Vernacular architecture is building done outside any academic tradition, and without professional guidance. This category encompasses a wide range and variety of building types, with differing methods of construction, from around the world, both historical and extant, representing the majority of buildings and settlements created in pre-industrial societies.Vernacular architecture constitutes 95% of the world's built environment, as estimated in 1995 by Amos Rapoport, as measured against the small percentage of new buildings every year designed by architects and built by engineers.
Vernacular architecture usually serves immediate, local needs; is constrained by the materials available in its particular region; and reflects local traditions and cultural practices. Traditionally, the study of vernacular architecture did not examine formally schooled architects, but instead that of the design skills and tradition of local builders, who were rarely given any attribution for the work. More recently, vernacular architecture has been examined by designers and the building industry in an effort to be more energy conscious with contemporary design and construction—part of a broader interest in sustainable design.
As of 1986, even among scholars publishing in the field, the exact boundaries of "vernacular" have not been clear.
Vernacular architecture tends to be overlooked in traditional histories of design. It is not a stylistic description, much less one specific style, so it cannot be summarized in terms of easy-to-understand patterns, characteristics, materials, or elements.Because of the usage of traditional building methods and local builders, vernacular buildings are considered cultural expressions -- aboriginal, indigenous, ancestral, rural, ethnic, or regional -- as much as architectural artifacts.
The term vernacular means "domestic, native, indigenous"; from verna, meaning "native slave" or "home-born slave". The word probably derives from an older Etruscan word.
The term is borrowed from linguistics, where vernacular refers to language use particular to a time, place or group.
The phrase dates to at least 1857, when it was used by Sir George Gilbert Scott, as the focus of the first chapter of his book "Remarks on Secular & Domestic Architecture, Present & Future",and in a paper read to an architectural society in Leicester in October of that year. As a proponent of the Gothic Revival movement in England, Scott used the term as a pejorative to refer to the "prevailing architecture" in England of the time, all of it, as opposed to the Gothic he wanted to introduce. In this "vernacular" category Scott included St Paul's Cathedral, Greenwich Hospital, London, and Castle Howard, although admitting their relative nobility.
The term was popularized with positive connotations in a 1964 exhibition at the Museum of Modern Art, New York, designed by architect Bernard Rudofsky, with a subsequent book. Both were called Architecture Without Architects .Featuring dramatic black-and-white photography of vernacular buildings around the world, the exhibition was extremely popular. Rudofsky brought the concept into the eye of the public and of mainstream architecture, and also kept the definitions loose: he wrote that the exhibition "attempts to break down our narrow concepts of the art of building by introducing the unfamiliar world of nonpedigreed architecture. It is so little known that we don't even have a name for it. For want of a generic label we shall call it vernacular, anonymous, spontaneous, indigenous, rural, as the case may be." The book was a reminder of the legitimacy and "hard-won knowledge" inherent in vernacular buildings, from Polish salt-caves to gigantic Syrian water wheels to Moroccan desert fortresses, and was considered iconoclastic at the time.
The term "commercial vernacular" was popularized in the late 1960s by the publication of Robert Venturi's "Learning from Las Vegas", referring to 20th-century American suburban tract and commercial architecture.
Although vernacular architecture might be designed by people who do have some training in design, in 1971 Ronald Brunskill nonetheless defined vernacular architecture as:
...a building designed by an amateur without any training in design; the individual will have been guided by a series of conventions built up in his locality, paying little attention to what may be fashionable. The function of the building would be the dominant factor, aesthetic considerations, though present to some small degree, being quite minimal. Local materials would be used as a matter of course, other materials being chosen and imported quite exceptionally.
In the Encyclopedia of Vernacular Architecture of the World edited in 1997 by Paul Oliver of the Oxford Institute for Sustainable Development. Oliver argued that vernacular architecture, given the insights it gives into issues of environmental adaptation, will be necessary in the future to "ensure sustainability in both cultural and economic terms beyond the short term." The encyclopedia defined the field of vernacular architecture as:
...comprising the dwellings and all other buildings of the people. Related to their environmental contexts and available resources they are customarily owner- or community-built, utilizing traditional technologies. All forms of vernacular architecture are built to meet specific needs, accommodating the values, economies and ways of life of the cultures that produce them.
In 2007 Allen Noble wrote a lengthy discussion of the relevant terms, in Traditional Buildings: A Global Survey of Structural Forms and Cultural Functions. Noble concluded that "folk architecture" is built by "persons not professionally trained in building arts." "Vernacular architecture" is "of the common people", but may be built by trained professionals, using local, traditional designs and materials. "Traditional architecture" is architecture passed down from person to person, generation to generation, particularly orally, but at any level of society, not just by common people. "Primitive architecture" is a term Noble discourages the use of.The term popular architecture is used more in eastern Europe and is synonymous with folk or vernacular architecture.
Architecture designed by professional architects is usually not considered to be vernacular. Indeed, it can be argued that the very process of consciously designing a building makes it not vernacular. Paul Oliver, in his book Dwellings, states: "...it is contended that 'popular architecture' designed by professional architects or commercial builders for popular use, does not come within the compass of the vernacular". 15 Oliver also offers the following simple definition of vernacular architecture: "the architecture of the people, and by the people, but not for the people." :14:
Frank Lloyd Wright described vernacular architecture as "Folk building growing in response to actual needs, fitted into environment by people who knew no better than to fit them with native feeling". 9 suggesting that it is a primitive form of design, lacking intelligent thought, but he also stated that it was "for us better worth study than all the highly self-conscious academic attempts at the beautiful throughout Europe".:
Since at least the Arts and Crafts Movement, many modern architects have studied vernacular buildings and claimed to draw inspiration from them, including aspects of the vernacular in their designs. In 1946, the Egyptian architect Hassan Fathy was appointed to design the town of New Gourna near Luxor. Having studied traditional Nubian settlements and technologies, he incorporated the traditional mud brick vaults of the Nubian settlements in his designs. The experiment failed, due to a variety of social and economic reasons. 11:
Sri Lankan architect Geoffrey Bawa is considered the pioneer of regional modernism in South Asia. Along with him, modern proponents of the use of the vernacular in architectural design include Charles Correa, a well known Indian architect; Muzharul Islam and Bashirul Haq, internationally known Bangladeshi architects; Balkrishna Doshi, another Indian, who established the Vastu-Shilpa Foundation in Ahmedabad to research the vernacular architecture of the region; and Sheila Sri Prakash who has used rural Indian architecture as an inspiration for innovations in environmental and socio-economically sustainable design and planning. The Dutch architect Aldo van Eyck was also a proponent of vernacular architecture. 13 Architects whose work exemplifies the modern take on vernacular architecture would be Samuel Mockbee, Christopher Alexander and Paolo Soleri.:
Oliver claims that:
As yet there is no clearly defined and specialized discipline for the study of dwellings or the larger compass of vernacular architecture. If such a discipline were to emerge it would probably be one that combines some of the elements of both architecture and anthropology with aspects of history and geography. [ clarification needed ]
Architects have developed a renewed interest in vernacular architecture as a model for sustainable design.Contemporary complementary architecture is informed largely by vernacular architecture.
Vernacular architecture is influenced by a great range of different aspects of human behaviour and environment, leading to differing building forms for almost every different context; even neighbouring villages may have subtly different approaches to the construction and use of their dwellings, even if they at first appear the same. Despite these variations, every building is subject to the same laws of physics, and hence will demonstrate significant similarities in structural forms.
One of the most significant influences on vernacular architecture is the macro climate of the area in which the building is constructed. Buildings in cold climates invariably have high thermal mass or significant amounts of insulation. They are usually sealed in order to prevent heat loss, and openings such as windows tend to be small or non-existent. Buildings in warm climates, by contrast, tend to be constructed of lighter materials and to allow significant cross-ventilation through openings in the fabric of the building.
Buildings for a continental climate must be able to cope with significant variations in temperature, and may even be altered by their occupants according to the seasons. In hot arid and semi-arid regions, vernacular structures typically include a number of distinctive elements to provide for ventilation and temperature control. Across the middle-east, these elements included such design features as courtyard gardens with water features, screen walls, reflected light, mashrabiya (the distinctive oriel window with timber lattice-work) and bad girs (wind-catchers).
Buildings take different forms depending on precipitation levels in the region – leading to dwellings on stilts in many regions with frequent flooding or rainy monsoon seasons. For example, the Queenslander is an elevated weatherboard house with a sloped, tin roof that evolved in the early 19th-century as a solution to the annual flooding caused by monsoonal rain in Australia's northern states.Flat roofs are rare in areas with high levels of precipitation. Similarly, areas with high winds will lead to specialised buildings able to cope with them, and buildings tend to present minimal surface area to prevailing winds and are often situated low on the landscape to minimise potential storm damage.
Climatic influences on vernacular architecture are substantial and can be extremely complex. Mediterranean vernacular, and that of much of the Middle East, often includes a courtyard with a fountain or pond; air cooled by water mist and evaporation is drawn through the building by the natural ventilation set up by the building form. Similarly, Northern African vernacular often has very high thermal mass and small windows to keep the occupants cool, and in many cases also includes chimneys, not for fires but to draw air through the internal spaces. Such specializations are not designed, but learned by trial and error over generations of building construction, often existing long before the scientific theories which explain why they work. Vernacular architecture is also used for the purposes of local citizens.
The way of life of building occupants, and the way they use their shelters, is of great influence on building forms. The size of family units, who shares which spaces, how food is prepared and eaten, how people interact and many other cultural considerations will affect the layout and size of dwellings.
For example, the family units of several East African ethnic communities live in family compounds, surrounded by marked boundaries, in which separate single-roomed dwellings are built to house different members of the family. In polygamous communities there may be separate dwellings for different wives, and more again for sons who are too old to share space with the women of the family. Social interaction within the family is governed by, and privacy is provided by, the separation between the structures in which family members live. By contrast, in Western Europe, such separation is accomplished inside one dwelling, by dividing the building into separate rooms.
Culture also has a great influence on the appearance of vernacular buildings, as occupants often decorate buildings in accordance with local customs and beliefs.
There are many cultures around the world which include some aspect of nomadic life, and they have all developed vernacular solutions for the need for shelter. These all include appropriate responses to climate and customs of their inhabitants, including practicalities of simple construction such as huts, and if necessary, transport such as tents.
The Inuit people have a number of different forms of shelter appropriate to different seasons and geographical locations, including the igloo (for winter) and the tupiq (for summer). The Sami of Northern Europe, who live in climates similar to those experienced by the Inuit, have developed different shelters appropriate to their culture 25 including the lavvu and goahti. The development of different solutions in similar circumstances because of cultural influences is typical of vernacular architecture.:
Many nomadic people use materials common in the local environment to construct temporary dwellings, such as the Punan of Sarawak who use palm fronds, or the Ituri Pygmies who use saplings and mongongo leaves to construct domed huts. Other cultures reuse materials, transporting them with them as they move. Examples of this are the tribes of Mongolia, who carry their gers (yurts) with them, or the black desert tents of the Qashgai in Iran. 29 Notable in each case is the significant impact of the availability of materials and the availability of pack animals or other forms of transport on the ultimate form of the shelters.:
All the shelters are adapted to suit the local climate. The Mongolian gers (yurts), for example, are versatile enough to be cool in hot continental summers and warm in the sub-zero temperatures of Mongolian winters, and include a close-able ventilation hole at the centre and a chimney for a stove. A ger is typically not often relocated, and is therefore sturdy and secure, including wooden front door and several layers of coverings. A traditional Berber tent, by contrast, might be relocated daily, and is much lighter and quicker to erect and dismantle – and because of the climate it is used in, does not need to provide the same degree of protection from the elements.
The type of structure and materials used for a dwelling vary depending on how permanent it is. Frequently moved nomadic structures will be lightweight and simple, more permanent ones will be less so. When people settle somewhere permanently, the architecture of their dwellings will change to reflect that.
Materials used will become heavier, more solid and more durable. They may also become more complicated and more expensive, as the capital and labour required to construct them is a one-time cost. Permanent dwellings often offer a greater degree of protection and shelter from the elements. In some cases however, where dwellings are subjected to severe weather conditions such as frequent flooding or high winds, buildings may be deliberately "designed" to fail and be replaced, rather than requiring the uneconomical or even impossible structures needed to withstand them. The collapse of a relatively flimsy, lightweight structure is also less likely to cause serious injury than a heavy structure.
Over time, dwellings' architecture may come to reflect a very specific geographical locale.
The local environment and the construction materials it can provide, govern many aspects of vernacular architecture. Areas rich in trees will develop a wooden vernacular, while areas without much wood may use mud or stone. In early California redwood water towers supporting redwood tanks and enclosed by redwood siding (tankhouses) were part of a self-contained wind-powered domestic water system. In the Far East it is common to use bamboo, as it is both plentiful and versatile. Vernacular, almost by definition, is sustainable, and will not exhaust the local resources. If it is not sustainable, it is not suitable for its local context, and cannot be vernacular.
Construction elements and materials frequently found in vernacular buildings include:
As many jurisdictions introduce tougher building codes and zoning regulations, "folk architects" sometimes find themselves in conflict with the local authorities.
A case that made news in Russia was that of an Arkhangelsk entrepreneur Nikolay P. Sutyagin, who built what was reportedly the world's tallest single-family wooden house for himself and his family, only to see it condemned as a fire hazard. The 13-storey, 44 m (144 ft) tall structure, known locally as "Sutyagin's skyscraper" (Небоскрёб Сутягина), was found to be in violation of Arkhangelsk building codes, and in 2008 the courts ordered the building to be demolished by February 1, 2009. On December 26, 2008, the tower was pulled down, and the remainder was dismantled manually over the course of the next several months.
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Different regions in Ukraine have their own examples of vernacular architecture. For example, in the Carpathian Mountains and the surrounding foothills, wood and clay are the primary traditional building materials. Ukrainian architecture is preserved at The Museum of Folk Architecture and Way of Life of Central Naddnipryanshchyna located in Pereiaslav, Ukraine.
Building techniques and materials:
Regional vernacular architecture:
A house is a single-unit residential building, which may range in complexity from a rudimentary hut to a complex structure of wood, masonry, concrete or other material, outfitted with plumbing, electrical, and heating, ventilation, and air conditioning systems. Houses use a range of different roofing systems to keep precipitation such as rain from getting into the dwelling space. Houses may have doors or locks to secure the dwelling space and protect its inhabitants and contents from burglars or other trespassers. Most conventional modern houses in Western cultures will contain one or more bedrooms and bathrooms, a kitchen or cooking area, and a living room. A house may have a separate dining room, or the eating area may be integrated into another room. Some large houses in North America have a recreation room. In traditional agriculture-oriented societies, domestic animals such as chickens or larger livestock may share part of the house with humans.
A building, or edifice, is a structure with a roof and walls standing more or less permanently in one place, such as a house or factory. Buildings come in a variety of sizes, shapes, and functions, and have been adapted throughout history for a wide number of factors, from building materials available, to weather conditions, land prices, ground conditions, specific uses, and aesthetic reasons. To better understand the term building compare the list of nonbuilding structures.
An igloo, also known as a snow house or snow hut, is a type of shelter built of snow, typically built when the snow is suitable.
A traditional yurt or ger (Mongolian) is a portable, round tent covered with skins or felt and used as a dwelling by several distinct nomadic groups in the steppes of Central Asia. The structure consists of an angled assembly or latticework of wood or bamboo for walls, a door frame, ribs, and a wheel possibly steam-bent. The roof structure is often self-supporting, but large yurts may have interior posts supporting the crown. The top of the wall of self-supporting yurts is prevented from spreading by means of a tension band which opposes the force of the roof ribs. Modern yurts may be permanently built on a wooden platform; they may use modern materials such as steam-bent wooden framing or metal framing, canvas or tarpaulin, plexiglass dome, wire rope, or radiant insulation.
Like other aspects of the culture of Africa, the architecture of Africa is exceptionally diverse. Throughout the history of Africa, Africans have developed their own local architectural traditions. In some cases, broader regional styles can be identified, such as the Sudano-Sahelian architecture of West Africa. A common theme in traditional African architecture is the use of fractal scaling: small parts of the structure tend to look similar to larger parts, such as a circular village made of circular houses.
A hut is a primitive dwelling, which may be constructed of various local materials. Huts are a type of vernacular architecture because they are built of readily available materials such as wood, snow, ice, stone, grass, palm leaves, branches, hides, fabric, or mud using techniques passed down through the generations.
The architecture of Norway has evolved in response to changing economic conditions, technological advances, demographic fluctuations and cultural shifts. While outside architectural influences are apparent in much of Norwegian architecture, they have often been adapted to meet Norwegian climatic conditions, including: harsh winters, high winds and, in coastal areas, salt spray.
The Bahay kubo, or nipa hut, is a type of stilt house indigenous to the cultures of the Philippines. It is also known as payag or kamalig in other languages of the Philippines. It often serves as an icon of Philippine culture. Its architectural principles gave way to many of Filipino traditional houses and buildings that rose after the pre-colonial era. These include the Colonial era "bahay na bato", which is a noble version of bahay kubo with Spanish and some Chinese main architectural influence and has become the dominant urban architecture in the past. And there is also contemporary buildings such as the Coconut Palace, Sto. Niño Shrine, and the Modernist; Cultural Center of the Philippines and National Arts Center which are Modern edifices that used bahay kubo as a sub influence.
Scottish Vernacular architecture is a form of vernacular architecture that uses local materials.
Indian vernacular architecture the informal, functional architecture of structures, often in rural areas of India, built of local materials and designed to meet the needs of the local people. The builders of these structures are unschooled in formal architectural design and their work reflects the rich diversity of India's climate, locally available building materials, and the intricate variations in local social customs and craftsmanship. It has been estimated that worldwide close to 90% of all building is vernacular, meaning that it is for daily use for ordinary, local people and built by local craftsmen.
The architecture of Mongolia is largely based on traditional dwellings, such as the yurt and the tent. During the 16th and 17th centuries, lamaseries were built throughout the country as temples which were later enlarged to accommodate a growing number of worshipers. Mongolian architects designed their temples with six and twelve angles and pyramidal roofs approximating the yurt's round shape. Further expansion led to a quadratic shape in the design of the temples, with roofs in the shape of pole marquees. Trellis walls, roof poles and layers of felt were eventually replaced by stone, brick beams and planks.
Architecture of Tibet contains Chinese and Indian influences but has many unique features brought about by its adaptation to the cold, generally arid, high-altitude climate of the Tibetan plateau. Buildings are generally made from locally available construction materials, and are often embellished with symbols of Tibetan Buddhism. For example, private homes often have Buddhist prayer flags flying from the rooftop.
Rumah adat are traditional houses built in any of the vernacular architecture styles of Indonesia. The traditional houses and settlements of the several hundreds ethnic groups of Indonesia are extremely varied and all have their own specific history.
The hall house is a type of vernacular house traditional in many parts of England, Wales, Ireland and lowland Scotland, as well as northern Europe, during the Middle Ages, centring on a hall. Usually timber-framed, some high status examples were built in stone.
Musgum mud huts or Musgum dwelling units are traditional domestic structures built of mud by the ethnic Musgum people in the Maga sub-division, Mayo-Danay division, Far North Province in Cameroon. The dwellings were built in a variety of shapes, such as tall domed or conical dwellings or huts, some with a reverse-V shape, and others with geometric designs.
The field of Indigenous architecture refers to the study and practice of architecture of, for and by Indigenous people. It is a field of study and practice in the United States, Australia, Aotearoa New Zealand, Canada, Arctic area of Sápmi and many other countries where Indigenous people have a built tradition or aspire translate or to have their cultures translated in the built environment. This has been extended to landscape architecture, urban design, planning, public art, placemaking and other ways of contributing to the design of built environments.
The architecture of Zimbabwe is composed of three architectural types: the Hill Complex, the Valley Complex, and the Great Enclosure. Both traditional and colonial architectures have influenced the history and culture of the country. However, post-1954 buildings are mainly inspired by pre-colonial, traditional architecture, especially Great Zimbabwe–inspired structures such as the Kingdom Hotel, Harare international airport, and the National Heroes' Acre.
The architecture of Jordan has been subject to vast development, specifically in the final years of the twentieth century. Jordan is a small country located in the Middle East. Its location has great significance to Christians, Muslims and Jews as it is considered part of the Holy Land.
A girna is a type of traditional corbelled hut found in rural areas in parts of Malta. They bear similarities with a number of dry stone vernacular building types found in other Mediterranean countries, and they are primarily used for storage or as temporary shelters. It is possible that in the past they were also used for human habitation.
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