The Architecture of responsibility!

In this interview Dr. Benny Kuriakose, shares the keen, penetrative and reflective eye with which he approaches architecture. This interview was originally published in the Neptune Glitz, May 2025 addition. (All image courtesies - Glitz and BKA)

Benny Kuriakose & Associates is an architectural and conservation consultancy firm established by Dr. Benny Kuriakose in 1991. Over the years, the firm has grown to include a team of talented and creative designers, engineers, architects and audiovisual specialists. The primary aim of BK&A, as explained by the firm, is “to develop high-quality architecture that respects historical context and the environment. We believe that architecture is not just limited to the design and structure of a building but goes way past that notion. We have aimed to create a diverse oeuvre of work and we will continue to design sensitive and sustainable architecture from the very small scale to the large with immense attention to detail and respect to the craft. 

Suneet Paul (Me): Dr. Kuriakose, you have indeed been one of the few lucky professionals who had the great fortune to have worked with master-craftsman Laurie Baker who set the pace of unraveling the pulse of vernacular architecture in India. How did working with him influence you, if at all?

Benny Kuriakose: Laurie Baker has been a profound influence on every aspect of my life — from my architectural designs to my thinking, values, and overall perspective. This influence is particularly meaningful to me because I do not hold a formal degree in architecture; it was through him that I learned the foundational principles of the field. At a certain point in my career, I made a conscious decision to stay true to his core values and ideals, while also evolving my architectural approach to suit changing contexts. After all, there is a significant gap between the time he practiced and the realities of today. The challenges of global warming and climate change now play a major role in shaping architectural practices, demanding new responses and adaptations.

SP: One significant aspect that stands apart in your practice is the sensitivity and respect that you give to the context, cultural background and regional locale of the project. The materials and spaces are in harmony with the close environs and communicate a silent symphony. Could you share a bit about your initial governing approach to each project.

 

BK: Architecture encompasses many dimensions — technical, climatic, cultural, social, environmental, psychological, economic, political, and aesthetic. What Laurie Baker instilled in me is the importance of being sincere and truthful to the context. Those principles continue to guide my work. When I design, I strive to ensure that all these dimensions are in harmony, because they collectively shape the success of any architectural design. I believe that true beauty in design emerges when it is rooted in honesty and relevance to its surroundings. Naturally, the way you design for Kerala will differ from how you approach a project in Odisha — each place demands its own response.

SP: In this contemporary architectural phase where global trends are a
preference, your practice has kept steadfast and focused in innovatively
redefining the modern-day responses to the vernacular idiom. I'm sure it's not been an easy run to bring the clients' around or has it been that it is your clientele which has motivated you to tread this path?

BK: There is a growing disillusionment among the general public with what is commonly referred to as "Modern Architecture"—often criticized as
monotonous, box-like forms and dense concrete landscapes. It is our professional and ethical responsibility to offer meaningful alternatives that respond to both cultural and environmental needs. I am firmly convinced that drawing from our architectural heritage — the principles, materials, and techniques employed by our ancestors — provides a more contextually appropriate and climate-resilient framework in the face of global warming and environmental degradation. There is a significant and increasing demand for the kind of context-sensitive, sustainable architecture that we practice.
However, our capacity currently allows us to address only a small portion of this need. Ultimately, architecture should not be judged by style or era, but by quality — there is only good architecture and bad architecture.

SP: In a country with over five thousand years of heritage, it is disillusioning to see that laid back approach of the State Governments and professional institutions to restoration, conservation and preservation of the vernacular traditions. Our society also, I think, needs to be made conscious of the wealth of learning that our vernacular design encapsulates. With your vast experience and being a contemporary icon in this field, how do you think can the love for the vernacular be revived?
 

BK: Awareness surrounding architectural heritage has increased significantly over the past few decades. Forty years ago, the demolition of a historic building would often go unnoticed; today, such an act at the very least attracts public and media attention. While this marks progress, it also underscores the critical role professionals must play in further elevating public consciousness on issues of heritage
conservation. Governments are generally reluctant to act contrary to public sentiment — at least in the public domain — which makes informed public opinion a powerful tool for conservation.
However, this is an inherently slow process, andit is important to avoid overly romanticizing the past. Our architectural heritage is both rich and beautiful; it must not only be conserved but also studied, so that the knowledge embedded in it informs the creation of more meaningful, sustainable architecture for the future.
 

SP: Very often, sustainability and the vernacular are associated very closely. How do you look at their complimenting each other?
 

BK: It is important to avoid the romanticized notion that all vernacular practices are inherently sustainable. While building with earth can be environmentally responsible, its sustainability is compromised if the construction process leads to land degradation or ecological imbalance.
Similarly, timber is often regarded as one of the most sustainable materials due to its renewability and carbon retaining potential. However, if its procurement involves deforestation of natural forests or unethical practices such as child labor — as reported in some parts of Africa — its
sustainability becomes deeply questionable. Stone, too, is a natural and time-tested building material used extensively across various regions across the world.
Yet, when sourced from large-scale quarries that contribute to environmental hazards such as landslides or biodiversity loss, its use must also be critically evaluated. Sustainability, therefore, is not determined solely by the material, but by its lifecycle impacts — including sourcing, processing, transportation, and social implications.

SP: The twenty-first century faces its own set of challenges. Climate
change, deterioration of the environment due to pollution, waste disposal, chaotic pace of urbanization and such other concerns are but
some of them. In your architecture, how do you address these ever increasing threats to our habitat?
 

BK: The twenty-first century indeed presents a complex set of challenges — climate change, environmental degradation, unsustainable waste management, and rapid, often unplanned urbanization among
them. As a professional, I believe our response must go beyond aesthetics and functionality to embrace ecological responsibility and contextual relevance. In my practice, I prioritize a site-sensitive and
climate-responsive approach. This involves passive design strategies —such as natural ventilation, daylighting, orientation etc. — to reduce energy consumption and address thermal comfort. Water conservation, green infrastructure, and biodiversity - sensitive landscaping are also key aspects. Most importantly, I believe architecture must align with local
cultural and environmental contexts. Learning from traditional practices
and  adapting them with contemporary techniques allows us to build in ways that are both resilient and sustainable. 

SP: In a rapidly developing country such as India with over 1.4 billion
population, would you not think that we need to also bring society to
consider building with alternative technologies using local materials
sourced from the region?

BK: Rather than framing the conversation around alternative technology, it is more constructive to focus on appropriate technology — solutions that are context-specific, need-based, and sustainable. The challenges before us are complex and multifaceted. As a developing nation, India too deserves to experience the benefits of growth and progress. However, we must recognize that climate change is a global crisis, extending beyond borders — unlike localized environmental issues such as pollution, which disproportionately affects underdeveloped regions. 

SP: There are so many students and young professionals who are ardent
followers of your style and vision for present and futuristic design
solutions closely related to nature. Would you have a word for them?

BK: Vernacular architecture should not be adopted merely as a stylistic
approach. Style, in itself, is superficial; what we need is a deeper involvement with the broader issues and values that form our work. It is a
vast knowledge system, which has been handed over from one generation to the other. When you begin to think along these lines, your design approach will naturally evolve and it will be different. It is essential to critically examine and challenge practices that are no longer relevant or sustainable in the context of our future — both environmentally and socially.