BERNARD RUDOFSKY
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.
literature review 7
JOURNALS
Kingston Heath is an architectural historian known for his research on vernacular architecture. In “Vernacular Architecture and Regional Design,” Heath examines the cultural, environmental, and social dimensions of vernacular architecture, showcasing its role in fostering inclusive and sustainable built environments through case studies worldwide.
Peter Katz is an urban planner advocating for New Urbanism. In “The New Urbanism: Toward an Architecture of Community,” Katz discusses the movement’s principles, emphasising the creation of inclusive and sustainable urban environments prioritising human scale and social interaction.
Leon Krier is an architect and urban planner known for his advocacy of traditional urbanism and architecture. In “The Architecture of Community,” Krier investigates the principles of traditional urban design and its relevance to creating inclusive and sustainable communities. He critiques modernist urban planning paradigms and argues for a return to human-scale, pedestrian-friendly environments characterised by mixed land uses, public spaces, and compact urban form.
8 literature review
JOURNALS
Rexford Newcomb specialised in the architectural heritage of California. In “Spanish-Colonial Architecture in the United States,” Newcomb traces the evolution of vernacular architecture in the region, shedding light on its cultural and environmental significance.
Amos Rapoport, in “The Meaning of the Built Environment,” explores how architecture communicates meaning and reinforces social norms, providing insight into the inclusive and exclusionary dimensions of architectural traditions.
Bernard Tschumi, an architect and theorist, challenges conventional architectural paradigms in “Architecture and Disjunction.” While not focusing on vernacular architecture, Tschumi’s work offers critical perspectives on modernist architectural limitations and alternative approaches to architecture without architects.
literature review 9
Chapter 15 talks about the relationship between phones and people today. That phones are not attached to us but we are attached to them. Stating that after food and water it was found that for a refugee it is the most valuable possession due to being their way of communicating with family back home, hosting their identification, translating etc. however it isn’t just refugees who are glued to their phones. In one touch of the screen the user is able to access things from anywhere in the world, the technology allows multiple spaces to be brought into one. Cell phones can also be seen as a shelter, as the technology houses more social interactions today than architecture does itself. Traditionally people would hold gatherings in large, open spaces interacting with people face to face. However, there is an inverse relationship between the degree of privacy in traditional architecture and the exposure we get from being online. For example, according to today’s culture it seems most appropriate not to be nude in public where you are face to face with people, hence small spaces are created such as bathrooms, bedrooms and changing rooms for privacy. Though, with technology these spaces create opportunities for exposure online where the user is secluded from people and judgement. It seems most appropriate in some minds to share nudity with people over the phone which are a distance away rather than with people right there. Hence public and private have been inverted. Also, through the phone we can observe evolution, from the first brick phone in 1983 to what we have in 2024, a sleek flat object that can fit in our pockets. Phones went from one use to allowing the user to become the designer with customisable wallpapers, app arrangements and photos, now with phones reacting to this with suggestions based on the users searches and purchases etc. constructing a digital version of the user. Showing the user what it thinks it wants to see, a mirror that has become the new space of design. Colomina- Wigley summarises with “Good design is an anaesthetic against the shock that design is changing us so much, changing the world so much, even that design has become the world”
10 relevannce
Vernacular architecture similarly to the box phone is a direct representation of the evolution of humans. Both phones and architectural design started with the base knowledge and resources we obtained, then through the need for more both began to change. Phones began to have more uses and continue to do so whereas the same does for architecture. Originally as a shelter to sleep, hidden from the environmental elements, then turned into kitchens, to living paces to bathrooms. Both evolve to maximise the comfort of the user and make the days easier. Vernacular spaces are designed for the lifestyle of someone typically without a phone, with spaces around to socialise face to face with people, whereas you see in modern architecture spaces are designed to host the need for small spaces and less larger spaces for gathering, as people fill that need for socialisation typically online. Looking at meeting rooms in businesses and how much they have changed with the advancement of technology, use to be a place where people meet for business however now can be done anywhere over zoom, soon the need for office buildings will become obsolete due to the ability for the employed to work from home, as stated in chapter 15 technology “works where you work, works where you go”. A large proportion of the world’s population today have access to phones, those phones have a camera and designs are able to be shared around at the click of a button. It’s how we know what vernacular architecture is although never being able to see it in person. By having this access to photos of design across the world people begin to form opinions on what they consider to be good design. Vernacular architecture, where the design is unique to the place, is no longer as strong in today’s culture in design. This is due to what we think people want to see, similar to the phone showing the user what it thinks they want to see on their screen. Whether designers are successful or not will vary based on the eye of the beholder.
ARGUMENT
Vernacular architecture directly shows the evolution of design, whereas when looking at more recent architectural design we can see how the views on aesthetics through influences around the world seen through technology have changed the way buildings have been employed and hence affected the design of future buildings. In vernacular architecture, spaces were designed for the practicalities of survival, now they are designed for comfort and to make life easier for the user, similar to phones which were designed just for phone calls, now for photos, emails, music, text, social media, games and calls etc. However both design and communication through technology both start with working from the base knowledge and what humans have available to them, both starting off with vernacular architecture and the phone.
11 relevannce
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. 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 Village (page 14).
12 discussion
Comparatively, Paul Oliver discusses in ‘Dwellings: the vernacular house world wide’ that architects were looking for new paradigms within the world of architecture during the time of Fathy’s study, to further the development of architecture in the 20th century. He states that this new direction could be seen in vernacular architecture. However this quickly failed as architects placed a large significance on the “record of the building rather than on its significance of its occupants”. (pg10) The lack of documentation was where these architects failed when attempting to replicate the vernacular of Egypt. Complementing this, Fathy discovered in his research involving the New Gourna Village that the aspect of vernacular emerges from the collective wisdom of communities, due to the deep connection to local culture, environment and resources. Additionally, Fathy’s studies in ‘Architecture for the Poor’ shows how vernacular architecture often embodies principles of affordability and accessibility. By utilising readily available materials and traditional construction techniques, vernacular architecture reduces reliance on energy-intensive processes and transportation, fostering resilience in the face of ecological challenges, hence, more inclusive in terms of economic participation.
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’. This idea is supported by Paul Oliver who believes ‘form follows function’, in the discourse that the modern architect cannot replicate the culture found in vernacular design through technical drawings alone.
13 discussion
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 does this by contrasting the standardised designs of modernist housing projects to the adaptive and site-specific nature of the vernacular in the courtyard houses of North Africa. These dwellings are designed to provide shelter from the desert heat while fostering social interaction among family members. The adaptive nature of courtyard houses evolves over time to meet the changing needs of occupants. Comparatively he reflects on the modern design of Le Corbusier’s Radiant City. 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.
14 discussion
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.
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. Fathy displays through his work on the New Gourna Village that integrating indigenous building techniques, materials, and craftsmanship reflect the unique identities and histories of different regions and in doing so Rudofsky supports that this can lead to successful and thriving communities supported through 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 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.
15 discussion
BOOKS
WHAT?
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. "Culture, Architecture, and Design" 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, emphasising 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 community-driven design in creating meaningful and sustainable built environments.
WHY?
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.
HOW?
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 prioritise marginalised communities’ needs. Fathy emphasises 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.
16 statement on selected sources
JOURNALS
WHAT?
These sources collectively offer a multifaceted exploration of Hassan Fathy’s pioneering work in sustainable and vernacular architecture, particularly within the context of Islamic arts and cultural continuity. “Earth & Utopia” provides a comprehensive examination of Fathy’s life, philosophy, and design principles, showcasing his innovative use of earth construction and sustainable practices. The edited volumes, “Hassan Fathy and Continuity in Islamic Arts and Architecture,” offer deeper insights into Fathy’s legacy within Islamic architecture, highlighting his contributions to traditional building practices and cultural identity. Additionally, the publications on socio-economic sustainability and vernacular architecture broaden the discourse by delving into the socio-economic factors influencing vernacular building construction and maintenance, as well as the emergence of local identity as a response to globalisation in architecture. Together, these works offer a rich tapestry of research, case studies, and theoretical frameworks for architects and scholars interested in sustainable design, cultural heritage, and identity in architecture
17 statement on selected sources
JOURNALS
WHY?
The journals have been meticulously curated to complement the selected books, offering a rich tapestry of knowledge that resonates with Hassan Fathy’s architectural ethos. Through these journals, we delve deeper into Fathy’s pioneering work, exploring the intricacies of his values, ideas, and profound contributions to the field of vernacular architecture. Furthermore, they serve as a conduit to amplify the discourse initiated by scholars such as Paul Oliver and Amos Rapoport, shedding new light on the interconnectedness of architectural heritage and societal dynamics. Each journal selected is a carefully crafted piece of scholarship, strategically chosen to not only avoid redundancy but also to provide nuanced insights that enrich and expand upon the core themes of the essay. They serve as invaluable resources that contextualise and illuminate the significance of Fathy’s legacy within the broader discourse of architectural theory and practice.
HOW?
Critical Vernacularism examines the global relevance of local architectural traditions, showcasing their cultural identity and sustainable design principles through theoretical frameworks and case studies. Hassan Fathy Revisited offers critical insights into vernacular architecture’s enduring relevance, particularly in addressing social, economic, and environmental challenges. The Translation of Tradition delves into the complexities of cultural exchange in architecture, emphasising respectful engagement with vernacular traditions amidst changing contexts. Socio-Economic Sustainability in Vernacular Architecture illustrates how vernacular architecture contributes to socially and economically impactful design by promoting community involvement, environmental sustainability, and responsiveness to local needs. Sustainability and Vernacular Architecture explores the redefinition of identity in the face of globalisation, highlighting sustainability as a driving force for cultural identity in architecture. Lastly, The Vernacular Language as a Basis for Thermal Comfort in Contemporary Architecture examines how vernacular elements contribute to thermal comfort in contemporary projects, drawing on Fathy’s pioneering work as a basis for achieving efficiency in thermal comfort.
18 statement on selected sources
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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.
Heath, Kingston. 2009. Vernacular Architecture and Regional Design. London: Routledge
Katz, Peter. 1993. The New Urbanism: Toward an Architecture of Community. New York: McGraw Hill.
Krier, Leon. 2009. The Architecture of Community. Washington DC: Island Press.
Memmott, Paul. 2007. Gunyah, Goondie + Wurley: The Aboriginal Architecture of Australia. St Lucia, QLD: University of Queensland Press.
Newcomb,Rexford. 1907. Spanish-Colonial Architecture in the United States. New York: Dover Publications Inc.
Oliver, Paul. 2003. Dwellings: The Vernacular House World Wide. London: Phaidon
Rapoport, Amos. 1969. House Form and Culture. Michigan: Prentice Hall.
Rapoport, Amos. 1982. The Meaning of the Built Environment: A Nonverbal Communication Approach. Arizona: University of Arizona Press.
Rapoport, Amos. 2005. Culture, Architecture, and Design. Chicago: Locke Science Publishing Company.
Tschumi, Bernard. 1994. Architecture and Disjunction. Massachusetts: The MIT Press.
20 bibliography
