About the brick master of Kerala, "LAURIE BAKER"

4. :
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5.  LAURIE BAKERWAS 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.

6. • BAKER
STUDIEDARCHITECTURE 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 REPLACINGASYLUMS ONCE USED TO HOUSE
THE OSTRACIZED SUFFERERS OF THE DISEASE - "LEPERS".

7.  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.

8.  1938 ASSOCIATE OF THE ROYAL INSTITUTE OF BRITISH
ARCHITECTS.
 1970 FELLOWOF INDIAN INSTITUTE OFARCHITECTS
 1983 MEMBER OF BRITISH EMPIRE.
 1987 FIRST INDIAN NATIONAL HABITATAWARD
 1989 I.I.A. MEDAL FOR OUTSTANDING ARCHITECT OF THE YEAR
 1990 GREAT MASTERS ARCHITECT OF THE YEAR.
PADMASHREE
 1992 U.N.O. HABITATS AWARD
U.N. ROLL OF HONOR
 1993 INTERNATIONAL UNION OFARCHITECTS (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.

9.  “ 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” .

11. ONLY ACCEPT A REASONABLE BRIEF AND ONE
WHICH YOU THINK YOU ARE CAPABLE OF CARRYING THROUGH.
DISCOURAGE EXTRAVAGANCE & SNOBBERY
AND DON’T TAKE ON A JOB WHICH IS EITHER.
 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?
 YOU, YOURSELF, GET ACCURATE DETAILS OF THE SITE,
WITH IN-SITU FACTS SUCH AS TREES, ROCKS, A WELL, WIND & RAIN
DIRECTIONS
 EVERY BUILDING SHOULD BE UNIQUE NO TWO
PEOPLE, OR FAMILIES ETC ARE ALIKE, SO WHY SHOULD THEIR HOMES ALL
BE THE SAME?

12.  STUDY & KNOW LOCAL MATERIALS – THEIR AVAILABILITY,
PERFORMANCE, COSTS, TECHNIQUES & WORKMEN WHO KNOW HOW TO
USE THEM.
 STUDY & KNOW ENERGY USED IN THE MANUFACTURE & TRANSPORT OF
MATERIALS, AVOIDING USING ENERGY INTENSIVE
MATERIALS WHERE POSSIBLE.
 BUILDING CODES ARE ADVISORY & NOT
MANDATORY! READ THE FIRST CHAPTERS OF OUR NATIONAL
BUILDING CODE!
 DON’T ROB NATIONAL RESOURCES & DO NOT USE THEM
EXTRAVAGANTLY OR UNNECESSARILY
 BE HONEST & TRUTHFUL IN DESIGN & MATERIAL
USAGE, CONSTRUCTION, COSTS, AND ABOUT YOUR OWN
MISTAKES!

13. GET YOUR CONSCIENCE OUT OF DEEP FREEZE & USE IT.
LET ALL YOU DO BE HONEST & TRUTHFUL – NOT ONLY YOUR BUILDINGS.
LOOK CLOSELY AT YOUR OWN PREJUDICES. QUESTION
THEM AND SEE IF THEY ARE STILL JUSTIFIABLE.
HAVE FAITH IN YOUR OWN CONVICTIONS & HAVE
COURAGE TO STICK TO THEM – BUT RESPECT THOSE OF
OTHER PEOPLE.
MAKE COST-EFFICIENCY YOUR WAY OF LIFE – NOT
MERELY “LOW COST FOR THE POOR”. PRACTICE WHAT YOU PREACH.
KEEP YOUR INFORMATION & KNOWLEDGE ‘UP-TO-DATE’,
BUT MAKE SURE THE LATEST ‘FASHIONS’ ARE BETTER THAN
ESTABLISHED WAYS BEFORE CHANGING.
DON’T DO THAT WHICH IS NOT NECESSARY.
EXPLAIN THIS TO YOUR CLIENTS WHEN YOU THINK THEIR DEMANDS
ETC. ARE NOT NECESSARY

14. AVOID OPULENCE & ‘SHOWING OFF’, & DON’T USE
CURRENTLY FASHIONABLE GIMMICKS
ABOVE ALL USE COMMON SENSE (I THINK YOU
HAD BETTER NOT ASK ME WHAT ‘COMMON SENSE’ IS!) & HAVE FUN
IN DESIGNING.
TRIM YOUR DRAWINGS, STAFF, EQUIPMENT,
TRAVEL & TRANSPORT, PAPER & EXPENSES

16.  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.

17. • THE DIRECT & HONEST USE OF LOCAL
MATERIALS CREATED ITS OWN
EXPRESSION OF STRUCTURAL
NECESSITY, OF UNECONOMICAL
RESTRAINT.CONFRONTED WITH
BUILDING MATERIALS LIKE ROCK,
MUD, LATERITE & COW DUNG, BAKER’S
ARCHITECTURAL PRACTISE IN THE
HIMALAYAS WAS ANYTHING BUT
CONVENTIONAL.
• ACCORDING TO HIM, THE HIMALAYAN
DOMESTIC ARCHITECTURE WAS A
PERFECT EXAMPLE OF VERNACULAR
ARCHITECTURE – SIMPLE, EFFICIENT &
INEXPENSIVE. IT ALSO DEALT WITH
INCIDENTAL DIFFICULT PROBLEMS OF
HOW TO BUILD ON STEEPLY SLOPPING
SITE.

18. • THE RIGOROUS QUAKER UPBRINGING, WITH
ITS EMPHASIS ON SIMPLICITY & AUSTERITY,
ITS REJECTION OF ALL ORNAMENT &
LUXURY AS SINFUL SELF-INDULGENCE, WAS
REINFORCED BY THE THEORY OF
MODERNISM THAT WERE CURRENT DURING
HIS ARCHITECTURAL TRAINING.
• IN DESIGNING OBJECTS FINELY
CONSTRUCTED & COMPLETE IN
THEMSELVES, THERE IS A REFLECTION OF
BAKER’S INTENSELY REALISED FAITH, HIS
UNUSAL SET OF PRINCIPLES IMBIBED FROM
THE LAWS & CUSTOMS OF HIS RELIGIOUS
SECT.

19. • IN 1945 WHEN HE CAME TO INDIA
, THE ATMOSPHERE WAS
ENTIRELY DIFFERENT.
• AT THAT TIME WEIGHTAGE WAS
GIVEN TO TRADITIONAL STYLE
BUILDINGS.
• ARCHITECTS BELIEVED THAT
MODERN MOVEMENT WOULD
PROVIDE NEW MATERIALS AND
TECHNIQUES TO SERVE THE
NEEDS OF PEOPLE
• HIGH TECH BUILDINGS WOULD
IMPROVE THE STANDARD OF
LIVING FOR EVERYBODY
• INDUSTRIALIZATION INCREASES
THE DEMAND FOR HOUSING AND
DOMINATED BY COMMERCIAL
BUILDERS

20. • THEY RARELY CONSIDERED THE LIFESTYLE AND COMFORT
• IT INCREASES THE GAP BETWEEN AVAILABLE RESOURCES AND NEED
FOR HOUSING
• THE MOST VISIBLE LINKS TO THE PAST ARE
i. STYLIZED PEDIMENT
ii. BLOATED KEYSTONE
iii. FAKE CAPITALS AND COLUMNS
• HE ALSO TAKES OPTIMUM BENEFITS THROUGH NEW BUILDING
MATERIAL
• THOUGH BAKER IS NOT THE FOUNDER, PRACTITIONER, OR PRODUCT
OF MODERN DOCTRINE, HE DEMONSTRATED HIS OWN CONCERNS
• EACH ONE SOUGHT THE DEVELOPMENT OF VERNACULAR – A
COMMONLY OBSERVED , FELT AND ACCEPTED LANGUAGE, TO BE
TRANSFORMED TO SUIT NEW REQUIREMENTS
• SUCH A TRANSFORMATION REQUIRED A SHARP COMPREHENSION OF
DUAL PHENOMENA OF TRADITION AND CHANGE
• RE ESTABLISHED THE TRADITIONAL CONSTRUCTION WITHOUT THE
ACTUAL IMITATION OF TRADITIONAL STYLES

21. • LATERITE AND BRICK WALLS REDUCED TO THE MINIMUM ENVELOPE
REQUIRED FOR ENCLOSURE
• IT MEANS THAT USE OF THESE MATERIAL STRIKES AN UNUSUAL
COMPROMISE BETWEEN TRADITIONAL PRACTICES AND MODERN
PRINCIPLE
• BAKER’S WORK IS IN STARTLING CONTRAST TO THE PREVAILING
ARCHITECTURAL PRACTICES
• BUILDINGS ARE PRODUCED WITHOUT CORPORATE, REGIONAL OR
HISTORIC IDENTITY
• IT IS FROM THIS CLIMATE OF AESTHETIC UNCERTAINTY THAT
ARCHITECTS HAVE SOUGHT RELIEF IN DECORATION AND POP-ICONOGRAPHY
• BAKER USES THE QUALITIES OF RUGGED LIGHTNESS, IN COMBINATION
WITH THE TERRACOTTA TILE ROOF IN STEAD OF CONCRETE
• HIS WORK CAN BE VIEWED AS PART OF A MUCH LARGER WORLDWIDE
EFFORT TO RE EXAMINE ARCHITECTURAL VALUES
• ARCHITECTURAL PRIORITIES WHERE RE EXAMINED

22. 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”

23. 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.

24. • 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.

25. • 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.

26. THE LENGTH OF THE
WALL ENCLOSING A
GIVEN AREA IS
SHORTER IF THE
SHAPE IS CIRCULAR
AND LONGER IN CASE
OF SQUARE OR
RECTANGLE. HE
FOUND THAT CIRCLE
AND CURVES
INSTEAD OF SQUARES
AND STRAIGHT LINE
ARE THE SOLUTIONS
FOR VARIOUS
SPATIAL AND
PLANNING
PROBLEMS AND FOR
COST REDUCTION.

27. IRREGULAR, PYRAMID-LIKE
STRUCTURES ON
ROOFS, WITH ONE SIDE
LEFT OPEN AND
TILTING INTO THE
WIND.
CURVED WALLS TO
ENCLOSE MORE VOLUME
AT LOWER MATERIAL COST
THAN STRAIGHT WALLS

28. • HIS BUILDINGS TEND TO EMPHASIZE PROLIFIC - AT
TIMES VIRTUOSIC - MASONRY CONSTRUCTION,
INSTILLING PRIVACY AND EVOKING HISTORY WITH
BRICK JALIWALLS, A PERFORATED BRICK SCREEN
WHICH INVITES A NATURAL AIR FLOW TO COOL
THE BUILDINGS' INTERIOR, IN ADDITION TO
CREATING INTRICATE PATTERNS OF LIGHT AND
SHADOW.
• HE INTRODUCED DIFFERENT BRICK ARRANGING
METHODS

29. 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 TERRACOTTAM
ANGALORE TILE
• SHINGLING
WITH GABLES AND
VENTS ALLOWING
RISING HOT AIR TO
ESCAPE.

31. • COMPARTMENTS FOR MILK BOTTLES NEAR THE DOORSTEP,
WINDOWSILLS THAT DOUBLE AS BENCH SURFACES, AND A HEAVY
EMPHASIS ON TAKING CUES FROM THE NATURAL CONDITION OF THE SITE
ARE JUST SOME EXAMPLES.
• THIS SAVES CONSTRUCTION COST AS WELL, SINCE WORKING AROUND
DIFFICULT SITE CONDITIONS IS MUCH MORE COST-EFFECTIVE.
• INNOVATIVE BONDING
TECHNIQUES FOR BRICK ALLOW
BAKER TO BUILD WALLS OF ONLY
A HALF-BRICK THICKNESS. IN
MANY CASES THEY ARE STEPPED
AND CURVED FOR ADDED
RIGIDITY
• INTERIORS ARE
UMCOMPROMISINGLY DIRECT
AND SIMPLE

32. • MODIFIED GLASS WINDOWS, FRAMES AND SILLS, ETC ARE OFTEN
ELIMINATED PREFERRING SMALL OPENINGS IN BRICK, LIKE THE
TRADITIONAL JALI

33. • VARIOUS FEATURES OF HIS WORK SUCH AS USING RECYCLED
MATERIAL, NATURAL ENVIRONMENT CONTROL AND FRUGALITY OF
DESIGN MAY BE SEEN AS SUSTAINABLE ARCHITECTURE OR GREEN
BUILDING WITH ITS EMPHASIS ON SUSTAINABILITY.
• BAKER CREATES A VARIETY OF TEXTURES AND
PATTERNS BY SIMPLE MANIPULATION OF THE WAY
IN WHICH BRICKS ARE PLACED IN THE WALL.

34. • BAKER CREATED A COOLING SYSTEM BY
PLACING A HIGH, LATTICED, BRICK WALL
NEAR A POND THAT USES AIR PRESSURE
DIFFERENCES TO DRAW COOL AIR
THROUGH THE BUILDING.
• HIS RESPONSIVENESS TO NEVER-IDENTICAL SITE
CONDITIONS QUITE OBVIOUSLY ALLOWED FOR
THE VARIEGATION THAT PERMEATES HIS WORK.

35. • CONCRETE IS USED VERY SPARINGLY, OFTEN
IN A FOLDED SLAB DESIGN WITH WASTE AND
DISCARDED TILES USED AS FILTERS,
THEREBY MAKING THE ROOF LIGHT AND
INEXPENSIVE
• TINY REGULAR OPENINGS IN WALL
PRODUCING INTRICATE PATTERNS OF LIGHT
AND SHADOW
• JALI BECOMES THE TRUE VERNACULAR
SOLUTION TO THE PROBLEM OF THE
WINDOW AND IT HAS AN ELEGANCE AND
SIMPLICITY
• IT CATCHES LIGHT AND AIR AND DIFFUSES
GLARE WHILE ALLOWING FOR PRIVACY AND
SECURITY – COMBINING THE FUNCTIONS OF
A WINDOW AND VENTILATOR
• IT ENCOURAGES AIR FLOW

36. • 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

37.  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

38. “I THINK IT’S A
WASTE OF MONEY TO
LEVEL A WELL
MOULDED SITE”
- LAURIE BAKER

39. LAURIE BAKER'S METHOD IS OF IMPROVISATION & HE NEVER HAD ANY
DRAFTED PLANS RATHER HE LIKED TO IMPROVISE IN EVERY STAGE
BAKER’S COMPREHENSION OF SPACE
 CURVED JALI WALLS ARE DRAWN BY THE HAND, ON THE SPOT, AT THE
SITE WITHOUT ANY SORT OF EQUIPMENT.
 OPENINGS ARE DESIGNED AS THE WALL IS BEING BUILT, NICHES ARE
CARVED IN AND CORNERS ARE DETAILED DURING THE PROCESS OF
ACTUAL BUILDING.
 HE BELIEVES IN THE TRIAD OF THE ARCHITECT, THE
CRAFTSMAN AND THE CLIENT. HE BUILDS HOUSES BY MAKING
SKETCH ON PAPER THAT A MASON CAN COMPREHEND.
 HE FOLLOWS A METHOD OF CONSTRUCTION THAT CREATES SIMILAR
ELEMENTS IN ASSEMBLIES VARYING ACCORDING TO THE FUNCTION AND
SCALE OF EACH PROJECT.
 LAURIE BAKER DOES NOT USE NEW CONSTRUCTION TECHNOLOGY TO
CREATE NEW FORMS BUT FOR NECESSITY, THAT IS REDUCTION IN THE
COST OF BUILDING. HIS CONSTRUCTION TECHNOLOGY BRINGS OUT THE
REGIONAL IDENTITY OF THE PLACE. BAKER TREATS EACH AND EVERY
MEMBER OF HIS STRUCTURE IN SUCH A WAY THAT THE BUILDING IS COST-EFFECTIVE
AND CLIMATICALLY RESPONSIVE.

41. • USE ARCHES RATHER THAN LINTELS
• MANY VARIETIES OF ARCHES (SEE BOOKLET) FLAT, SEGMENTAL,
POINTED ROUNDED, CORBELLED, AND SO ON.
• ALL ARCH METHODS ARE EQUALLY SUITABLE FOR MUD WALL
CONSTRUCTION
• REMEMBER TO GIVE ADEQUATE WIDTH OF SUPPORT WALLS TO
DEAL WITH THE ARCH THRUST.
• FRAME WORK, TEMPLATES, ARCH FRAMES MUST BE REMOVED
IMMEDIATELY THE ARCH IS COMPLETED (TO ALLOW FOR
COMPRESSION AS THE MORTAR DRIES AND SHRINKS)

42. DOORS
• WOOD IS GETTING SCARCE AND COSTLY. USE AS LITTLE
AS POSSIBLE.
• IN MANY INSTANCES FRAMELESS DOORS AND WINDOWS
ARE ACCEPTABLE AND REDUCE BOTH QUANTITY OF
TIMBER, LABOR AND COSTS

43. WINDOW
• BOARD AND BATTEN TYPE SHUTTERS ARE LESS
COSTLY, USE LESS LABOR AND LESS TIMBER THAN
PANELED SHUTTERS.
• GLASS IS OFTEN NOT NECESSARY. ONLY USE WHEN IT
HAS A USEFUL PURPOSE AND IS ESSENTIAL.
• GLASS MANUFACTURE IS ENERGY INTENSIVE. IT IS
EXTRAVAGANT OR UNNECESSARY USE IS ANTI-NATIONAL
FLOOR
1. USE LOCAL MATERIALS
2. REMEMBER THAT CEMENT IS ENERGY INTENSIVE AND
SHOULD NOT BE USED IF THERE IS A GOOD LOCAL
ALTERNATIVE.
3. TILE (UNGLAZED) FLOORS ARE TRADITIONAL AND
EFFECTIVE.
4. IN MANY AREAS THERE IS A LOCAL FLOORING STONE
AVAILABLE. WHERE SO, USE IT.

44. ROOFS
• IN MANY AREAS TILE ROOFS ARE OK BUT
CALL FOR A LOT OF TIMBER SUPPORT
(PURLOINS, RAFTERS, BATTENS ETC)
• ON THE OTHER HAND PREFABRICATED AND
VARIOUS R.C SLABS USE ENERGY-INTENSIVE
STEEL AND CEMENT.
• BOTH SYSTEMS HAVE ADVANTAGES AND
‘EVIL’ DISADVANTAGES. THESE INCLUDING
LABOR AND TRANSPORT COST AND OTHER
PROBLEMS HAVE TO BE STUDIED LOCALLY
BEFORE THE BETTER CHOICE IS MADE.
• REGARDING CONCRETE ROOFS: C.B.R.I ETC.
HAVE A VARIETY OF SYSTEMS-L-PANELS,
DOUBLE FUNICULAR SHELLS, ETC. IN
PRACTICE THE LATTER OFTEN HAS LEAK
PROBLEMS. BOTH USE STEEL AND CEMENT
AND HAVE TO BE ‘OVER DESIGNED’ TO COPE
WITH HANDLING AND TRANSPORT.

45. • ALTERNATIVE SLAB IN-SITU SYSTEMS
INCLUDE FILLER SLABS (VOID FORMERS)
WHICH REDUCE MATERIALS AND COST BY
ABOUT 30%, BUT SHUTTERING IS COSTLY.
AGAIN, LOCAL BALANCING AND
COMPARING OF OVERALL COSTS,
TRANSPORT, LABOUR, AND ENERGY USED
ETC, HAVE TO BE MADE BEFORE A CHOICE
IS MADE AND IT WILL VARY FROM PLACE TO
PLACE.
• DOMES AND VAULTS CAN BE DONE BUT ARE
MAINLY NOT ACCEPTABLE TO LIVE UNDER:
IN CERTAIN DRIER AREAS THE HASSAN
FATHI OR EGYPTIAN SYSTEM OF
FRAMELESS DOMES AND VAULTS IS GOOD-BUT
USUALLY “UN-INDIAN”

46. THE WEIGHT CAN
BE LESSENED BY
PUTTING LIGHT
WEIGHT
MATERIAL
BETWEEN
STEEL.USING
MANGLORE OR
ANY OTHER
CHEAPER TILES
WILL SAVE ABOUT
30% OF DEAD
WEIGHT OF THE
SLAB SO LESS
STEEL IS NEEDED

47.  THE UPTURNED, HORNED ROOFS OF BUILDINGS AS FOUND
IN KERALA ARE THE DIRECT RESULT OF THE PEOPLE OF
THOSE PLACES, THEY KNEW THAT HOT AIR RISES &
ALLOWED IT TO TRAVEL UPWARDS FROM THE LOW EAVES
TO THE OPENINGS AT THE ENDS OF THE HIGH RIDGE.
 THEY UNDERSTOOD AND APPLIED PRINCIPLES OF
INSULATION; THEN ROOFING MATERIALS FORMED HOLLOW
CELLULAR PROTECTIVE LAYERS.

48.  USING CORBELLING INSTEAD OF A LINTEL ABOVE THE
FRAME, THIS REDUCES THE COST OF THE R.C.C LINTEL.
 USING LESS NUMBER OF BRICKS TO MAKE AWALL OF SAME
THICKNESS AND PROVIDING CAVITIES IN BETWEEN FOR
INSULATION.

49.  HE USED JALIS WHICH HAD MANY ADVANTAGES, SUCH AS
VENTILATION, ENOUGH LIGHT, LESS MATERIAL REQUIRED.
 REDUCING THE UNNECESSARY COST OF A WINDOW WITH A
SHUTTER.
 USING ‘JALI’ IN HIS WALLS FOR PROPER CROSS VENTILATION,
ENOUGH SUN LIGHT ETC.

50. RAT-TRAP
BOND
• USE BRICKS IN DISTRICTS WHERE IT IS MADE AND IS PLENTIFUL
• 4.5" WALLS ARE STABLE AND STRONG IF CORRUGATED OR
BUTTRESSED.
• 9" WALLS ARE USUALLY CAPABLE OF BEING LOAD BEARING UP TO
THREE STOREY HEIGHT.
• 25% OF BRICKS, MORTAR, COST ETC. CAN BE SAVED BY USING THE
RAT TRAP BOND. THIS CAN ALSO USUALLY.
• BE SAFELY USED UP TO 3 STOREYS IN HEIGHT AND IS EQUALLY
LOAD BEARING

51. MUD WALLS
1. THEIR MAIN ADVANTAGE OVER BURNT BRICK WALLS IS
THAT NO ENERGY / FUEL ARE USED IN THEIR
MANUFACTURE.
2. THERE ARE MANY VARIETIES OF MUD WALL SYSTEMS
3. MUD MUST BE PROTECTED FROM WATER OF ANY SORT.
4. USE LOCAL METHODS UNLESS YOU CAN PROVE
“ADVANCED METHODS” ARE GENUINELY SUPERIOR.
5. THE EASIEST TYPE OF MUD WALL IS TO USE THE SAME
SHAPE AND SIZE BRICK AS THE BURNT BRICK, BUT LEAVE
IT UN-BURNT. MASONS DO NOT HAVE TO RELEARN-THEY
USE IT IN EXACTLY THE SAME BOND AND METHODS AS
THEY DO THE BURNT BRICK.

52. FILLER 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.

53. 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

55. • INTERNATIONAL LEPROSY MISSION
• WEALTHY FISHER'S LITERACY
VILLAGE, LUCKNOW
• ANDHRA PRADESH QUAKER CYCLONE
PROJECT
• LATUR EARTHQUAKE PROOF HOUSING
PROJECT
• TSUNAMI-PROOF HOUSING PROJECT

56. HOME TO BAKER AND
HIS WIFE ELIZABETH
BAKER SINCE 1970
“THE HOUSE IN 5
LEVELS”

58. THE HOUSE IS SITUATED ON A SITE WITH AREA OF ABOUT
HALF AN ACRE ,IN THIRUVANANTHAPURAM SLOPING STEEPLY
TOWARD THE NILANCHIRA ROAD. THE SITE WAS UNWIELDY
IN PLAN STEEP IN SECTION, AND HAD A ROCKY SURFACE.

59. • 1ST BUILT A SINGLE ROOM HUT OF
TIMBER. IT HOUSED THE LIBRARY OF
MEDICAL BOOKS & ALSO AS BEDROOM,
LAUNDRY ROOM, DINING ROOM & STUDY.
• THE SITE WAS HIGHLY CONTOURED AND
ROCKY, BUT BAKER DID NOT DISTURB
EVEN A SINGLE ROCK OR A TREE, SO IT IS
POPULARLY NAMED AS “RIGHT IN THE
ROCKS”
• A HOUSE WAS BUILT ON THE LOWER
CONTOUR FOR THE 4 NIECES WHO MOVED
TO TRIVANDRUM.
• ONE MORE HOUSE WAS BUILT FOR HIS
SON TILAK WHICH FACED THE TREES.
`

60. • THE BAKERS HOUSE –’THE HAMLET’ IS NOT VISIBLE FROM THE ROAD AND
THE WALKS UP TOWARDS IT IS ONE OF ACCIDENTAL ENCOUNTERS- AN
ENTRANCE GATE, A STEEPER GRADIENT ALONG THE ALONG A WORKSHOP
ALONG A FREE STANDING DOOR, A CURVED PATH ALONG THE NIECERY
AND THE FINAL STEPS LEADING TO THE PLINTH OF THE MAIN HOUSE..
• THE HOUSE IS MADE OF RED
BRICKS AND ROOF WITH
TERRACOTTA-TILES
• THE HOUSE HAS A RUSTIC
ELEVATION, ACTIVELY
BLENDING WITH NATURE.
• A FORMAL DINING SPACE
FOR THE HOUSE DOES NOT
EXIST. IF A VISITOR IS
PRESENT HE/SHE EATS
UNDER THE CEILING OF THE
KITCHEN.

62. GRANT ENTRANCE
HAVING A DOG
HOUSE JUST ABOVE
IT
SPECIAL VENTILATION
PATTERN
DOOR FROM A
DEMOLISHED
OLD
TRADITIONAL
BUILDING
STONE, WOOD AND
FISH TILES ARE
REUSED FROM AN
EARLIER BUILDING

63. THERE IS A CAREFUL ORCHESTRATION OF
CONTRAST- OF CONCEALING AND REVEALING,
OF DARK AND LIGHT- OF OPENING TO THE
LANDSCAPE AT THE END OF A NARROW PASSAGE-HELPS
TO ENRICH THE FEELING OF MOVEMENT
THROUGH THE BUILDING AND PROVIDE AN
ARCHITECTURAL COMPLEXITY TO AN
OTHERWISE SIMPLE SITE.
IT WAS AT A DISTANCE
FROM THE MAIN HOUSE,
SUCH THAT IT PROVIDED
THE BAKERS PRIVACY
AND THE NIECES THEIR
INDEPENDENCE.

64. THE HEAVILY-SHADED AREAS HAVE SURFACED IN STONE AND LEAD
ACROSS CHANGING LEVELS TO DOORWAYS MYSTERIOUSLY HIDDEN
BEHIND CURVED WALLS…

65. • ON THE LOWER CONTOURS OF THE SITE, FACING THE NIECERY WAS
AN ADDITION OF A TWO-ROOMED HOUSE ADJOINING TO THE
NIECERY, FOR HIS SON TILAK.
• THIS REAPPLICATION OF OLD PROCESS SYMBOLIZES THAT BAKER
UNDERSTANDS ARCHITECTURAL HISTORY AS A CONTINUING
PROCESS.

66. THE WIRING IS NOT JUGGLED OR CONCEALED. IT SITS
COMFORTABLY ON A PROJECTING BRICK COURSE
ABOVE EYE LEVEL AND ENTER THE SOCKETS ALONG THE
WALLS.
• CIRCULAR SPACES USED IN NIECERY
• WALL INBUILT SEATING ARRANGEMENTS

67. DETAILING USED
FROM OLD WOOD
USED IN AN OLD
TRADITIONAL
BROKE HOUSE
WATER TANK FOR
STORING RAIN
WATER
LOT OF ARCHES
ARE USED

68. GABLES FOR PROPER AIR
CROSS CIRCULATION AND
VENTILATION
TOWER BUILT FOR
BAKERS GUESTS

69. DIFFERENT
ROOF TYPES

72. THE DOG HOUSE AND
THE ROUND-SHAPED NIECERIETHE LARGE KERALA-STYLE
WINDOW AT THE
END OF THE BEDROOM
PROVIDES BOTH LIGHT
AND A GOOD VIEW
THIS NIECERIE
WAS BUILT FOR
BAKER’S FOUR
NIECES

73. THIS DOOR IS MADE FROM TWO
TRADITIONAL OLD KERALA DOORS
WHEN AN OLD BUILDING WAS TORN
DOWN WHICH BAKER BOUGHT AND
JOINED TOGETHER TO CREATE THIS
UNIQUE DOOR
THE BAKER’S BEDROOM WINDOWS
REPRESENT A LONG RAILWAY
RESEMBLES A LONG RAILWAY
COMPARTMENT

74. • THE DECORATION
IS MADE FROM
BROKEN POTTERY,
GLASS AND
CERAMIC
• THE WALL IS
DECORATED
WITH WASTE
MATERIALS
CREATIVELY
• THE
ENTRANCE
HAS A SMALL
SITTING AREA
FOR GUESTS
AND FAMILY

75. THE STEPS
LEADING UP TO
THE FRONT DOOR
OF THE HAMLET
BAKER HAS CUT THE
STEP DIRECTLY INTO
THE ROCK FACE OF THE
SLOPING PLOT OF LAND
A CALLING BELL
FOR VISITORS TO
ANNOUNCE THEIR
PRESENCE

76. BAKER ALWAYS DESIGNED
TO UTILIZE SUNLIGHT
EFFECTIVELY AND
MINIMIZE THE NEED FOR
ARTIFICIAL LIGHTING
THE JALIS
FILTER IN
THE
MORNING
LIGHT
A
TRADITIONAL
KERALA
WINDOW

77. BAKER NEVER CUTS
DOWN TREES,
INSTEAD ADAPTED
HIS PLANS, BUILDING
AROUND THEM
A VIEW FROM HAMLET

78. AN IMPROVISED BAKER’S
GRILL MADE OF BITS AND
PIECES INCLUDING A PIECE
OF CLUTCH PLATE
TYPICAL
TRADITIONAL
TILING USED IN
SOUTH INDIA
MOSTLY IN
AREAS WHERE
SLOPED
STAINED GLASS EFFECT

79. COST EFFECTIVE
BAKER WINDOWS
SIMPLE YET
BEAUTIFUL WINDOWS
OF BAKER’S TYPE
MADE FROM WASTE
WOODEN PLANKS AND
GRILLS MADE OF
THROWN AWAY METAL
PIECES
CREATIVE WALL
FIXTURES

80. 
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

NEVER CUT TREES INSTEAD ADAPTED HIS DESIGN
ACCORDINGLY

INNER COURTYARD …CLOSE TO NATURE

ARCHES LED INTO A BEAUTIFUL OPEN ROOM

COURTYARD HAS MANY GARDENS AND PONDS

PITCHED ROOF MADE OF MANGALORE TILES

BAKER’S FONDNESS OF ARCHES

81. • GABLES FOR PROPER AIR
CIRCULATION AND VENTILATION
• SIMPLE YET BEAUTIFUL WINDOWS
• GRILL MADE OF BITS AND PIECES
• CONICAL STRUCTURE USED
• COST EFFECTIVE BAKER’S WINDOW
• LOUVERED WINDOW TYPICAL OF
BAKER’S TYPE
• STAINED GLASS EFFECT
• WATER TANK FOR STORING RAIN
HARVESTED WATER
• MATERIAL USED FROM
UNCONVENTIONAL SOURCES
• FAMILY EATS IN KITCHEN
• ELECTRICITY WIRING IS NOT
CONCEALED

85. IN CONCLUSION IF WE LOOK AT THE LIFE OF LAURIE BAKER , WE COULD
REALIZE THAT HE WAS A PERSON WHO WAS CONCERNED ABOUT SUSTAINABLE MEANS
OF ARCHITECTURE. HIS DEVOTION AND HIS INSPIRATION TOWARDS HIS WORKS IS
AWE INSPIRING.
THE BUILDING TECHNIQUES BAKER HAS EVOLVED TO SUIT SPECIFIC PROBLEMS OF
HIS POOR CLIENTS IN KERALA IS NOT A FORMULA APPLICABLE TO ALL SIMILAR
SITUATIONS & YET FROM ITS STEMS AN ENTIRE IDEOLOGY OF ARCHITETCURAL
PRACTICE – A PATTERN THAT IS REVOLUTIONARY IN ITS SIMPLICITY & ITS
CONTRADICTION OF THE ACCEPTED NORMS OF ARCHITETCURE IN CONTEMPORARY
INDIA.
IF WE LOOK INTO LAURIE BAKERS LIFE WE COULD EASILY FIND THAT HE WAS A
PERSON WHO LIKES TO LEAD A SIMPLE AND SERENE LIFE, AND FROM HIS WORKS WE
CAN SEE THAT HE IS TRYING TO MAKE ARCHITECTURE RESONATE TO THE TUNE O
NATURE, WHICH MAKES US ALL INSPIRED AND SPEECHLESS...