Unseen glimpses of Bawa’s Lunuganga

Having started work on the outside, he also began imagining how he would live within. In the beginning Lunuganga in Sri Lanka was no more than a two-bedroomed estate bungalow, of a particular practical type. Arrival was at a car porch, with the assumption that a plantation owner in the 1930s must have a car. It led into a verandah leading up to a large long sitting and dining room with an arch between them, with service areas at the back.

A corridor led off to one side of this room between the living and dining space to two ensuite bedrooms with their own verandahs placed on either side. The house itself was generous in size as many plantation bungalows at the time were inclined to be, with high ceilings. It appears that having experienced the formality of life within English country houses, particularly at Terling Place, the home of his friend, Guy Strutt, who he would visit from time to time when he was a student at Cambridge, he set about transforming the estate bungalow into a more formal plan, particularly in the arrival and sequence of experiencing the spaces.

The most significant change was to the main entrance. Having redirected the approach road to the east of the property, the original entrance to the house from the west was moved to the end of the bedroom corridor, looking south and entered a formal hall carved out of the original verandah on that side.

Symmetrical in all aspects, two black and white doors face each other and lead into the two bedrooms on either side, the master on the south.

This space with its black and white floor is reminiscent of many formal English country house hallways. The corridor opposite the main door looks straight through the house into the lake beyond, giving a suggestion of what lies ahead as it leads off into the main living space. The original sitting and dining room, now surrounded by the original verandahs and an even larger verandah to the west where the original carport was, has been converted to a casual sitting area. An extension to it acts as a semi outdoor dining room. All this looks out over a magnificent view of the lake.

Over the years other spaces were added to the garden — starting with the gatehouse close to the entrance in the garden followed by the Glass Room over the car-parking space and the Sandella Garden Room. The Sandella is possibly the most carefully thought out interior in the house as it is entirely made from recycled wood parts from an 18th Century CE shop house, demolished in road widening projects for Galle Road. These parts are carefully shuffled for various uses other than the original. Window panels become railings for upper levels and panelled windows now devoid of these are glazed in.

Later, an old cowshed was converted into an art gallery, which was in turn converted into the Gallery Suite by the Trust. The last three buildings along with a small hen coop in their midst, arranged around the red terrace is reminiscent of a barn and animal houses in a European farm, though they were never actually used that way.

The last major construction on the site was the Cinnamon Hill House in the mid-1990s. It was intended as a two-bedroom weekend cottage, a sort of dowager quarters for friends who might rent it long term, so he would have company on the weekends!

Initially, the house accommodated the objects and furniture that Bawa inherited from his parental home, Chapman House in Colombo. And some from that which he used as a student at Cambridge — the Art Deco table that is the centrepiece of the dining space, the early 19th Century Georgian chandelier and gilded mirror candle sconces that still hang in the entrance hall. Early photos in the Lunuganga guest book show Dutch-period colonial four-poster beds such as the one still in the Glass Room over the entrance porch.

Other artefacts include those he brought with him from Europe such as the mediaeval bishop set on a stone plinth at the entrance corridor or gifted by friends, the fin-de-Siècle gilt bronze and crystal chandelier hanging in the living room being one of them and gifted to him by his cousin Georgette Camille, who also encouraged him to become an architect.

Amongst the earlier outdoor furniture were modern classics such as Ernest Race’s Antelope Chair on the verandahs and the classic Indian colonial Roorkee Chair along with canvas covered director’s chairs used for dining and sitting in the garden accompanied by small wood and steel-legged tables of his own design for keeping drinks on.

Over the years though, Bawa’s taste changed to one where furniture, particularly the large pieces such as beds were built in brick and plaster, and painted in white, contrasting with the dark polished cement floors of the old house in Lunuganga Estate, Sri Lanka.

By the 1970s, much of the fuss of a multitude of pieces of furniture had disappeared and only the most exquisite pieces remain with a clearly architectural backdrop of built-in white painted platforms, niches and worktables.

This is complemented by a carefully curated collection of art and artefacts displayed on the walls and on the white platforms all around, which give the interior a museum like quality, but without the preciousness that this brings. 18th Century CE pettagamas (traditional storage boxes) may become pedestals for 20th Century CE sculptures such as the Shiva on Nandi by the artist Nandagopal and a cast metal owl by Laki Senanayake standing on a rough stone inserted into a wall in the verandah. In the minimal and sparsely furnished dining room, a heavily gilded venetian mirror is hung overlooking the Art Deco dining table and its two 18th Century CE burgomaster chairs. A sculpture of a Trojan Horse with soldiers springing out of its belly is balanced in a niche and weighed down by a large chunk of obsidian over a rare 16th Century CE Indo Portuguese settee. The practice of juxtaposing the new and the old, smooth against rough and pristine against the weathered, was something that Bawa revelled in. A sought of Wabi Sabi that appealed to his sensibilities in the garden that was constantly changing. In the interior of the house too, this approach brought together objects that he admired and treasured, often not for their monetary value, in a way that highlighted their essential fragility and beauty.

Today, 75 years after Geoffrey Bawa started the process of transformation of a slightly derelict plantation bungalow into his vision of a country home for himself and his friends, visitors continue to be lulled into a sense of peace and serenity and perhaps that was indeed the spirit that Bawa wished to capture all those years ago.

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