The Planter’s Chair, also known as the Lazy Chair or “Hansi Putuwa” in Sinhala and “Saai Kathirai” in Tamil, was a clear example of colonial influence in Sri Lanka. Sri Lanka experienced three major phases of colonial rule in the past. In each phase, we inspired something from them and adapted their culture, ideologies, architecture, and design. Hansi Putuwa was a perfect example of such socio-cultural adaptation.
Tracing the Origins: The Story Behind the Planter’s Chair
The planter’s chair, influenced by colonization, was first used by plantation owners and chief officials responsible for supervising workers. The primary function of the chair was to provide comfort. Plantation owners and supervisors often used these chairs for resting while overseeing laborers.
The chair’s design features a curved wooden frame combined with a rattan weaving pattern. A key element is the extended wooden leg rest attached to the armrests, offering users enhanced comfort. The chair was mostly placed in the veranda (an open-air porch, on the front or side of the building) of the plantation owner’s house. But why was it placed in the veranda?
Power, Prestige, and the Planter’s Chair
The Planter’s Chair (Hansi Putuwa/Saai Kathirai) was predominantly used by plantation owners—typically men—and symbolized masculinity and authority. Women are not allowed to sit on the chair. The chair was mainly placed in the veranda, as the laborers were not permitted to pass through it to enter the house. It mostly symbolizes the domination of power or caste-based dominance in that social context. Interestingly, while the chair’s design emphasizes comfort, its posture can feel restrictive and less conducive to true relaxation. Then why? Do the key points of the chair’s design actually serve the purpose, or is it only used as an element to show the dominance of power?
While initially a symbol of power, the planter’s chair has evolved significantly, adapting to contemporary tastes and values. People from prominent families used to have antique collections of chairs to demonstrate the dominance of their family’s roots. It is now used as an interior furniture piece in architectural spaces, adding value to the design.
Design or Domination? Rethinking the Planter’s Chair
Sri Lanka, situated at the crossroads of eastern trade routes, has long been shaped by the influence of diverse cultures and ideologies. While adapting to foreign designs and practices is a natural aspect of cultural evolution, it is worth questioning the narratives we choose to preserve. The Planter’s Chair, once a symbol of colonial power, caste-based dominance, and exclusivity, has transitioned into an antique collector’s item and a design feature in modern interiors. Yet, its legacy invites reflection.
Should we celebrate such artifacts for their craftsmanship, or should we challenge their historical connotations of inequality and power imbalance? As contemporary designers and consumers, we have the opportunity to reinterpret these relics—focusing on their aesthetic and functional values while shedding the oppressive ideologies they once represented. By doing so, we can honor our past while envisioning a future rooted in inclusivity and shared beauty.
The story of the Planter’s Chair is not just about design; it’s a reminder of how objects can shape, and be shaped by, the values of the societies that create and use them. As Sri Lanka continues to balance tradition with innovation, let us choose designs that embody empowerment rather than perpetuate exclusion.
