I wanted three things: to develop a project as a statement of
ancient Sri Lankan architecture for the modern world; to
incorporate the ideals of practicality, comfort, and
attractiveness; and to develop my identity as an architect to
differentiate myself from other architects.
I finally got a chance to get involved in such a project:
a resort hotel.
From the beginning, I thought the hotel should be a place where
guests would feel at home, unlike at traditional hotels. The
guests should be exposed to our culture, heritage and traditions,
as confirmed by our history. I felt that exposure to these
things would indeed delight our guests.
Cottage
One of the greatest challenges was to find the correct
environment for this project. I had expected to find a site
close to the city, with a village atmosphere and a lake, river,
paddy fields and/or jungle nearby. I knew that locating such
a site near the city would be a Herculean task, and that the price
would probably be exorbitant. Toward this end, however, I was
able to locate an investor.
After a considerable search we located a site that seemed
suitable. It was an abandoned clay field, where in the past
clay had been mined and bricks made and fired. Since its
abandonment, it had grown into a scrub jungle littered with pits;
the old firing oven was even still there. The site, which
abutted a main road with a village ambiance, was also an ancient
battleground, a historical fact that added a touch of nostalgia to
the project.
The state had declared the area as "flood-prone," and therefore
unsuitable for development, as there is flooding several times a
year due to the nearby river. There were also no electrical
or water supplies.
A Chartered Engineer owned the land. His skills and
experience as an engineer would be used to full advantage to
overcome the challenges of the site.
We named the place "Ambalama," after the resting places of
travelers in the kingdom of the past. An ambalama was
built as a pleasant and attractive structure to offer the weary
traveler respite from a long and arduous journey. Age-old
literature characterizes the ambalama additionally as a
meeting place for the king's court to consider matters of state, as
well as a place to collect a levy or to mete out justice. It
was a place to spin a yarn, recite a verse, narrate a story or just
gossip. One could hold a meeting or consultation, or just
partake of a meal in enjoyable surroundings. We wanted to
form an ancient ambalama with added touches of
modernity.
We did not build the entire project all at once. We first
built a restaurant, located 13 feet above ground level to align
with the elevation of the road. At a lower level, 8 feet
above the ground, was the main kitchen. All buildings would
be built at least 8 feet above grade.
We opened the restaurant first to test the reaction of
guests. Most people are used to modern design, so there was
some doubt as to whether the public would embrace our historical
approach. The restaurant was a journey into history; this
was, ironically, a new concept, and was of major concern to the
investor. Success or failure depended on acceptance by the
guests. We laid low for some time to wait for feedback.
Restaurant Interior
As time passed, word of mouth spread, and Ambalama's popularity
increased by leaps and bounds. People were attracted to the
antique décor and artistic design of the hotel.
We installed a generator for power, which was no easy
task. We made use of the data and experiences of the
villagers regarding the climate and environment, and employed
ancient methods to recycle wastewater. We covered some areas
of impermeable clay with fresh soil to arrest the flow of dirty
water, using raw materials locally available in the area. We
planted vegetables for the restaurant, and harnessed solar power to
heat our water. There is no air conditioning, only natural
ventilation. There are no televisions or music, only the
beauty of the natural surroundings.
One day we
were taken by surprise by unexpected flooding. The restaurant
was not damaged, but the kitchen and food storage areas were.
We met the challenge by relocating the stores to a higher
elevation, and ensuring that much of the furniture is made of
concrete. We cannot prevent floods, but in learning how to
face them successfully, we managed to transform the threat of flood
into a matter of delight and astonishment for our guests.
During a flood
All of the rooms are in individual cottages located by a
pond. The rooms are large, with added drawing rooms,
balconies and other amenities. Each cottage is different,
having been built according to different themes. All rooms
were named after traditional professions, which describe the design
and décor. For example, there is the Potter's Home,
made of clay, with colors used in ancient temples and organic
fabrics with natural earth colors. There is the Blacksmith's
Home, made mostly out of iron and steel. Its doors, windows
and fixtures are cleverly designed to remind one of the steady
hands of the Sri Lankan blacksmith. The colors are black and
red, creating an atmosphere of fire, soot and iron. We
cleverly modernized an old kerosene lamp by installing an electric
bulb.
We built our swimming pool in one of the clay pits left over
from brick-making days. The area is surrounded by trees and
constructed to withstand the force of flood waters, as we did not
use tile, but polished concrete. At present chemicals are
used to disinfect the water, but we are looking into the future use
of a carbonic material for that purpose. We placed 6 inches
of pebbles in the bottom of the pool to massage the feet, as in a
natural pond.
One of our greatest difficulties was finding personnel who were
familiar with ancient techniques. Everybody we knew was only
familiar with modern-day construction, so we ventured out to find
specialists in the different tasks to be carried out. We even
enlisted artists. The craftspeople established a collective
understanding that their skills are of national importance, not
merely occupations.
With the passage of time all of our hopes were fulfilled.
The resort became very popular among foreigners as well as Sri
Lankans. Foreigners see it as a showpiece of Sri Lankan
culture. The use of an indigenous name is also an
attraction.
Across the country, there has been a revival of traditional
food, interior design and use of ancient names.
Environment-friendly projects and cultural core values have become
popular island-wide.
Cottage Interior
The surrounding area has transformed into a developed
city. Though I am not in favor of built-up cities, I am happy
about the development in the area.
Through this project, I believe I have contributed to the
development of the country. The nation is reminded again and
again about its old traditions, and the possibility of blending old
with new techniques.
I owe many thanks to the investor for giving me complete
freedom, and to my dedicated staff.
Jayantha Bibile, AIA, ASID, FIRA(UK,) started his career as
a hotelier, but changed to design, which suited his natural-born
talents better. He began his career as a furniture designer
by studying at the Furniture Industry Research Association in the
UK, and then moved on to interior design. He has practiced
architecture for the last several years with help from his
engineers. He studies by himself, using the AIA and ASID
websites and professional handbooks. He has done several
buildings in a blend of traditional and modern designs, or drawn
from other cultures. Most are green buildings. He is a
popular designer of hotels and boutique hotels.
