exercise 5

Architecture without Architects: The Power of the Vernacular

Blacker + Swan Ar Khin Samar Akkach, Designing Research

Kate

SUMMERY

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, prioritizing community-driven design and sustainable building techniques over individual approaches. We argue that including cultural traditions and communities in design fosters inclusive, culturally rooted, and sustainable spaces, altering the dynamics between local communities and their built environment. Alongside this, we critique modern design practices that focus on individuality. This leads to our conclusion, supported by Hassan Fathy’s work, that vernacular traditions within architecture highlight how architecture extends beyond architects’ confines.

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, particularly in "Natural Energy and Vernacular Architecture," 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 well-being and community engagement over aesthetic or commercial concerns.

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.

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.

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.

SECONDARY SOURCES. This literature review provides a comprehensive examination of diverse perspectives within the field of architecture, particularly focusing on vernacular architecture, New Urbanism, traditional urban design, and architectural theory. Kingston Heath's work delves into the multifaceted dimensions of vernacular architecture, its cultural, environmental, and social significance in fostering inclusive and sustainable built environments worldwide. Peter Katz advocates for New Urbanism in his work of creating human-scale, socially interactive urban environments conducive to community well-being. Leon Krier critiques modernist urban planning paradigms and advocates for traditional urban design principles that prioritize pedestrianfriendly spaces and mixed land uses in "The Architecture of Community". Rexford Newcomb's study on Spanish-Colonial Architecture in the United States traces the evolution of vernacular architecture in California, emphasizing its cultural and environmental relevance. Amos Rapoport's investigation into the meaning of the built environment sheds light on how architecture communicates social norms and values, offering insights into the inclusive and exclusionary dimensions of architectural traditions. Lastly, Bernard Tschumi's "Architecture and Disjunction" challenges conventional architectural paradigms, providing critical perspectives on modernist limitations and alternative approaches to architecture. Collectively, these works contribute to a nuanced understanding of the diverse facets of architecture and its impact on society, culture, and the built environment.

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

Hassan Fathy’s work in Upper Egypt, as detailed in Architecture for the Poor, exemplifies his commitment to local traditions and community collaboration through the use of frameworkless mudbrick construction and active engagement with the residents of Gourna. 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 (figure 1). 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 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 quote 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 investigates how vernacular architecture exhibit environmental, social and cultural norms of its inhabitants, advocating for designs that are deeply rooted in local traditions and needs7 These perspectives demonstrate how by honoring vernacular traditions, cultural heritage of the communities and involving them in the process can create designs that are inclusive. Hence, 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.

MODERNIST TRADITIONS : EXCLUSIVITY IN DESIGN

Through the eyes of Bernard Rudofsky it is seen that modernist architecture often prioritizes 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 (figure 2) and mentions in his book that ‘There is much to learn from architecture before it became an expert’s art’.6 This emphasizes the value of vernacular architecture and the need to respect local building practices and cultural contexts. Simulary, 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 standardized 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.

Figure 1: New Gourna Village.

Figure 2: Le Corbusier’s Radiant City, Ville Radieuse.

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 prioritized documenting buildings over understanding their significance to occupants8. 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. 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 4). 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’. 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.

Figure 3: Traditional mud brick house in New Gourna Village

Figure 5: Modern brick house. Figure 6: Modern Courtyard design in Melbourne, Victoria, Australia

Figure 4: Court yard house in Africa

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 prioritizes 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 globalized vision of progress. As we navigate the complexities of the built environment, Fathy's work reminds us to recognize the value of both approaches and strive for a more inclusive and equitable architectural practice that honours diversity, empowers communities, and promotes sustainable living.

Figure 7: New Gourna Residents collaborativley working on the New Gourna Village.

CONCLUSION

In ‘Architecture for the Poor’, by Hassan Fathy, Fathy highlights the exclusivity of vernacular architecture in contrast to the exclusivity of modern architecture. He exemplifies the use of local materials and community collaborations in projects such as ‘New Gourna Village’ which highlights afford-ability, accessibility and resilience. In ‘Dwellings: The Vernacular House Worldwide’ by Paul Oliver, Oliver supports Fathy’s viewpoint by highlighting how vernacular architecture reflects local culture and community wisdom. These aspects emphasized by Fathy and Oliver are often missed by modern architects due their primary focus being aesthetics and physical attributes of their designs. Additionally, 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, with support from Oliver and Rudofsky, advocates for incorporating indigenous techniques and community involvement to create sustainable and inclusive environments. His critiques of modern architecture emphasize the necessity of context-sensitive, community-driven practices that honor diversity, empower communities, and promote sustainable living.

Additionally, in “The Vernacular Language as a Basis for Thermal Comfort in Contemporary Architecture” by Hend Abdelkader and Panayiota I. Pyla’s work in “Hassan Fathy Revisited” also highlights the use of local materials and community involvement for socio-economic sustainability. Both of these journals emphasize that involving the community in construction and using locally found materials are effective strategies which can help achieve long-term socioeconomic benefits. Using this approach helps foster an environment where the community can benefit from the economic activity generated by construction and the built environment. This, in turn, assists the well-being and development of the community. 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, advocate for approaches that are sustainable, contextual and are community oriented that values local practices and local cultural heritages as important components. Moreover, in ‘The Translation of Tradition: A Comparative Dialectic’ by James Steele, examines how traditional architectural methods can be adjusted and adapted to meet the needs of the modern world effectively, hence closing the gap between the past and future.

All these sources collectively advocate for a balance between local traditions and contemporary tendencies while pushing the theoretical boundaries. These approaches foster sustainable, inclusive and culturally relevant architecture which can lead to environmentally responsible designs that are culturally relevant. Integrating vernacular principles into contemporary architecture not only honors tradition but also ensures that contemporary buildings and designs are beneficial to the community, contextsensitive and are more resilient in the long run.

BIBLIOGRAPHY

SOURCES

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

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 Vernacular House World Wide (London: Phaidon), 8.

5 Oliver, 2003, 11.

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

7 Oliver, 2003, 10.

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

IMAGES

figure 1 : Naguib, Mostafa, 2011, New Gourna Village Conservation and Communıty, World Monuments Fund, 1 figure 2 : Staples, Robert. 2016, Driver(less) is more, Institut d’Arquitectura Avançada de Catalunya,6 figure 3 : A.Takahashi, n/a, New Gourna firgure 4 : Abdelsalam, Tarek. 2015. Traditional Courtyard House in Cairo figure 5 : Heil, Martijn, n.d. Brick Architecture. figure 6 : Mccrimmon, castley, n.d. Modern Courtyard House. figure 7 : Ros-Garcia, Juan. 2013. Community Engagement