Can you see Sigiriya?
Shades like hands
Another mr. beautiful
DSC 2258
Grass collection
Bam Boooo
Palm shades look like a skeleton's fingers
DSC 2294
DSC 2309
DSC 2321
DSC 2322
DSC 2325
Tooth relic
DSC 2341
DSC 2346
DSC 2347
DSC 2359
Tea country
A sympathetic Tamil tea picker
DSC 2387
DSC 2388
Celebration of colour
DSC 2401
View from a terrace
I am the king of the cloooouds 1600
DSC 2238
DSC 2237
DSC 2235
DSC 2232
DSC 2231
View from a Lion rock
DSC 2201
View from the Lion Rock
What's the size of these feet?
DSC 2178
DSC 2147
DSC 2142
DSC 2140
DSC 2138
DSC 2137
DSC 2132
The structure of a natural stone makes it even mor…
DSC 2127
DSC 2126
DSC 2113
Keywords
DSC 2242


Geoffrey Manning Bawa (23 July 1919 – 27 May 2003) was a Sri Lankan architect. He is the most renowned architect in Sri Lanka and was among the most influential Asian architects of his generation. He is the principal force behind what is today known globally as "Tropical Modernism".
He was born half British, and being orphaned at a very early age. He got his Law degree from London and came back to Sri Lanka to work as a lawyer, following the Bawa family tradition. He soon grew weary of being a lawyer and went on a vacation to Italy where he was utterly captivated by the Italian gardens and had to resist buying an Italian lake house. This is where tropical, Mediterranean architecture and landscaping got stuck in his head. He came back to Sri Lanka and bought a rubber plantation in the Bentota area in 1948, to make his own garden home. However, finding that he lacked in skills and technicalities, he left for London to study as an architect. In 1957, he was a qualified architect and back home. He began planning and designing his Lunuganga country home. He took serious inspiration from Italian renaissance gardens and gave it a subtle modern twist.
Geoffrey and his brother Bevis were part of a milieu of sophisticated homosexuals who were drawn to the idea of Ceylon as a place of beauty, sensuality and escape. Bawa's architecture is at one with the land: inside and outside blend seamlessly, and it is designed for the maximum pleasure of its inhabitants. He was influenced by colonial and traditional Ceylonese architecture, and the role of water in it, but rejected both the idea of regionalism and the imposition of preconceived forms onto a site.
Bawa became an Associate of the Sri Lanka Institute of Architects in 1960. An ensuing close association with a coterie of like-minded artists and designers, including Ena de Silva, Barbara Sansoni and Laki Senanayake, produced a new awareness of indigenous materials and crafts, leading to a post-colonial renaissance of culture.
He was born half British, and being orphaned at a very early age. He got his Law degree from London and came back to Sri Lanka to work as a lawyer, following the Bawa family tradition. He soon grew weary of being a lawyer and went on a vacation to Italy where he was utterly captivated by the Italian gardens and had to resist buying an Italian lake house. This is where tropical, Mediterranean architecture and landscaping got stuck in his head. He came back to Sri Lanka and bought a rubber plantation in the Bentota area in 1948, to make his own garden home. However, finding that he lacked in skills and technicalities, he left for London to study as an architect. In 1957, he was a qualified architect and back home. He began planning and designing his Lunuganga country home. He took serious inspiration from Italian renaissance gardens and gave it a subtle modern twist.
Geoffrey and his brother Bevis were part of a milieu of sophisticated homosexuals who were drawn to the idea of Ceylon as a place of beauty, sensuality and escape. Bawa's architecture is at one with the land: inside and outside blend seamlessly, and it is designed for the maximum pleasure of its inhabitants. He was influenced by colonial and traditional Ceylonese architecture, and the role of water in it, but rejected both the idea of regionalism and the imposition of preconceived forms onto a site.
Bawa became an Associate of the Sri Lanka Institute of Architects in 1960. An ensuing close association with a coterie of like-minded artists and designers, including Ena de Silva, Barbara Sansoni and Laki Senanayake, produced a new awareness of indigenous materials and crafts, leading to a post-colonial renaissance of culture.
- Keyboard shortcuts:
Jump to top
RSS feed- Latest comments - Subscribe to the comment feeds of this photo
- ipernity © 2007-2025
- Help & Contact
|
Club news
|
About ipernity
|
History |
ipernity Club & Prices |
Guide of good conduct
Donate | Group guidelines | Privacy policy | Terms of use | Statutes | In memoria -
Facebook
Twitter
Sign-in to write a comment.