LAURIE BAKER(THE BRICK MASTER OF KERALA)

Submitted By:-Pragyaa VashishthaTrishanjit Singh

Submitted To:-Ar. J. M. Duggal

Name : Laurence Wilfred BakerBorn : 2nd March 1917Died :  1st April 2007Education: Birmingham Institute of Art and DesignResided in : Trivandrum, Kerala.

THE GANDHI OF ARCHITECTURE

INTRODUCTION LAURIE BAKER WAS AN AWARD-WINNING BRITISH-BORN

INDIAN ARCHITECT, RENOWNED FOR HIS INITIATIVES IN COST-EFFECTIVE ENERGY-EFFICIENT ARCHITECTURE AND FOR HIS UNIQUE SPACE UTILIZATION AND SIMPLE BUT BEAUTIFUL AESTHETIC SENSIBILITY. IN TIME HE MADE A NAME FOR HIMSELF BOTH IN SUSTAINABLE ARCHITECTURE AS WELL AS IN ORGANIC ARCHITECTURE.

HE WENT TO INDIA IN 1945 IN PART AS A MISSIONARY AND SINCE THEN LIVED AND WORKED IN INDIA FOR OVER 50 YEARS. HE OBTAINED INDIAN CITIZENSHIP IN 1989 AND RESIDED IN  TRIVANDRUM, KERALA, SINCE 1970, WHERE HE LATER SET UP AN ORGANIZATION CALLED COSTFORD (CENTRE OF SCIENCE AND TECHNOLOGY FOR RURAL DEVELOPMENT), FOR SPREADING AWARENESS FOR LOW COST HOUSING.

EDUCATION

• BAKER STUDIED ARCHITECTURE AT BIRMINGHAM INSTITUTE OF ART AND DESIGN AND GRADUATED IN 1937, AGE 20.

• HIS INITIAL COMMITMENT TO INDIA HAD HIM WORKING AS AN ARCHITECT FOR WORLD LEPROSY MISSION, AN INTERNATIONAL AND INTERDENOMINATIONAL MISSION DEDICATED TO THE CARE OF THOSE SUFFERING FROM LEPROSY IN 1945.

• AS NEW MEDICINES FOR THE TREATMENT OF THE DISEASE WERE BECOMING MORE PREVALENT, HIS RESPONSIBILITIES WERE FOCUSED ON CONVERTING OR REPLACING ASYLUMS ONCE USED TO HOUSE THE OSTRACIZED SUFFERERS OF THE DISEASE - "LEPERS".

BAKER FOUND HIS ENGLISH CONSTRUCTION EDUCATION TO BE INADEQUATE FOR THE TYPES OF ISSUES AND MATERIALS HE HAS FACED WITH TERMITES AND THE EARLY MONSOON AS WELL AS LATERITE COW DUNG AND MUD WALLS

BAKER HAD NO CHOICE BUT TO OBSERVE AND LEARN FROM THE METHODS AND PRACTICES OF THE VERNACULAR ARCHITECTURE.

HE SOON LEARNED THAT THE INDIGENOUS ARCHITECTURE AND METHODS OF THESE PLACES WERE IN FACT THE ONLY VIABLE MEANS TO DEAL WITH HIS ONCE DAUNTING PROBLEMS.

INSPIRED BY HIS DISCOVERIES HE BEGAN TO TURN HIS STYLE OF ARCHITECTURE TOWARDS ONE THAT RESPECTED THE ACTUAL CULTURE AND NEEDS OF THOSE WHO WOULD ACTUALLY USE HIS BUILDINGS, RATHER THAN JUST PLAYING TO THE MORE "MODERNISTIC" TUNES OF HIS PAYING CLIENTS.

AWARDS AND ACHIEVEMENTS 1938 ASSOCIATE OF THE ROYAL INSTITUTE OF BRITISH

ARCHITECTS. 1970 FELLOW OF INDIAN INSTITUTE OF ARCHITECTS 1983 MEMBER OF BRITISH EMPIRE. 1987 FIRST INDIAN NATIONAL HABITAT AWARD 1989 I.I.A. MEDAL FOR OUTSTANDING ARCHITECT OF THE YEAR 1990 GREAT MASTERS ARCHITECT OF THE YEAR.

PADMA SHREE 1992 U.N.O. HABITATS AWARD

U.N. ROLL OF HONOR 1993 INTERNATIONAL UNION OF ARCHITECTS (I.U.A.) AWARD 1994 PEOPLE OF THE YEAR AWARD

I.I.A. BABU RAO MAITRE GOLD MEDAL 1995 DOCTORATE OF UNIVERSITY OF CENTRAL ENGLAND. 2003 BASHEER PURASKARAM.

PHILOSOPHY IN PRACTICE “ A SITE IS IDEAL ONLY IN THE UNDISTURBED NATURAL STATE

AND A BUILDING MUST RENEW AND REINFORCE THE ORIGINAL SITE CONDITIONS IN ORDER TO BE ACCOMMODATED”

“ THE ARCHITECTURE SHOULD MERGE WITH THE SURROUNDING LANDSCAPE, RATHER THAN STANDING OUT. IT SHOULD NOT BE IN COMPETITION WITH THE NATURE, BUT IN HARMONY WITH IT”

“ THE ARCHITECTURE AT A PLACE SHOULD BE RESPONSIVE TO THE CLIMATE, CONTEXT AND THE AVAILABLE RESOURCES – IT SHOULD BE FOR THE PEOPLE, THEIR NEEDS AND HOPES, IRRESPECTIVE OF TREND OR STYLE".

“ THE OUTER FORM ALONE IS MEANINGLESS, IT HAS TO BE COMPLEMENTED OR OVERSHADOWED BY THE INNER CONTENTS SINCE, THE SPATIAL EXPERIENCE OF AN INHABITANT IS MORE IMPORTANT THAN PURE VISUAL FORMS” .

PRINCIPLES

ALWAYS STUDY YOUR SITE , SOIL, TOPOGRAPHY, WATER CLIMATE & NEIGHBOURS (NOISY TEMPLES, SMELLY FACTORIES, ETC.)

SEE POTENTIAL SERVICES – WATER, DRAINAGE, ACCESS, POWER, FUEL, PHONE, ETC. IF NOT POSSIBLE OR AVAILABLE, WHAT WILL YOU DO?

EVERY BUILDING SHOULD BE UNIQUE NO TWO PEOPLE, OR FAMILIES ETC. ARE ALIKE, SO WHY SHOULD THEIR HOMES ALL BE THE SAME?

STUDY & KNOW LOCAL MATERIALS – THEIR AVAILABILITY, PERFORMANCE, COSTS, TECHNIQUES & WORKMEN WHO KNOW HOW TO USE THEM.

MAKE COST-EFFICIENCY YOUR WAY OF LIFE – NOT MERELY “LOW COST FOR THE POOR”. PRACTICE WHAT YOU PREACH.

INFLUENCES ONE OF HIS INFLUENCES HAS BEEN

MAHATMA GANDHI, FOR HIM PROPER DEVELOPMENT CAN BE DONE IF RAW MATERIAL IS BROUGHT FROM A PLACE IN A RANGE OF 5-10 KMS.

HE CRITICIZED THE WORKS OF LE CORBUSIER, HIS STRUCTURES WERE CHARACTERLESS. LAURIE BAKER’S ARCHITECTURE WAS A CONTEMPORARY VERSION OF THE VERNACULAR.

ANOTHER INSPIRATION FOR HIM HAS BEEN ORDINARY MEN. 

A MAN WITHOUT BORDERS

THE MAIN CHARACTERISTICS OF BAKER ARCHITECTURE IS THAT “SMALL IS NOT ONLY BEAUTIFUL BUT IS OFTEN

ESSENTIAL AND EVEN MORE IMPORTANT

THAN LARGE STRUCTURES”

ARCHITECTURAL STYLE

THROUGHOUT HIS PRACTICE, BAKER BECAME WELL KNOWN FOR DESIGNING AND BUILDING LOW COST, HIGH QUALITY, BEAUTIFUL HOMES, WITH A GREAT PORTION OF HIS WORK SUITED TO OR BUILT FOR LOWER-MIDDLE TO LOWER CLASS CLIENTS.

HE DEVISED HIS OWN STYLE THAT HAD HIS SIGNATURE OF STRUCTURAL HONESTY, DESIGN INTEGRITY AND SUSTAINING QUALITY. HIS WORKS ARE AN ACT OF INITIATION FROM WITHIN NOT OF INSTIGATION.

• HE USES EXTREMELY ECONOMICAL PRACTICES WHICH TIME HAS PROVED TO BE GOOD EFFECTIVE AND DURABLE AND ALSO IT IS SENSIBLE TO USE ECONOMICALLY AVAILABLE MATERIALS WHICH WOULD GIVE IT AN ORIGINAL CHARACTER TO THE ARCHITECTURE.

• HE DESIGNS EVERY HOUSE GIVING MINUTE DETAILS TO ALL THE CHARACTERS OF EACH PERSON LIVING IN THAT HOUSE. FOR EXAMPLE HE DESIGN AN OPENING OF BRICK WORK FOR THE PET IN THAT HOUSE. IN THE GIVEN PICTURE WE CAN SEE A DOG CRANING ITS NECK THROUGH THE OPENING AND GETS A 0.GOOD VIEW OF THE SURROUNDINGS.

ANOTHER SIGNIFICANT BAKER FEATURE IS IRREGULAR, PYRAMID-LIKE STRUCTURES ON ROOFS, WITH ONE SIDE LEFT OPEN AND TILTING INTO THE WIND.

BAKER'S DESIGNS INVARIABLY HAVE TRADITIONAL INDIAN SLOPING ROOFS AND TERRACOTTA MANGALORE TILESHINGLING WITH GABLES AND VENTS ALLOWING RISING HOT AIR TO ESCAPE.

THE DESIGN OF THE CENTRE FOR DEVELOPMENT STUDIES DEMONSTRATES HOW BAKER IS ABLE TO TRANSFORM VERNACULAR ARCHITECTURE TO SUIT THE REQUIREMENTS OF A MODERN ACADEMIC INSTITUION.

THIS BUILDING CONSISTS OF ALL THE ELEMENTS CHARACTERISTIC OF BAKER’S STYLE :- THE JALIS THE TRADITIONAL ROOFS THE STEPPED ARCHES THE OVERHANGING EAVES THE SKYLIGHTS

ADVANTAGESFILLER SLAB :

– 20-35% LESS MATERIALS– DECORATIVE, ECONOMICAL & REDUCED SELF-LOAD– ALMOST MAINTENANCE FREE– 25-30% COST REDUCTION

JACK ARCH :– ENERGY SAVING & ECO-FRIENDLY COMPRESSIVE ROOFING.– DECORATIVE & HIGHLY ECONOMICAL– MAINTENANCE FREE

MASONRY DOME :– ENERGY SAVING ECO-FRIENDLY COMPRESSIVE ROOF.– DECORATIVE & HIGHLY ECONOMICAL FOR LARGES SPANS.– MAINTENANCE FREE

FUNICULAR SHELL :– ENERGY SAVING ECO-FRIENDLY COMPRESSIVE ROOF.– DECORATIVE & ECONOMICAL– MAINTENANCE FREE

MASONRY ARCHES :– TRADITIONAL SPANNING SYSTEM.– HIGHLY DECORATIVE & ECONOMICAL– LESS ENERGY REQUIREMENT.

BAKER’S ARCHITECTURAL CREATIONS EXPANDS FROM A REMARKABLY VARIED

SPECTRUM OF PROJECTS RANGING FROM FISHERMEN’S VILLAGES TO INSTITUTIONAL

COMPLEXES & FROM LOW COST MUD HOUSING SCHEMES TO LOW COST

CATHEDRALS.HIS WORKS INCLUDE FORTY

CHURCHES, NUMEROUS SCHOOLS, INSTITUTIONS, RESIDENCES &

HOSPITALS

BAKER’S CONTRIBUTIONS TO ARCHITECTURE

WORKS The Hamlet (his residence)

Fishermen’s village

Centre for Development Studies, Ulloor

Loyola Chapel and Auditorium, 1971, Sreekaryam

Leprosy homes for Mission to Lepers across India

Pithoragarh house, school and hospital complex

Allahabad Agricultural University

Loyola Women’s Hostel, 1970, Sreekaryam

Neetas House

HUDCO Suresh

International Leprosy Mission, Faizabad

Works

• Key features of his house are: All the walls are made of mud bricks. Timber salvaged from an old boat jettyOne of the other signature elements of his

design includes the use of circular walls, which use far less brick than rectangular walls.

In addition, when he does use concrete for a roof, he embeds chipped or broken terra cotta roofing tiles into the mixture.

THE HAMLET

These tiles, which normally would be thrown away, contribute to the strength of the roof, allow less of the expensive concrete to be used, and reduce the structural load of the building.

He used broken tiles for the outer paved area of his garden. The living room, An integration of new building and salvaged

timber from traditional buildings that were being demolished. Baker's innovative use of discarded bottles, inset in the walls

giving a very good effect of light and creating an illusion of stained glass.

DRAWINGS

GROUND FLOOR

FIRST FLOOR

STEPS LEADING UP TO FRONT DOOR

A VIEW FROM THE OPPOSITE SIDE STEPS DIRECTLY

CUT IN ROCK

ENTRANCE HAS SMALL SITTING AREA FOR GUESTS

THE WALL IS DECORATED FROM BROKEN POTTERY, PENS, GLASS

A CALLING BELL FOR VISITORS TO ANNOUNCE THEIR PRESENCE

USE OF NATURAL LIGHT

INNER COURTYARD …CLOSE TO NATURE

NEVER CUT TREES INSTEAD ADAPTED HIS DESIGN ACCORDINGLY

BAKER’S FONDNESS OF ARCHES

COURTYARD HAS MANY GARDENS AND PONDS

Pitched roof made of Mangalore tiles

GABLES FOR PROPER AIR CIRCULATION AND VENTILATION

GRILL MADE OF BITS AND PIECES

COST EFFECTIVE BAKER’S WINDOWLouvered window typical of baker’s type

STAINED GLASS EFFECT

WATER TANK FOR STORING RAIN HARVESTED WATER

CHALLENGES: Severity of environment in which the tribal's live. Limitation of resources Conventional architects stayed away from these

projects Dealing with large insular groups, with set ideas and

traditions. Dealing with cyclones

FISHERMEN’S VILLAGEPOONTHURA ,TRIVANDRUM(1974-75)

Area of each unit : 25 sqm

Exposed brickwork and structure Sloped concrete roof Openness in design and individual units offset each

other Continuous latticework in the exposed walls

DESIGN STRATEGIESConstruction

• Low sloped roofs and courts serve as wind catchers

• Open walls function to dispel it

• Long row of housing replaced by even staggering

• Fronting courts catch the breeze and also get view of sea

Dealing With Cyclones:

• Little private rectangle of land in between houses for drying nets , kids play,

• Provides sleeping lofts within and adequate space outside for mending nets and cleaning and drying fish

Open Spaces

PLAN

CENTRE FOR DEVELOPMENT STUDIES ULLOOR, TRIVANDRUM, 1971

The most important project of baker’s career. The significance of this assignment had less to do with size and budget, than with the idea of exhibiting a range of concepts applied to buildings of varying functions, scale and dimensions. An area of nine acres accommodates administrative offices, a computer centre, an amphi-theatre, a library, classrooms, housing and other components of an institutional design.

The Computer centre, Centre forDevelopment Studies, Here Baker evolved an innovative system of curved double walls to save on cost and to conserve the energy that goes into air conditioning a building of this scale and purpose

Here, at the summit, the library dominates the centre with a seven-storey tower; the administrative offices and classrooms are scattered in a randomness determined by each one's position on the slope. However, the buildings remain tightly connected through corridors that snake upwards to the library along breezy walkways and landscaped courts.

Building textures, configurations and spanning elements demonstrate Baker’s easy manipulation of brick, all of which were made close to the site and fired with locally-available coconut palm wood. All surfaces, whether inside or out, in the dormitory or classroom, are exposed to patterns showing varying honding techniques and jali work. Openings are arched, corbelled or spanned with brick lintels. Wall thicknesses change on different floors, depending on the loading and requirement.

LOYOLA CHAPEL AND AUDITORIUM SREEKARAYAM, 1971

The Loyola complex contains a high school and a post-graduate complex, both sharing a common chapel and an auditorium. It was here that Baker'sskills of cost-reduction met their greatest challenge, as it required a seating capacity of one thousand. In order to increase the lateral strengthof the high brick wall, without the introduction of any steel or concrete, Baker devised a wide cavity doublewall with cross-bracing brick.

Windowless cavity wall

Both the walls were pierced with a continuous floor-to-roof pattern of jalis, so that the chapel was adequately, though somewhat mysteriously, lit-and ventilated. Despite its tall proportions, the acoustics of the hall were remarkable-the exposed surfaces and the open patterns of brickwork controlling the reverberations.

The total covered area of the chapel and auditorium and the gallery is approximately 930 square meters. The cost in 1970-71, including the furniture and appurtenances, lighting and sanitation was kept within the original gift sum of 1.75 lakh rupees

1. Chapel nave 2. Sanctuary3. Narthex 4. Sacristy5. Chapel 6. Terrace7. Auditorium 8. Stage9. Green room 10. Toilet