:

:
• 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.
• 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 butto 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.
• “ 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”.
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?
 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!
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
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
ONEOF 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.
HECRITICIZED 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.
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.
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.
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
 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
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
 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”
 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.
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.
 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
HIS BUILDINGS TEND TO EMPHASIZE PROLIFIC - AT
TIMES VIRTUOSIC - MASONRY CONSTRUCTION,
INSTILLING PRIVACY AND EVOKING HISTORY WITH
BRICK JALI WALLS, 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
• BAKER'S DESIGNS
INVARIABLY HAVE
TRADITIONAL
INDIAN SLOPING
ROOFS
AND TERRACOTTA
MANGALORE TILE
• SHINGLING
WITH GABLES AND ANOTHER SIGNIFICANT BAKER FEATURE IS
VENTS ALLOWING IRREGULAR, PYRAMID-LIKE STRUCTURES ON
RISING HOT AIR TO ROOFS, WITH ONE SIDE LEFT OPEN AND TILTING
INTO THE WIND.
ESCAPE.
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
MODIFIED GLASS WINDOWS, FRAMES AND SILLS, ETC ARE OFTEN
ELIMINATED PREFERRING SMALL OPENINGS IN BRICK, LIKE THE
TRADITIONAL JALI
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.
• 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.
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
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
 THEDESIGN 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
“I THINK IT’S A
WASTE OF MONEY
TO LEVEL A WELL
MOULDED SITE”
- LAURIE BAKER
 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

CURVEDJALI 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.
HEFOLLOWS 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.
• 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)
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
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.
 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.
• 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”
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
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.
 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 A WALL OF
SAME THICKNESS AND PROVIDING CAVITIES IN BETWEEN
FOR INSULATION.
HEUSED 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.
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
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.
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.
 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
INTERNATIONAL LEPROSY MISSION
WEALTHY FISHER'S LITERACY VILLAGE,
LUCKNOW
ANDHRA PRADESH QUAKER CYCLONE
PROJECT
LATUR EARTHQUAKE PROOF HOUSING
PROJECT
TSUNAMI-PROOF HOUSING PROJECT
 HOME TO BAKER
AND HIS WIFE
ELIZABETH BAKER
SINCE 1970
“THE HOUSE IN 5
LEVELS”
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.
 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.
`
• 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.
 SPECIAL VENTILATION
PATTERN
STONE, WOOD AND
FISH TILES ARE
REUSED FROM AN
EARLIER BUILDING

DOOR FROM A
GRANT ENTRANCE DEMOLISHED
HAVING A DOG OLD
HOUSE JUST ABOVE TRADITIONAL
IT BUILDING
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.
THE HEAVILY-SHADED AREAS HAVE SURFACED IN STONE AND LEAD
ACROSS CHANGING LEVELS TO DOORWAYS MYSTERIOUSLY HIDDEN
BEHIND CURVED WALLS…
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.
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
DETAILING USED
FROM OLD WOOD
USED IN AN OLD
TRADITIONAL
BROKE HOUSE

WATER TANK FOR

STORING RAIN
WATER

LOT OF ARCHES
ARE USED
 GABLES FOR PROPER AIR
CROSS CIRCULATION AND
VENTILATION

TOWER BUILT FOR

BAKERS GUESTS
DIFFERENT
ROOF TYPES
THE DOG HOUSE AND
THE ROUND-SHAPED THE LARGE KERALA- THIS NIECERIE
NIECERIE STYLE WINDOW AT THE WAS BUILT FOR
END OF THE BEDROOM BAKER’S FOUR
PROVIDES BOTH LIGHT NIECES
AND A GOOD VIEW
 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
• THE WALL IS
DECORATED
WITH WASTE
MATERIALS
CREATIVELY
• THE
ENTRANCE
HAS A SMALL
SITTING AREA
FOR GUESTS
AND FAMILY • THE DECORATION
IS MADE FROM
BROKEN POTTERY,
GLASS AND
CERAMIC
 BAKER HAS CUT THE
STEP DIRECTLY INTO
THE ROCK FACE OF THE
SLOPING PLOT OF LAND

THE STEPS
LEADING UP TO
A CALLING BELL
THE FRONT
FOR VISITORS TO
DOOR OF THE
ANNOUNCE
HAMLET
THEIR PRESENCE
 THE JALIS
FILTER IN
THE
MORNIN
G LIGHT

BAKER ALWAYS DESIGNED

TO UTILIZE SUNLIGHT A
EFFECTIVELY AND TRADITIONAL
MINIMIZE THE NEED FOR KERALA
ARTIFICIAL LIGHTING WINDOW
BAKER NEVER CUTS
DOWN TREES,
INSTEAD ADAPTED
HIS PLANS, A VIEW FROM HAMLET
BUILDING AROUND
THEM
 TYPICAL
TRADITIONAL
TILING USED
IN SOUTH
INDIA MOSTLY
IN AREAS
WHERE
AN IMPROVISED BAKER’S SLOPED
GRILL MADE OF BITS AND
PIECES INCLUDING A
PIECE OF CLUTCH PLATE

STAINED GLASS EFFECT

 COST EFFECTIVE
BAKER WINDOWS

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