October 2023

Vinu Daniel

Shristi Sainani speaks with the successful Indian architect and 2023 TIME100 Next recipient about his practice and several key projects.

Architect Vinu Daniel is the founder of Wallmakers, a design firm dedicated to building dream-like spaces that are responsive to specific site contexts and conditions. Wallmakers has no official office and is constantly on the move, looking for ways to minimize the carbon footprint of buildings and make construction more sustainable. Using innovative designs and locally sourced materials (including waste and debris), Daniel and his team have developed new natural building techniques that are both utilitarian and alluring, earning them global recognition. Wallmakers won the 2022 Royal Academy Dorfman Award, which celebrates new ideas that highlight the future potential of architecture. In 2020, ArchDaily selected Wallmakers as the only Indian practice in its 20 Young Practices of 2020 list. Most recently, Daniel was recognized on the 2023 TIME100 Next list.

What were your first memories of architecture? Was there a moment of epiphany where you thought you had found your calling? 

Architecture was not the career path I thought I’d choose. Growing up, I aspired to be a musician. However, I was expected to pursue something more mainstream, like engineering or medicine. Eventually, I decided to join the university to study architecture because it seemed like a field where I could express myself. Over the initial years at university, I grew despondent due to some teaching philosophies and values that I did not completely agree with. Meeting the legendary architect Laurie Baker during my fourth year at university incidentally became the turning point, leading me to consider architecture from different perspectives. From him, I learned how architecture and nature can co-exist. 

Over the course of your practice, have there been recurring references? Are there drawings, objects, textures, scapes, or materials that you revisit

Organic shapes and forms are something I find intriguing, something that is usually incorporated into our projects. Every project has its own interpretation of forms, different materials, and textures. Most of our references come from the site’s immediate context and its users. 

Please tell us a little more about the philosophy behind the design of your project, IHA Residence. How long did the entirety of the project take from inception to execution? What were the biggest challenges you faced, and what would you deem as its most significant feat? 

IHA took around three years from the start to its completion. The clients wanted a quiet abode in the busy city of Trivandrum. The idea was to do exactly that while ensuring minimum impact on its context. IHA was built over a swamp that was also house to two snakes. We prioritized retaining as much of the swamp’s natural environment as possible while ensuring the safety of the residents. From our perspective, the swamp, the snake, all of it, forms the beautiful ecosystem that IHA is a part of, so instead of changing it entirely, the idea was to make it better.

The residence was also designed to capture a sense of serenity and warmth, with some minimalistic characteristics, but also to portray adventurous and wild aspects. All this while tackling some issues that the site presented, like water-logging. This was a challenge since rainfall is very prevalent in Kerala, and it was crucial to ensure the residence’s design does not hinder the flow of water but percolates into the ground. As a solution, we created a pond at the site’s lowest point where the water can be retained while complementing the design’s context. 

Concept Sketch, IHA Residence, Mananthala

Elevation drawing, IHA Residence, Mananthala

Exterior view, IHA Residence, Mananthala

St George Orthodox Church has such a distinct character. How did the project come into being? What are a few aspects you had in mind considering the construction of a religious refuge? 

Rebuilding one of the oldest churches in Kerala was a challenge in more ways than one. The church was dilapidated due to years of negligence and encroachment when the late head of the Christian sect of Kerala (His Holiness Moran Mar Baselious Marthoma Paulose-II ) initiated rebuilding. It was a strenuous task to rebuild the historic building while keeping its foundation intact. 

Integrating features that have long been a part of the architecture of churches was an unequivocal thought. Considering the historic significance of arches and vaults in religious edifices, these elements were included as the prominent features, while mud became the primary material in the form of CSEB (Compressed Stabilized Earth Block). I had to ensure that the masons involved in the project understood and could work with CSEB by providing essential training in the Nubian arch and vault building technology without extensive shuttering (revitalized in the early 20th century by Ar. Hassan Fathy). 

Exterior view, St. George Orthodox Church, Kerala

Interior view, St. George Orthodox Church, Kerala

Interior view, St. George Orthodox Church, Kerala

“Every project has its own interpretation of forms, different materials, and textures. Most of our references come from the site’s immediate context and its users.”

Please tell us a little about your project, Chuzhi. What does Chuzhi mean, and what does it aim to achieve?

In Malayalam, Chuzhi means “whirlpool,” an apt name hinting at the swirls of precast poured debris earth composite bottle beams fashioned from 4000 discarded plastic bottles designed around the three large Tamarind trees on site. Built on a formidable site with rocky topography, Chuzhi is a project that helps understand sites perceived as ‘unsuitable’ due to their out-of-the-ordinary characteristics can often be utilized. This was also the challenge. Chuzhi shows how the unique and prominent features of the site can be wielded to add to the distinctness of the design.

Exterior view, Chuzhi, Shoolagiri

Interior view, Chuzhi, Shoolagiri

Interior view, Chuzhi, Shoolagiri

Has there been a project you would say has failed? If so, why and what were your learnings from it? 

Every project has surprises and things that don’t work out, things that teach us a lot. All our projects help us learn so much from things that work and do not. Our projects explore and experiment beyond the limits of what is deemed ‘typical’; failures may happen, and it is in rectifying them that we learn. 

What are you looking towards next? Are there specific projects you are looking forward to realizing next?

We are currently working on quite a few projects we are excited to participate in. The SPB Memorial is one such project being designed as a tribute to the legendary late singer S.P. Balasubrahmanyam in Thamaraipakkam, Tamil Nadu. Another ongoing project in Tamil Nadu is a school where kids can learn without feeling the boundaries of the typical classroom module. We’re also working on several residences, pavilions, and more, all of which we are looking forward to seeing completed soon. 

Do you have a few last words you’d like to leave for our readers before we close the interview? 

In any field, striving to be original and creative is strenuous, but there’s always light at the end of the tunnel. 


Vinu Daniel biography courtesy of TED.

Vinu Daniel
@ar.vinudaniel

Shristi Sainani
@shristi_sainani

Shristi Sainani is a curator, designer, researcher, and writer currently based in New Delhi, India, where she functions independently. Her interest lies in dismantling and assessing core concepts of exhibition making, specifically focusing on Contemporary Art churned through the diaspora of the Global South.

She also writes poetry, having published three books in the genre, and has contributed to several art and architectural forums. Her independent research focuses on collections and architecture of private art museums. Shristi’s paper on inclusivity in museum spaces won the INSC Researchers Award in 2021.

Shristi is a formally trained architect. She completed her Bachelor of Architecture from the University of Sydney and her Master’s degree in Curatorial Studies from the University of Melbourne.