In this interview, Benny says he was first inspired by the late British-Indian architect, Laurie Baker, who is celebrated for his frugal and eco-friendly properties. He also credits Shri Appukuttan Nair, a retired civil engineer who specialised in traditional Keralan buildings, as a major influence.
His enthusiasm for the vernacular, however, was fuelled later, while exploring India. He would eventually earn a master’s degree in conservation, yielding the skillsets and professional qualifications needed to launch his career.
His design approach today is marked by an emphasis on place. Climate and site, culture and craft, and the use of local materials are all central to his creations.
Benny Kuriakose designed the Quiet by the River resort to blend into the environment with a palette of natural materials sourced from nearby.
© T.P. Naseef, Benny Kuriakose & Associates
In the Quiet by the River resort (Kerala, India), for instance, Benny uses recycled timber and locally sourced stones. By promoting local craftsmanship, he aims to foster the employment of tradesmen whose skills might otherwise be lost one day.
In Vishram by the Sea, Kuriakose uses Athangudi floor tiles from a village in the Chettinad area of the southern Indian state of Tamil Nadu.
© Rajiv Menon, Benny Kuriakose & Associates
Another development, the private residence Vishram by the Sea (Kerala, India), relies on natural ventilation and daylight to curb energy dependence. The impact is further mitigated through the use of recycled stone columns, reclaimed doors and windows, and eco-friendly handmade Athangudi tiles.
The DakshinaChitra Museum is one of Benny’s rare urban interventions to date. This project, some 28 years in the making, is situated in the heart of Chennai (Tamil Nadu, India) and consists of a cluster of new and reconstructed buildings.
The DakshinaChitra Museum offers interesting interfaces between indoors and outdoors, softening the impact of the tropical sun.
© T.P. Naseef, Benny Kuriakose & Associates
In addition to showcasing regional architecture, the museum premises are a compelling network of public spaces, verandas and courtyards, with interstitial retreats between buildings popular with the museum’s visitors.
The importance of interstitial spaces is underscored in the DakshinaChitra Museum, offering room for social interactions and cultural events.
© T.P. Naseef, Benny Kuriakose & Associates
Any building that ignores the local context cannot be sustainable, insists Benny. He makes the case that sustainability in India must transcend the trend towards Green certification, which he considers to be a transplant from the West. The country’s future lies in reconnecting with a Gandhian way of thinking and acting.
Benny Kuriakose is an advocate and teacher who invests time in sharing the virtues of village life.
© T.P. Naseef, Benny Kuriakose & Associates
The conversation with Benny pokes at some of the contradictions inherent to adopting a vernacular strategy in contemporary India. Does he install air conditioning if a client requests it? What does he make of the urban pressure to always build higher, denser, to accommodate the legions who embrace the city?
Here, Benny proposes a thoughtful calibration between traditional ways and modern norms. Urbanites, he contends, are drawing resources away from countryside communities all around India and his work is his attempt at reimagining life in the villages. It may seem labour-intensive on the surface, highly customised, even antithetical to many of the low-impact structures cloned quickly and to scale today; but by slowing the process and leaving an imprint of the maker, he aims to remind us of the underlying humanity in every building act.
Sustainability means nothing if we all live in machine-made boxes in the sky.