'Architecture without Architects' : The Power of the Vernacular

‘Architecture without Architects’

The Power of the Vernacular

Kate Blacker + Swan Ar Khin Samar Akkach, Designing Research

‘Modern design keeps declaring its loyalty to the human but actually flips back and forth between ignoring the human and inventing a new one.’

- Beatriz Colomina & Mark Wigley

CONTENTS

Summary

Are we Human

Influences

Vernacular Traditions

Modern Traditions

Vernacular versus Modern pg 13

Bridging Traditions

Conclusion pg 15

Bibliography pg 16

Notes pg 17

Checklist pg 18

SUMMARY

Vernacular architecture, rooted in local culture and traditions, reflects the collective wisdom and adaptive ingenuity of communities. The evolving discourse on vernacular architecture marks a paradigm shift, prioritising community-driven design and sustainable building techniques over individual approaches. We argue that including cultural traditions and communities in design foster the production of culturally rooted, sustainable spaces. Alongside this, we critique modern design practices that focus on individuality and trendy aesthetics. With reference to the pioneering work of Hassan Fathy in Egypt, we conclude by showing how architecture without architects can acquire sustainable presence with the collective will of a community.

ARE WE HUMAN?

Beatriz Colomina and Mark Wigley’s book Are We Human?

Notes on an Archaeology of Design presents a provocative rethinking of design’s relationship to humanity. In Chapters 3 and 4, Colomina and Wigley expand on the idea that design is not just about creating objects but fundamentally about designing the human experience and condition. Chapter 3, Blows of Designs argues that design often encompasses implicit forms of control and power, influencing human behaviour and social structures. 1 Chapter 4, Invention of the Human, delves into how design shapes identity, suggesting that the objects and spaces we interact with contribute to the construction of our personal and collective selves.2 Colomina and Wigley both contend that design has always been deeply embedded in the social and political fabric, subtly directing how individuals

live, think, and interact. They challenge the traditional perception of design as a neutral or purely aesthetic endeavor, instead positioning it as an active agent in shaping societal norms and behaviors. This perspective encourages a re-evaluation of the ethical dimensions of design practices, urging designers to consider the broader implications of their work on human life and social order.

Vernacular architecture, characterized by its use of local materials and traditional construction techniques, serves as a profound example of design’s Vernacular architecture, characterized by its use of local materials and traditional construction techniques, serves as a profound example of design’s connection with culture and community. This form of architecture is not merely about creating shelter but is deeply reflective of the social, environmental, and cultural

contexts from which it emerges. The insights from Colomina and Wigley’s arguments are particularly relevant to the study of vernacular architecture, as they underscore the importance of understanding how design practices influence and are influenced by human behaviors and societal structures.

In our research on vernacular architecture, we are particularly interested in how these traditional building practices embody sustainable design principles and foster community resilience. Colomina and Wigley’s propositions highlight the necessity of viewing vernacular architecture not just as a static tradition but as a dynamic process that shapes and is shaped by human interaction and environmental adaptation. This perspective is crucial for addressing contemporary challenges such as climate change and cultural preservation, as it emphasizes the role of design in

creating sustainable and socially cohesive communities.

In our journal article, we argue that vernacular architecture, through its adaptive and sustainable design principles, offers valuable insights for contemporary architectural practices. We will critique the often overlooked socio-cultural dimensions of modern design, advocating for a more holistic approach that incorporates the wisdom of traditional building techniques. This argument will be situated within Colomina and Wigley’s mode of reading that views design as a form of social and political practice, highlighting the ethical and communal aspects of vernacular architecture.

INFLUENCES

HASSAN FATHY, a pioneering figure in sustainable and vernacular architecture, has left an indelible mark on the field through his seminal works. In Architecture for the Poor: An Experiment in Rural Egypt,Fathy challenges conventional architectural practices by advocating for the integration of local materials, techniques, and cultural values into design processes, emphasising sustainability and social equity. His exploration of vernacular architecture principles, underscores his commitment to harnessing indigenous knowledge to create environmentally responsive structures, especially in hot arid climates like Egypt. Additionally, in Architecture for the Poor, Fathy extends his vision beyond poverty alleviation, advocating for a holistic approach to architecture that prioritizes human wellbeing and community engagement over aesthetic or commercial concerns.

BERNARD RUDOFSKY, through his influential work Architecture Without Architects, revolutionised architectural discourse by challenging traditional notions of design and construction. Rudofsky's exploration of vernacular architecture celebrates the ingenuity of indigenous builders and their creations, showcasing how structures evolve organically within their cultural and environmental contexts. He advocates for a return to simplicity and locality in design, urging architects to learn from vernacular traditions rather than impose standardised solutions. Rudofsky's vision emphasises the importance of context, community, and sustainability in shaping the built environment, paving the way for a more inclusive and responsive approach to architecture.

PAUL OLIVER, another influential figure in the realm of vernacular architecture, has significantly contributed to our understanding of traditional dwellings worldwide through his seminal work, Dwellings: The Vernacular House Worldwide. In his comprehensive study, Oliver explores the diverse forms, materials, and cultural contexts that shape indigenous housing worldwide. By meticulously documenting vernacular dwellings, Oliver highlights human ingenuity in responding to local conditions and societal needs universally. Through his scholarship, Oliver illuminates the intrinsic value of vernacular architecture as a repository of collective wisdom and cultural identity, challenging Western architectural dominance. Moreover, Dwellings serves as a testament to Oliver's commitment to preserving and celebrating the architectural heritage of marginalized communities, advocating for a more inclusive approach to architectural discourse.

AMOS RAPOPORT, a prominent figure in the study of cultural and vernacular architecture, has profoundly influenced the field through his seminal works. In Culture, Architecture, and Design, Rapoport challenges mainstream architectural discourse by advocating for a deeper understanding of the cultural contexts shaping built environments. He emphasizes the importance of integrating cultural values, social practices, and human behaviors into design processes, prioritizing the creation of spaces that resonate with their users on a cultural and emotional level. Rapoport's exploration of vernacular architecture principles highlights the significance of traditional building techniques and indigenous knowledge in shaping sustainable and contextually relevant designs. By emphasising the inseparable link between culture and architecture, Rapoport encourages designers to embrace diversity and inclusivity in their practice, fostering environments that celebrate and enrich the lives of their inhabitants.

SECONDARY SOURCES This literature review provides a comprehensive examination of diverse perspectives and underscores the importance of vernacular architecture in modern designs focusing on cultural identity, sustainability and thermal comfort. In Hassan Fathy Revisited: Postwar Discourses on Science, Development, and Vernacular Architecture by Panayiota I. Pyla emphasises on the contributions made by Hassan Fathy. Pyla explains how Fathy integrated traditional building methods into contemporary architecture which aligns with the postwar goals of development and sustainability. The analysis done by Pyla acknowledges the significance of addressing current issues such as social equity and climate change by adapting vernacular architectural techniques. Additionally, Hend Abelkader in The Vernacular Language as a Basis for Thermal Comfort in Contemporary Architecture investigates thermal comfort strategies of vernacular architecture and their application in modern context. She shows how utilising vernacular architecture’s passive heating and cooling techniques can strengthen thermal comfort and reduce energy consumption in modern buildings, hence making them more sustainable. Critical Vernacularism: A Locally Produced Global Difference by Nihal Perera presents the concept of critical vernacularism. Perera critiques the world of

architecture for their homogenising tendencies and stresses the significance of appropriate design solutions that fits the context of each project. Furthermore, he displays how cultural resonant but also innovative designs can be created by engaging with vernacular architecture critically. Meanwhile, The Translation of Tradition: A Comparative Dialectic by James Steele investigates the relationship between modernity and tradition. Steele analyses the adaptation of vernacular architectural elements in modern designs but also maintaining the cultural significance, at the same time satisfying the contemporary needs. This strategy underlines the preservation of tradition while meeting the needs of modernisation hence, closing the gap between the past and present. Lasty, in Sustainability and Vernacular Architecture: Rethinking What Identity Is by Maha Salman explores the relationship between cultural identity and sustainability in vernacular architecture. Salman declares that traditional architecture already incorporates sustainability and prioritises the harmony of environment and available resources. By reimagining the identity of architecture through the act of sustainability, Salman endorses for the return of culturally relevant and environmentally responsible through the usage of vernacular principles.

Figure 1: New Gourna Village. (Source : internet)

Figure

Gourna Village.

INFLUENCES

Books : These sources collectively offer a rich exploration of the intersection between culture, architecture, and design, spanning various perspectives and approaches. Dwellings: The Vernacular House Worldwide by Paul Oliver delves into the diverse vernacular housing traditions across the globe, examining how cultural and environmental factors shape architectural design. House Form and Culture by Amos Rapoport delves into the deeper connections between culture and architecture, discussing spatial meanings, traditions, and the role of community in shaping built environments. Finally, Architecture for the Poor by Hassan Fathy advocates for sustainable and culturally sensitive architecture, emphasizing community involvement and offering insightful case studies to illustrate effective design approaches. Together, these works offer a comprehensive understanding of how cultural contexts influence architectural practices and the importance of communitydriven design in creating meaningful and sustainable built environments. Hassan Fathy's work of reinventing the vernacular offers hands-on experience with the village he designed, presenting us with a case study, providing insight to the problems and issues he experienced. Whilst Culture, Architecture, and Design by Amos Rapoport and Dwellings: The Vernacular House Worldwide by Paul Oliver, give us a wider theoretical understanding of what vernacular is all about. Intersecting well in relation to Architecture for the Poor by Hassan Fathy. Oliver's Dwellings: The Vernacular House Worldwide offers a comprehensive examination of traditional architectural forms globally, revealing their adaptability and sustainability rooted in cultural, social, and environmental contexts. Conversely, Fathy's Architecture for the Poor challenges conventional architectural practices by advocating for sustainable, culturally sensitive designs that prioritize marginalized communities' needs. Fathy emphasizes community empowerment and the use of traditional building techniques, highlighting the vital role of vernacular architecture in addressing social, economic, and environmental challenges. Both works underscore the importance of embracing vernacular traditions in contemporary architectural practice, promoting inclusive, resilient, and contextually relevant built environments.

Journals: The selected sources offer a robust framework for exploring vernacular architecture from multiple angles crucial to understanding its contemporary relevance and impact. They include seminal works like Critical Vernacularism: A Locally Produced Global Difference, which critically examines how local architectural practices contribute to a global discourse on identity and innovation. Similarly, Hassan Fathy Revisited revisits the influential ideas of Fathy, linking vernacular architecture with scientific and developmental discourses post-war. These sources are chosen for their depth in exploring not just the aesthetic aspects but also the socioeconomic and environmental sustainability of vernacular architecture, as seen in works like Socio-Economic Sustainability in Vernacular Architecture and Sustainability and Vernacular Architecture: Rethinking What Identity Is. Practical applications are addressed in The Vernacular language as a Basis for Thermal Comfort in Contemporary Architecture, providing empirical support for integrating vernacular principles into modern sustainable design. Together, these sources offer a comprehensive foundation supporting propositions on the enduring relevance and adaptive potential of vernacular architecture in addressing contemporary challenges across cultural, environmental, and economic dimensions.

VERNACULAR TRADITIONS:

INCLUSIVITY IN DESIGN

Fathy’s exploration of Nubian architecture in Upper Egypt, as depicted in Architecture for the Poor, highlights his embrace of local customs through the utilisation of frameworkless mudbrick construction, characteristic of Egyptian vernacular architecture. Not only does he do this but he involves the local community by hosting regular community meetings and consultations, collaborating with the residents of Gourna to co-create the design, and hiring local labour and craftsmen for the construction of the New Gourna Village3, we can see this in Figure 3, the Village is designed for the movement of people. Fathy’s approach aligns with Paul Oliver’s perspective in Dwellings: The Vernacular House Worldwide, where Oliver highlights the significance of understanding and integrating local building practices and cultural context to construct responsive and inclusive environments.4 He mentions that ‘Vernacular architecture is the direct and unselfconscious translation into physical form of a culture, its needs and values, as well as the desires, dreams, and passions of a people’.5 This encapsulates Oliver’s view on how honouring vernacular architecture is crucial in creating spaces that are inclusive and responsive

due to its adaptation for cultural and environmental needs. Likewise, In House Form and Culture by Amos Rapoport, he investigates how vernacular architecture exhibits environmental, social and cultural norms of its inhabitants, advocating for designs that are deeply rooted in local traditions and needs.6 Additionally, in The

Vernacular Language as a Basis for Thermal Comfort in Contemporary Architecture by Hend Abdelkader and in Hassan Fathy Revisited by Panayiota I. Pyla highlights the socio-economic advantages of utilising local materials and involving the community in the process. Abdelkader analyses how using vernacular techniques in designs can enhance economic viability and sustainability by reducing energy consumption and providing thermal comfort. She then further discusses and explains how using traditional mud brick construction can lower energy cost and reduce the need for artificial heating and cooling since this method offers natural insulation.7 In addition, Pyla investigates how Fathy’s projects have become case studies to achieve long term socio-economic benefits due to involving the local community and having their inputs as well as using traditional methods. These perspectives demonstrate how by honouring vernacular traditions, cultural heritage of the communities and involving them in the process can create designs that are inclusive.

8Hence, this not only maintains skills and local knowledge but also ensures that the design outcomes are functional and sincere for the people and community it will serve.

Furthermore, Fathy’s emphasis on using local materials and techniques expands on his architectural solutions, both environmentally sustainable and culturally significant. By leveraging traditional methods such as mudbrick construction, Fathy not only honoured the historical practices of the region but also addressed contemporary issues of sustainability and climate responsiveness. This method of construction provides natural thermal insulation, reducing reliance on artificial heating and cooling systems and thus promoting energy efficiency. In The Vernacular Language as a Basis for Thermal Comfort in Contemporary Architecture, Hend Abdelkader underscores the thermal benefits of

vernacular techniques. She discusses how the inherent properties of mudbrick construction, such as high thermal mass, contribute to maintaining stable indoor temperatures, thereby enhancing thermal comfort while lowering energy costs. Abdelkader’s analysis reinforces the idea that traditional building methods are not just culturally relevant but also offer practical solutions to modern environmental challenges. Incorporating these insights, Fathy’s approach demonstrates a profound understanding of the symbiotic relationship between architecture, culture, and the environment. His work exemplifies how honouring vernacular traditions and engaging local communities can lead to sustainable and inclusive architectural solutions. By maintaining traditional skills and knowledge, his designs ensure functionality and sincerity, ultimately serving the people and communities they are intended for in a meaningful way.

Figure 3: New Gourna Village plan; a design for people (Source : Internet)

Figure 4: Le Corbusier’s Radiant City, Ville Radieuse; a design for cars (Source: Internet)

MODERNIST TRADITIONS :

EXCLUSIVITY IN DESIGN

Through the eyes of Bernard Rudofsky it is seen that modernist architecture often prioritises universal design over context-specific solutions, resulting in disconnected buildings from their surrounding environment. Similarly to Fathys findings, Rudofsky found that these buildings fail to respond to the unique environmental, cultural, and social conditions of a place. As seen through Rudofsky’s Architecture Without Architects, a project which reflects this ethos, he advocated for an architecture that emerges organically from its context, reflecting the needs and aspirations of local communities. He reflects on the modern design of Le Corbusier’s Radiant City, Ville Radieuse as seen Figure 2 and mentions in his book that ‘There is much to learn from architecture before it became an expert’s art’.9 This emphasises the value of vernacular architecture and the need to respect local building practices and cultural contexts. Simmulary, Amos Rapoport discusses that modernist architecture often neglects the input of their residents, this leads to buildings that are disconnected from the local culture of the specific environment. Rudofsky and Fathy critique of modernist architecture challenges the prevailing notion that architecture must adhere to standardised methods and materials imposed by trained architects. Instead, Rudofsky and Fathy advocate for architecture that emerges organically from its context and reflects the needs and aspirations of local communities. Nihal Perera in Critical Vernacularism: A Locally Produced Global Difference, analyses how modern design’s emphasis on aesthetics has led to the elimination of local cultural practices and identities. He advocates for approaches that value local community and their inputs, as well as local context, aligning with Fathy’s views.10 Both Fathy and Perera highlight the significance of creating architectural designs that are sustainable, inclusive and relevant culturally, which counters the tendencies of modern designs that are exclusive and homogenise. These shared philosophies emphasise the need for approaches in creating designs that incorporate and honours the local context and environment. Moreover, in Sustainability and Vernacular Architecture: Rethinking What Identity Is by Maha Salman further advocates this by highlighting the significance of vernacular traditions in preserving cultural identity and promoting environmental sustainability.11

Another critical aspect to consider is how modernist architecture often privileges technological innovation and formal aesthetics over human-scale liability and social functionality. Rudofsky's critique of Le Corbusier's Radiant City, for instance, displays how these grand urban plans can neglect the intimate human experiences and needs within communities, as seen in Figure 4, the city seems made for cars and not for people. Perera's notion of Critical Vernacularism adds depth by showing how modern design's pursuit of global aesthetic standards can undermine the distinctiveness of regional identities. By neglecting the nuances of local contexts, modern architecture risks creating environments that lack a sense of place and fail to resonate with the cultural aspirations of inhabitants.

Building on the critiques, it becomes evident that the exclusivity inherent in modern design traditions often overlooks the diversity and richness of local contexts and cultural identities. Perera's analysis in Critical Vernacularism underscores how the emphasis on modern aesthetics can inadvertently erase local cultural practices and identities, advocating instead for approaches that integrate community input and honour local context. In essence, these scholars collectively argue against the homogenising tendencies of modern design and advocate for architectural practices that are inclusive, sustainable, and culturally relevant. Their perspectives challenge the notion that standardised methods and materials imposed by trained architects should supersede the adaptive and communityoriented approaches embodied in vernacular architecture. Thus, the call for a revaluation of design practices to better integrate local contexts remains a critical discourse in contemporary architectural theory and practice.

VERNACULAR VERSUS MODERN

As exemplified through the worlds of Hassan Fathy we can observe that two contrasting ideas stand out; the inclusivity of vernacular architecture compared to the exclusivity of modern architecture. In his works, Fathy found that these divergent approaches not only shape the physical landscapes of our built environments but also reflect broader social, cultural, and economic dynamics. Paul Oliver, in Dwellings: the vernacular house worldwide, discusses how architects sought new paradigms within architecture during Fathy’s era, looking to advance 20th-century architectural development. He notes that this shift was evident in vernacular architecture. However, this initiative faltered as architects prioritised documenting buildings over understanding their significance to occupants.12 Conversely, Fathy’s research on New Gourna Village reveals that vernacular architecture emerges from collective community wisdom, rooted in local culture, environment, and resources. His work in Architecture for the Poor demonstrates how vernacular architecture embodies principles of affordability and accessibility by utilising local materials and traditional techniques (Figure 5). This approach reduces reliance on energy-intensive processes and transportation, enhancing economic inclusivity and resilience against ecological challenges. Rudofsky’s Architecture Without Architects similarly advocates for an architecture that naturally integrates with its context, meeting the unique needs and aspirations of local communities. He contrasts the standardised

designs of modernist housing projects with the adaptable and site-specific nature of vernacular courtyard houses in North Africa (Figure 6). These houses, designed for desert heat mitigation and social interaction among family members, evolve over time to accommodate changing occupant needs. By highlighting the virtues of vernacular architecture, Rudofsky supports Fathys findings that the vernacular is seen to be more effective at bringing community together compared to the top down approach of modernist architecture. The principles exemplified by courtyard houses serve as a compelling example of Rudofsky’s vision for an architecture that is rooted in the lived experiences of people and responsive to the diverse contexts in which it exists. In this way, Rudofsky’s ideas in Architecture Without Architects find resonance in the timeless wisdom embodied by vernacular architecture, including the North African courtyard houses.

Although New Gourna was not successful for unforeseen reasons, Fathy believed that the ‘result of human environment interaction constitutes culture’ and vernacular was to be seen as ‘one of the most concrete manifestations of this interaction’.13 This idea is supported by Paul Oliver who believes ‘form follows function’14 , in the discourse that the modern architect cannot replicate the culture found in vernacular design through technical drawings alone.

Figure 5: Traditional mud brick house in New Gourna Village (Source: World Heritage Conservation)

Figure 6: Court yard house in Africa (Source: Internet)

BRIDGING TRADITIONS:

While Fathy’s work may not align with the mainstream definition of modern architecture, his ideas and methodologies resonate with contemporary discourses on sustainable architecture, social equity, and community-driven development (Figure 7). Fathy exemplifies in his work on New Gourna Village how integrating indigenous building techniques and materials reflects unique regional identities and histories. This approach, as supported by Rudofsky, fosters successful and thriving communities through thoughtful architectural design. Conversely, Rooted in the ideals of progress and innovation, modern architecture prioritises a universal aesthetic language that transcends local contexts and cultures.

In The Translation of Tradition: A Comparative Dialectic by James Steele explores how vernacular methods can be accommodated to be for modern use, hence closing the gap between the past and present. Steele further highlights that the adaptation of the vernacular methods in modern architecture can ensure that the outcome of these modern designs can be innovative while still maintaining their cultural heritage by incorporating the old with the new. This approach, supported by Rudofsky, strengthens communities to be successful and thriving through contemplative architectural designs.15

In conclusion, Fathy’s exploration of vernacular architecture highlights its inclusivity, celebrating the richness of local traditions and fostering community resilience. Meanwhile, his critiques of modern architecture underscore its perpetuation of exclusion and alienation in pursuit of a globalised vision of progress. As we navigate the complexities of the built environment, Fathy’s work reminds us to recognise the value of both approaches and strive for a more inclusive and equitable architectural practice that honours diversity, empowers communities, and promotes sustainable living.

for Culture)

Figure 7: New Gourna Residents collaborativley working on the New Gourna Village. (Source: Aga Khan Trust

CONCLUSION

In Architecture for the Poor, by Hassan Fathy, Fathy highlights the inclusivity of vernacular architecture in contrast to the exclusivity of modern architecture, exemplifying the harmonious integration of traditional building techniques with sustainable practices. In Dwellings: The Vernacular House Worldwide by Paul Oliver, Oliver supports Fathy by highlighting vernacular architecture’s reflection of local culture and community wisdom, which are often missed due to modern architect’s emphasis on aesthetics. Moreover, both Bernard Rudofsky and Amos Rapoport further critique modern architecture for its universal designs that overlook specific contexts, contrasting it with adaptive vernacular designs that foster community engagement. Fathy, along with Oliver and Rudofsky, advocates for incorporating indigenous techniques and community involvement to create sustainable and inclusive environments. His critiques of modern architecture emphasise the necessity of context-sensitive, communitydriven practices that honour diversity, empower communities, and promote sustainable living.

Additionally, The Vernacular Language as a Basis for Thermal Comfort in Contemporary Architecture by Hend Abdelkader and in Hassan Fathy Revisited by Panayiota I. Pyla also highlights the use of local materials and community involvement for socio-economic sustainability. Furthermore, in Critical Vernacularism: A Locally Produced Global Difference by Nihal Perera and in Sustainability and Vernacular Architecture: Rethinking What Identity Is by Maha Salman, argue for sustainable, contextual and are community oriented approaches that values local practices and local cultural heritages. Moreover, in The Translation of Tradition: A Comparative Dialectic by James Steele, analyses how traditional architectural methods can be adapted to modern needs, hence closing the gap between the past and future. Collectively, these sources advocate for integrating vernacular principles into contemporary architecture to create culturally relevant, sustainable, and resilient designs that benefit the community.

BIBLIOGRAPHY

Colomina, Beatriz, Mark Wigley. 2016. Are We Human?. Zurich, Switzerland: Lars Müller Publishers.

Fathy, Hassan. 2010. Architecture for the poor: An experiment in rural Egypt. Chicago: University of Chicago Press.

Oliver, Paul. 2003. Dwellings: The Vernacular House World Wide. London: Phaidon Rapoport, Amos. 1969. House Form and Culture. Michigan: Prentice Hall.

Tschumi, Bernard. 1994. Architecture Without Architects. Albuquerque: The Univeristy of New Mexico Press.

Perera, Nihal. 2010. ‘Critical Vernacularism: A Locally Produced Global Difference.’ Journal of Architectural Education, 63, 2: 76-77.

Pyla, Panayiota I. 2013. ‘Hassan Fathy Revisited: Postwar Discources on Science, Development, and Verncaular Architecture.’ Journal of Architectural Education, 60, 3: 28-39.

Steele, James. 1996. ‘ The Translation of Tradition: A Compartive Dialetic.’ Traditional Dwellings and Settlements Review, 7, 2: 19-34.

Correia, Mariana, Borut Juvanec, Camilla Mileto, Fernandp Vegas. 2014. ‘Socio-Economic Sustainability in Vernacular Architecture.’ Versus: Heritage for Tomorrow: Vernacular Knowledge for Sustainable Architecture: 56-63.

Salman, Maha. 2018. ‘Sustainbility and Vernacular Architecture: Rethinking What Identity Is.’ Urban and Architectural Heritage Conservation within Sustainbility: 2-3.

Abdelkader, Hend. 2022. ‘The Vernacular language as a Basic for Thermal Comfort in Contempory Architecture.’ International Journal For Research in Applied Science and Engineering Techonology, 10, 1: 844-853.

IMAGES SOURCES

Figure1: UNESCO. 2010. New Gourna Village. accessed 24th May 2024. <https://whc.unesco.org/en/news/666>.

Figure 2: Staples, Robert. 2016. Driver(less) is more, Institut d’Arquitectura Avançada de Catalunya,6. accessed 24th May 2014. <https://www.researchgate. net/publication/300146541_Driverless_Car_Tech_Visualizing_Urbanism.>

Figure 3: UNESCO. n.d. Safeguarding project of Hassan Fathy’s New Gourna Village. accessed 24the May 2024. <https://whc.unesco.org/en/activities/637/.>

Figure 4: Abdelsalam, Tarek. 2015. Traditional Courtyard House in Cairo. accessed 24th May 2024. <https://www.researchgate.net/figure/Assehemi-house-inold-Islamic-Cairo-Figure-2-Traditional-courtyard-house-in-Saudi-Arabia_fig1_318701696.>

Figure 5: Heil, Martijn, n.d. Brick Architecture. accessed 24th May 2024. <https://brickarchitecture.com/projects/brick-wall-house-123dv-modern-villas.>

Figure 6: Mccrimmon, castley, n.d. Modern Courtyard House. accessed 24th May 2024. <https://castleymccrimmon.co/projects/courtyard-house/.>

Figure 7: Ros-Garcia, Juan. 2013. Community Engagement. accessed 24th May 2024. <https://www.researchgate.net/figure/Hassan-Fathy-New-Gourna-19461947-Source-Aga-Khan-Trust-for-Culture_fig5_263539332.

NOTES

1 Colomina, Beatriz and Wigley Mark, 2016, Are we Human, (Switzerland: Lars Muller Publishers),51.

2 Colomina,Wigley, 2016, 57.

3 Hassan Fathy, 2010, Architecture for the Poor (Chicago: University of Chicago Press), 14.

4 Paul Oliver, 2003, Dwellings: The Verncular House Worldwide (London: Phaidon), 8.

5 Oliver, 2003, 11.

6 Amos Rapoport, 1969, House Form and Culture (Michigan: Prentice-Hall), 129.

7 Hend Abdelkader, 2022, The Vernacular language as a Basic for Thermal Comfort in Contempory Architecture (India: IJRASET), https://www.ijraset.com/research-paper/vernacular-language-as-a-basis-forthermal-comfort.

8 Panayiota, I. Pyla, 2013,Hassan Fathy Revisited: Postwar Discourses on Science, Development, and Vernacular Architecture, (Illinois: University of Illinois), 28-39.

9 Bernard Tschumi, 1994, Architecture Without Architects, (Albuquerque: The University of New Mexico Press), 6.

10 Nihal Perera, 2010, Critical Vernacularism: A Locally Produced Global Difference,Taylor & Francis, (n/a), 76-77.

11 Maha Salman, 2018, Sustainability and Vernacular Architecture: Rethinking What Identity Is (Baghdad, University of Baghad), https://web.archive.org/web/20190430112635id_/https://cdn.intechopen.com/pdfs/64381.pdf.

12 Oliver, 2003, 10.

13 Fathy, 2010, 11.

14 Oliver, 2003, 11.

15 James Steele, 1996, The Translation of Tradition: A Comparative Dialectic, International Association for the Study of Traditional Environments, (Oregon: International Association for the Study of Traditional Environments (IASTE)), 19-34.

IMAGES

Figure 1 : Aburawa, Arwa, 2012, Hassan Fathy’s “New Gourna” Model Village lies Shambles, <https://www.greenprophet.com/2012/08/what-became-fathys-new-gourna/>.

Figure 2: Word Monuments Fund, 2011, New Gourna Village: Conservation and Community, <chrome-extension://efaidnbmnnnibpcajpcglclefindmkaj/https://www.wmf.org/sites/default/files/article/pdfs/New%20Gourna%20Report%20Final%2015%20Meg.pdf>.

Figure 3: Senses Atlas, 2020, Hassan Fathy, Building with the People in New Gourna, <https://www.sensesatlas.com/hassan-fathy-building-with-the-people-in-new-gourna/>.

Figure 4: n/a, < https://archidialog.com/tag/la-ville-radieus/>.

Figure 5: World Heritage Convention, 2010, Safeguarding poject of Hassan Fathy’s New Gourna Village, < https://whc.unesco.org/en/activities/637/>.

Figure 6 : Abdelsalam, Tarek. 2015. Traditional Courtyard House in Cairo, <https://www.researchgate.net/figure/Assehemi-house-in-old-Islamic-Cairo-Figure-2-Traditional-courtyard-house-in-Saudi-Arabia_fig1_318701696>.

Figure 7 : Aga Khan Trust for Culture. 2013. Community Engagement, <https://www.researchgate.net/figure/Dar-Alsalam-Project-new-mexico-USA-1981-The-Vaults-construction-system_fig2_328337173>.

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