Should We Build? Wallmakers’ Provocative Vision for Architecture Today

As the leader of Kerala-based architecture studio Wallmakers, Vinu Daniel is not afraid to get his hands dirty. Since the practice’s founding in 2007, Daniel has championed innovative and experimental building practices forged from locally-sourced materials like mud and plastic waste. In the face of an industry fixated on automation and optimization, Wallmakers opts for a hyperlocal approach, instead putting building blocks made from discarded items, like children’s toys or tires directly into the hands of skilled laborers. And the results are thought-provoking.

Through the creation of complex wall systems and out-of-the-box spatial solutions made from patented construction methods and recycled building materials, the practice makes a compelling case for residential, civic, and commercial designs that are entirely singular to their place. This process relies on a level of research and experimentation often not taken due to budgetary, time, or code constraints. Through the unique parameters set by a developing nation like India, Wallmakers has forged a design identity synonymous with resourcefulness and innovation. Whitewall catches up with its founder here to learn more about this gritty and fascinating process.

Wallmakers’ Ethos of Earth-Centered Design

WHITEWAL: Where is your studio based? How does this context feed the work you do?

VINU DANIEL: We have an office space in Kochi, Kerala; however, due to the nature of our work and to ensure its accuracy on-site, the entire team is spread across the country at their respective sites. We travel from site to site and have found this nomadic style of practice to be more efficient for our kind of work.

WW: How did you get your name and how is it relevant to the work you are doing today?

VD: The name Wallmakers was actually given to us by others, since our very first project was a compound wall. In the beginning of my career, it was not easy to convince or even find clients interested in building with rammed earth, debris, or discarded items like bottles. At the time, someone entrusted us with the construction of a compound wall, and we were grateful for the opportunity. Interestingly, that wall ended up giving us an identity, quite literally. The project also taught us many lessons about bridging theoretical ideas and practicality, most of which are reflected in our work to this day.

WW: Walk me through your design process. Where do you begin and what kinds of ideas drive your projects forward?

VD: For any project typology, the initial step is to understand the client’s needs and what the site offers. The first site visit is crucial for the conceptual and development phases of any project. The natural context often guides us toward design strategies and elements unique to that particular project. Climatology, topography, and other factors are all important. An in-depth analysis and incorporation of these elements help us create spaces that are unique to that site. 

WW: What does construction look like at Wallmakers and how does emphasizing a human touch add value to your  projects?

VD: There are many AI-driven solutions and other technologies gaining popularity. However, in underdeveloped and developing countries, the more important needs remain better architecture and improved design solutions. The human factor in these scenarios is nonnegotiable and crucial for creating meaningful, lasting impact. This principle is of major importance to Wallmakers. By integrating modern technology while incorporating these elements, we create spaces that resonate more deeply with their users, without compromising on crucial aspects such as the environment and sustainability.

Wallmakers Asks, Should We Build?

WW: You posit that architectural discourse should shift from “What should we build?” to “Should we build?” Talk about this transition and why it is important to your architectural process. 

VD: Everybody in the industry is well aware of the impact of construction on the planet. For us, it is crucial to address the issues. Realizing the impact of construction has led us to many new developments, including our patented techniques. We do not seek to build by using more depleted resources, but instead focus on incorporating what already exists—be it tires, plastic, or even discarded toys. There are endless possibilities, and the process of identifying, developing, and implementing these helps us create a positive change. 

“We do not seek to build by using more depleted resources, but instead focus on incorporating what already exists,”

—Vinu Daniel

WW: Your studio champions material reuse. Can you speak about a few examples of this in your work? What has been the most surprising lesson learned from recycling material for construction?

VD: We’ve worked with several discarded items and components over the years. The important thing to understand is that we’re never actively looking to stick to a particular idea. A lot of research and analysis goes into this before the start of a project. For example, we decided to use discarded toys in the Toy Storey residence in Kerala, India, solely because the site was in a region of Kerala where the consumption of toys is the highest, which naturally led to more waste as well.

Similarly, in the case of the Sharjah Architecture Triennial pavilion, discarded tires were abundantly available in the area, so incorporating them into the structure made sense. Such prominent reuse always requires a lot of research and trials. However, we also reuse other elements that are commonly available. The element of surprise in almost all cases is how the material impacts the essence of space in different scenarios. We may use the same material in two different projects, and some materials can be adapted to very different situations. This possibility is always exciting.

Challenging Architectural Conventions

WW: In your opinion, what is the most pressing issue in Indian architectural discourse at the moment? How is your practice seeking to address this?

VD: The current discourse somewhat negates the fact that architecture is not just about physical construction and focuses a bit more on blindly following trends. However, architectural practice is not about the fleeting trends, but about learning the craft, conceptualizing, and building. This perspective is often seen as elitist in the country of India. However, architecture itself is not inherently elitist but rather a fundamental practice rooted in craftsmanship.

“Genuine sustainability efforts will be what really makes a difference,”

—Vinu Daniel

WW: What would you like to see more of at the scale of residential architecture? Of commercial architecture? 

VD: It would be great to see a real commitment to sustainable materials rather than just greenwashing. Too often, companies use words without taking real action to improve the actual embodied energy-values, which only adds to confusion. Younger generations are more mindful of these issues. They understand the impact of materials and expect companies to be transparent about their choices. Genuine sustainability efforts will be what really makes a difference.