Introduction
Over time, cities and spaces have significantly progressed in terms of efficiency and technology development in production. The world has experienced increases in structural efficiency and capabilities due to developments in material engineering. Increases in automation have also led to increased production efficiency building up from development implementations in machine interventions. This has enabled engineers and architects to achieve designs of greater heights hence giving room for more design opportunities. Nevertheless, to truly determine the degree of its success, an individual needs to consider the politics of how the project is formed.[1] It is also worth questioning its true intention, which people it is truly for, and who might be affected by it. The other aspects that need to be considered include who it is funded by, which individuals will participate in the production process, how its post-production may affect people, and how specifically they will be affected. There is also a need to consider the politics of the material and politics of labor in how it is formed and extracted and the value that the project adds to its present context of space.
The main argument in this dissertation is that in the modern capitalistic economic society, space is embedded in three elements, social, mental, and physical relations, and it is not only a passive locus of social relations. The dissertation, therefore, proposes that production and innovation pose a symbiotic relation to local livelihoods.[2] This paper will analyze these themes by investigating Laure Barker and his contribution to Kerala, South India, by majorly focusing on the book authored by Gautam Bhatia, known as “Laurie Baker: Life Work Writings .”The paper will also analyze Laurie Baker’s contributions through the lens of Henri Lefebre’s “Production of Spaces,” using the concept of Circuits of Capital” and “Spatial Triad” as a tool and framework for investigating the formation and production of the spaces.
These arguments will be based on the premise that a truly sustainable space needs to answer and consider the spatial triad criteria. Arguably, morality serves as a hegemonial factor that drives success in the decision-making and design processes since it can lead to the highest chance of taking the lived space as a point of focus in the process of design. The background of Laurie Baker as a humanitarian pacifist goes a long way in depicting the significant role it played in his body of works and architectural style, which molded his legacy.[3] Laurie Bake started his professional career in 1937 by enlisting in the war. This was followed by his deployment in the eastern front to serve as a member of a surgical unit in the war between Japan and China. Laurie Baker later went to Burma to play the role of lending to severely wounded victims. After this, Laurie worked with the civilian population to deal with victims suffering from leprosy. He was then sent back to England because of his health concerns. As he was traveling back, he encountered Mahatma Gandhi, whose philosophy became his major influencing factor in his work.
This paper, therefore, intends to study in detail the architecture and philosophy of Laurie baker. Despite Laurie Baker being of British origin, he spent several decades in India to build his architectural brand. Laurie Baker went to India because he had been influenced by Mahatma Gandhi`s chance encounter as he was in Bombay. He practiced an architecture of meaning and purpose. Laurie Baker also took into accout the materials, site, context, and the economy and resources of the nation as he designed.
In his initial two decades in India, he practised architecture and lived in the rural mountains in Pithoragarh in the Himalayas. Baker soon afterwards he moved to Vegamon in Central Kerala. After moving there, he learned the art of building by utilizing simple materials that an individual can easily find. He learned this art from the vernacular settlement. Laurie Baker’s initial works served as his initiation to Indian architecture. Soon afterward, he opted to settle in the southern part of India known as Trivandrum, where he began his regular architectural practice.[4] While he was there, he gained instant popularity and recognition. As his practice kept on growing, he became a renowned architect. . Clones, imitators, and followers caught up faster, and there was an emergence of an entire architectural style known as the Baker style.
Based on the above description, this dissertation intends to investigate Baker’s architecture, philosophy, and why he became a cut figure in India. The paper is not limited to the philosophy by Baker about the economy and the resources of the country and his resulting low architecture. The dissertation studies Baker’s multi-layered architecture, his spaces filled with spatial and order complexity, the complex layering memory, symbol, and meaning in his works, together with Baker’s deeper connections regarding inhabitant, use, and space.
To achieve the study’s primary objectives, two sections of Laurie Bakers’ work have been chosen. In the first case, the dissertation has selected residences that have been a major driving force behind his massive popularity in Kerala in India. Baker is known for having constructed more than 1000 private residences in Kerala, which depicts the extent to which the user identifies with his residential architecture.[5] For this study, three residences have been chosen for analysis. Laurie Baker stated that Jacob, Nalini, and Dallas were his favorite three residences. Laurie Baker felt that his architecture and philosophy were well demonstrated in these three homes.
The researcher intends to study the other buildings in Baker’s institutions. When designing his buildings, he handled numerous building programs and building types ranging from massive institutional complexes to one-room churches.[6] In the institutions, Barker handled a different type of client. Some of the exciting elements of his institutional architecture include the time passages and changes in the built form and the complexities building up from working with the collective user.
Chapter One
The Background: Modern Architecture in India
India gained its independence in 1947. During this period, there was a need by its citizens to do away with the colonial yoke and work towards economic self-sufficiency and social and technological progress. The economic and social progress called for a need also to have up to date architectural works. It also called for the need by individuals to cut off ties from Raj cultural forms.[7] Therefore, this modern era made it necessary to have a new religion, new technology, and new materials.
Modern architecture was brought to the nation during the time that Jawarharial Nehru was serving as the first prime minister of India. Therefore, he invited Le Corbusier to design Chandigarh, the new capital of Punjab. When Chandigarh was designed, it acted as a symbol of Modernity since it reflected a new Indian city resulting from industrial and technological growth.[8] Owing to this, the modern movement to India was brought by Le Corbusier, but its revolutionary intention got lost in the course of transplantation from western soil to India.
The development of Modern Architecture in India can be attributed to the faithful imitation of the masters. The fact that some architects in the country had worked or studied under the masters Louis Kahn and Le Corbusier made them want to discover the East. Additionally, Le Corbusier extensively built Ahmedabad, rapidly becoming India’s architectural capital.[9] These works inspired other Indian counterparts, and it, therefore, resulted in the establishment of the Indian Masters of Modern Architecture.
Despite this, as time went by, the modern movement became a fancy design tool for the majority. Concrete was no longer utilized due to the freedom of form, lightness, and fluidity it gave. It was instead used as a symbol of Modernity. Concrete, therefore, defeated the very purpose for which it was intended, and it began being applied as a weighty, dense, and heavy material.[10] Additionally, the modernist box wasn’t viewed as what it was, as being a free-standing object and a break away from the past. It was instead read as form and copied without order or meaning. Le Corbusier has reduced to a proportional play of apertures, awkwardly curved sunshades, and concrete fins.
Kerala`s Architecture: The site of Baker’s work
Kerala is situated in the south part of India, and Western ghats bound it on one side and the Arabian Sea on the other. It is popular for its arts. The traditional architecture resulted in the way of responding to the hot, humid climate in the area and monsoon winds that occurred for close to six months yearly.[11] Owing to this, the architecture is characterized by gabled openings and low overhanging eaves. There were similarities in the form in all building types, irrespective of whether it was a mosque, palace, temple, or residence. The only thing that differed was the scale of the composition, whereas the material and form remained the same.
Kerala’s spatial quality is breathtaking. It constitutes spatially polar oppositions. Although the spaces are somehow resolved, there is a play of light in that the dark and lights almost resemble female and male elements. The other diffused light is responsible for showing the play of shadows and the grey shades between white and black.[12] The slanting sun rays tend to attain a remarkable quality once they shine their light on the traditional buildings in Kerala in India. The shaft of sunlight bathes the simple forms, which are neither gentle nor harsh, but they generate an aura to the built form that is somehow transcendental in form.
Kerala’s traditional architecture served as a perfect equalizer. The residence of the ordinary person didn’t differ from the palace, which at the same time was very similar to the supreme residence and the temple. The three kinds of dwelling’s spatial quality and visual form had many similarities and utilized similar building materials. [13] The only significant difference was depicted in the scale of the structures. This was, however, not monumental regarding the sheer form and space, and the palaces and temples were to a large extent well-composed and elegant that the residents of the ordinary people. The similarities stated above built up from the fact that there existed a Vastushashtra, a regulatory system of the building. In this case, the system had a well-laid procedure for the hierarchy of experts for the wide range of jobs, and craft techniques, proportions, and measurements from craftsmen to producers to designers.
Nevertheless, the architecture underwent massive transformations after the joint family system broke up. When this happened, the extended family residences were disintegrated, and the families started living as nuclear families.[14] Additionally, the movement by people from rural areas urban areas began. This was preceded by the need to have residences meant for nuclear families. The engineers in some way replaced the craftsmen. There were new uses and new requirements, and they all required new building methods, new building materials, and new forms. This phase paved the way for the modern.
Kerala’s modern architecture took a professional shape in the 1960s. There were no distinctions laid out between an engineer and an architect during this time. Concrete was a structure while architecture was a façade, and engineering was similar.[15] The traditional building materials such as terracotta, tile, and thatch were quickly replaced by steel, concrete, and cement. There was also no distinction between institutional and residential buildings. They were all considered concrete boxes that had a different façade treatment.
Chapter two
Laurie Baker: Insights, glimpses, and facets
Laurie Baker`s architecture is similar to everyday life rituals. In the case of Laurie Baker, what looks simple from the outside has much more complexity to it from deep inside. Additionally, things that appear like an effortless one-to-one correspondence of activity and mental process have a set of underlying meanings, elaborate rituals, and patterns. As time goes by, this becomes ingrained, and it appears familiar and straightforward, a sort of `failing to hand. ` All these characteristics are similar to Laurie Baker architecture.[16] Laurie Baker’s architecture seems lucid and clear to a passing observer that only considers the prominent and superficial features such as the cost factor and the nature of the tectonics. However, a critical observer of Laurie Baker’s architecture notices much more about his architecture. An acute observer can see that Laurie Bakers’ work has metaphysical, memory, and intuition features.
His architecture takes a more significant part of his life. His life and his architecture cannot be perceived as separate entities.[17] These aspects are interlinked into each other inextricably. His life, principles, and personality are reflected in his built form. Laurie Baker is a reflection of his architecture.
Analysis of Laurie Baker as an artist
Laurie baker can be considered a virtuoso artist who tremendously controls the medium he works. He is incredibly intuitive, and most of his design decisions are never held or premeditated; instead, they are intuitive and free-flowing.[18] He is susceptible to the client’s needs, and he ensures that his architecture isn’t imposing in any way. Laurie Baker doesn’t restrict himself to only architecture. Instead, he also takes part in sculpture, painting and cartooning.
Upon analysing Laurie Baker as an artist, one can notice that his art is demonstrated best in his built works. In this case, Laurie Baker designs everything, including the landscape details, stair handrails, and the grill.[19] Additionally, his design methods are never restricted to one specific pattern. He often works from inside out, beginning from the details and then building up and developing the design to create a bigger picture of the entire built form ultimately.
Laurie Baker is an artist who designs the structural frameworks of his buildings by ensuring he makes technical innovations whenever necessary. He is a genius, enabling him to intuitively see all the possible forces and loads in the structure through the mind`s eye.[20] Laurie Baker often considers these imagined forces perfectively and artistically when making his designs, which is a shock to even the trained structural engineers.
Analysis of Romantic nature of Baker`s work.
Baker’s .architecture is romantic in form. His buildings are generally friendly and warm, and they are never cold, aggressive, or harsh. They have a heightened feeling of feminine intimacy and interiority, which replaces visual dominance and external control. The dark and warm interiors by Laurie Baker have Mother Earth connotations.[21] These connotations give his buildings a womb-like quality that is all-embracing. Ultimately, the user feels protected and safe in his built form.
Analysis of the child in Baker’s architecture
It is evident through Baker`s architecture that he still maintains a lot of child in him. In Baker’s homes, the children rooms are the best spaces. His architecture is made so that it can quickly identify with children. Additionally, he is remarkably playful in most of his artefacts, making him easily identify with children. [22]Most of his plan forms appear in the form of wild squiggles of a child that has a crayon. The child’s parallel, playful and discontinuous thought processes depict his creativity, enabling his architecture to play, experiment, and explore without restraints or adult inhibitions.
Analysis of Humor in Laurie baker architecture
Laurie Baker`s architecture can laugh at itself. The lampoons and cartoons appear in Baker`s built forms as elements of function and structure.[23] The biblical comics at Loyola chapel, the Madonna in a saree and thee `talked` Sun God and the laughing windows are some of the examples of humour in his architecture. The mood in Laurie Baker`s architecture gives adult inhabitants a chance to laugh uninhibitedly at their houses and also laugh at themselves and become children once more.
Analysis of Laurie Baker and Tradition
In the case of Laurie Baker, Tradition is crucial to him. However, according to Laurie Baker, tradition as a process is more significant than the tradition itself. Laurie baker insists that tradition isn’t the continuous replication of form and endless copying. Instead, tradition understands the method tried and tested over time. Laurie Baker uses tradition to return to all memories and dreams rather than applying tradition as a visual tool in the design process. Tradition is used by Laurie baker as an understanding, as a memory, and as an image. In a more practical sense, tradition isn’t applied in the foreground through design; instead, the inhabitants are gently taken to it through themselves.
Analysis of Baker and the Metaphysical
Baker uses art to explain life. Baker`s quest for truth and humour is evident in his built forms. He helps users and his clients aim for a higher life form and rise to their aspirations. The inhabitants of his spaces aspire towards a new future, understand their past, and contemplate their existence. Only individuals ready to change society and make a difference with their lives approach Laurie Baker as their architect. But still, these clients are never entirely aware of who they are or what they want. Baker notices their hidden ideas and thoughts, and he ends up designing what each individual is and can become.
His architecture heightens the experience of daily life. Commonplace acts such as idling in the shade of the courtyard on a hot summer day, crossing the threshold, opening the main door and climbing the stair are some of the experiences that are heightened by Bakers architecture. The inhabitants of Bakers spaces appear to be more aware of daily activities such as the passing of day and day and its transformation into the night, primarily because his built forms accurately record and tell every movement of the wind and sun.[24] As time goes by, these experiences fade from conscious memory, and they ultimately become ingrained in the self hence becoming part of life.
Chapter three
Examining Laurie Baker in the context of theoretical frameworks
All significant architectural works have a theoretical or philosophical grounding to them. By looking at Laurie Bakers architecture of resources, context, climate and site, it’s evident that he is a regionalist.[25] He is against the cold, unfamiliar world of the modern universal man that standardisation brings about. Laurie Baker seems to agree with arguments by Paul Ricoeur against the rapid universalisation of cultures.
The central concept behind regionalism is the need to create spaces out of the confluence of living and buildings in a given region and the intersection of social custom, food, language and landscape.[26] It reveres the making of these kinds of spaces and architectural views as a means to the end of cultural expression, diversity and cultural vitality.
The theory of Critical Regionalism postulated by Kenneth Frampton argues for the need to shape a regional identity in the sphere of a universal culture. Laurie Baker`s built forms also appear to be aligned with Lefaivre`s and Tzonis definitions of Critical Regionalism. [27] The term critical regionalism was defined by Lefaivre`s and Tzonis as the upholding of the local and individual architectonic elements against more abstract and universal ones.
Kenneth Frampton clearly distinguishes the vernacular building from critical regionalism. Critical regionalism takes up an arriere-garde position, distancing itself from the impulse to return to the past architectonic forms and technologically progressive modernism. He stated that vernacular building attempts to duplicate and copy nostalgic and sentimental past culture forms. Frampton insists that only the arriere-garde approach can cultivate identity-giving and resistant culture.
Lefaivre`s and Tzonis asserted during a critical regionalism seminar that the term critical originates from the writings of the Frankfurt School and the essays of Kant. The term `critical` challenges the legitimacy of the possible worldview in people`s minds and the actual established world meaning. Owing to this, the critical approach to regionalism confronts the way buildings are designed. It also questions the legitimacy of the real thoughts that lead to the formation of individuals who appreciate and use the facility.
From an architectural viewpoint, the critical function of a building is attained by a special viewer`s cognitive aesthetic effect that is described as defamiliarisation by Lefaivre and Tzonis. Additionally, Victor Schklovsky, a Russian critic, coined the term and was initially applied to literature.[28] Defamiliarisation calls for the pricking of the conscience instead of usual embracing between buildings.
Doug Kelbaugh asserted that critical regionalism has two sides. The first is the promotion and identification of the particular principles common to all architectures in a quest to be critically regionalist. The second is the quest for self-determination upon which all regions celebrate specific and unique things about them and veer away from being absorbed by international and national civilisation Doug stated that failure to have the common principles described above, the regionalist architecture would only be regional.[29] He noted the five principles that form the essence of critical regionalism. The five principles include a sense of limits, a sense of craft, a sense of history, a sense of nature and a sense of place.
Baker and Regionalism
Despite Laurie Baker not practising regionalist architecture consciously, he can be considered a critical regionalist to some extent.[30] He practices experimental architecture that is conscious and site relevant and aligned with nature, just like critical regionalists. Baker is also topological ad contextual, instead of being merely typological. His built forms are tactile and never purely visual but involve all the senses in the experience of space, similar to critical regionalists.
However, Baker architecture also varies from critical regionalism in numerous ways. For instance, as critical regionalism consciously strives to attain a middle ground between universal modern culture and local tradition, Laurie Baker only does what comes intuitively and naturally to him. Baker`s design ideals aren’t aimed at seeking a midpoint between modernism and regionalism.[31] Instead, they are designed for need, meaning and necessity. Baker designs for something more than need. He designs for a desire for living and life, and a whim.
Critical regionalism uses the myth and history of a given region to attain regional patterns. Critical regionalism also retains links to world culture through referring to it in design.[32] However, in the case of Baker, history isn’t a design tool, and tradition isn’t a formal design vocabulary. According to Baker, tradition is concerned with the visual; it is somewhat concerned with the tectonic and tactile.
Critical regionalism attempts to create a world culture of local cultures through applying reinterpreted vernacular features as disjunctive episodes. However, Baker also crmakesisjunctive attacks in his built forms, but for different reasons and in a different manner. These disjunctions by Baker are spatial in shape, and they aren’t form related nor linked to the vernacular.[33] These disjunctive spatial episodes aim to heighten the user’s spatial experience and mark the attack in time and space. The episode ends up being a memory.
Owing to this, Baker design philosophy and architecture cannot be fully classified as critical regionalism. But still, the majority of Baker`s architectural aspects agree with the ideology and principles of critical regionalism.[34] Regionalism is only a process and value; therefore, Baker`s philosophical translation into the method can be considered regionalist. According to him, being regional and local is the only way to be since it enhances regional labour and craft.
Most critics only observe Baker`s architecture at this level; however, his philosophy implies much more. It aims at the bigger picture and concretising and understanding human existence, psyche, human will, and mind. Colin St. John Wilson`s Other Tradition of Modern Architecture is very much similar to the essence of Laurie Baker built forms.[35] The `other tradition`, just like critical regionalism, is against the unsympathetic and universal architecture of the interior style. It also calls for an experiential, user-friendly and sensitive architecture. Like Laurie Baker`s case, the other tradition argues for an architecture of gratification of human need, aspiration, and desire.
Laurie Baker architecture in Kerala
A big part of Laurie Baker`s architecture in India constitutes more than one thousand residences for individual clients and mass housing as part of Government Schemes. The residences consist of highly personalised architecture, making Baker`s style a style in itself.[36] Owing to the architectural quality of these residences by themselves, it is worth including them in this study since they are a significant unit of research and analysis for this dissertation.
Laurie Baker and the concept of Home
Baker considers the home a significant entity in the larger scheme of things. The house is similar to a jigsaw piece that needs to fit perfectly in the puzzle to complete the picture. Generally, the larger image constitutes the world and the nation as well.[37] The home is a system that needs to be synchronised with the available artisans, available materials and the resources and economy of the country. Since the system works as a broad framework, Baker begins with details and works outwards to attain a highly personalised home for all his clients.
Baker gets to know all of his clients and their whole family personally. This enables him to create spaces that all family members identify with. He meets with his clients numerous times and has long talks with them in a quest to determine their subconscious needs. In most cases, he can get into their shoes and understand the innermost needs that even the clients themselves aren’t aware of. He perceives the landscape and the house as one. The site is automatically an extension of the home and vice versa.[38] In most scenarios, there is a blur between outdoors and indoors, natural and artificial, unbuilt and built, the house and the site site. The house is aligned with the land contours, whereas the trees are accommodated within the house, or the house is accommodated within the existing trees.
Baker subjects all the home designs to necessity demands and in line with the country’s resources and economy, in this context, India. Necessity is crucial to Baker, and all procedures need to justify his condition. He doesn’t view the home as a status symbol, and he stays away from designing for the primary purpose of appeasing society.[39] In Baker`s viewpoint, the home describes the house from the inhabitant’s point of view. He attempts to put himself in the shoe of the inhabitant. He creates a whole world of existential experience in line with India’s more comprehensive system frameworks of resources, necessity, and economy.
Phenomenological readings of home
Laurie Baker had been previously interviewed, and he identified the Jacob John home, the Nalini Nayak home and the Dolas home as the places that he also felt at home the most. Laurie Baker also cited that he liked visiting these three homes, and he believes that he achieved a big part of his design ideas in these three homes.
i) The Dolas home in Kerala in India
This home constitutes six houses that were all constructed by Baker. These six houses appear to form a single designed entity, although they differ from their neighbour’s houses. Upon approaching the Dolas home, the entry is open and welcoming into a massive `bowl` of indoor space.[40] This bowl of indoor space flows freely and leads to the open kitchen on the right, which transforms into the drawing-room, located upwards by a steel spiral staircase precariously perched at the edge of the central bowl. The spaces are not divided by walls, and the whole ground level of the home appears to be made of a single main volume. The owners of this home are very contented with how the baker designed this home.
ii) The Nalini home in Kerala in India
The most striking elements of this house are the fantastic colours. The home constitutes various shades of browns, maroons and reds, all with their feel and texture. The red oxide in the entrance steps transforms to a continuous surface of uniformly divided squares and orange-brown terracotta tiles on the floor.[41] The ceiling is white and gives a relief to the earth colours on the floor and walls. This home is not specifically a family home but rather a home for a single social worker whose work is reflected in where she lives too.
iii) The Jacob Home
This home is a romantic piece of Baker`s built forms, and it is evident that it is designed for a family. The house comprises massive craft and detail.[42] The spaces are eloquent, flowing and magnificent. He attains a sort of playfulness in the making of areas in this home. The rooms wander into each other; they overlap, then rise and fall. The staircases begin at the centre of the room.
Conclusion
Laurie Baker made a name for himself in Kerala in India. The majority of the people know him for his work. His works are evidence of the success that his architecture enjoys. He built more than one thousand residences and more than thirty mission buildings and churches. The scale and diversity of this architecture are pretty staggering. His residences are the reason behind the massive popularity he enjoys in India. His homes are different from ordinary Kerala’s joint cement and concrete houses.
Kerala is a state that has strong socialist leanings in cinema, literature and politics. Socialist thinking enhances economic equality, reforms and social change. In this case, Laurie Baker used his architecture to promote development and social equality for the `haves` and the `have-nots. `
However, concerns have been raised about the vast volume of works. Most people feel like he would have even produced even much higher quality of work if he had confined his designs to a chosen few. The numerous works made him seem exhausted at times which made him create `mediocre` results. But this argument is still debatable. Others argue that Bakers work was excellent, and he wasn’t designing for monetary benefits. They insist that he worked on the vast volume of jobs as a means of making his philosophy known to a high number of people in a quest to save resources for the greater good of the country.
Bibliography
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Gautam Bhatia. Laurie Baker: Life Work Writings
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[1]Gautam Bhatia. Laurie Baker: Life Work Writings.
[2] Lin, Dreama Simeng, and Amanda Dalla Villa Adams. “Critical Appropriation of Tradition: Laurie Baker’s Architectural Practice in Kerala.” (2017).
[3] Gautam Bhatia. Laurie Baker: Life Work Writings.
[4] Lin, Dreama Simeng, and Amanda Dalla Villa Adams. “Critical Appropriation of Tradition: Laurie Baker’s Architectural Practice in Kerala.” (2017).
[5] Lin, Dreama Simeng, and Amanda Dalla Villa Adams. “Critical Appropriation of Tradition: Laurie Baker’s Architectural Practice in Kerala.” (2017)..
[6]Gautam Bhatia. Laurie Baker: Life Work Writings.
[7] Gautam Bhatia. Laurie Baker: Life Work Writings
[8] Misra, Manjusha. “Laurie Baker’s contribution to the continuation of vernacular architecture in India.” International Journal of Environmental Studies 73, no. 4 (2016): 631-650.
[9] Lin, Dreama Simeng, and Amanda Dalla Villa Adams. “Critical Appropriation of Tradition: Laurie Baker’s Architectural Practice in Kerala.” (2017).
[10] Gautam Bhatia. Laurie Baker: Life Work Writings
[11] Gautam Bhatia. Laurie Baker: Life Work Writings
[12] Joseph, Deepak, Joseph V. Thanikal, and Elza Joseph. “Climatic Responsiveness of the Vernacular Houses towards Developing a Passive Design Sense for Architecture to Reduce Energy Dependency–Case Study.”
[13] Lin, Dreama Simeng, and Amanda Dalla Villa Adams. “Critical Appropriation of Tradition: Laurie Baker’s Architectural Practice in Kerala.” (2017).
[14] Misra, Manjusha. “Laurie Baker’s contribution to the continuation of vernacular architecture in India.” International Journal of Environmental Studies 73, no. 4 (2016): 631-650.
[15] Gautam Bhatia. Laurie Baker: Life Work Writings
[16] Gautam Bhatia. Laurie Baker: Life Work Writings
[17] Lin, Dreama Simeng, and Amanda Dalla Villa Adams. “Critical Appropriation of Tradition: Laurie Baker’s Architectural Practice in Kerala.” (2017).
[18] Gautam Bhatia. Laurie Baker: Life Work Writings
[19] Bhatia, Gautam.”Baker in Kerala”. In Architectural Review, Vol.181, Aug 1987.
[20] Lin, Dreama Simeng, and Amanda Dalla Villa Adams. “Critical Appropriation of Tradition: Laurie Baker’s Architectural Practice in Kerala.” (2017).
[21] Sadanand, Anjali, R. V. Nagarajan, and Monsingh Devadas. “The façade wall: a focus on the green architecture of Laurie Baker’s houses.” International Journal of Energy Production and Management 6, no. 3 (2021): 277-293.
[22] Misra, Manjusha. “Laurie Baker’s contribution to the continuation of vernacular architecture in India.” International Journal of Environmental Studies 73, no. 4 (2016): 631-650.
[23] Bhatia, Gautam.”Baker in Kerala”. In Architectural Review, Vol.181, Aug 1987.
[24] Gautam Bhatia. Laurie Baker: Life Work Writings
[25] Misra, Manjusha. “Laurie Baker’s contribution to the continuation of vernacular architecture in India.” International Journal of Environmental Studies 73, no. 4 (2016): 631-650.
[26] Lin, Dreama Simeng, and Amanda Dalla Villa Adams. “Critical Appropriation of Tradition: Laurie Baker’s Architectural Practice in Kerala.” (2017).
[27] Sadanand, Anjali, R. V. Nagarajan, and Monsingh Devadas. “The façade wall: a focus on the green architecture of Laurie Baker’s houses.”
[28] Bhatia, Gautam.”Baker in Kerala”. In Architectural Review, Vol.181, Aug 1987.
[29] Gautam Bhatia. Laurie Baker: Life Work Writings
[30] Lin, Dreama Simeng, and Amanda Dalla Villa Adams. “Critical Appropriation of Tradition: Laurie Baker’s Architectural Practice in Kerala.” (2017).
[31] Misra, Manjusha. “Laurie Baker’s contribution to the continuation of vernacular architecture in India.” International Journal of Environmental Studies 73, no. 4 (2016): 631-650.
[32] Lin, Dreama Simeng, and Amanda Dalla Villa Adams. “Critical Appropriation of Tradition: Laurie Baker’s Architectural Practice in Kerala.” (2017).
[33] Lin, Dreama Simeng, and Amanda Dalla Villa Adams. “Critical Appropriation of Tradition: Laurie Baker’s Architectural Practice in Kerala.” (2017).
[34] Bhatia, Gautam.”Baker in Kerala”. In Architectural Review, Vol.181, Aug 1987.
[35] Gautam Bhatia. Laurie Baker: Life Work Writings
[36]Lin, Dreama Simeng, and Amanda Dalla Villa Adams. “Critical Appropriation of Tradition: Laurie Baker’s Architectural Practice in Kerala.” (2017).
[37] Bhatia, Gautam.”Baker in Kerala”. In Architectural Review, Vol.181, Aug 1987.
[38] Sadanand, Anjali, R. V. Nagarajan, and Monsingh Devadas. “The façade wall: a focus on the green architecture of Laurie Baker’s houses.” International Journal of Energy Production and Management 6, no. 3 (2021): 277-293..
[39] Lin, Dreama Simeng, and Amanda Dalla Villa Adams. “Critical Appropriation of Tradition: Laurie Baker’s Architectural Practice in Kerala.”
[40] Misra, Manjusha. “Laurie Baker’s contribution to the continuation of vernacular architecture in India.” International Journal of Environmental Studies 73, no. 4 (2016): 631-650.
[41]Lin, Dreama Simeng, and Amanda Dalla Villa Adams. “Critical Appropriation of Tradition: Laurie Baker’s Architectural Practice in Kerala.” (2017).
[42] Sadanand, Anjali, R. V. Nagarajan, and Monsingh Devadas. “The façade wall: a focus on the green architecture of Laurie Baker’s houses.” International Journal of Energy Production and Management 6, no. 3 (2021): 277-293.
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