Vernacular architecture

What is Vernacular Architecture of 21st century?

Agnes Sara Deakin University

Abstract Vernacular architecture is a building style that is designed dependant on local needs, availability of construction materials and reflecting on the local traditions.

At any rate initially, vernacular architecture didn’t consist of officially educated architects, yet depended on the design skills, abilities and convention of local builders.

However, since late 19th century numerous architects have worked in various versions of this style. It tend to develop after some time to mirror environmental, social, cultural, technological and historical setting in which it exists.

Vernacular architecture can be differentiated against polite architecture which is described by stylistic components of design purposefully consolidated for aesthetic characteristic which go beyond building’s functional prerequisites.

The issues encompassing the function and significance of vernacular architecture in the 21st century are broad and complex. Adopting a particular thorough theoretical strategy helps to compare and analyse the issues from various point of view, expanding current discussion to a multidisciplinary crowd. The studies and writings by the specialists in the field focus on the research, education and practice in this fundamental division of architecture and helps to figure out answers for the definition of vernacular architecture.

Introduction Vernacular architecture is a category of architecture dependant on local needs and construction materials and reflecting local traditions. It tends to evolve over time to mirrors the environmental, cultural, technological and historical context in which it exists. While often not thoroughly and academically planned, this kind of architecture played and still plays a major role in history of architecture and design. Vernacular architecture, the simplest form of addressing human needs, is seemingly forgotten in modern architecture. However, due to recent rises in energy costs, the trend has sensibly swung the other way. Architects are grasping regionalism and cultural building traditions, given that these structures have proven to be energy efficient and altogether sustainable. In this era of rapid technological advancement and urbanization, there is still much to be gained from the traditional

knowledge about vernacular construction. These low-tech methods of creating housing which is perfectly adapted to its locale are splendid, for the reason that these are the principles which are more often disregarded by prevailing architects.

There are numerous debates around the world on vernacular architecture discourse concentrating on globalization. Among those, the discussion of two scholars: Marcel Vellinga and Lindsay Asquith are considered to discuss the key issues on their debate about vernacular architecture.

The argument is that the vernacular ought not be viewed as an architectural category comprising of static structures that should be preserved, however as an idea which recognizes dynamic building traditions that consistently advance while staying distinctive to a particular place, is fundamental to Vellinga's essay, ‘Engaging the future: vernacular architecture studies in the twenty-first century’. Like Vellinga, Asquith takes note of that a significant condition for such a vernacular viewpoint to turn into an urgent agenda point is that the vernacular isn't viewed as something static, however as 'constantly evolving, reacting to changes in the communities that shaped its form'1 and an illustration of a study that endeavours to accomplish this objective through the integration of various disciplinary methodologies and techniques is given by Lindsay Asquith in her essay ‘Lessons from the Vernacular: integrated approaches and new methods for housing research’. The early work of Rural Studio till 2000 is considered for analysing from the perspective and contexts of vernacular architecture.

Vernacular architecture of 21st century: From Vellinga’s point of view Key issue 1: Shielding the pristine state of Vernacular Architecture from modernisation and scope of development Various vernacular architecture these days face difficulties that truly compromise their endurance in to 21st century. Within the method of improvement and globalization, it's susceptible to document, study and preserve historical and ancient before they will be lost or become irreversibly modified.2 As per Vellinga, proceeded with propensity of scholars and conservationists like Rice to approach vernacular architecture as including premodern historical and traditional buildings that must be examined and acknowledged being in their 'pristine' state and needs to be shielded against the modernization and change, has confined the scope and development of the field and keep on holding the recognition of the vernacular as an architectural category worth of full scholarly and professional consideration; instead of helping these vernacular

customs to create and suffer by pointing out its dynamic character and potential significance to the arrangement of sustainable architecture in future where it consigns them to past by accentuating either their historical or customary outdated status.

In this part, he recommend what is required rather than this static and essentially historical perspective and alongside there is a requirement for a methodology that expressly focuses around the dynamic nature of vernacular customs to appear and see how vernacular traditions toward the start of the 21st century will change and adjust the cultural and environmental challenges and condition of present and future. He accepts that an increasingly unique methodology that perspectives tradition as a cognizant and creative adaptation of past experience to the requirements and conditions of the present will widen the extent of the field of vernacular studies.

Key issue 2: Absence of adaptation of new forms, resources and advanced technologies in Vernacular Architecture Accordingly, it will make ready for a more action oriented approach that sees the vernacular as a wellspring of architecture knowledge that basically inspects the manner by which learning can be coordinated with new forms, resources, advanced technologies in order to grow culturally and environmentally sustainable architecture for the future.

Numerous non-western vernacular architecture tends to focus on building traditions that are changing as a react of globalization. Comparing the investigations that record and break down traditional patterns of space use, construction, design and symbolism, the studies that give more consideration to present day indigenous conventions are rare, despite the fact that it comprise majority in societies' concerned. So what is recognized as vernacular seem to be 'authentic' traditional buildings that preceded present.

Key issue 3: Vernacular discourse doesn’t address the heterogeneous character of the Vernacular Architecture Vellinga states that, one of the weakness of current vernacular talk is that, it doesn't generally recognize the processual, heterogeneous and versatile character of cultural traditions and still tends to see vernacular traditions as homogeneous, inactive and static which may therefore be lost when engaged with the modern traditions.

Key issue 4: Non-inclusion of new and adapted tradition as Vernacular Architecture

Many scholars like Rice and Upton, portrays the arrival and incorporation of new technologies, materials and uses is the start of the end of vernacular period, as opposed to dynamic adaptation and continuation of living tradition, which implies, current and vernacular can't go together and combine. But Vellinga states that, they do go together all around the world in amazing ways which will be proceeded later on too, which results in the contemporary rise of a wide range of new and adapted traditions that will be viewed as vernacular.

Key issue 5: The Vernacular should be redefined During the time spent naming and defining, vernacular as a category has moved toward becoming reified. According to Vellinga, to dodge the bind of the vernacular, is to break free from the confinements of the present conceptualizations by adopting a progressively powerful interpretation that perceives the manners by which old and new building traditions blend, adapt, join and, simultaneously, become vernacularized. The vernacular, as such, should be de-reified. Instead of regarding it as a category that comprises of static buildings, can be sorted in types and periods and that might be genuine or authentic depending upon which type or period they have a place with, the dynamic and processual nature of structures, and of the building tradition of which they belong, ought to be the beginning stage of analysis.

Vellinga accepts that concentrating in the way these traditions that are presently called vernacular effectively and creatively consolidate with those called modern, popular and informal to make new buildings that suit contemporary and future necessities, needs and expectations.

Figure 1. Minangkabau house, West Sumatra (Indonesia) that is worked of concrete and provided with a modern bathroom and garage just as a traditional spired rooftop is no case of the contamination and

decline of a vernacular tradition, nor is it a 'fake', 'replica' or an 'impersonation' of a more seasoned timber building.

In (Figure 1) it speaks to another stage in the living Minangkabau building tradition and all things considered it merits as much consideration and esteem as its older and authentic counterparts.3 He asserts that there is a need to complement the historical and traditional studies with a methodology that draws in future by looking at the ways by which contemporary building traditions around the world innovatively adapt the cultural and environmental contexts and processes. Unlike Rice who contends for protection of vernacular, he needs to expect that all change is for good and must be viewed as a positive accomplishment by disregarding ruinous results of modern development.

Key issue 6: Challenges from globalisation and rise of new hybrid cultures He has conceded the fact that, the quickly developing globalization has prompted cultural changes, to new examples of ethnic connections and rise of new hybrid cultures, it has contributed increased environmental problems worldwide.

He concludes by saying that vernacular traditions are not simply chronologically misguided stabilities of a period bound to vanish, rather it might have a chance to survive and promote a sustainable built environment of the future.

Vernacular architecture of 21st century: From Asquith’s point of view Asquith examine about how vernacular approach with architecture is significant with connection between the buildings and their occupants may promote to the arrangement of a large number of homes that will be needed to house the world population.

The exercises from the vernacular are utilized fundamentally to record and document building traditions and the typological changes through history, while the importance of the building to its inhabitants and how they feel about the space they use and the reason behind it are seldom inspected.

If the designer and the consumer both actively participate in the design of the dwelling, a unity of purpose is achieved and design is shaped by the community where traditions, rituals and norms are all applied in the design process.4

Key issue 1: Study of vernacular as an evolving and developing structure is not applied in housing research theory.

The research into housing in future report how the house is used, which can be used to survey the changing needs of the inhabitants through time. As per Asquith, Once the vernacular is seen not as a static structure, however as always developing, responding to changes in the communities that moulded its form, it will end up higher on the agenda in architectural education and progressively considered in the realm of the practitioner concerned about conservation and the sustainability of the built environment, which go with the theory of Vellinga. But she asserts that the application and use of this knowledge is less examined and has not been applied to housing research and theory, nor added to new methodological approaches until now.

Key issue 2: Need an integrated approach to housing studies in vernacular response Study of vernacular architecture is through many disciplines like anthropology, sociology, geography, history, architecture and so on. Mostly, methodological studies in housing research are rare and those that use tools or techniques for analysis are firm in their own discipline. She recognizes that there is a requirement for integrated approaches and for future collaboration between disciplines which results in innovative theory and new strategies that will help housing research today and all through the twenty-first century. She refers to the essay of Lawrence (1999) ‘House, form and culture: what have we learnt in 30 years?’ which argues that domestic architecture and human behaviour should be examined on interrelated levels and termed four approaches namely, anthropological, sociological, behavioural and architectural approach which commits to the future housing research as integrated approaches from which new strategies and solutions for housing issues can develop.

Key issue 3: Need for develop a methodological approach in housing research and create awareness on socio-cultural benefits of vernacular architecture.

She analyses and outlines the five socio-cultural factors that influence built form alluded from House, Form and Culture, Rapoport (1969:61) which are some basic needs, family, position of women, privacy and social intercourse. In this part, these key components have been retermed to frame a lot of factors that can best recognize and represent how space is utilized in the home.

The manner in which space is organized and re-organized by time, impacts spatial and social organization and should be analysed. Therefore, there is a need for qualitative research into the impacts of repetitive time in connection to space. An investigation of time in connection to

residential space use needs to distinguish the rooms in houses that are used more often and also needs to recognize timeframes when houses are occupied or calm and record when activities are occurring set up examples of space use in connection to routines and rituals.

The information gathered by the methods can be studied and assessed in various manners, based on the aims and inquiries of the research.

She has sketched the major reason for mass housing fail is non interrelatedness between the user and the design, where occupants are required to live in houses with divided spaces, for which they have less understanding and are compelled to adopt other cultural standards and values, which urges to the need of research into housing that conveys the necessities of the user to the developer and designer to guarantee a future of good housing design.

She features the need for setting up a methodological protocol in housing research which is professed to be fundamental for understanding the housing needs of varying societies in a group of regions and conditions.

Rural Studio In 1993 the late architect and MacArthur Genius Samuel Mockbee started the Rural Studio, a design and build education program, in which students create striking architecture for impoverished communities in rural Alabama.

It was duly named Rural Studio in light of its remote area in West Alabama, the program welcomes Auburn University architecture students to get ahead of the typical academic setting to live and work together in the classroom of the community. The students design homes and neighbourhood buildings that mirror the necessities and needs of their underserviced clients—a considerable lot of whom don't have indoor plumbing or a legitimate rooftop over their heads. With nominal funding, the students designed and built their structures, depending on donated and locally retrieved materials that minimize expenses and less ecological effect. The outcome was discerning, clever and outstanding buildings that deliver shelter to the body and soul of individuals whose suppositions about race, class and financial divergence are overturned by the experience.

The Rural Studio was set up in the University of Auburn with the motto providing hands on experience on building construction, for they thought that architectural education had ‘become more about academics and less about construction’ and ‘The connection between esthetics and the realities underlying design was being lost’.5

Transmuting standard materials into remarkable items, the studio's early buildings were evident relatives of those Samuel Mockbee had intended for his very own clients. He portrayed his architecture as contemporary modernism grounded in South American culture, and discovered motivation in such vernacular sources as overhanging galvanized rooftops, rusting metal trailers, dogtrot structures, and porches. His designs sensibly inclined toward asymmetry and peculiar. Mockbee used to state broadly, 'I’m drawn to anything that has a quirkiness to it, a mystery to it'.6 Early works by Rural Studio The works of the rural studio doesn't "look" like vernacular as we perceive "vernacular" since we generally link the term with rural buildings built using locally available materials.

Vernacular structures are designed and built with a utilitarian goal instead of aesthetical worth. Looking through that perspective helps to recognize that their works are vernacular and modern simultaneously. Since the previous works of the studio were done in low-cost with the bounded skills of the architecture students, majority of the undertakings stress on zero wastage of space and materials.

Figure 2. Bryant Haybale house, Project, Rural Studio, Auburn University, (1995) that is built with 24-inch thick walls are stacked hay bales stuccoed over with concrete; sheltered by a large roof that creates a great southern porch.

In (Figure 2) project- The Bryant House demonstrates the Rural Studio's trademark utilization of clever building strategies and reused materials. Students inspected a low-tech solutions for producing a well-protected, economical dwelling before choosing to use eighty-pound hay bales for exterior walls and covering it with wire and stucco.

Nonetheless, the structure never resembled as vernacular design of South America. The Bryant House, for instance, is all porch and roof, a steeply raked acrylic structure bolstered by slim yellow columns. This sort of contemporary modernism can be seen all along the works of the rural studio. The studio's characteristic modern aesthetic was from the beginning reshaped by regularly South American rural forms and idioms: sheds, barns, and trailers.

In clarifying the aesthetic, Mockbee says, I pay attention to my region; I keep my eyes open. Then I see how I can take that and reinterpret it, using modern technology. We don’t try to be southern, we just end up that way because we try to be authentic. When you start to use historic references in a theatrical way, that’s when I’m out of here.7

Practically all studio-designed structures have overemphasized, defensive rooftops that seem to float over sturdy walls. This design choice is a response to high precipitation in the state of Alabama.

Figure 3. Harris Butterfly house, Project, Rural Studio, Auburn University, (1996) that derives its name from the sharply angled roof structure that collects rainwater and shelters a screened porch. The house is largely heated and cooled passively, with assistance from a wood-burning stove.

In (Figure 3) another work of the rural studio- the butterfly house is a large porched and naturally ventilated house which is not using any other cooling or heating systems other than the wood fired stove- similar to any other vernacular home. Its' sharply angled timber roof naturally ventilates the spaces below and gives the house a light and airy feeling. Glass and

re- used timber are used as major building materials, while tin sheets are used on the south side of the house.

While the butterfly house is well adapted to the 21st century in its appearance and forms, it functions and draws inspiration from the same principles of vernacular customs. Moreover, it well responds to the cultural traditions of the South American coloured people by providing a sufficient porch where they host their friends and relatives and spend most of their day.

Figure 4. Glass Chapel, Project, Rural Studio, Auburn University, (2000) that serves as a transportation stop, community gathering space, chapel for the local choral group, and distribution centre for children's summer school meals.

If we look (Figure 4) which is a much later work by the Rural Studio in 2000's, the Glass Chapel at Mason Bend, which is built by re purposing used car wind shields, which occasionally doubles as a chapel, with mud walls that picks up on the community’s vernacular forms and shapes. Like the hamlet’s other buildings, the centre hugs the ground.

It rests on a broad base of rammed earth, which blends with the iron-coloured road, and from the back it could be mistaken for an old barn.

Figure 5. Yancy Chapel, Project, Rural Studio, Auburn University, (1995) in which the definitive walls are built of 900 tires packed and tamped with dirt, tied together with rebar, and stuccoed.

Whereas The Yancy Chapel (Figure 5) is striking because of the selection of the materials.

To form the chapel’s walls, the students filled the tires with soil until they became rock hard.

To fortify the tire frames, they inserted reinforcing bars, then wrapped the tires in wire mesh and coated them with stucco. The students scavenged the rest of the materials for the Yancey Chapel. They quarried floor slates from a creek in Tuscaloosa, harvested heavy pine timbers from an abandoned building, and used rusted tin shingles cut into eighteen-inch squares as roofing material.

The chapel reveals itself quite dramatically from a very dark narrow entrance to a double heighted open space which is typical of all other studio projects. It features: A little stream spills through a break in the back wall, trickling over a large slate down into a trough. The visitor steps over it on a metal grill, and the water, a soothing touch, continues its flow to the front of the open room and flows to the wetlands below.8

The analogy is quite striking in this project. Materials that are abandoned and considered waste put together to create a space of high sanctity. Water, an element which is considered as purifying across all the beliefs and cultures, is being allowed to flow through the aisle and it creates a calm and divine atmosphere.

Institutional and public projects such as the Akron Pavilion (1996) , Thomaston Farmer's Market (1999) , Hero Children’s Center (1999) and the super shed and pods is almost the continuation of the vision which is already set in those previous projects.

Rural Studio’s work in the light of key issues as identified by Vellinga and Asquith Shielding the pristine state of Vernacular Architecture from modernisation and scope of development The initial works of the Rural Studio is inclined to the local architecture that was present in the South America at that period of time in terms of the forms and the basic spatial elements.

Even though some of the designs have modern architectural elements like glass cladded walls and steel structural members, the most futuristic of the constructions look anchored in their neighbourhood, because their scale fits and their shapes spring from the local

vernacular. The studio no longer kept the indigenous architecture as pristine or untouchable, but used as a medium to communicate with the local built environment.

Absence of adaptation of new forms, resources and advanced technologies in Vernacular Architecture The works of the rural studio were slightly experimental in nature, always thrived to find out new building materials and technology. They often ‘invented’ new technology with the existing materials often to cut cost. The use of hay bales for insulation for the Bryant (Hay Bale) House, and the use of discarded, baled sheets of corrugated, wax-impregnated boards for building the students pods are standing evidences for this. The rural studio continued this approach throughout their projects. They often scavenged for discarded materials and put it into use. For example - Tyres has been used in the Yancy Chapel, Discarded windshields for Mason’s Bend Community Center and. They haven’t changed their approach even today.

The super-insulated walls of Lucy’s House are made from discarded stacked carpet tiles.

Heterogeneous character of the Vernacular Architecture The works of the Rural Studio brings in traditions from all over the world into their projects.

The running water stream inside the Yancey’s chapel can be related to the stream in the Islamic gardens which is a common element of the Islamic Architecture in Turkey, Iran and India. The use of the steep sloping roofs can be traced back to the western European Barns.

The floating roofs of the Akron Pavilion, Goat House and the Butterfly House was the natural response to the heavy rainfall in that area, and hence strikes a chord with tropical indigenous architecture, for example, the Indonesian Batak houses.

Other concerns Since the works of the rural studio was focusing on the rural poor mostly in the state of Alabama, they didn't had to deal with many of the problems that we are facing in the vernacular architecture. But it puts forward a new model for providing houses for the poor people who were living in the shanties and abandoned trucks. Incidentally, the rise of the vernacular architecture were in similar premises all over the world. Its’ main objective was to provide a shelter rather than providing a fully furnished and equipped one. The objective of the Rural Studio was also in similar lines.

Conclusion The

Rural

Studio

over

the

time

invents

new

technologies

and

materials as opposed to blind adaptation and continuation of existing traditions. But it carefully incorporates all the essence and reasoning of the existing built forms to achieve design efficiency and sustainability in a thought provoking and path breaking manner. The projects of Rural studio can be seen as improving one by one, learning from their surroundings and learning from the projects they have already accomplished.

It is would not be accurate to classify the works of the studio as accurate, as it is not as same as a traditional Batak House of Indonesia or the Naalukettu of Kerala (India). I would like to propose, if I may, to classify the stream of these projects as new vernacular or nouveau vernacular (In line with art nouveau) because it is giving the vernacular architecture a new entity by drawing inspiration from the old and drawing parallels with the culture and traditions of its inhabitants.

"The new vernacular" shows the same characteristic of the traditional buildings in terms of usage of locally available materials and building practices, emphasis on the function than the form, social and economic facts of the community, consideration of the natural environment and so on.

The studio's works welds the old virtues and insights to the project with an extended palette of new building materials and technologies and creates a new kind of design sensitivity that is not present in the modern or postmodern designs. Their work is usually asymmetric and idiosyncratic. The exterior materials, too, can be as unconventional as the shapes of the buildings. But even the most futuristic constructions look anchored in their neighbourhood, because their scale fits and their shapes spring from the local vernacular.

Endnotes

Vellinga, M. Asquith, L. 2006, ‘Vernacular Architecture in the Twenty-first century’, 12.

Rice, M. 2003, ‘Village buildings of Britain’, 95.

3 Vellinga, (2004a), ‘Constituting Unity and Difference: Vernacular Architecture in a Minangkabau village’, (2004b), ‘The attraction of the house: Architecture, status and ethnicity in West Sumatra’.

4 Asquith, L. 2006, ‘Lessons from vernacular: the vernacular approach to housing studies’, 129.

5 Dean, A. Oppenheimer. 2002, ‘Rural Studio: Samuel Mockbee and an Architecture of Decency’, 132133.

6 Dean, A. Oppenheimer. 2005, ‘Proceed and be bold: rural studio after Samuel Mockbee’, 8.

7 Dean, A. Oppenheimer. 2002, ‘Rural Studio: Samuel Mockbee and an Architecture of Decency’, 9.

8 Dean, A. Oppenheimer. 2002, ‘Rural Studio: Samuel Mockbee and an Architecture of Decency’, 9798.

1 2

Figure 1: Vellinga, Marcel. 2004a,2004b, Minangkabau House, Project in West Sumatra, retrieved 19 August 2019, < https://brill.com/view/title/23361> Figure 2: Masons, Bend AL. 1995, Bryant Haybale House, Project, Rural Studio, Auburn University, retrieved 9 September 2019, <http://ruralstudio.businesscatalyst.com/projects/bryant-haybale-house> Figure 3: Masons, Bend AL. 1996, Harris Butterfly House, Project, Rural Studio, Auburn University, retrieved 9 September 2019, < http://ruralstudio.businesscatalyst.com/projects/harris-butterfly-house> Figure 4: Masons, Bend AL. 2000, Glass Chapel, Project, Rural Studio, Auburn University, retrieved 9 September 2019, < http://ruralstudio.businesscatalyst.com/projects/glass-chapel> Figure 5: Sawyerville, AL. 1995, Yancy Chapel, Project, Rural Studio, Auburn University, retrieved 9 September 2019, < http://ruralstudio.businesscatalyst.com/projects/yancey-tire-chapel>

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