VINU DANIEL

Vinu Daniel, image courtesy of the studio.

Vinu Daniel completed his B. Arch in 2005 from The College of Engineering, Trivandrum, following which he worked with Auroville Earth Institute for the UNDP (United Nations Development Programme) Post-Tsunami construction. On returning from Pondicherry in 2007 he started 'Wallmakers' which was christened thus by others, as the first project was just a compound wall. Many eye-openers in the course of his practice prompted him to resolve to devote his energies towards the cause of sustainable and cost-effective architecture.

With a practice, spanning over more than a decade, Wallmakers has won many international accolades including being selected by ArchDaily as the only Indian practice in the list of 20 Young Practices of 2020,,being nominated for the Brick Award 2022 and winning The Royal Academy Dorfman Award 2022 conducted by the Royal Academy of Arts, London to name a few. Vinu Daniel is also the youngest Indian Architect invited to be a speaker at the TED Talks ( TED 2023: POSSIBILITY, Vancouver ) and one of the three Indians selected to in the TIME 100 NEXT 2023 list.

SKYLAR YU: Could you share the origin of your studio's name with us? And the design philosophy of Wallmakers.

VINU DANIEL: The name Wallmakers was given to us by others, since our very first project was a compound wall. The design strategies of architect Laurie Baker and Gandhi’s advice about the ideal house being made of the materials found within a five-mile radius inspired me at the beginning of my career and helped me find a different perspective on architecture, which further led to the core ideologies that, to this day, remain the design philosophy that guides Wallmakers.

SY: What made you shift your focus to sustainable and cost-effective approaches in your career?

 VD: From the very beginning, it was evident to me that sustainable, and an alternate kind of architecture, is the only justifiable and progressive way of working in the industry. The practice was founded to initiate a viable shift in the industry.

 SY: Was the formation of this ecological philosophy of locally sourced materials and specific working methods (e.g., architects working in residence) influenced by your upbringing?

 VD: Definitely not. Born in the Middle East, where the economic boom came with expanding, fast construction, the importance of locally sourced materials or ecological methods of construction were not in the least prevalent. 

However, the stark contrast of it with the more earthen approach, and its impact on the environment, fascinated me once I came back to India, and worked with Auroville Earth Institute for the UNDP Post-Tsunami construction. This influence, along with the curiosity to work with materials and techniques that are practical but unconventional, instigated this philosophy.

 SY: Your recent projects (e.g. Toy Storey, Nisarga Art Hub) have made extensive use of discarded materials (plastic toys, construction waste, etc.) and indigenous technologies (the composite CSEB- Toy Jaali wall, old Mangalore tiles), how do you balance material reuse and aesthetic expression?

 VD: The idea is never to just reuse, but to incorporate discarded items that can add meaning to the space and elevate its purpose. Reusing items does not restrict artistic freedom if we can achieve a balance in how the elements interact. Achieving balance begins with understanding the potential and constraints of the material and utilizing these to create unique possibilities.

Nisarga Art Hub. Photos by Syam Sreesylam.

SY: There are a few keywords that you have been emphasizing in your design: climate crisis, ecology, sustainability—how does this concept influence your team and lead the work of the whole team?

 VD: At every step of the design process, these ‘keywords’ or rather guiding factors are what allow the team to make some crucial decisions that influence how the project progresses. These are at the core of the design approach, and helps us prioritize the unique characteristics of the project, which often leads us to the prominent features of the project, like in the case of Toy Storey residence with the corbelling toys, or in case of Chuzhi with the swirls precast poured debris earth composite bottle beams.

Chuzhi. Photos by Syam Sreesylam.

SY: What were the technical challenges of the process of integrating 6,200 discarded toys into the external skin (Toy Jaali wall) of the Toy Storey? How do you discuss with the client to accept such non-traditional materials?

VD: We wanted to incorporate toys in a way that isn’t just there as a conceptual element, or to serve an aesthetic purpose. This led to a lot experimentation and prototyping to ensure the stability of the toys when incorporated as a part of the structure. We’ve been fortunate to get clients who are as excited about such unconventional ideas as ourselves. Very rarely, we may have to help them understand the complex nature of such non-traditional materials and the benefits of the same.

Toy Storey Residence. Photos by Syam Sreesylam.

SY: How do the technologies you have developed (e.g. Debris Wall, Shuttered Debris Wall) reduce energy consumption in buildings? Can you share the benefits of these technological innovations, observed from feedback?

 VD: These techniques help regulate the internal temperature, thereby reducing the need for artificial methods of cooling or heating. In our projects, mostly in the hot cities of India, one of the main pieces of feedback we receive has been the same, the very evident shift in temperature indoors, making it much less hot inside and more comfortable.

 SY: Architecture likes to use “human-scale” as an explanation. How do you grasp this perception of the true scale of human beings, and how do you design with unconventional building materials while maintaining comfort when entering the building?

 VD: One of the important things that we address while designing is the comfort and user experience of the spaces. This is not limited to the physical attributes of experiencing a space, but also the sensory experiences and how one resonates with the context. It is crucial to consider, especially while using unconventional building materials, to incorporate them in a way that does not especially stand out from the context, or impose on its users, but subtly blends with the flow of the spaces and their characteristics. 

This starts with the understanding that the materials or items, like toys or tyres, no longer serve their original purpose but a completely different one. And that means these have to be incorporated in a way that does not distract but rather enhances the narrative of the space, where the unconventional becomes intentional and instinctive.

The Ledge. Photos by Syam Sreesylam.

SY: The Toy Storey Residence emphasizes the open layout of “a circular home accessible from every side”. Is this a response to a specific community culture? How does architecture promote a neighborhood interaction- what have you learned?

VD: In a way, yes. The clients are very social people, and their house is frequently filled with guests. In that sense, the design does reflect openness and social interaction. There’s a good and easy flow for users, and it appears inviting, with the house being accessible from all sides. The idea of it was a “House within a house”, where there’s a large living space for the guests and the Japanese-style inspired shoji screens become translucent partitions providing light and visual connectivity for the private half. Architecture has the ability to cut off or promote interaction, and in this case, we can definitely see how the users, even the guests, resonate with such a space that has been specifically designed to cater to their visit.

Toy Storey Residence. Photos by Syam Sreesylam.

SY: In rapidly urbanizing India, where affordable housing and sustainable design are often seen as contradictory, how is Wallmakers cracking this conundrum through its projects(e.g. The Pirouette House)?

VD: Neither affordable housing nor sustainable design is inherently contradictory. The idea of it being so arises when the misconceptions about the lack of efficiency or durability of sustainable design become widespread. From residences to multi-storied buildings, our projects stand as testimonies about the strength, durability and even the aesthetics of this different approach.

SY: With the global construction community still reliant on concrete and steel, what do you see as the biggest barrier to promoting natural/waste materials? Policy, market, or technology?

VD: A bit of all three. In the architectural industry, there is a great demand for faster and easier methods. This directly affects the policies as well as the scope of technology in the field. Although a much bigger barrier would be the mindset of many people where anything earthen, or alternative, is considered with skepticism.

SY: Does Wallmakers plan to expand its international programs in the future? What regions or cultures appeal to you the most?

VD: We’re already expanding our international reach, from East to West. Thankfully, there is a huge community of people in every country that understands the potential of this alternative approach. We’re very excited about the possibilities.

 SY: How do you see the relationship of rights between creators, investors, and users of  architecture?

 VD: It’s an interdependent one. We are truly grateful for the set of clients and investors who have approached us, from the beginning, the ones who allowed us the artistic freedom of taking their set of requirements and expressing them in our way. In order to do anything unique or challenging, it is truly essential that the creators, investors, and users communicate and have faith in the entire process. This makes all the difference.

3-minute pavilion. Photos by Oshin Mariam Varughese.

SY: You once said in an interview that you would like to use the word “future” to describe the “ideal architecture” that you are trying to realize. How long do you think this future will come?

VD: The concept of future or ideal architecture is not one certain thing or a phase that we can achieve in a certain timeframe. It’s a much more complex process of continuous exploration, experimentation, and adaptation. So it’s not something I’m planning to achieve per se, it’s more like a direction that we are constantly working toward.

SY: Do you think architects need to push the boundaries of their profession? How do other art forms inspire your architectural language?

VD: In any profession, a positive change and progress can only happen when people try to push boundaries. Similarly, in the case of architecture, we cannot presume that the practice will yield a positive influence. Unless we push the boundaries, break the norms, and challenge stereotypical ideas.

There’s a lot to learn from other forms. It would be difficult to point out how it inspires me, because I believe any form of art has the power to subtly influence one’s practical ideas, stirring deep-seated notions, sometimes without even consciously acknowledging it. However, I believe that the ability to appreciate good art could enhance one’s sense of form, emotion, the play of light and shadow, and even the overall approach to design.

SY: Do you consider yourself an idealist?

VD: As an architect, I cannot afford to be an idealist. Architectural practice today needs to be less about perfection and more about practicality and sensibility. There’s a lot at stake; environmentally, socially, and in terms of overall welfare. It doesn’t seem logical to cling to rigid ideologies without adapting or to adhere to traditional architectural notions without evolving them. Perhaps, as Gandhi suggested, I try to be a 'practical idealist’.