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Parliament revisited: creation of a magnificent edifice on the Duwa marsh in Kotte Parliament revisited: creation of a magnificent edifice on the Duwa marsh in Kotte

Published

4 years ago

2021/07/4

The structure has a definite Eastern flavour. Bawa commented, “I just wanted the building to fit into the site. You must run with the site, after all, you don’t want to push nature out of the building.”

by Nihal Seneviratne

Wending my way along the old road to what was then known as Kotte, many nostalgic memories keep crowding my mind. This road has now been replaced by a four-lane highway, which leads to the new Sri Jayewardenepura Kotte as the area is now known, along which I commuted for over 33 years.

Most of all I recall the request madeto me by Anandatissa de Alwis, MP for Kotte, to accompany him to view the site for the proposed new Parliament. President Jayewardene had asked the then Speaker to inspect this marshland called Duwa where my friends used to shoot duck a long time ago and assess the suitability of the site.

We had to shed our shoes for gumboots to wade into the marsh. Anandatissa de Alwis was able to report to the president, already totally enamoured by the model of the new Parliament given to him by master architect Geoffrey Bawa, that here was an ideal place for the construction. All credit to Bawa for his enlightened thinking that he could build a Parliament on this marshy site.

On a bright April morning in 1982 at the auspicious hour of 10.13 am, Sri Lanka inaugurated its new capital, Sri Jaywardenepura Kotte to the triumphant sounds of conch shells and reverberating drums. When a third of the construction the new Parliament was done the president followed tradition and deposited nine different gems and other ritual items to invoke the blessings of the deities on the project-

The site popularly known as Kotte would eventually become the sumptuous home of Sri Lankan politicians. The historic Diyawanna Oya, a substantial body of water, was reclaimed from what was once a marshy wasteland. A 300-acre lake was created on which now stands the Parliament of Sri Lanka.

The building was designed by Geoffrey Bawa, Sri Lanka’s best known architect, and it stands as an elegant embodiment of the rich cultural and aesthetic heritage of this land. The silver plated chandelier, weighing one tonne, in the main chamber and skillfully carved mahogany wall outside the Members’ special entrance stand testimony to his work.

Kotte was a capital of Ceylon in the 15th Century, and taking Parliament there as the centerpiece of a new capital was regarded as a return to the past and a methodical strategy for easing congestion of Colombo.

Today, the city of Colombo is still growing from its relatively small size now hosting a yet growing 1.5 million population. What was intended was to make Sri Jayewardenepura the administrative capital of the country and it was so gazetted. It was to house the diplomatic community, government ministries and offices, hospitals and schools; but this has not happened as originally planned. Anandatissa de Alwis suggested the site to President Jayewardene after being told by Geoffrey Bawa that it was eminently suitable. He said, “if we are going to build a new capital, why not return to the capital of the Kings?”

When the Portuguese arrived in 1505, the shrewd Sinhalese tried to keep Kotte’s proximity to the Colombo port a secret. They led the foreigners through a winding excursion on horseback that stretched over seven miles. But the Portuguese saw through the ploy as they could hear their ship guns boom in the harbour. Hence the popular saying “Parangiya Kotte giya” (How the Portuguese went to Kotte).

The building has a huge copper pitch Kandyan roof to disguise its height. In the main pavilion conclave, layers of space on every level are articulated by rectangles of dark wood and glass. Even the stucco columns on the ground floor are unadorned and fuse easily with the simple wooden beams above.

The structure has a definite Eastern flavour. Bawa commented, “We have a marvellous tradition of building in this country which has got lost. It got lost because the people followed outside influences over their own good instincts. I just wanted the building to fit int the site so I opened it into blocks. You must run with the site, after all, you don’t want to push nature out of the building.”

Rupert Scott writing in a Architectural Review states, “most important, the building appears to be in tune with the climate, topography and culture”.

To stand at the entrance to the complex, besides the reflecting pools and Lei race slopes of cascading water, it has to be kept in mind that for centuries the site was a marsh. Constructing the building fell to a consortium of two Mitsui companies. An international team from Japan, Philippines, Malaysia and Singapore along with the skilled labour of masons and carpenters from Sri Lanka all completed the project in very impressive period of 26 months.

Its real heroes are the artisans of Sr Lanka – most of them unacknowledged craftsmen who helped create the magnificent work of art and culture. The opulent chamber, the focal point of the complex, is covered with a shimmering tented ceiling made of thousands of small pressed aluminium pieces linked by a tiny brass sequence. Suspended from the centre of the atrium is the enormous silver plated chandelier with over 500 bulbs in the double pain motif designed by Lankan artist and sculptor Laki Senanayake. He was given only six months to create this and say that he could never have succeeded without the brilliant master craftsman Edwin Perera and his skilled team of craftsmen.

Eighteen silver flags, beams and standards of kings, temples and korales displayed prominently from tall steel posts were crafted by D Wimal Surendra. He was responsible for this work as well as the massive silver door leading to the chamber. The intricately carved square copper door is silver plated and decorated with an elaborate inscription with the words of the preamble of the 1978 Constitution in all three languages -English, Sinhala and Tamil inscribed on it.The walls flanking this ornate door are covered with beautiful line drawings of murals by the late artist LTP Manjusri, a Magsaysay Award winner. The story depicted here is the Selalihini Sandesaya – an eloquent legend of King Parakrama Bahu VI by a famous Sinhala scholar monk of the 15th Century. The Selalihiniya was the bird chosen as the courier to convey to the deity Vibushna in the nearby city of Kelaniya the supplication of the Kotte King for a male heir. The understated elegance of the mural juxtaposes with the lobby walls of the entrance for MPs.

The special entrance, usually off limits to the public, is surrounded by wall space covered with multi-dimensional jungle scenes carved in mahogany by Mahinda Abeysekera. The interior of the main Chamber – the centrepiece or the entire complex – exudes luxury. The plush red carpet, the billowing ceiling, together with black leather chairs for the Members are bathed in indirect lighting.

At the Parliament’s opening ceremony, Dr Anandatissa de Alwis defended such seeming extravagance by rhetorically asking: “Is this unworthy of such a nation that can look towards the world and say we are not made by treaty, we were not created by the United Nations Conference, we were not created by Potsdam, Zurich or Washington. We have a history of over 2,500 years of writing, of poetry, of sculpture, of learning, second to nobody – except the most ancient civilization of my Dravidian friends across the floor of this House.”

These were truly historic and memorable words uttered by the Member of Parliament for Kotte whose valuable contribution must be recorded and not forgotten.

(The writer is a former Secretary General of Parliament)

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Life style

Unravelling artistic thread with Dr Ayesha Wickramasinghe

Published

4 days ago

2025/04/20

Thilina Walpola

By Zanita Careem

Dr. Ayesha Wickramasinghe, who is the champion of the National Crafts Council plays a pivotal role in promoting and developing the local handicrafts. She has served as a Senior Lecturer at the University of Moratuwa specialising in Design and Production development since 2006. With her wealth of experience, she brings extensive professional expertise in Brand Promotion and Design from Sri Lanka, the United Kingdom and the United States. An old girl from Southlands College Galle, she graduated with first class honors in fashion design and production development from the University of Moratuwa. She also , holds a postgraduate degree from London and a doctorate from the University of the Visual and Performing Arts, Sri Lanka.

Stepping away from the techdriven expectations often tied to her generation, she believed craft wasnt just art, it was life and identity. In a world of hush and rush, deadlines and competition, her journey reminds of the beauty of persistence,creativity and the simple joy of doing what we love!In this interview, Ayesha explains the trajectory of her career, her work, inspiration and her empowering story.

Your journey?

My journey is rooted in a deep appreciation for tradition, artistry, and cultural identity. Growing up in Weragoda, a village in the Galle District, I was immersed in a lifestyle shaped by community, nature, and craft. These early experiences inspired my academic and professional path—first as a designer and educator, and now as Chairperson of the National Crafts Council of Sri Lanka.

Where did your interest in craft and making come from?

My interest stems from home and heritage. My mother, a primary school teacher, introduced me to flat pattern cutting and early creative expression. Surrounded by traditional crafts and nature, I grew up observing weaving, embroidery, and natural colors—realizing that craft wasn’t just art, it was life and identity.

Can you tell us about your academic and creative background?

I began my education at St. Theresa’s Primary School, later moving to Southlands College, Galle. After excelling in Bio-Science for A/Ls, I pursued a Bachelor of Design in Fashion Design and Product Development degree at the University of Moratuwa, graduating with First Class Honours and receiving a Gold Medal. I completed Master of Arts in Fashion Technology at the London College of Fashion, University of the Arts, London and completed my doctorate (PhD) focused on the evolution of women’s clothing in Sri Lanka. As a Senior Lecturer, my work blends fashion, textile, crafts, heritage, culture, and sustainability.

Your career as an artist?

Though I identify more as a researcher and creative practitioner, art has always shaped my work. Childhood memories of weaving tools from my grandmother’s old handloom center, along with a fascination for color in nature, designing, sculpting and paintings, fueled my artistic exploration. My projects bridge design and heritage, often reviving traditional techniques through a contemporary lens.

Your work with the Crafts Council of Sri Lanka?

As Chairperson of the National Crafts Council (NCC), I help lead efforts to preserve and promote Sri Lanka’s craft heritage while supporting over 20,000 artisans. From craft village development to initiatives like Shilpa Abhimani, the craftsmen training programmes, market access, and connecting crafts with tourism and younger generations.

What are your thoughts on the significance of crafts, heritage, and culture?

Craft is the soul of a nation—it links hands, minds, and hearts. It teaches patience, creativity, and cultural identity. Our heritage is rich with around over 30 craft traditions, and integrating craft education can instill pride and resilience in today’s fast-paced world.

Are we doing enough as a country to preserve our culture and heritage?

While commendable efforts are underway, there’s more to be done. Preservation must be embedded in education, policy, and public mindset. True change comes when people value their own culture and products—embracing what the world now calls “hyper-localism.”

Can traditional crafts find their niche in modern interiors?

Absolutely. Traditional crafts bring warmth, character, and authenticity to contemporary spaces. If artisans understand current market trends and adapt their presentation, these crafts can thrive in modern design contexts undoubtedly.

How can we create deeper awareness and appreciation of crafts?

Storytelling and education are key. People need to understand the time, skill, and meaning behind handmade work. Platforms like exhibitions, documentaries, media and school programs can help build this appreciation and pride in our own heritage.

Thoughts on national funding for art?

National funding is essential and should be seen as an investment in cultural and economic sustainability. Strategic public-private partnerships can support artisans, drive innovation, and promote cultural tourism to boost the national economy.

What are the key challenges facing artisans today?

Artisans face raw material shortages, policies, limited market access, undervaluation of their work, and weak generational continuity. Economic instability often discourages youth from joining the sector and lack of research and development initiatives for craft sector is crucial. These challenges need integrated solutions.

Where do you see the Sri Lankan craft industry heading?

With the right support, Sri Lankan crafts are poised for a revival. As global demand grows for sustainability and authenticity, our heritage can shine—offering rich stories and concepts, sustainable raw material and packaging, skilled and high-quality artistry, and cultural depth to the world.

Life style

Ramani Salon at Mount celebrates New Year

Published

4 days ago

2025/04/20

Thilina Walpola

As the joyous rhythms of Sinhala and Tamil rang though the island, Ramani Fernando Salon at Mount Lavinia celebrated this day with a season of warmth, togetherness and gaety.

The staff at Ramani Fernando Salon representing the true spirit of Sri Lankan traditons followed by religious observances came together to celebrate this auspicious occasion.Today the Avurudu at the salon is remarkable and exciting day for all of us” remaked Niroshan, supervisor of Ramani Salon, Mount Lavinia.

“We followed the ritual of boiling milk in a new clay pot symbolising new beginnings. All our members celebrated avurudu in traditional attire in vibrant colours adding to the festive atmosphere ’’ he said. Kiribath and sweets were followed made by staff themselves.

Life style

Jetwing Hotels portfolio align with modern travel expectations

Published

4 days ago

2025/04/20

Thilina Walpola

Jetwing Blue - Jetwing Premium Hotels

Jetwing Hotels has unveiled a readjustment of its branding strategy, signalling a bold step forward in aligning its offerings with the evolving trends of modern travel. This initiative reflects the company’s commitment to addressing the diverse needs and preferences of today’s travellers while reinforcing its position as a leader in Sri Lanka’s hospitality sector.

Recognising the shifting dynamics of the travel industry, Jetwing Hotels is transitioning from its previous categorization of “Hotels” and “Villas” to a refreshed and more defined portfolio structure. The properties will now be grouped into four distinct segments: Jetwing Luxury Reserves, Jetwing Premium Hotels, Select Hotels, and Essentials. This strategic move aims to provide guests with a clearer, more intuitive understanding of the brand’s offerings, catering to a wide spectrum of travellers—from the budget-conscious to those seeking truly extraordinary escapes.

The first of the newly defined segments, Jetwing Luxury Reserves, represents the epitome of indulgence, crafted for discerning travellers seeking unparalleled exclusivity and personalised experiences. This segment features 5-star, flagship properties, each offering a harmonious blend of distinct architecture in stunning locations, gourmet dining experiences, and bespoke service that anticipates every need. Designed to provide not just stays but unforgettable journeys, Jetwing Luxury Reserves promises intimate sanctuaries where luxury meets authenticity.

The second category, Jetwing Premium hotels, is a collection of elegant spaces where contemporary comfort meets Sri Lanka’s rich heritage. This category includes a selection of 4-star and 5-star properties, each offering full-service accommodation and modern amenities. For those in search of a peaceful retreat or a place to reconnect, each stay is designed with refinement, warmth, and a touch of timeless charm. Rooted in the legacy of Jetwing, these hotels go beyond a place to stay—they deliver immersive experiences shaped by regionally inspired architecture and the hallmark of legendary Sri Lankan hospitality along with a variety of activities and excursions.

The third category, Select Hotels, bridges the gap between value and comfort, designed for modern travellers seeking authentic experiences at an accessible price point. Though these properties do not carry the Jetwing brand name, they embody its renowned warmth and hospitality. This collection of unique 3-star hotels, including destinations such as Hotel Sigiriyaaya, the award-winning Mermaid Hotel and Club in Kalutara, and Meena Amma’s Tea Experience in Ambewela, offers a delightful variety of experiences—whether it’s the tranquility of a charming cottage, the lively energy of a beachside retreat, or an engaging immersion into Sri Lankan traditions.

The final category, Essentials, is designed for adventurers and explorers; offering budget-friendly accommodations that meet essential travel needs, focusing on simplicity, practicality, and comfort. Included in this category are 3-star and 2-star brands, Hotel J and City Beds, respectively, that provide comfortable rooms at the convenience of a central location. Whether it’s a quick overnight stop or a base for exploring the region, guests can enjoy reliable, no-frills hospitality.

Hashan Cooray, Director of Marketing and Development, stated, “Today, after the turmoil we all faced for over four years, we are more optimistic than ever about the growth potential of our industry and its role in transforming Sri Lanka’s economy. With this in mind, we felt it was time to bring more clarity to our branding as we now operate over 35 properties around our paradise island.”

Jetwing Hotels remains steadfast in its commitment to sustainability and delivering exceptional hospitality across all segments, ensuring every traveller experiences the warmth, service excellence, and legendary Sri Lankan hospitality that define the brand. From the quiet indulgence of Jetwing Luxury Reserves to the refined sophistication of Jetwing Premium Hotels, the cosy comforts of Select Hotels, and the practical simplicity of Essentials, Jetwing Hotels offers thoughtfully tailored experiences that resonate with the needs of every guest. Each category reflects the brand’s dedication to providing not just accommodation but meaningful journeys that celebrate Sri Lanka’s beauty, culture, and heritage. With a focus on innovation, sustainability, and personalised service, Jetwing Hotels continues to set new benchmarks in the global hospitality landscape, ensuring that every guest feels truly at home.