Contemporary Vernacular Architecture

Contemporary Vernacular Architecture

Contemporary defines a type of architecture that’s highly progressive, modern, high

tech and expressive; Vernacular deals with traditional, simple, and practical
techniques, the simplest form of addressing human needs.

While contemporary architecture is of the 21st century, using advanced materials and
spread across a global scale, the vernacular is a style that has been existing since the
beginning of time, makes use of local materials, and varies from region to region.

Though vernacular aspects are seemingly forgotten in modern architecture, certain

architects have now started embracing regionalism and cultural building tradition.
With rapid technological advancements and urbanization, incorporating knowledge
of vernacular construction has proved to be a step forward in terms of sustainable
architecture.

A thorough study of the history, social, cultural, climatic conditions, and techniques of
many regional styles have shown that these low-tech methods of construction,
perfectly adapt to its locale. Many vernacular structures have been established to be
not just energy efficient but sustainable as a whole, by using materials and resources
close to the site.

The right amount of involvement of vernacular ideologies in the design of buildings for
the future is what can be termed ‘contemporary vernacular’.
Contemporary Architecture
Contemporary architecture is the architecture of the 21st century – the current style of
architecture. Also, it reflects our current view, that is, being open and inclusive to ideas.
In contemporary architecture, no style is dominant, everything can be included. In
other words, there is no stopping to the ideas that contemporary architecture can offer.

Vernacular Architecture
Vernacular architecture is very local. It is a style that reflects the regional culture. It is
also practical because it uses locally available materials as building materials. Plus, the
style is dependent on the regional climate, so expect a building that adapts to the local
natural environment of the place. Vernacular is quite restrictive, for a building depends
on what the local culture and climate has to offer.

The two concepts of “contemporary” and “vernacular” seem opposing to each other
that combining them is not possible. Well, contemporary architecture is so unrestrictive
that it can go out of control and possibly could produce messy and impractical designs.
On the contrary, vernacular is so restrictive that it is unable to adapt and can go out of
style.

Contemporary Plus Vernacular

Usually, nature seeks balance, so does design. Here, contemporary vernacular
architecture tries to balance what contemporary and vernacular architectures have to
offer. In this design, the dynamic and innovative design concept meets with the
traditional and practical design concept of the region.
ICOMOS International charter on built heritage

The International Council on Monuments and Sites (ICOMOS; French: Conseil

international des monuments et des sites) is a professional association that works for the
conservation and protection of cultural heritage places around the world.

The International Council on Monuments and Sites, a non-governmental organization,

was founded in 1965 after the adoption of the Charter of Venice, in order to promote
the doctrine and the techniques of conservation. It is also known as Venice Charter.

It is official adviser to UNESCO on cultural World Heritage Sites to improve the

preservation of heritage, standards and techniques for each type of cultural heritage
property created in 1965.

GENERAL ISSUES

1. Examples of the vernacular may be recognized by:

a) A manner of building shared by the community;

b)A recognizable local or regional character responsive to the environment;
c) Coherence of style, form and appearance, or the use of traditionally
established building types;
d) Traditional expertise in design and construction which is transmitted informally;
e) An effective response to functional, social and environmental constraints;
f) The effective application of traditional construction systems and crafts.
2. The appreciation and successful protection of the vernacular heritage depend on
the involvement and support of the community, continuing use and maintenance.

3. Governments and responsible authorities must recognize the right of all communities
to maintain their living traditions, to protect these through all available legislative,
administrative and financial means and to hand them down to future generations.

PURPOSE OF THE DOCUMENT

Structures of architectural heritage, by their very nature and history (material and
assembly), present a number of challenges in diagnosis and restoration that limit the
application of modern legal codes and building standards.

Recommendations are desirable and necessary to both to ensure rational methods of

analysis and repair methods appropriate to the cultural context.

These Recommendations are intended to be useful to all those involved in conservation

and restoration problems, but cannot in anyway replace specific knowledge acquired
from cultural and scientific texts.

The Recommendations presented in the complete document are in two sections:

Principles, where the basic concepts of conservation are presented; Guidelines, where
the rules and methodology that a designer should follow are discussed. Only the
Principles have the status of an approved/ratified ICOMOS document.
PRINCIPLES OF CONSERVATION

1. The conservation of the built vernacular heritage must be carried out by

multidisciplinary expertise while recognizing the inevitability of change and
development, and the need to respect the community's established cultural identity.

2. Contemporary work on vernacular buildings, groups and settlements should respect

their cultural values and their traditional character.

3. The vernacular is only seldom represented by single structures, and it is best

conserved by maintaining and preserving groups and settlements of a
representative character, region by region.

4. The built vernacular heritage is an integral part of the cultural landscape and this
relationship must be taken into consideration in the development of conservation
approaches.

5. The vernacular embraces not only the physical form and fabric of buildings,
structures and spaces, but the ways in which they are used and understood, and the
traditions and the intangible associations which attach to them.
GUIDELINES IN PRACTICE

1. Research and documentation - Any physical work on a vernacular structure should

be cautious and should be preceded by a full analysis of its form and structure. This
document should be lodged in a publicly accessible archive.

2. Siting, landscape and groups of buildings - Interventions to vernacular structures

should be carried out in a manner which will respect and maintain the integrity of
the siting, the relationship to the physical and cultural landscape, and of one
structure to another.

3. Traditional building systems - The continuity of traditional building systems and craft
skills associated with the vernacular is fundamental for vernacular expression, and
essential for the repair and restoration of these structures. Such skills should be
retained, recorded and passed on to new generations of craftsmen and builders in
education and training.

4. Replacement of materials and parts - Alterations which legitimately respond to the

demands of contemporary use should be effected by the introduction of materials
which maintain a consistency of expression, appearance, texture and form
throughout the structure and a consistency of building materials.

5. Adaptation - Adaptation and reuse of vernacular structures should be carried out in

a manner which will respect the integrity of the structure, its character and form
while being compatible with acceptable standards of living. Where there is no
break in the continuous utilization of vernacular forms, a code of ethics within the
community can serve as a tool of intervention.
6. Changes and period restoration - Changes over time should be appreciated and
understood as important aspects of vernacular architecture. Conformity of all parts of a
building to a single period, will not normally be the goal of work on vernacular
structures.

7. Training - In order to conserve the cultural values of vernacular expression,

governments, responsible authorities, groups and organizations must place emphasis on
the following:
a) Education programmes for conservators in the principles of the vernacular;
b) Training programmes to assist communities in maintaining traditional building
systems, materials and craft skills;
c) Information programmes which improve public awareness of the vernacular
especially amongst the younger generation.
d) Regional networks on vernacular architecture to exchange expertise and
experiences.
Remedial measures and controls

1. Therapy should address root causes rather than symptoms.

2. The best therapy is preventive maintenance.
3. Safety evaluation and an understanding of the significance of the structure should
be the basis for conservation and reinforcement measures.
4. No actions should be undertaken without demonstrating that they are indispensable.
5. Each intervention should be in proportion to the safety objectives set, thus keeping
intervention to the minimum to guarantee safety and durability with the least harm to
heritage values.
6. The design of intervention should be based on a clear understanding of the kinds of
actions that were the cause of the damage and decay as well as those that are
taken into account for the analysis of the structure after intervention; because the
design will be dependent upon them.
7. The choice between ?traditional? and ?innovative? techniques should be weighed
up on a case-by-case basis and preference given to those that are least invasive
and most compatible with heritage values, bearing in mind safety and durability
requirements.
8. At times the difficulty of evaluating the real safety levels and the possible benefits of
interventions may suggest ?an observational method?, i.e. an incremental
approach, starting from a minimum level of intervention, with the possible subsequent
adoption of a series of supplementary or corrective measures.
9. Where possible, any measures adopted should be ?reversible? so that they can be
removed and replaced with more suitable measures when new knowledge is
acquired. Where they are not completely reversible, interventions should not limit
further interventions.
10. The characteristics of materials used in restoration work (in particular new materials)
and their compatibility with existing materials should be fully established. This must
include long-term impacts, so that undesirable side-effects are avoided.
11. The distinguishing qualities of the structure and its environment, in their original or
earlier states, should not be destroyed.
12. Each intervention should, as far as possible, respect the concept, techniques and
historical value of the original or earlier states of the structure and leaves evidence
that can be recognized in the future.
13. Intervention should be the result of an overall integrated plan that gives due weight to
the different aspects of architecture, structure, installations and functionality.
14. The removal or alteration of any historic material or distinctive architectural features
should be avoided whenever possible.
15. Deteriorated structures whenever possible should be repaired rather than replaced.
16. Imperfections and alterations, when they have become part of the history of the
structure, should be maintained so far so they do not compromise the safety
requirements.
17. Dismantling and reassembly should only be undertaken as an optional measure
required by the very nature of the materials and structure when conservation by other
means impossible, or harmful.
18. Provisional safeguard systems used during the intervention should show their purpose
and function without creating any harm to heritage values.
19. Any proposal for intervention must be accompanied by a programme of control to be
carried out, as far as possible, while the work is in progress.
20. Measures that are impossible to control during execution should not be allowed.
21. Checks and monitoring during and after the intervention should be carried out to
ascertain the efficacy of the results.
Importance of Vernacular in the 21st century

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 embracing regionalism and
cultural building traditions, given that these structures have proven to be energy
efficient and altogether sustainable.

In this time of rapid technological advancement and urbanization, there is still much to
be learned from the traditional knowledge of vernacular construction. These low-tech
methods of creating homes which are perfectly adapted to its locale are brilliant, as
they are not only easier to employ in construction but also cost effective.

The humanistic desire to be culturally connected to ones surroundings is reflected in a

harmonious architecture, a typology which can be identified with a specific region. This
sociologic facet of architecture is present in a material, a color scheme, an
architectural genre, a spatial language or form that carries through the urban
framework. The way human settlements are structured in modernity has been vastly
unsystematic; current architecture exists on a singular basis, unfocused on the
connectivity of a community as a whole.

Vernacular architecture adheres to basic green architectural principles of energy

efficient materials and resources in close proximity to the site. These structures capitalize
on the native knowledge of how buildings can be effectively designed as well as how
to take advantage of local materials and resources.
Even in an age where materials are available well beyond our region, it is essential to
take into account the embodied energy lost in the transportation of these goods to the
construction site.

For instance, a home built in the hot deserts of Rajasthan, can take advantage of the
white marble stone, which provides a cool surface for the feet as one walks on them,
however, the same white marble can be a source of extreme discomfort for the inmates
of a home in Ooty, which experiences much lower ambient temperatures.

The effectiveness of climate responsive architecture is evident over the course of its life,
in lessened costs of utilities and maintenance. A poorly designed structure which doesn’t
consider environmental or vernacular factors can ultimately cost the occupant – in
addition to the environment – more in resources than a properly designed building.
For instance, a structure with large windows on the south & West façades in a tropical
climate like ours would lose most of its air conditioning efforts to the pervading sun,
ultimately increasing the cost of energy.

Today, we have come up with a number of Green design certification bodies, which
have based their standards on the latest technological solutions, rather than common
sense and vernacular strategies. By applying vernacular strategies to modern design, a
structure can ideally achieve net zero energy use, and be a wholly self-sufficient
building.
These structures present a climate-responsive approach to dwelling and are natural and
resource conscious solutions to a regional housing need. The benefits of vernacular
architecture have been realized throughout the large part of history, diminished during
the modern era, and are now making a return among green architecture and
architects. In order to progress in the future of architecture and sustainable building, we
must first gain knowledge of the past and employ these strategies as a well-balanced,
methodical whole to achieve optimum energy efficiency.

By applying vernacular strategies to modern design, a structure can ideally achieve net
zero energy use, and be a wholly self-sufficient building. If anything is to be taken from
vernacular architecture, it provides a vital connection between humans and the
environment.
Developmental Vernacular

Developmental vernacular refers to the idea that indigenous architectures may be

modified and advanced to increase standards of living while retaining a sense of place.

“It (developmental vernacular architecture) expresses the values and the needs of the
local, especially poorer, communities and, not least, to survive, it demonstrates
continuity with change: remaining rooted in the past and the local, while incorporating
the new and the external to meet contemporary needs.
Developmental Approach
A Developmental Vernacular Architecture
A Developmental Vernacular Architecture
A Developmental Vernacular Architecture
A Developmental Vernacular Architecture
A Developmental Vernacular Architecture
Uses of Vernacular architecture in the
developmental process
Uses of Vernacular architecture in the
developmental process
Uses of Vernacular architecture in the
developmental process
Uses of Vernacular architecture in the
developmental process
Conclusion
Conclusion
Knowledge of Vernacular in Contemporary regional designs –
works of eminent Architects

New Gourna Village, Luxor, West Bank, Egypt

Designed by a pioneer of sustainable
architecture, Hassan Fathy, the village of
New Gourna in Luxor on the west bank of the
Nile river, within the World heritage property
of Ancient Thebes, was commissioned by the
Egyptian Department Antiquities in 1945.

The goal was to use local materials and techniques to relocate Old Gourna, a community of
amateur archaeologists that had sprung up near the ancient sites as well as facilitate tourism
development. Only part of the goal was realized.

Political and financial complications as well as residents’ opposition to relocation prevented

completion. However, New Gourna remains a dynamic living settlement, with housing and
public facilities, though nearly 40% of the original buildings have been lost.

New Gourna was placed on the 2010 World Monuments watch, and UNESCO and World
Monuments Fund (WMF) joined forces. UNESCO surveyed buildings and documented
conservation needs while the WMF team interviewed more than a third of New Gourna’s 174
households, analysing conditions, identifying changes in the environment, and examining the
use of space and adaptations to the buildings over time.

WMF created a community assessment to integrate social and economic concerns into
planning and decision making about the future of the village and its preservation.
New Gourna was placed on the 2010 World Monuments watch, and UNESCO and World
Monuments Fund (WMF) joined forces. UNESCO surveyed buildings and documented
conservation needs while the WMF team interviewed more than a third of New Gourna’s 174
households, analysing conditions, identifying changes in the environment, and examining the
use of space and adaptations to the buildings over time.

WMF created a community assessment to integrate social and economic concerns into
planning and decision making about the future of the village and its preservation.

Hassan Fathy inspired architects and planners worldwide by integrating traditional materials
with modern architectural principles. He worked to include and empower the poor through
participation in design and building processes.

A community assessment to integrate social and economic concerns

• Architecture for the Poor.

• Fathy’s innovative mixed use plan for New Gourna, remains a powerful and well-preserved
elements of the village. The ideas he engendered and the evolution of this community are
relevant to today’s challenges of environmental protection and urban growth.

• It was created to shelter the community of Old Gourna (Gournii) who had lived above the
tombs (Necropolis) in the ancient cemetery of Thebes and whose relocation was
considered as a solution to reduce the damages to the Pharaonic Tombs.

• The main characteristics of New Gourna village consist of its reinterpretation of a

traditional urban and architectural setting, its appropriate use of local materials and
techniques, as well as its extraordinary sensitivity to climatic problems.
It demonstrated, within the era of “modern movement” that sustainability and social
cohesion could also be met with vernacular architectures, local materials and techniques.
For this reason, it is an outstanding example of sustainable human settlement and
appropriate use of technology in architecture and planning.

This example is used as major architecture and planning references and these ideas inspired
a new generation of architects and planners worldwide through an integration of vernacular
technology with modern architectural principles.

Following concerns on the serious state of degradation of the village, by both the World
Heritage Committee and the academic world of experts on Hassan Fathy’s architectural
work who submitted an international petition, UNESCO initiated a project in 2009 for the
safeguarding of this important site. This was agreed to in consultation with the Ministry of
culture of Egypt and the Governorate of Luxor.

One of the fundamental goals of the proposed UNESCO initiative is to valorise the pioneering
ideas and philosophy of Hassan Fathy’s work and to reinforce its relevance to contemporary
sustainability concerns.
Fathy’s tenets derived from humanistic values about the connections between people and
places and the use of traditional knowledge and materials especially the exceptional
advantages of earth as full-fledged construction material.

New Gourna was a critical experiment in the implementation of that philosophy. Thus,
safeguarding of New Gourna is about more than just preserving its original design and fabric
but also about promotion, communication and education.

The initiative also focuses on restoration and management concerns. The lack of
infrastructure and maintenance of public facilities thus constitutes an important threat to the
village as well as the ongoing very intense construction activity with concrete in out of the
The many reasons behind this UNESCO initiative are:

• The ideas of Hassan Fathy, considered one of the unique world architects of the 20th
century, and whose tenets, which derived from humanistic values, are still relevant to
contemporary concerns. Hassan Fathy had a true vision on sustainable architecture and
merits UNESCO’s attention.

• The disappearance of New Gourna village, which is considered a critical experiment in

the implementation of Hassan Fathy’s philosophy, would be a great loss for humanity.

• The fact that UNESCO has the responsibility to promote and share Hassan Fathy’s ideas
and vision with the world by contributing to the village rehabilitation, and improving the
life of communities living in New Gourna.

• The will to establish an International Centre for Sustainable Architecture (ICSA) in New
Gourna, where training, research and experiment on subjects related to Hassan Fathy’s
ideas on sustainable architecture would be organized.

Various other examples of Contemporary Vernacular

1. CDS, Trivandrum by Laurie Baker. Any buildings of Baker for that matter.
2. The Mud house in Faridabad by Kamath design studios.
3. IIM campus by B.V.Doshi.
4. Guha in Bangalore by Jaisim
5. Brick house by istudio architecture at Wada in Mumbai
6. Vashi farmhouse by d6thD Design studio in Amalsad.
7. Buddhi school in Coimbatore by Chitra Vishwanath.