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The inside and outside are very distinct in Goan designs.
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Other local materials found in older homes include shell lime and river pebbles, making place for rounded rather than edgy architecture. According to da Cunha: “Rivers were dredged for shells – from which good quality lime was produced for mortar and plaster.”

One feature that has made the transition from traditional to new developments is the use of colour. Developers and home owners have no hesitation in painting their duplexes or row houses orange, lime green, mustard, maroon, lavender or yellow. Traditionally, Goan houses were painted with natural dyes – mainly red oxide, yellow ochre and indigo. D’Souza, when he shifted to Goa more than a decade ago to a restored old home, says he was often asked if the house was a chapel since the outer walls were painted white. He says: “There was a Portuguese dictum about only churches being painted white.”

Inside the house, China mosaic flooring, graffito borders on wet plaster, mythological themes in frescoes were common.
Nilaya and Laguna Anjuna by Dean D’Cruz, Loulou’s Panchvati, Arvind D’Souza’s work for the Goa Marriott and the Torda SPCA centre have all contributed to keeping the aesthetic alive, with useful add-ons.

For instance, while older houses relied heavily on wood, D’Souza believes that new options are required. “Wood, tiles and rafters are not good for air-conditioning. Today, a structural frame made of concrete works better.”

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D’Cruz, whose Nilaya is characterised by wide open spaces that bring in the tropics, says: “While traditional Goan architecture links with the outside through its balcões, verandahs, framed windows and courtyards, there is very strict definition of inside and outside. The old architecture may look very pretty, but its general response to basic issues of light and ventilation is very poor. Contemporary Goan architecture needs to blur this line and provide a better integration with the outside – especially in this climatic region where simple shading provides comfortable space.”

Gerard da Cunha created his own set of guidelines when he worked on the award-winning Jindal Vijaynagar Steel Plant. These included: unique identity; climatically comfortable; safe for children; built largely with pre-fabricated systems; flexible in planning to cater for expansion and change; modern with use of state-of-the-art technology; visually interesting with streetscapes; urban in character; and inspired by the region.

Keeping in mind the character of the state, buildings should be “no higher than a coconut tree,” says D’Souza, citing an old Portuguese by-law.

Excessive use of glass, leading to overheating and consumption of power, construction of high-rises and buildings that do not take the rains into account seem to be the major concerns. In Hobsons Bay, guidelines include specifying ridge lines, roof springing line, verandah levels, window-sill levels and fence heights. D’Cruz says: “The footprints of these buildings should not be large, especially in residential developments and the FARs definitely not above 50. The sloping roof, an important element, can be used more innovatively to allow for channeling hot air escapes and directing views.”

But what is best is not always tied to rules. D’Souza, who restores heritage homes as well as making contemporary ones, says he feels he has done a good job when people “feel that they are in Goa, but they don’t know why.”