Adeeb residence at Kondotty Kerala is a home for three people.The site resides next to the clients ancestral home which also adds an emotional empathy to the site context. The site has a rural setting covered with the native Coconut grooves.Different varieties of native plants from the species adds a beauty to the site setting giving a tropical essence.


The plot having a terrain nature is the most attractive and distinct feature of the site.This terrain nature of the site has been incorporated into the design.The materials used are mostly rubble stones which are locally available as well as would give a rough terrain texture for the house depicting the site context.


The site has itself got a terrain with 1.2 meter level difference within.The zoning was managed to achieve a car parking,livingroom,diningroom,a prayer space,four bedrooms with attached toilets,kitchen, a work space and a courtyard.Creating a blend between the indoor and the outdoor space is also an important aspect while planning the residence and hence we would see a courtyard within the built space and an outdoor sitout placed above the parking space but within the building.


Each element in the house has been carefully curated according to the client interests and the nature of the site context.The rough terrain is brought into the interiors through coffee table,on the partition of the prayer space,on the dining table.These detail in interiors are either brought through the texture or in the design of an element.


Artwork in the living area depicts the path to Makkah which strongly shows the clients deep desire to reach there.The black box at the centre of the art depicts Kabba and the seven concentric circle represents the path to reach the Kaaba.The foot at the starting of the art piece depicts the humans yearning to circumambulate the Kaaba.This artwork also portrays the necessity of having Divine strength in one's life in order to move from chaotic life and to lead a peaceful and contented life.


The terrain-Jeep artwork represents the site's hilly terrain,the jeep that is being ridden on the hilly terrain and the client's love of off-road riding. In the 90s when the roads were not advanced,Jeep was the only wheels which would sustain the hilly terrain of the site's context hence the Jeep giving an heroic picture to the 90s kids back then.The four artworks shows the different views of Jeep climbing the hilly terrain that is the top view, front elevation,side elevations which holds the legacy of the wheels at the same time describing the capability of the vehicle to move on the terrain.


The coffee table in the living room has a fixed position which is being designed from the rubble stones found at the site giving a rough texture palatte into the smooth interiors.

The yellow airplane is also being integrated into the interiors in the dining area. The partition between the dining space and a prayer space has the abstract depiction of contours of the Calicut airport with the yellow airplane which would depict the clients return to home from the migrant land,Qatar.This detail is also being incorporated into the dining table as well.

The courtyard would in turn become a private muttam/ forecourt.This courtyard space creates a visual drama for the residents staying there. As this courtyard would be viewed from dining space, from bedroom, from the first floor thus creating a different visual experience from each space and also having different experience in different seasons.The native plant is also from the family Coconut groovesdepicting the plants/trees from the site context.

The artworks in the bedroom have been curated with respect to the clients everyday life.The map artwork at the bedroom represents the city Doha,the capital of Qatar where the client works.Thearabic calligraphy portrays their cultural Quranic verses and prayers.

The rough texture of the rubble stone is being incorporated into the smooth interiors. Either in the walls of the spaces or in furniture. And thus the idea of rocky terrain character is brought in within the spaces.

