niches in the ceiling, carefully placed uplighting, down lighting in the functional areas, task and spot lighting all play their part,” said Sharon Jayasuriya elaborating on the lighting aspect of the building.

“Our credo is painstaking attention to detail, and this project gave us the opportunity to prove that this heritage building could be restored and refurbished to look really good. Creating a statement like this in the urban architectural landscape of Colombo may inspire other people to reconsider demolishing an old building. The response we got from the client was excellent,” concluded Archt. Weeraratne.

Principle Architect/ Architectural Firm:

PWA Architects/Interiors

Project Architect: Archt. Philip Weeraratne and Sharon Jayasuriya

Team Leader: Lakshini Ratnapala

Square Area of the Project: 6,000 sqft

Date of Commencement: August, 2011 Date of Completion: December, 2011

Pelican Chair - www.tumblr.com

Denmark has long been in the forefront of furniture design in the 20^th Century producing attractive pieces distinguished by fine craftsmanship. Danish innovations with the chair, in particular, symbolise a fine harmony between function, comfort and style. Even today, more than half a century later, a number of iconic designs are being reproduced. The following is a reflection of the cross sectional development of the modern Danish chair design through a selection of such masterpieces.

By Shenuka Dias

Designed by Kaare Klint in 1933, the Safari Chair is a light portable armchair, which was inspired by the colonial chair used by the English officers in India. This is one of the first chairs with knockdown construction, designed for portability. The analytical design approach was based on functionality, proportions in line with the human body, craftsmanship and the use of high quality materials. Adopting the functionalist trend of abandoning ornamentation in favour of form, the Safari Chair nonetheless maintains the warmth and beauty inherent in traditional Danish cabinet making as well as high-quality craftsmanship and materials.

Based on Klint’s Safari Chair, the folding chair was conceived, using simple folding principles by Mogens Koch and is now considered one of the most important folding chairs in Danish design. However, initially its unconventional design was considered too radical to produce, and as such production was started only in 1960.

The Pelican Chair, designed by Finn Juhl in 1940, takes the Danish chair to a whole new dimension, characterised by new expressions of form and ideas. The chair named for its resemblance to the shape of a pelican with outspread wings has a unique feeling of sculptured beauty, which fuses sculpture and furniture design together.

More emphasis is placed on form and less on function while maintaining an overall balance.

The Chieftain Chair, also known as the Egyptian Chair, is the masterpiece of Finn Juhl’s chair designs. Designed in 1949, the name is derived from its construction, which is based on an old Egyptian Chair. More emphasis is placed on form and less on function while maintaining an overall balance. Its unique form, which separate the sculpturally shaped seat and back from the wooden frame is emphasised with elegantly shaped armrests.

Of the many works designed by Hans J Wegner, the Chair No. 501 designed in 1949, is arguably the most important. The way the arm, and back rail is gathered, as fingers woven into each other; is a challenge to a skilled cabinet maker. The superiority of its design is due to the perfection of form with refined play of lines, simple lean form, absolute lack of excess, comfort, fine detailing and the perfect choice of materials.

Designed in 1950, the Y-Chair is the best selling of Wegner’s chairs to date. Today this chair is very popular in the Oriental region, perhaps for its inspiration of the Chinese classical style. Its name is based on the form of the back of the chair.

Created for use in the dining room of the Novo Pharmaceutical Company by Arne Jacobsen in 1951, the “Ant Chair” takes its name due to its shape, which resembles an ant. The design, however, was not popular and was criticized for having only three legs and no arms. Considered revolutionary in 1952 due to shell design with back and seat made out of one piece of laminated wood, the chair today, is available both with three and four legs in a wide range of colours.

Out of the many swivel chairs with casters designed by Wegner, the Swivel Chair No. 502 designed in 1955 is the most attractive.

Its distinctive features are its top rail design showing organic form and the strong finger joints between the top rail and arms.

The T Chair designed by Ole Wanscher in 1957 is an innovative adoption of beautiful lines and forms of the Chinese classical style. He was one of the first designers to create works for mass production, which were not only for the elite, focusing on functionality and convenience.

The Swan Chair named for its highly sculptured form, which resembles a swan spreading its wings, is a masterpiece by Arne Jacobsen created in 1958. It was the result of Jacobsen’s search for a curved fluid form, which required minimum padding and was lightweight without losing the comfort. The seat, backrest and arms are formed of a single piece of moulded polyurethane with fiberglass reinforcement. The shell has an adjustable tilt, which can be adjusted to the weight of the individual user. The base consists of a satin-polished, welded steel tube and a four-star base in aluminium. Due to its unique shape, the Swan Chair guarantees a bit of privacy in otherwise public spaces.

The Spanish Chair designed by Borge Mogensen in 1959 has a back and seat that is fastened by thick leather straps, a design popular in old Spanish chairs. The overall impression of this chair is forceful, yet it also has excellent details. Mogensen’s works are characterised by a strong, simple presence, beautiful lines, and a high level of comfort.

The Panton Chair or Stacking Chair designed in 1960 made Verner Panton’s name famous. This is the world’s first form-moulded chair in plastic without any joints.The Panton chair, a one-piece cantilevered design made in bright colours, has been in production continuously since 1967, and its sinuous shape became synonymous with 1960’s pop culture.

The reason for these chairs to reach global recognition is…because they fulfill basic human requirements.

The design of the Laminated Chair in 1963, established Grete Jalk as a renowned designer. This excellent laminated design was intended for mass production, but was considered too radical for production at the time. The expressive sculptural form of the chair, composed of two similarly shaped pieces of moulded plywood, marks a highlight in the engagement with this material.

The reason for these chairs to reach global recognition is not merely due to the assistance given by the Danish government and royal family, but because they fulfill basic human requirements. The combination of an interesting form and design, together with a sound knowledge of traditional woodworking and contemporary engineering methods, financial viability, skilled craftsmen, and the unparalleled creativity of its designers, and the recognition of consumer needs and desires have resulted in the continued excellence of these Danish chairs. 

By Benjamin Fowler  |  Photography Lilantha Wijayapala

“They wanted a very chic sort of interior but of course on a controlled budget, as this was two years ago when the economy was just recovering,” said Archt Lilantha Wijayapala, explaining the starting point for the design of a corporate interior for a UK-based apparel office in Colombo. The client’s desire for a low energy office space also complicated matters, considering the budget and the limitations found in any refurbishment. Given the limitations, creativity prevailed.

The most striking feature of the single-storey interior is the “core” layout which, as far as most office spaces are concerned, is a total inversion because typically the top management and the main boardroom are located at the edge of the office affording the best views. “We have located these areas in the core – the centre, and placed the rest of the office in an open office concept around it,” he explained. The core arrangement also makes it easier to expand even one particular department. You have no boundaries and it is just a matter of moving back and forth, around this core.

The building gets plenty of daylight and could also get uncomfortably hot on account of the East and West facials, so the Architect has opted for laminated, heat-proof glass in place of curtains, so as to maximise sunlight while also keeping the interior cool. This contributes to the client’s desire for a green office.

The ceiling is made of perforated steel panels giving the interior a modern sheen. As the panels are more reflective compared to a plaster ceiling it complements the office’s many glass partitions to help refract the natural daylight deeper towards the core. They also pick up the lime hues of the vibrantly painted walls, helping circulate the zesty colour throughout the office. Additionally, these fire-rated metal panels allow for greater flexibility, even with more intensive office renovations.

“We couldn’t allocate that many storage rooms, so we made storage a feature of the interior”

In keeping with a workplace designed to be flexible and fluid, the desks are made of thin yet stable wood, and demarcated by glass partitions. The metal boards, where the occupant can stick memos to photos or whatever else with a magnet, contributes towards an active and lively workstation.”

The office’s 7,200sqft of real estate presented some issues. Aside from the standard office fare, the client, being in the clothing industry, needed space within for thousands of garments. “We couldn’t allocate that many storage rooms, so we made storage a feature of the interior by using wall spaces as cupboards. Wherever possible, we made the partitions thicker and made it a cupboard.” The architect also utilised the technology of compact storage, in which modular storage units can be moved along lateral rails. Though you can only access one aisle at a time, the mobility coupled with the compressed space makes for highly efficient storage in a small space. According to the Archt, this method can increase filling space volume by 300 percent.

The concepts on open office designs are still evolving, giving much prominence to cost and efficiency. It’s not just about getting everyone out of cubicles. “However, as architects, we must make sure that there is a humane side to whatever concept one adopts. An office worker normally spend around eight hours a day in office, so we have to make sure the work environment is warm enough and  homely enough, so when we use colours, textures, materials, we make sure that we do not create just a dedicated work station,” were the concluding remarks of Archt.Lilantha Wijayapala.

 Architectural Firm: Design Forum

Project Archt: Lilantha Wijayapala

Client: Marks & Spencer

Square Area of Site: 7200 sqft

Date of Completion: July 2010

Contractor (Interior): Westgate International

Contractor (Electrical): Fentons

Tucked away amidst tall leafy foliage and a paddy field in the picturesque village of Aranwela, Tangalle this 100 year old ‘walawwa’ presented a charming setting as well as a challenge for Archt Pradeep Kodikara to combine the old world charm with contemporary architecture.

By Chamindra Warusavitharane  |  Photography Waruna Gomis 

Presented with the task of preserving the original aesthetic value of the building while creating a modern space, Archt Pradeep Kodikara came up with a design concept accordingly.

The new owner required the property to serve as a holiday get away and a small hotel. Explaining the background to his design approach the Architect said, “the challenge was to renovate the existing building in such a way to create a modern space while retaining the architecture and the sense of scale that was a trademark of this type of old building.”

A winding stretch of pre cast concrete strips, sunk in to the lawn lead the way to the building’s old wing. The state-of-the-art interior of this white building still retains the old charm. The careful additions, starting from the printed fabric on the headboards, to specially designed light fixtures and the inclusion of the clients 1960’s furniture, add to the spatial drama.

There are two bedrooms in the old wing, which are furnished with simple furniture to complement the building itself while the high ceiling ensures ample ventilation making air conditioning unnecessary.

The architect incorporated the same high ceilings into the design of the new wing not only to maximise the natural airflow to cool the building, but also to create a sense of continuity from the old to the new.

A paved courtyard reminiscent of the traditional courtyards, found in this type of buildings, connect the old building and the new building while the immense pool in the courtyard emphasises a sense of continuity. However, the old building’s white walls provide a harmonious contrast to the reddish brown walls of the new building, thus highlighting the unique aspects of each building without disturbing the bond. Consequently, the old building and the new building stay connected yet isolated from each other, the only physical connection being a steel trellis in the fashion of traditional trellises, which were used for screening purposes.

the new wing with proportionate timber pillars similar to the traditional pillars enclose the new wing, which houses the living and dining areas as well as three new bedrooms. The new bedrooms have similar headboards to that of the old bedrooms; a somewhat modern version of the existing ‘mal lali.’ Also, each bedroom in the new wing open up to individual courtyards. Apart from the high ceiling and the courtyard from which fresh air flows through, the upper part of the doors that can be opened if necessary, enhances cross ventilation.

The dining space of the new wing opens up to the garden and the seemingly infinite stretches of paddy fields beyond. The colours of the paddy fields alternate between pale green and golden to a rustic brown throughout the year. The Architect used lighting in such a way to enhance the romantic atmosphere of the ‘walawwa’ for as dusk falls the floor lights around the pool illuminate the spacious courtyard and both the old and the new wings of ‘walawwa’ reflect on the surface of the pool, framed by the green foliage connected yet separate.

 Architect: Pradeep Kodikara

Structural Engineer: Padma Gunaratna

Electrical Engineer:  Thushara De silva

Services Engineer:  Nimal Perera

Quantity Surveyor:  Chula Jeewakaratna

Landscape: Cedric De silva

Contractor:  M Kalyanaratna

Area: 5000 sqft

Date of completion: Dec 2010

Client: East is East

The contrasting solids and voids of the K-Zone building, formed by projected out glass cubes will entice any traveller along Galle Road to walk inside and explore the complex. This is exactly the effect that the Architects intended to produce in recreating an old rectangular warehouse and a factory building to function as a market complex, which caters to different needs of its customers starting from a complete shopping experience, retail therapy to recreation.

By Chamindra Warusavitharane

Once inside the building it is easy to imagine the source of inspiration behind the layout. The Architects have captured the essence of a traditional ‘pola’ (village fair) and brought to life a modern space with the same sense of openness and spontaneity. “We actually did a thorough study of the traditional fairs and realised that the sense of openness and the almost haphazard unexpectedness are the key aspects of these spaces. Those spaces simply grew and evolved and that is what we wanted to capture and create,” emphasised Archt Sheran Henry.

A twisted grid with glass cubes jutting out in striking triangular shapes envelops the building, while retail spaces are covered in glass walls and separated with bamboo hangings, consequently forming a space that is more interactive than the standard market complex. The Architects have used H iron, steel work and glass to form these thin spacing between the shops in order to generate the transparency essential to retail experience. Customers can either walk on the track running through the building in a straight line to go from shop to shop or else leisurely look at the wares from the pausing points built around each shop. The retail spaces are built in such a way to make space for these triangular pausing points. Thus the complex interior caters to different needs of customers. The old columns and trusses of the building form a solid background for the shops in neutral colours such as grey, black and white. This has allowed the vivid colours, tones and displays of each shop to stand out and shape the atmosphere of the complex; generating a sense of spontaneous growth. The double height shops also accentuate the overall atmosphere of ease and vitality by producing a sense of vast space.

“We did a thorough study of the traditional fairs and realised that the sense of openness and the almost haphazard unexpectedness are the key aspects of these spaces…”

Consequently, the market complex caters to a variety of different needs such as providing a straight forward shopping experience, creating room for a moment of leisure where people can have a snack and wait for acquaintance to turn up or bringing children to the playground. The dining area and the playground are placed at the opposite ends of the building in an attempt to maximise on the gratification that the complex provides its customers.

Photographs courtesy: Sheran Henry Associates

Architectural Firm: Sheran Henry Associates

Project Architects: Nishadhi Kulathilaka

Gihan Liyange

Structural Engineer : Up Country Consultants

M & E Consultant: Vijitha Perera

Project Period: 4 months

M M Noorbhoy & Co. (MMN) serve builders, contractors, architects, interior designers, furniture makers, carpenters and home owners as a trusted supplier of window and furniture fittings, laminates, kitchen accessories and multimedia brackets among a host of other products.

One of the key areas of expertise is providing the correct knowledge including choosing the correct equipment for a building or house.
In view of the sensitivity of customers’ budgets and the cost effectiveness that is a predominant force in determining the products used MMN have mastered the art of providing the correct advice.

‘’Most importantly we give them suggestions which would fit into their budget, our goal is to ensure that they get the best return on their investment,’’ said Firoze A M Musajee, Director.

In recent years MMN has also expanded its product portfolio to include a collection of products catering to space saving solutions. From multi-media brackets to pull out systems and foldable items these products allow complete versatility in small spaces and ensure neat, compact and visually appealing storage. This entire range is based on the Do-It-Yourself concept, made easy with the experienced MMN customer service team.

High Pressure Laminate Solutions (HPL) has also been a core focus on MMN over the years, and they boast the widest collection of colours and designs in Sri Lanka with two leading brands in their portfolio. Today the use of HPL has evolved from being purely a surfacing material and is used by architects and interior designers. MMN represents some of the world’s leading brands such as Formica/Perstorp, Alfa, PAG, Albion, and COCO, sourcing the best and widest range of products from the US, Europe and Asia.