Influences of Vernacular Architecture on Modern Sustainable Design by P Charalambides

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design

welsh school of architecture | Pantelis Charalambides wsa5

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design

Abstract: The collected wisdom of a placeâ&#x20AC;&#x;s native inhabitants has made them capable of finding viable solutions on working with the environments in which they build. This came from a process of trial and error over a period of many centuries and has formed the vernacular traditions specific for each place across the world. However, over the last few centuries phenomena such as the technological advancement and the globalization have created a trend towards an international style of buildings mainly influenced from the Western world which has resulted in vernacular building traditions to become obsolete. This has created a series of problems ranging from the harm to the environment to the identity crisis in the architecture of cultures around the world. This problem raised the awareness of the professionals in the field of architecture who sought to find ways to create buildings which are more responsive to the environment, often referred to as â&#x20AC;&#x17E;sustainableâ&#x20AC;&#x;. However, most of the principles of sustainable design where already applied in traditional dwellings many centuries ago proving that it is possible to provide comfortable environments using traditional solutions. Based on the opinions of leading researchers in the field of vernacular architecture, this dissertation analyses the Cypriot vernacular dwellings in order to define a set of principles for practicing sustainable housing designs in Cyprus. The analysis is separated into four sections: the historical, the environmental, the social and the technical. The validity of these principles/guidelines is then cross referenced against a contemporary sustainable design and draws some findings which will hopefully provide the basis of contemporary housing design in the Cypriot context.

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Influences of Vernacular Architecture on Cypriot Sustainable Housing Design

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design Pantelis Charalambides wsa5 0808451

A dissertation submitted in partial fulfilment of the degree of March, 2013

welsh school of architecture | Pantelis Charalambides wsa5

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design

Contents: Chapter 1: Introduction Chapter 2: Generally on Vernacular: 2.1 Defining the Vernacular 2.2 Characteristics of Vernacular 2.3 Approaches of Studying Vernacular Architecture

Chapter 3: Hypothesis and Method: 3.1 The importance of studying Vernacular Architecture 3.2 Aims/Objectives and Method of study

Chapter 4: Cypriot Vernacular analysis 4.1 Historical Aspects 4.2 Environmental Aspects 4.3 Social Aspects 4.4 Technical Aspects 4.5 Formulation of principles

Chapter 5: Contemporary Sustainable House testing 5.1 Cypriot Vernacular 5.2 Historical Aspects 5.3 Environmental Aspects 5.4 Social Aspects 5.5 Technical Aspects

Chapter 6: Conclusions-Findings

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Influences of Vernacular Architecture on Cypriot Sustainable Housing Design

List of Illustrations:

Figure 01: Grouping of vernacular architecture approaches Figure 02: Existing and Appropriate evolution of architecture throughout history Figure 03: Paros Figure 04: Alleys in Paros Figure 05: Semi-Circular Arch Figure 06: Equilateral pointed arch Figure 07: Example of Monochoro Typology Figure 08: Monochoro Typology Figure 09: Monochoro Figure 10: Monochoro Makrynari Figure 11: Dichoro Typology Figure 12: Dichoro Makrynari Figure 13: Dichoro Typology and its variations Figure 14: Dichoro Makrynari Figure 15: Vertical Repetitions of Monochoro and Monochoro Makrynari Figure 16: Solarium with arches Figure 18: Examples of horizontal epektaseis Figure 17: Solarium with timber shelter Figure 19: Examples of vertical epektaseis Figure 20: Houses with Iliakos welsh school of architecture | Pantelis Charalambides wsa5

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design Figure 21: View to the Ssospiton Figure 22: Mezzanine addition Figure 23: Kritou Terra Figure 24: Kritou Terra headwaters Figure 25: Kritou Tera settlement growth follows the river Figure 26 Monochoro with the entrance on the shorter side Figure 27: Environmental performance of monochoro and dichoro houses Figure 28: Environmental performance of house with iliakos Figure 29: Settlement allocation on map. Pano Arodes (orange) and Kathikas (blue Figure 30: Ringed Development of Pano Arodes settlement Figure 31: Finger Development of Kathikas settlement Figure 32: Natural-Feature-Dependant Development of Kritou Tera settlement Figure 34: Dwelling Complexes in Kathikas Figure 35: Dwelling Complexes in Pano Arodes Figure 33: Blank facades from the public footpath in the settlement of Kathikas Figure 35: Dwelling Complexes in Pano Arodes Figure 36: Dwelling facades from the public path in Pano Arodes Figure 37: Monochoro in Kritou Tera with entrance in the public path Figure 38: Relationship of houses to the two streets Figure 39: House built from sieropetres Figure 40: Fences built from athasopetres

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Influences of Vernacular Architecture on Cypriot Sustainable Housing Design Figure 41: Walls made out of mixture of rubble Figure 42: Window detailing as seen from the exterior Figure 43: Window and door detailing as seen from the interior Figure 44: Wall with skalosiotripes Figure 45: Doma Figure 46: Amfiklini roof Detail Figure 47: Sketch of Y-shaped beams as seen from the interior Figure 48: Derived Principles Figure 49: Ram贸n Esteve behind the model of the house Figure 50: concept sketch of the cubic shaped building Figure 51: North facade Figure 52: South facade Figure 53: Spatial organization Figure 54: The fireplace

welsh school of architecture | Pantelis Charalambides wsa5

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design

Chapter 1: Introduction Traditional architecture has developed over many centuries through a process of trial and error. The collected wisdom of each place‟s native inhabitants has made them capable of finding viable solutions on working with the climate extremes.1 However, over the last few centuries phenomena such as the technological advancement and the globalization have created a trend towards an international style of buildings mainly influenced from the Western world which has resulted in vernacular building traditions to become obsolete.2 People rightfully seek for high levels of comfort within the environment of their house. This can be achieved by incorporating high-tech ventilation systems as well as many other products of technology in buildings. However, these systems are expensive in initial cost and very energy consuming. In order for this energy to be consumed many of the earth‟s natural resources have been for centuries irrationally exploited and caused harm to the environment in many ways. This problem has brought the world to a point where these issues need to be addressed responsibly in order for the world as we know it to stay in existence. As a result, a tendency towards more climate

Despina K. Serghides, „The Wisdom of Mediterranean Traditional Architecture Versus Contemporary Architecture – The Energy Challenge‟, The Open Construction and Building Technology Journal, 4 (2010), 29-38 (p.29) 2

Paul Oliver, „Afterword: Raising the Roof‟, in Vernacular Architecture in the Twenty-First Century Theory, Education and Practice, ed. by Lindsay Asquith and Marcel Vellinga (London: Taylor and Francis, 2006) pp. 262-268 (p. 268)

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Influences of Vernacular Architecture on Cypriot Sustainable Housing Design responsive buildings has started to become the new trend in the field of architecture.3 With the term „sustainability‟ rapidly becoming more and more popular in the architectural community and it is now the most ethical way to practice architecture in the twenty-first century.4 However, most of the principles of sustainable design where already applied in traditional dwellings many centuries ago proving that it is possible to provide comfortable environments within a house using traditional solutions.5 This is not to say that designers should blindly mimic the vernacular traditions of the place in which they practice. Instead, computer technology, modern construction methods and innovative materials can be used in collaboration with vernacular traditions in order to search for ways of providing climate responsive houses. Ignoring a place‟s architectural heritage and disregarding the wisdom of the past is at best ill-informed if not arrogant. Therefore, this research‟s purpose is to study the characteristics of Cypriot vernacular architecture based on the opinions of leading names in the field

Yannas Simos and Willi Weber, Lessons from Traditional Architecture: Achieving Climatic Buildings by Studying the Past. 1 vols. (London: Earthscan, 2011) 4

Suha Ozkan, „Traditionalism in Vernacular Architecture ‟, in Vernacular Architecture in the Twenty-First Century Theory, Education and Practice, ed. by Lindsay Asquith and Marcel Vellinga (London: Taylor and Francis, 2006) pp. 262-268 (p. 268) 5

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Influences of Vernacular Architecture on Cypriot Sustainable Housing Design such as Paul Oliver, Marcel Vellinga, and Amos Rapoport and through their opinions provide information to define a set of principles for designing appropriate modern sustainable houses in Cyprus. After that, a contemporary sustainable house in Cyprus will be used as a case study and through the derived principles, test and question its validity as a sustainable response to the Cypriot context and state where it has succeeded, how could it improve and where could it be revised. The findings will hopefully give a clear idea of what is an appropriate house design for the Cypriot context and will provide the starting point of a much broader research for myself and other designers to define the principles for appropriate housing designs in Cyprus.

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Influences of Vernacular Architecture on Cypriot Sustainable Housing Design

Chapter 2: Generally on Vernacular 2.1 Defining the vernacular: Since the beginning of time, humans have been in the need of a shelter in order to be protected from the natural elements. This primitive need has intuitively urged people to start building their own dwellings which according to the context in which they were living, had a series of characteristics that made them differ from the dwellings of people who lived in other areas. This set of building traditions has been described over time in a variety of ways by people who sought the study of this field of architecture and the main terms being used to do so were: indigenous, folk, anonymous, primitive, and popular architecture6. However, the term which most comprehensively describes these dwellings and their traditions is ‘vernacular’. Derived from the Latin vernaculus (native), these pieces of architecture are categorized based on the fact that they follow certain building traditions (religious, tribal or localized).7 These building traditions

Amos Rapoport, House Form and Culture (Toronto: Prentice Hall, 1969), p.1 7 Paul Oliver, „Introduction‟, in Encyclopedia of Vernacular Architecture of the World, Volume 1: Theories and principles, ed. by Paul Oliver (Cambridge University Press, 1997) p.xxi

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Influences of Vernacular Architecture on Cypriot Sustainable Housing Design place vernacular dwellings within their environmental, national as well as their cultural context. In addition, their building form is strongly defined by the local material resources and technologies available at the time, the structural systems employed, as well as the environmental conditions of the context. On the cultural aspects the beliefs, the behavioural patterns and the community’s social structure have a bearing on the building type, functions and meanings of these dwellings.8 Others also believe that the analysis and study of the economic activity of a culture also have an important role to play in defining vernacular architecture.9

Paul Oliver, „Introduction‟, in Encyclopedia of Vernacular Architecture of the World, Volume 1: Theories and principles, ed. by Paul Oliver (Cambridge University Press, 1997) p.xxi 9 Suha Ozkan, „Traditionalism and Vernacular Architecture in the Twenty-First Century‟, in Vernacular Architecture in the Twenty-First Century, ed. by Lindsay Asquith and Marcel Vellinga (London: Taylor and Francis, 2006) pp. 97-109 (p. 100)

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Influences of Vernacular Architecture on Cypriot Sustainable Housing Design 2.2 Vernacular Characteristics: The main characteristics of vernacular dwellings are that they follow a strategic choice of site, and they

respond

the

area’s

micro-climatic

conditions. The dwellings are constructed using locally sourced materials and they are built by their owners/occupiers or occasionally with the aids of specialists who are still however, members of the same community using intuitive knowledge which is handed down from generation to generation. Moreover,

vernacular

architecture’s

building

traditions respond to the culture’s social and economic environments and they evolve along with the culture’s intuitive wisdom.10 Even though the diversity of these building traditions across the world would make any attempt to define vernacular in a few words seem unrealistic, perhaps the most accurate and concise definition of vernacular architecture is written by Paul Oliver in his book: Encyclopedia of Vernacular Architecture of the World (1997): Vernacular architecture comprises the dwellings and 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 are built to meet specific needs, accommodating the values, economies and ways of living of the cultures that produce them.

Paul Oliver, „Introduction‟, in Encyclopedia of Vernacular Architecture of the World, Volume 1: Theories and principles, ed. by Paul Oliver (Cambridge University Press, 1997) p.xxi

welsh school of architecture | Pantelis Charalambides wsa5

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design 2.3 Approaches Architecture:

Studying

Vernacular

The study of vernacular architecture is a broad subject and is increasingly attracting the interest of many specialists from a variety of fields. As mentioned above, vernacular architecture is heavily influenced on culture’s traditions, customs and beliefs, so naturally the study of it can reveal a great variety of information useful for people from many areas of study in a great variety of ways. Each of those fields takes its own positions in vernacular architecture study in order to obtain the information relevant to them. Therefore, in the study of vernacular architecture a series of different approaches and concepts have been developed, with the main ones being: Aesthetic, Anthropological, Archaeological, Architectural, Behavioural Patterns, Cognitive, Etic/Emic concept, Conservationist, Developmental, Diffusionist, Ecological, Ethnological, Evolutionary, Folkloristic, Geographical, Historical, Museological, Phenomenological concept, Recording and Documentation, Spatial concept, Structuralist theory and the Generative-Transformational method.11 (Appx. 01) This list of approaches doesn‟t mean that each study has to follow each and every one of these but rather gives the full picture of the variety of research fields in vernacular architecture. However, due to many overlaps in their principles the approaches can be grouped into four sections. (Fig. 01) As mentioned above, these four sections provide the headings

Paul Oliver, „Introduction‟, in Encyclopedia of Vernacular Architecture of the World, Volume 1: Theories and principles, ed. by Paul Oliver (Cambridge University Press, 1997) p.xxi

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Influences of Vernacular Architecture on Cypriot Sustainable Housing Design which will form the main body of this text, in analysing the Cypriot vernacular. A common issue observed in most of the approaches is the fact that in the study of vernacular building traditions focused mainly on the monument-buildings such as the temples, palaces and tombs in order to conduct their researches. In the field of archaeology for example, the study of vernacular architecture until recently, focused on the monument-buildings. However, in the last years the focus has shifted on the study of the city as a whole in order to gain a better understanding of the aspects interested in. It has been proven that the study of the vernacular dwellings and their relationships with monumentbuildings was equally (if not more important) than the study of only the monument-buildings. 12 Similarly, the architectural community traditionally has been giving great importance on the study of monument-buildings and the appraisal of the designer/architect for their talent, good taste and ingenuity. Even though this might be right to an extent, the study of monument-buildings only accounts for a very small portion of the whole building activity at any given time, even until today. 13 Considering that the majority of the built environment has been built without the aids of a designer/architect by people using intuitive knowledge, one can safely say that the study of the bulk of the built environment has largely been ignored by the architectural community. This tendency to categorize the monument-buildings as the â&#x20AC;&#x153;importantâ&#x20AC;? and the only ones worth to study, 12

Amos Rapoport, House Form and Culture (Toronto: Prentice Hall, 1969), p.1 13 Amos Rapoport, House Form and Culture (Toronto: Prentice Hall, 1969), p.2

welsh school of architecture | Pantelis Charalambides wsa5

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design neglecting vernacular dwellings and the environment which they compose, gives an undue importance to the former.14 Rather, it is the bulk of the built environment-which mostly comprises of the dwellings- that can give someone the most valuable lessons on a cultureâ&#x20AC;&#x;s traditions, customs and beliefs and in the field of architecture especially, there are many lessons to be learnt from the study of the vernacular dwellings.

Amos Rapoport, House Form and Culture (Toronto: Prentice Hall, 1969), p.2

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Influences of Vernacular Architecture on Cypriot Sustainable Housing Design Figure 01: Sections of Vernacular Architecture Approach15

Author

welsh school of architecture | Pantelis Charalambides wsa5

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design

Chapter 3: Hypothesis and Method 3.1 The importance Architecture.

studying

Vernacular

As with many cultures around the world, contemporary Cypriot dwellings have lost their identity and they are now mere followers of global trends mainly influenced from Western cultures.16 All the above were results of globalization which was a consequence of the technological advancement. The rapid technological advancement that the industrial revolution brought along had a massive impact on this as well as the way people lived until then. It has certainly expanded many possibilities in a great variety of aspects of life, the extent of which is something that will not be discussed here as it is a whole new topic of research itself. However, there is a belief by many that ‘technology’ and ‘vernacular’ are two contradictory terms and cannot coexist in an architectural proposition. This statement might be right to an extent but this is only because people have been using technology in the wrong way when it comes to dwelling design and construction.17 Technology with respects to architecture, has enabled a more active control of the environmental conditions of buildings through the aids of mechanical systems to regulate the internal comfort levels, it has given many opportunities on the choice of materials other than

Isaac A. Meir and Susan C. Roaf, „Traditionalism and Vernacular Architecture in the Twenty-First Century‟, in Vernacular Architecture in the Twenty-First Century, ed. by Lindsay Asquith and Marcel Vellinga (London: Taylor and Francis, 2006) pp. 199-230 (p. 216)

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Influences of Vernacular Architecture on Cypriot Sustainable Housing Design the locally available ones, it has pushed the limits of building materialsâ&#x20AC;&#x2122; into new levels and has given many other possibilities which whether they were beneficial or not is a controversial matter. However, this series of new capabilities has given the power to many people responsible for the design of these buildings (the majority of them being architects) to design without considering the context in which they build. As a consequence, this created numerous problems. The most significant ones is the harm to the environment and the loss of cultural identity in the architecture of many around the world. After decades of irrational exploitation of the earthâ&#x20AC;&#x2122;s natural resources due to the new abilities that technology brought along, and after many examples

inappropriate-for

â&#x20AC;&#x201C;their-contexts

designs issues of sourcing and transporting materials, the impact of a building on its environment during and after construction (i.e. the carbon footprint of the building) have emerged as a topic of concern in the architectural community. Moreover, the technological advancement has brought some other issues as well. As previously mentioned, every culture in every corner of the world has its own building traditions. This set of building traditions were followed by everyone in the given community and they were in a way an unwritten building law which everyone accepted and obeyed without questioning. They were considered to be the principles of building in each area and they were a matter of concern for everybody living in the given area and were

welsh school of architecture | Pantelis Charalambides wsa5

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design handed down from generation to generation.18 However, with technological advancement came the globalization which in turn might has had a catastrophic effect on the ways people build. It has brought a homogenizing effect in buildings around the world. As a consequence, homogenization has brought the disappearance of each culture’s building traditions. Homogenization has broken the link between society and its building traditions and the latter ceased to be an active influential factor on the way people build.19 (Fig.02)

Amos Rapoport, House Form and Culture (Toronto: Prentice Hall, 1969), p.6 19 Suha Ozkan, „Traditionalism and Vernacular Architecture in the Twenty-First Century‟, in Vernacular Architecture in the Twenty-First Century, ed. by Lindsay Asquith and Marcel Vellinga (London: Taylor and Francis, 2006) pp. 97-109 (p. 108)

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Influences of Vernacular Architecture on Cypriot Sustainable Housing Design

Existing

Appropriate

Figure 02: Existing and Appropriate evolution of architecture throughout history20

Author

welsh school of architecture | Pantelis Charalambides wsa5

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design Undoubtedly, the ceasement of validity of local building traditions has yielded architecture that is in most cases inappropriate to the complex nature of an area’s cultural norms and environmental conditions in a number of ways. 21 Firstly, the purposefulness of the vernacular dwellings’ construction was lost. Every single element of a vernacular building was put together in the specific way for a reason, leaving at the same time a sense of openness for evolution to happen. This idea of the purposeful interrelation of elements was evident in a great range of scales; from the relationship of all the building elements that comprise a small dwelling (micro) to the relationship of buildings within the whole settlement (macro) and the relationship of all of the above to their environment. This characteristic is something which the majority of the contemporary designs miss. As a consequence, in the course of time most of the contemporary buildings will prove conceptually and visually incompetent to compare with the timelessness of vernacular buildings. The reason for that being that these buildings will inevitably never feel rooted to their social nor their environmental context as they do not respond to them.22 Secondly, modern societies tend to put a premium on originality and often this is done for no particular

Suha Ozkan, „Traditionalism and Vernacular Architecture in the Twenty-First Century‟, in Vernacular Architecture in the Twenty-First Century, ed. by Lindsay Asquith and Marcel Vellinga (London: Taylor and Francis, 2006) pp. 97-109 (p. 108) 22 Amos Rapoport, House Form and Culture (Toronto: Prentice Hall, 1969), p.6

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Influences of Vernacular Architecture on Cypriot Sustainable Housing Design reason, rather than its own sake. This tendency is an effect of the extinction of the vernacular building traditions as a regulator in a cultureâ&#x20AC;&#x2122;s architecture and consequently modern societies think of vernacular traditions as something undesirable.23 However, this desire for originality in buildings sometimes produces results which are based on ill-thought responses to real life conditions of a place. Although this is a socio-cultural phenomenon of modern societies, it has a direct impact on the resulted architecture. Thirdly, as technology progresses peopleâ&#x20AC;&#x2122;s needs follow, creating needs that people possibly never had. Either because they were suppressed over the knowledge that they cannot be achieved (due to the lack of the necessary means) or simply because they were genuinely non-existent before people knew they could have them. The effect that this had in architecture was the gradual increase for the need of more complex buildings/briefs which could not be satisfied just by following the vernacular building traditions, making this way vernacular building traditions obsolete compared to the specialization of all the professions that emerged as a result of the technological advancement.24 The above statements are not to say that technology should be excluded from the process of designing and constructing buildings as it has become an integral part of the industry and claiming to do so would be naĂŻve, nostalgic and more importantly unrealistic. Technology in 23

Amos Rapoport, House Form and Culture (Toronto: Prentice Hall, 1969), p.6 24 Amos Rapoport, House Form and Culture (Toronto: Prentice Hall, 1969), p.7

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Influences of Vernacular Architecture on Cypriot Sustainable Housing Design respects to architecture needs to be used in search of ways of reinforcing the vernacular traditions rather than replacing them altogether. The idea of using both collaboratively is what should be the goal of every self-conscious designer. The ways in which the technological advancement and its bad use have had catastrophic effects to the environment has started to be realized by many in the field of architecture. With the term â&#x20AC;&#x2DC;sustainabilityâ&#x20AC;&#x2122; becoming more and more popular in the architectural community, it has now become one of the most popular principles for environmentally and socially ethical responses in the twenty-first century when it comes to building design. However, the principles of vernacular architecture and sustainable design share a lot of common grounds. Therefore, the study and thorough understanding of vernacular dwellings and their traditions should become an integral part of sustainable housing design in any given context.

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Influences of Vernacular Architecture on Cypriot Sustainable Housing Design 3.2 Aims/Objectives and Method: Establishing the fact that the study of vernacular architecture can most certainly teach many lessons on the design of sustainable housing design, this essayâ&#x20AC;&#x2122;s aim is to discover the characteristics that determined the design of these vernacular dwellings through the process of analysis. Then, through the careful evaluation of these characteristics, determine which could be applicable in the design of contemporary Cypriot sustainable housing today and which are no longer valid in order to be tested against a contemporary sustainable design of the region. These principles would ideally become the starting point of many local architects to follow in their housing designs in order to create designs which are addressing contemporary needs through the aids of contemporary means but at the same time appropriate and well rooted to the Cypriot context. For the conduction of this research the main Cypriot Vernacular characteristics will be analysed based under the four groups of approaches of study which can be found in earlier chapters: the historical, the environmental, the social and the technical. A study under each one of them will ensure a holistic approach to the matter but will also help the readers navigate themselves easily through the text. Through the analysis of the Cypriot dwellings based on the four groups of approaches a set of principles/guidelines will be created to provide the basis of modern sustainable housing designs in Cyprus. After generating the set of principles/ guidelines an evaluation of which of these are still applicable today and which have become obsolete will take place. welsh school of architecture | Pantelis Charalambides wsa5

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design

Finally, a contemporary sustainable house situated in the Mediterranean region will be used as a case study and through the derived principles, test and question its validity as a sustainable response to the Cypriot context and state where it has succeeded, how could it improve and where could it be revised. The findings will hopefully give a clear idea of what is an appropriate housing design for the Cypriot standards and will provide the starting point of a much broader research for myself and other designers to define the principles for appropriate housing designs in Cyprus. So far the majority of published material available on Cypriot vernacular architecture has been merely descriptive. The aim of this research is to go beyond the mere description of Cypriot dwellings and give guidelines on how to practice sustainable architecture in the design of contemporary Cypriot dwellings. Ideally, this piece of writing will be the beginning of a much larger one which will be constantly updated according to the changing needs of later societies and evolve through time just like the vernacular dwellings used to do.

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Influences of Vernacular Architecture on Cypriot Sustainable Housing Design

Chapter analysis:

Cypriot

Vernacular

Throughout its history, Cypriot vernacular architecture has gone through various evolutions as a result of the natural conditions as well as the changing economic, political & social situations of the island. 25 Due to the islandâ&#x20AC;&#x2122;s large area and the varied morphology of the ground there were two forms of dwellings developed with the most evident difference being in the roof type. The two roof types were the flat roof (epiklini26 or doma) and the pitched (amfiklini). In the early examples of dwellings the flat roof was primarily used in the lowlands and the pitched in the highlands. 27, However, in later evolutions the choice of the dwelling form was determined by the needs and occupation of the inhabitants, the materials immediately available and the actual use of the roof rather than merely its location. Therefore, it is not rare to come across settlements in Cyprus that include dwellings with both flat and pitched roof Dwellings. For example, a flat roof would be more useful for a farmer as some of the produce had to be sundried (olives, tomatoes), while the pitched roof would be more useful for a stock breeder for storing straw for the animals. 28 4.1 Historical:

influences on the dwellings according to the historical development.

G. Ch. Papacharalampous, I Kipriaki Ikia (Nicosia: Kentron Epistimonikon Erevnon, 1968), p. 4 26 The denoted word is the name in Greek and this convention will be used throughout the text 27 Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 124 28 G. Ch. Papacharalampous, I Kipriaki Ikia (Nicosia: Kentron Epistimonikon Erevnon, 1968), p. 4

welsh school of architecture | Pantelis Charalambides wsa5

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design The fact that the first inhabitants of the island was found to be Greeks (from as early the second millennium BC)31 is a clear sign where the influences of the dwelling types and the settlementsâ&#x20AC;&#x2122; patterns came from. These influences also had a large impact on the development of the islandâ&#x20AC;&#x2122;s family and social structure.32 Therefore the

Figure 03: Paros29

Figure 04: Alleys in Paros30

first forms of dwellings in Cyprus were based on dwellings found in various Greek islands due to the Greek cultural background of the inhabitants as well as the climatic similarities of the influential places with Cyprus. The architectural language of the flat roofed dwellings was based on the Cycladic, Dodecanesian and Cretan architecture which comprise the southern part of Greece.33 The architecture of the southern part of Greece is characterized by white washed houses which are built on steep topography, next to and on top of each another. Their cubic shapes and their smooth-edged corners give out a unique sense of space. (Fig. 03) Although densely-built the settlements as a whole give a sense of airiness. The spaces in-between the dwellings comprised of narrow alleys (Fig. 04) which connected the houses and occasionally some break-out spaces were found which formed the public spaces of landmarks within the settlements. These landmarks would either be the church, the school or the coffee house of the settlements.34 Even 31

<http://en.wikipedia.org/ wiki/File:ParosHuis.JPG> [accessed 10/01/2013] 30 <http://www.cycladia.co m/blog/news/cycladicarchitecture> [accessed 10/01/2013]

G. Ch. Papacharalampous, I Kipriaki Ikia (Nicosia: Kentron Epistimonikon Erevnon, 1968), p. 1 32 G. Ch. Papacharalampous, I Kipriaki Ikia (Nicosia: Kentron Epistimonikon Erevnon, 1968), p. 1 33 <http://www.cycladia.com/blog/news/cycladic-architecture> [accessed 28/12/12] 34 <http://www.skiathos.gr/index.php?option=com_content&vie w=article&id=71&Itemid=108&lang=el> [accessed 29/12/12]

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Influences of Vernacular Architecture on Cypriot Sustainable Housing Design though for the first inhabitants of these islands the aesthetics wasn’t the main purpose of their structures, the architecture yielded had a unique and special character which at the same time responded to the high solar exposures of the summer and the strong winds of the winter. 37 4.1.1 Influences: Figure 05: SemiCircular Arch35

Throughout its history, Cyprus passed through the hands of many conquerors (Appx. 02) and each of them

had

its

influences

the

island’s

architecture. Perhaps the most influential period of the above eras in respects to architecture was the middle Ages where for the first time the arches were introduced into the island’s architecture. The arches were either used in the interior as openings in the partition walls (later evolutions of dwellings) or on the exterior walls of the dwellings. This addition was made under the Byzantine Empire where during its early stages the Franks and during its later times the Venetians ruled. 38 Figure Equilateral arch36

06: pointed

The two types of arches found in Cypriot vernacular is the round or semi-circular arch (Fig. 05) and the equilateral pointed arch (Fig. 06) each of them introduced in the respective era.39 In rare cases someone might come across dwellings with

<http://upload.wikimedi a.org/wikipedia/commons /e/e9/Spetsb%C3%A5ge. png> [accessed 10/01/2013] 36 <http://upload.wikimedi a.org/wikipedia/commons /e/e9/Spetsb%C3%A5ge. png> [accessed 10/01/2013]

<http://www.cycladia.com/blog/news/cycladic-architecture> [accessed 28/12/12] 38 Stephanos Sinos, Anadromi sti Laiki Arxitektoniki tis Kiprou (Athens: Emp Scholi Architektonon Michanikon1976), page 93 39 G. Ch. Papacharalampous, I Kipriaki Ikia (Nicosia: Kentron Epistimonikon Erevnon, 1968), p. 2

welsh school of architecture | Pantelis Charalambides wsa5

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design triangular arches but these are mere imitations of gothic buildings remnants of the Crusades Era.40 Even though it had no roots to the Greek architecture and cannot be found in any other Greek place, its application in Cyprus came as a result of the islandâ&#x20AC;&#x2122;s history and it became an integral part of the islandâ&#x20AC;&#x2122;s architectural heritage. In its application the local builders beautifully incorporated the feature into the Cypriot vernacular adapting the construction methods to suit the local building traditions by simplifying its form and construction to suit the simple minimal form of the buildings.41 During the Ottoman Empire the fear and oppression that dominated the inhabitants of the island was another influential factor of the architecture of the island. The houses became introverted opening up to their back gardens. Moreover, the windows facing any public path were minimized and in some cases they not included at all. This was done initially for safety against the conquerors however in later years these strategies were adopted to achieve more privacy in the interior of the house.

G. Ch. Papacharalampous, I Kipriaki Ikia (Nicosia: Kentron Epistimonikon Erevnon, 1968), p. 2 41 Stephanos Sinos, Anadromi sti Laiki Arxitektoniki tis Kiprou (Athens: Emp Scholi Architektonon Michanikon1976), page 93

30 Pantelis Charalambides wsa5| welsh school of architecture

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design 4.1.2 Typologies and Evolutions: According to the people’s needs, the place’s

Figure 07: Example of Monochoro Typology 42

historic evolution and the development of its social structure the dwellings evolved in layout creating this way the different typologies of the Cypriot vernacular house. There are three basic typologies and each of them has many alterations, however, the principles are similar: 44 1. The basic type of a single monochoro or a double space dichoro

space:

2. The basic types: monochoro or dichoro elongated either in height or length or both makrynari 3. Figure Monochoro Typology43

And the combination of the two: epektaseis

08: 

Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 25 43 Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 27

Monochoro (single space) (Figs. 07 & 08)

This typology has two main variations both of which house the activities into a rectangular room. The first variation is the single room which houses sleeping preparing food and keeping animals in a rectangular shaped room. (Fig. 09) The second is the makrynari, a prolonged rectangular shape which is separated through a step into two areas. There was the main area where the family activities took place, such as eating and preparing food and a smaller one for keeping the animals.45 (Fig. 10)

Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 74 45 Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 75

welsh school of architecture | Pantelis Charalambides wsa5

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design Figure 09: Monochoro 46

α. 4.00 - 4.30 m, β. 6.00 - 7.00 m, γ. 2.60 - 3.30 m

Figure 10: Monochoro Makrynari 47

α. 4.00 - 4.30 m, β. 6.00 - 7.00 m, γ. 2.70 - 3.25 m

Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 75 47

Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 74

32 Pantelis Charalambides wsa5| welsh school of architecture

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design 

Dichoro: (two spaces) (Fig. 11) and (Fig. 12)

Dichoro was the evolution of the monochoro and it, too, featured two evolutions: The two-room house: dichoro and the elongated two-room house: dichoro makrynari’. (Fig. 14) The main difference Figure 11: Dichoro Typology48

from the monochoro typology was the addition of a partition wall creating a segregation of the communal from the private areas.50 The partition wall featured either a rectangular opening or in the dwellings of the wealthier featured an arch. This partition was either perpendicular or parallel (Fig. 13) 

Figure 12: Dichoro Makrynari49

Anoi: Two storey dwellings

Later evolutions of the two aforementioned typologies featured the addition of a storey above. In contrast to the single storey typologies these houses could also be found detached. The main purpose of upper floor was to provide a more private space for sleeping.51 Other beliefs are that the extra storey served as storage space for the farmers’ produce or straw for feeding the animals. (Fig. 15)

Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 27 49 Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 76

Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 76 51 Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 77

welsh school of architecture | Pantelis Charalambides wsa5

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design Figure 13: Dichoro Typology and its variations52

α1: 5.70 - 9.50 m β1: 6.00 - 9.50 m γ1: 2.70 - 3.30 m γ2: 2.60 - 3.00 m

Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 77

34 Pantelis Charalambides wsa5| welsh school of architecture

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design Figure 14: Dichoro Makrynari 53

α2: 5.40 - 8.00 m β2: 10.00 - 15.00 m γ4: 2.70 - 3.15 m γ5: 2.80 - 3.50 m

Figure 15: Vertical Repetitions of Monochoro and Monochoro Makrynari 54 53

Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 77

welsh school of architecture | Pantelis Charalambides wsa5

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design

α: 4.00 - 4.50 m β: 6.00 m γ: 5.50 - 6.50 m

α: 4.00 - 4.50 m, β: 11.00 m, γ: 5.50 - 6.50 m

Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 78

36 Pantelis Charalambides wsa5| welsh school of architecture

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design 

Figure 16: Solarium with arches55

Epektaseis: Variations

Even though some dwellings had different characteristics than the three aforementioned basic typologies, all of them had as basis one of the three. Such variations could include the addition of extra rooms or an extra storey. All of these additions were adaptations of the houses based on the inhabitant’s specific needs. They were effectively repetitions of typologies grown horizontally i.e. two dichoro typology dwellings place

adjacently

(Fig.

18α)

placed

perpendicularly to form an L-shape (Fig. 18β) or the addition of a monochoro or dichoro into the existing monochoro makrynari or dichoro makrynari (Fig. 18γ). The vertical additions could be the an extra storey in the monochoro or dichoro typology (Fig 19α) or the addition of the extra Figure 17: Solarium with timber shelter56

storey to convert the existing house into the anoi typology

(Fig

19β)

the

addition

the

monochoro or monochoro makrynari on top of a dichoro or a dichoro makrynari (Fig. 19γ).

Stephanos Sinos, Anadromi sti Laiki Arxitektoniki tis Kiprou (Athens: Emp Scholi Architektonon Michanikon1976), p. 128 56 Stephanos Sinos, Anadromi sti Laiki Arxitektoniki tis Kiprou (Athens: Emp Scholi Architektonon Michanikon1976), p. 118

The determining factors of the location of the extensions in relation to the existing house were the shape of the plot, the orientation of the dwelling and the maximization of use of existing boundary walls. In these extensions it was common to come across the additions of a space between inside and outside which was usually placed in front of the entrance and was effectively a covered porch named solarium

welsh school of architecture | Pantelis Charalambides wsa5

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design

(iliakos)57 (Fig. 20). This addition was what allowed the use of arched openings on the facade of the buildings mentioned above.58 (Fig. 16 and 17)

Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 79 58 Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 76

38 Pantelis Charalambides wsa5| welsh school of architecture

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design Figure 18: Examples of horizontal epektaseis59

Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 79

welsh school of architecture | Pantelis Charalambides wsa5

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design Figure 19: Examples of vertical epektaseis60

Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 80

40 Pantelis Charalambides wsa5| welsh school of architecture

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design Figure 20: Houses with Iliakos 61

G. Ch. Papacharalampous, I Kipriaki Ikia (Nicosia: Kentron Epistimonikon Erevnon, 1968), p. 135

welsh school of architecture | Pantelis Charalambides wsa5

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design

ď&#x201A;ˇ

Figure 21: View to the Ssospiton62

Figure Mezzanine addition63

22:

Ancillary Spaces:

As the cultural development of the island evolved the social needs of the inhabitants grew resulting in the need for other ancillary spaces.64 Such space was the in-house room (ssospiton) (Fig. 21) which was added as an extra room at the back of the dichoro typology. Cypriots were famous for their warm hospitality therefore this room served as a guest room as it was not unusual to have guests sleeping over relatively often. In it they usually built a timber mezzanine (Fig. 22) which served as a warehouse for storing the food supplies of the family as well as cereals for the animals therefore making use of the room throughout the year.65 Ssospiton can be found in some dwellings of the dichoro typology and was usually added at the back of the house. In later evolutions the room was moved on the side. Another additional room commonly found was the cooking room (mairkon) in which the kitchenware was stored and the food preparation was taking place. All the rest of the ancillary spaces were placed in the dwellingsâ&#x20AC;&#x2122; garden. and included a stable, a washing closet, a cistern for washing clothes and a built outdoor fireplace which was used for cooking meals in the summer.66

Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 148 63 Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 148

Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 124 65 G. Ch. Papacharalampous, I Kipriaki Ikia (Nicosia: Kentron Epistimonikon Erevnon, 1968), p.34 66 G. Ch. Papacharalampous, I Kipriaki Ikia (Nicosia: Kentron Epistimonikon Erevnon, 1968), p.38

42 Pantelis Charalambides wsa5| welsh school of architecture

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design 4.2 Environmental:

Analysis of morphological/topographical data such as ground contours, natural features such as rivers, and microclimatic data such as sun orientation, prevailing winds, and humidity levels.

4.2.1 Morphological/Topographical factors which affected the settlements and their architecture:

Figure 23: Terra67

Kritou

Figure 24: Kritou Terra headwaters

Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 2

The fact that Cypriot vernacular dwellings are characterized by simple and frugal forms was a proof of the sensitivity the inhabitants showed to the landscape. By building them as low as possible into the landscape they showed their intention to make the dwellings subordinate to their environment and the topographical characteristics of an area. This was a determinant factor on the dwelling siting as well as its typology.68 In lowlands where the topography of the ground was relatively flat the dwellings featured a flat roof and they were primarily single-storey presenting a horizontal growth. In highlands where the topography was steeper and the available plots where smaller in comparison to lowlands, the dwellings were usually two-storey high presenting a vertical growth. Moreover, the fact that the plots are smaller on highlands meant that the settlements were densely-built. This helped reducing the intensity of the strong winter winds and allow for more heat retention in the interior of the houses. Due to the low availability of arable land the dwellings were placed on the rocky part of the available land in order to leave the arable land free for harvesting and growing animals. 69 Another environmental factor which affected the location of the dwellings within a settlement was the availability of natural features such as water around the area. For example, Kritou Terra (Fig. 23) which is one of the few settlements in Cyprus 68

Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 51 69 Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 50

welsh school of architecture | Pantelis Charalambides wsa5

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design that benefits from a river running along the settlement had all of its 200 dwellings facing the river.70 Along the southern part of the river, the water-related activities and constructions flourished with the main ones being the fountain of the headwaters (Fig. 24) taking advantage this way to the fullest the availability of the water. Moreover, the north-western part of the settlement follows the direction of a sub-branch of the river because of which the settlement becomes curvy. 71 The dwellings form a linear development and they follow the two main circulation axes of the settlement which separate the village into an acclivity and a declivity.72 However it was the riverâ&#x20AC;&#x2122;s shape which determined the building allocation and therefore the two main circulation axes (Fig.25). With the exception of the two circulation axes the rest of the settlementâ&#x20AC;&#x2122;s paths are formed as spaces in-between the boundary walls of the houses which followed the topography. This meant that the boundary walls were built in such way as to avoid large height differences from one side to another and therefore waste of material. The above strategic choices showed how the inhabitants evaluated their options and took advantage

the

fullest

extent

the

areaâ&#x20AC;&#x2122;s

characteristics and natural resources.

Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 30 71 Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 30 72 Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 31

44 Pantelis Charalambides wsa5| welsh school of architecture

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design Figure 25: Kritou Tera settlement growth follows the river73

Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 41

welsh school of architecture | Pantelis Charalambides wsa5

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design

4.2.2 Microclimatic conditions and effects on the dwellingsâ&#x20AC;&#x; The microclimate of the area such as the sun intensity and the sun angles, the prevailing winds as well as the humidity levels were another determining factor on a settlementâ&#x20AC;&#x2122;s architecture. Orientation/ Solar Gains:

Figure 26 Monochoro with the entrance on the shorter side74

G. Ch. Papacharalampous, I Kipriaki Ikia (Nicosia: Kentron Epistimonikon Erevnon, 1968), p.106

The orientation of the buildings was also an important decision that had to be taken and was heavily influenced by the environmental conditions of the area. The houses were traditionally, long and narrow which was done to allow as much sunlight access as possible into their interior. 75 Usually, in the single and two-room houses (monochoro and dichoro), the doors were being placed on one of the shorter sides of the rectangular shaped buildings (Fig. 26) and in later evolutions (monochoro and dichoro makrynari) it was placed on the longer side but always facing south to allow for the bigger opening to face the sun and therefore allow more sunlight in the interior (Fig. 27).76 The garden was also southfacing which meant that the entrance opened into the garden (Fig. 27). 77 This reinforced the idea of the strong connections of people with nature.

G. Ch. Papacharalampous, I Kipriaki Ikia (Nicosia: Kentron Epistimonikon Erevnon, 1968), p.30 76 G. Ch. Papacharalampous, I Kipriaki Ikia (Nicosia: Kentron Epistimonikon Erevnon, 1968), p.4 77 Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 50

46 Pantelis Charalambides wsa5| welsh school of architecture

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design In later evolutions, in dwellings which featured solarium (â&#x20AC;&#x2DC;iliakosâ&#x20AC;&#x2122;) the entrance was always exposed to the sun and was effectively warming up the three walls instead of only one. Exposing as many thermally massive wall surfaces as possible to the sun ensured maximum solar gains which were extremely beneficial during the winter (Fig. 28).78 In contrast to the low winter solar ray the high summer ones were blocked off from the shelter allowing the air underneath the solarium to cool down and provide comfortable conditions. Prevailing winds: The solarium was also serving as a buffer zone between inside and outside which was blockingout some of the strong winds in the winter. The addition of the solarium was also particularly useful as to restrict unwanted infiltration from the entrance door which was the biggest opening in on the house (Fig. 28). Moreover, the northern and western walls of the dwellings were usually kept blank or with minimal openings to block-out the strong prevailing winds coming from these sides.79 Although they were small, the openings on the northern side of the dwellings had a significant importance for the cross ventilation of the house something essential, especially during the harvesting period (Fig. 27). 80

G. Ch. Papacharalampous, I Kipriaki Ikia (Nicosia: Kentron Epistimonikon Erevnon, 1968), p.29 79 Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 50 80 G. Ch. Papacharalampous, I Kipriaki Ikia (Nicosia: Kentron Epistimonikon Erevnon, 1968), p.23

welsh school of architecture | Pantelis Charalambides wsa5

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design Humidity: In the highlands where the humidity levels were high the main spaces of the dwellings were placed on the top storey leaving the ground floor for the ancillary spaces such as for keeping the animals and storing food supplies.81

Stephanos Sinos, Anadromi sti Laiki Arxitektoniki tis Kiprou (Athens: Emp Scholi Architektonon Michanikon1976), p. 38

48 Pantelis Charalambides wsa5| welsh school of architecture

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design Figure 27: Environmental performance of monochoro and dichoro houses82

Figure 28: Environmental performance of house with iliakos 83 82

Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 92

welsh school of architecture | Pantelis Charalambides wsa5

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design

G. Ch. Papacharalampous, I Kipriaki Ikia (Nicosia: Kentron Epistimonikon Erevnon, 1968), p.141

50 Pantelis Charalambides wsa5| welsh school of architecture

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design

4.3 Social:

Analysis of settlement patterns, squares/meeting points, main circulation arteries, important public buildings, and social aspects of individual dwellings.

4.3.1 Settlement Growth Patterns:

Figure 29: Settlement allocation on map. Pano Arodes (orange) and Kathikas (blue)84

In general there were two ways which a settlement could grow. The first way of settlement growth was by placing the main square in the most prominent site of the area. This would form the centre of the village in which the church and the coffee house with a small shop in it were situated (i.e. the public buildings of the village). The dwellings were then allocated either in a ringed development around this central core (Fig. 30) or in fingers (Fig. 30) which had the central core as the focal point. The first way of development can found in the settlement of Pano Arodes and the second in Kathikas. (Fig. 31) The topography of the site would determine the public footpaths which in turn determined the way in which the dwellings will be developed around the main square (in rings or fingers). This was the most common planning type of Cypriot village. However, in some cases when the place had special environmental characteristics they became the determinant factors on the planning growth of the village. These characteristics were the areaâ&#x20AC;&#x2122;s topography or the availability of water features such as a river. The topography for example determined the settlements footpaths and the dwellings would be built around the existing infrastructure leaving the

Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 2

landmarksâ&#x20AC;&#x2122; allocation second in priority. In the case of the availability of a water feature such as a river, the dwellings would be built along it in order to make them out of its use (Fig. 32). This meant that

welsh school of architecture | Pantelis Charalambides wsa5

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design the landmarks of a village such as the church, the coffee house and the shop were placed in a separate building block from the dwellings. In any of the two ways of settlement growth the landmarks were easily accessible by all the dwelling blocks within the settlement. 85

Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 73

52 Pantelis Charalambides wsa5| welsh school of architecture

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design Figure 30: Ringed Development of Pano Arodes settlement86

Author

welsh school of architecture | Pantelis Charalambides wsa5

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design Figure 31: Finger Development of Kathikas settlement87

Author

54 Pantelis Charalambides wsa5| welsh school of architecture

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design Figure 32: Natural-Feature-Dependant Development of Kritou Tera settlement88

Author

welsh school of architecture | Pantelis Charalambides wsa5

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design 4.3.2 The streetscape and the internal courtyards:

Figure 33: Blank Facades of Kathikas

The public paths were separating the settlement into building blocks which usually comprised of complexes of three to four houses. The positioning of the dwellings was done in such way, so as to create secluded internal courtyards. The introverted character of the complexes was underlined by the fact that the housesâ&#x20AC;&#x2122; entrances were placed away from the public realm (Fig.33, 36) and opening into the internal courtyard (Fig.34, 35) achieving this way a level of privacy and safety during war times. All the activities were taking place in the secluded internal courtyard formed the everyday social life of the inhabitants, away from the eyes of the passers-by and more importantly the conquerors. Within the courtyard the neighbouring relationships were usually brotherly and helping each other especially during war times was an integral part of everyday life. Moreover, it was not rare to find whole complexes which were owned by related families. Within the courtyard, the space immediately outside the house was each familyâ&#x20AC;&#x2122;s private garden. The connection with nature

Figure 34: Dwelling Complexes in 89 Kathikas

Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 54

was an integral part of the Cypriot life therefore a family would spend a substantial amount of time outdoors in their private garden. Especially in the later evolutions of dwellings which featured a solarium, this became even more evident. In the solarium there was an outdoor fireplace which was used for cooking and a cistern which was used for washing. The addition of these two features in the solarium is a clear indication of how extensively the outdoor area of the house was used.

56 Pantelis Charalambides wsa5| welsh school of architecture

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design Figure 35: Dwelling Complexes in Pano Arodes 90

Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 57

welsh school of architecture | Pantelis Charalambides wsa5

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design Figure 36: Dwelling facades from the public path in Pano Arodes 91

Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 98

58 Pantelis Charalambides wsa5| welsh school of architecture

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design houses to the two streets.93

Figure 37: Monochoro in Kritou Tera with entrance in the public path92

In some settlements however, the entrances of the houses were directly opening into the main movement axes (Fig. 37). This was due the morphology of the area which had dramatic height differences between the front and the back of the house as well as the lack of garden. The majority of the dwellings had streets running on both the upper and lower part of the dwellings, restricting the choice of the entrance positioning.94 In these cases, there were two entrances immediately accessible from the public paths both at the higher and the lower part and they were accessible by an interior staircase which was named petroskala95 (Fig. 38). Inevitably the morphology of the area has heavily influenced both the everyday life of the inhabitants as well as the architecture of these villages since it was not possible to have internal courtyards.

4.3.3 Public Buildings: In times of war the church was the only body which was autonomous. The building of the church was the asylum from the conquerors. For this reason, the church played an important role in a Figure Relationship

38: of

settlementâ&#x20AC;&#x2122;s social activities. There the children were getting their education, were nurtured by

93 92

Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 81

Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 95 94 Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 51 95 Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 94

welsh school of architecture | Pantelis Charalambides wsa5

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design Greek ideals and values, as well as the values and beliefs of Christianity. 96Therefore it was not rare for the priest of the village to become the teacher of the village. All the community meetings were taking place in the church in order to discuss issues of public concern such as tax collection. It is believed by many that it is because of the churchâ&#x20AC;&#x2122;s autonomy that the Greek identity with all its customs and traditions remained alive on the island.97 The social life of the people was taking place in the church every Sunday in the liturgy and the fanfares which were being organized by the body of the church. These fanfares were held in honour of the patron Saint of the village in the squares outside the church. Every village had its own patron Saint and their inhabitants ensured it was a different one from their neighbouring villages. These fanfares were very important events for the trade continuation in times of war.98 In times of peace, men were meeting in the coffeehouse in which there was usually a small shop. The coffeehouse was one of the most important buildings of the village since it was normally the primary venue for social interaction such as playing cards or discussing the happenings of the day.99

Stephanos Sinos, Anadromi sti Laiki Arxitektoniki tis Kiprou (Athens: Emp Scholi Architektonon Michanikon1976), p. 21 97 Stephanos Sinos, Anadromi sti Laiki Arxitektoniki tis Kiprou (Athens: Emp Scholi Architektonon Michanikon1976), p. 21 98 Stephanos Sinos, Anadromi sti Laiki Arxitektoniki tis Kiprou (Athens: Emp Scholi Architektonon Michanikon1976), p. 21 99 Stephanos Sinos, Anadromi sti Laiki Arxitektoniki tis Kiprou (Athens: Emp Scholi Architektonon Michanikon1976), p. 25

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Influences of Vernacular Architecture on Cypriot Sustainable Housing Design 4.3.4 Uses of the dwelling The dwelling was considered the guardian of the family life as well as for the customs and morals of the Greek culture especially in times of war. 100 The importance of the dwelling in a family’s social life was underlined by the fact that the infrastructure such as the footpaths and the location of the landmarks and their squares was formed in such way to serve the dwelling’s orientation.101 The Cypriot vernacular dwellings operationally cover all the range of activities needed in order for the families to survive through the difficulties of the agricultural life. The man was usually working outdoors either as a farmer or shepherd. Usually he worked in the fields and in some occasions in his own garden.102 He was responsible for bringing the food and money into the house. The everyday life of a woman primarily included activities within the house such as taking care of the family’s children, washing and knitting clothes for the family and the knitting of linen for the house.

103

The people’s activities show their

strong dependence on the house, and one can easily say that these houses were what the contemporary architects describe as live-work units. During the night, during winter times and the harvesting period, the living space was the place where all the family gathered and spend time. 100

G. Ch. Papacharalampous, I Kipriaki Ikia (Nicosia: Kentron Epistimonikon Erevnon, 1968), p.60 101 Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 73 102 Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996) p. 51 103 G. Ch. Papacharalampous, I Kipriaki Ikia (Nicosia: Kentron Epistimonikon Erevnon, 1968), p.43

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Influences of Vernacular Architecture on Cypriot Sustainable Housing Design The fireplace and the dining table were considered sacred because these were the spaces in which the parents were nurturing their children with values such as religious and Greek morals. The grandparents were putting the children to sleep with storytelling of their experiences which always had an educational value behind them. This is also the places where the whole family cooked and ate together listening to the sounds of the holy liturgy. The above activities had an almost sacred meaning for the family whose bonding was strengthened through them. Therefore, the place in which all of the above took place inevitably had a sacred character.104 The above shows how important and sacred were the family traditions for the Cypriots. Most of them still exist until today in modern families. 4.3.5 Dwelling Customs: There are many customs in building the Cypriot vernacular house which apply either before, during or after its construction. Like the vernacular principles define, a dwelling was being built by the persons who would inhabit it. In most cases it was mainly the husband of a newlywed with some help from the wife and sometimes from the father of the bride. In some occasions the groom would ask for help for some more specialized people if it was necessary, called master-builders (â&#x20AC;&#x2DC;protomastoresâ&#x20AC;&#x2122;).105 However, this was avoided whenever possible since every groom was taking pride in constructing of his house. 104

G. Ch. Papacharalampous, I Kipriaki Ikia (Nicosia: Kentron Epistimonikon Erevnon, 1968), p.60 105 G. Ch. Papacharalampous, I Kipriaki Ikia (Nicosia: Kentron Epistimonikon Erevnon, 1968), p.7

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Influences of Vernacular Architecture on Cypriot Sustainable Housing Design 4.4 Technical:

Analysis of: materials used, construction methods, form of the dwellings, sizes of structural and secondary elements, span sizes, building heights, storey heights etc.

4.4.1 Materials: Figure 39: House built from sieropetres106

Local stone, timber, and rarely clay or plinth forms the material palette of Cypriot vernacular dwellings. However, the type of stone varied depending on the location the dwelling-to-bebuilt.109 And the stones used can be separated into three types: the hard stones, the soft stones and the mixtures of crushed rubble. 110 Stone:

Figure 40: Fences built from athasopetres107

Figure 41: Walls made out of mixture of rubble108

106

Stephanos Sinos, Anadromi sti Laiki Arxitektoniki tis Kiprou (Athens: Emp Scholi Architektonon Michanikon1976), p. 76 107 Stephanos Sinos, Anadromi sti Laiki Arxitektoniki tis Kiprou (Athens: Emp Scholi Architektonon Michanikon1976), p. 76 108 Stephanos Sinos, Anadromi sti Laiki

The hard rocks were left rough due to the difficulty of smoothening them out. Such rocks were the sieropetra (hard as steel) and schistolithos (Fig. 39). There were also the softer stones, which were easy to shape such as the athasopetra, pouropetra, marmaropetra and alafropetra (Fig 40).111 These were the most commonly found stones however they were not widely used because they were prone to decay from weather conditions such as the strong winds and the rain.112 The third form of stone was the mixtures of a variety of stones in the form of rubble. Such mixtures were primarily used as infill materials even though sometimes they were used for the fencing of the houses and the courtyards. Arxitektoniki tis Kiprou (Athens: Emp Scholi Architektonon Michanikon1976), p. 76 109 G. Ch. Papacharalampous, I Kipriaki Ikia (Nicosia: Kentron Epistimonikon Erevnon, 1968), p.69 110 G. Ch. Papacharalampous, I Kipriaki Ikia (Nicosia: Kentron Epistimonikon Erevnon, 1968), p.2 111 G. Ch. Papacharalampous, I Kipriaki Ikia (Nicosia: Kentron Epistimonikon Erevnon, 1968), p.7 112 G. Ch. Papacharalampous, I Kipriaki Ikia (Nicosia: Kentron Epistimonikon Erevnon, 1968), p.7

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Influences of Vernacular Architecture on Cypriot Sustainable Housing Design Plinth: The plinth and the clay were the alternative material choices for wall construction however they were not widely used due to their lack of thermal properties, robustness and the laborious preparations needed for their production. For the production of plinth, specialized people were responsible who placed the mixture of the materials into timber formworks sized 400 x 300 x 6mm and exposed them into the sun to dry. After they dried, they were transported on site, which was usually close by, and they were adhered into the wall using clay, gypsum or lime.113

113

G. Ch. Papacharalampous, I Kipriaki Ikia (Nicosia: Kentron Epistimonikon Erevnon, 1968), p.8

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Influences of Vernacular Architecture on Cypriot Sustainable Housing Design Timber:

Figure 42: Window detailing as seen from the exterior.114

The types of timber used in the dwelling were also depending on what was available in the immediate context and it was usually pine tree, olive, and cypress or carob tree.116 The roof and the secondary elements such as doors, windows, pergolas, and balconies were the primarily building parts which were made out of timber. They were usually left untreated and in rare cases they were painted in colours that invoked the Greek identity such as cyan, blue or green. 4.4.2 Wall Construction:

Figure 43: Window detailing as seen from the interior.115

114

Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996), p. 140 115 Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama

The stones which formed the walls were of rectangular shape and this was achieved by using hand tools. Their size varied between 400-650mm in length x 250-350mm in width x 200-220mm in depth. In areas were the locally available stone was very hard it was used in more irregular shapes due to the lack of the necessary means to shape it. Around the openings such as doors, windows and chimneys the stones used had a slaty shapes with depth of around 180mm (Fig. 42) and (Fig.43). In the houses of the wealthy, the joints between the stone were incredibly thin. The bonding material which was used was clay gypsum or lime in others, the infill material was a mixture of rubble. During construction a scaffold was employed which was attached to the wall-to-be-constructed. After the wall was fully erected, the scaffold was removed however the gaps in the wall remained and they

(Nicosia: Anastasios G. Leventis, 1996), p. 140 116

Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996), p. 114

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Influences of Vernacular Architecture on Cypriot Sustainable Housing Design were sized around 100-200mm width by 10020mm height. These â&#x20AC;&#x153;pixelsâ&#x20AC;? on the wall were named arseres or scaffold holes (skalosiotripes) and they were intentionally kept open after construction as they were very useful for ventilating the space and bringing some light in. This technique was introduced in the dwellings during the Ottoman Empire replacing this way any unnecessary windows facing the street (Fig. 44).118 4.4.3 Roof: Figure 44: Wall with skalosiotripes117

As previously mentioned, there were two types of roof used in Cypriot Dwellings. The first was flat which was slightly sloped towards one side named amfiklini or doma and it was used in the basic typology (monochoro). For its construction logs of Cypress or Pine trees were used which had the bark removed. Because of the restricted size of the logs in terms of height they were placed width wise which restricted the spanning distances to maximum 3.3 metres. The logs were placed in intervals of 250-350mm depending on the diameter, which varied between 120-150mm. On top of the main rafters they usually placed small branches of carob tree or straw held together with rope. If they used carob tree branches for the second layer they would place dried spiny shrubs as the third layer to block off rodents from entering the house. If however they used straw the third layer would be a thin layer of soil. In both cases grains of slat were sprinkled every now and then to avoid vegetation from growing on the

117

Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996), p. 116

118

Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996), p. 116

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Influences of Vernacular Architecture on Cypriot Sustainable Housing Design

Figure 45: Doma119

roof (Fig. 45).120 In later typologies, such as the monochoro or dichoro makrynari, the pitched roof (amfiklini) became more widespread. For the construction of the pitched roof two orthogonally sectioned beams (nefka) were used which their size was 250 x 250 mm. In this type of roof the beams were spanning lengthwise. At the point where the two beams were joined a large timber vertical support was placed. It always had Yshaped branches on its top end in order to support the joint between the two beams. This was either the log of an olive, pine or carob tree and was around 300mm in diameter. The log was cut during winter time (preferably January) to avoid erosion. In most cases underneath the two beams there was a smaller beam (mesodotzi) which was used for extra the reinforcement of the joint of the two beams and to close the gap between the base of the Y-shaped support and the two main beams. Rarely two timber 150mm supports (males) were attached diagonally to the two main beams and rested on the main trunk of the Y-shape element for extra support. The Y-shaped column was usually elevated from the ground resting on some stones to avoid water decay. However, in some houses the logs rest straight on the ground. 121 The next layers and the procedure followed were identical to the first type except that in some later dwellings they used tiles instead of dried spiny shrubs (Fig. 46), (Fig. 47)122

120 119

Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996), p. 127

Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996), p. 127 121 Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996), p. 125 122 Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996), p. 127

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Influences of Vernacular Architecture on Cypriot Sustainable Housing Design 4.4.4 Flooring: The first form of flooring was the soil or rock on which the houses were built. The only treatment that the soil got was to be flattened and compressed. Later, the floors of the houses were covered with tiles made out of gypsum (gypsomarmara) which were cut in the desired size using a handsaw. Usually the sizes were 300mm width by 300, 450, 600,750, 900 or 1200mm in length. The tiles were then adhered on the ground using a mixture of straw and clay.125 4.4.5 Wall renders: Figure 46: Amfiklini roof Detail123

Figure 47: Y-shaped beams as seen from the interior.124

On the earlier dwellings the external surface of the walls was left un-rendered with the masonry construction exposed. In later evolutions some of the houses had the external walls rendered with a mixture of gypsum powder and water which was always white colour. However, the interior of the houses was always rendered in white. The gypsum was applied in three layers to make sure it created a smooth finish.126 4.4.6 Colour Palette: The colour palette of the buildings was white or of ochre tones with the secondary elements of the house such as windows, doors, balconies and pergolas left in natural timber colours. Whenever

123

G. Ch. Papacharalampous, I Kipriaki Ikia (Nicosia: Kentron Epistimonikon Erevnon, 1968), p.127 124 Stephanos Sinos, Anadromi sti Laiki Arxitektoniki tis Kiprou (Athens: Emp Scholi Architektonon Michanikon1976), p. 117

125

Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996), p. 147 126 Antonia Theodosiou and Anastasia Pitta, Oikismoi tou Akama (Nicosia: Anastasios G. Leventis, 1996), p. 146

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Influences of Vernacular Architecture on Cypriot Sustainable Housing Design the secondary elements were painted, they would be done so in shades of blue or green. This was usually done after the island was freed from the various conquerors as a sign of celebration of the ever-present Greek identity. 127 4.4.7 Fireplace (â&#x20AC;&#x2DC;Niskiaâ&#x20AC;&#x2122;): The fireplace was made out of stone as part of the wall construction and in the earlier evolutions of the house (monochoro), it was placed in the corner while in later (monochoro or dichoro makrynari), it was placed in the middle of the longer wall of the house. It was not unusual for the corner ones to have semi-circular shape when seen in plan. Their size varied between 1250mm and 1400mm in width and was elevated around 700mm form the ground. This was used either for lighting fire as a heating source or for cooking. 4.5 Formulation of Principles: The following table summarizes the important lessons learnt from the analysis of the above sections. The principles are separated into the aspects analysed in the main body. Each aspect, it I separated into macro and micro scale principles in order to distinguish which one can be used for a small dwelling and which ones can be used for planning. (Fig. 48)

127

G. P. Papacharalampous, I Kipriaki Ikia (Nicosia: Kentron Epistimonikon Erevnon, 1968), p.2

welsh school of architecture | Pantelis Charalambides wsa5

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design Figure 48

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Influences of Vernacular Architecture on Cypriot Sustainable Housing Design

Chapter 5: Case Study 5.1 House in La Solana, by Ramón Esteve:

Figure 49: Ramón Esteve behind the model of the house

Figure 50: concept sketch of the cubic shaped building128

The case study chosen is a holiday house located in La Solana, a small town south of Valencia. It was designed by the local architect Ramón Esteve (Fig. 49) in nineteen ninety eight. The architect drew his inspiration from vernacular architecture and his focus was the interaction between use and function as well as the appropriate use of materials. His design is based on the principles of domestic vernacular architecture with an interest to providing a comfortable environment for the occupants even during the extremely hot summer months, which are typical in the Mediterranean region.129 His ideas, inspirations and approaches provide a perfect case study to compare against the principles derived in the previous chapter (Appx 03). For the purposes of a more direct comparison to the principles, the building will be placed in the context of the Cypriot region.

5.2 Historical:

128

Dominique Gauzin – Müller, Sustainable Living: 25 international examples, (France: Birkhäuser, 2006), p.134

The design of the house follows a minimalistic form with cubic shapes and volumes which is one of the basic principles of Cypriot vernacular dwellings. The architect‟s shows sensitivity to the landscape which is evident from the fact that the single-storey house sits low into the landscape (Fig.50). The north façade walls face the street and they are entirely blank making the house seems as if it is turning its back to the street (Fig.51). 129

Dominique Gauzin – Müller, Sustainable Living: 25 international examples, (France: Birkhäuser, 2006), p.134

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Influences of Vernacular Architecture on Cypriot Sustainable Housing Design

Figure 51: facade130

North

Once this threshold is passed however, the spaces become more fluid and open up into the south facing garden. The introverted character of the house reflects the vernacular traditions on the ways to deal with privacy issues. The spatial organization of the house is segregated into the communal areas and the private ones.

5.3 Environmental:

Figure 52: facade131

South

130

Dominique Gauzin – Müller, Sustainable Living: 25 international examples, (France: Birkhäuser, 2006), p.135

The thick walls on the northern side of the house block off the prevailing winds coming from the west and the north during the winter. To allow some light into the interior, there are slits of openings low in the walls which also serve for ventilation purposes. The south and eastern sides are more permeable to allow breezes in and cool the house down during the summer. 132 The exposure to the intense sun which in the Mediterranean region could create overheating and glaring problems on the south and east sides during the summer, is controlled with the use of roof overhangs. In the parts of the house which are more exposed to southern sun such as outside the living room the roof overhangs are longer creating outdoor roof terraces.133 This way during the summer the interior spaces are bathed with natural without allowing the high solar rays to enter the house keeping temperature of the house lower than outside. Moreover, the shade created underneath the overhangs cools the air before entering the

131

Dominique Gauzin – Müller, Sustainable Living: 25 international examples, (France: Birkhäuser, 2006), p.135

132

Dominique Gauzin – Müller, Sustainable Living: 25 international examples, (France: Birkhäuser, 2006), p.134 133 Dominique Gauzin – Müller, Sustainable Living: 25 international examples, (France: Birkhäuser, 2006), p.134

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Influences of Vernacular Architecture on Cypriot Sustainable Housing Design house. The thermally massive walls of the northern side of the house also help in keeping the temperatures low during the summer by blocking out the heat. The south-facing glazing panels expose the walls of the northern faĂ§ade to the low winter sun. The thermally massive walls store the heat throughout the day and they release it into the space during the night hours. In addition, during winter the thermally massive walls absorb the heat released from the fireplace and they then re-emit it into the space. The combination of the two cover the heating needs of the house in the majority of times meaning the use of the radiators is very rare. The floor to ceiling height in the communal areas is 4 meters while in the private ones nearly 3. These proportions are typical in the Mediterranean countries as the focus is to create draughts to cool down the space during rather than retaining heat in winter. The height difference between communal and private areas is done because of the architectâ&#x20AC;&#x;s intention to follow the topography of the site (Fig. 52)

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Influences of Vernacular Architecture on Cypriot Sustainable Housing Design 5.4 Social:

Figure 53: Spatial organization134

Figure 54: 135 fireplace

The

The communal spaces are grouped on the western part of the building while the private ones are located on the eastern (Fig. 53). Moreover, the private spaces of the house are separated from the communal ones through a height differentiation creating this way a segregation of spaces with minimal use of internal partitions. (Fig. 54) The segregation of spaces through height differences is a characteristic also found in the early examples of Cypriot vernacular dwellings where the space for living was slightly elevated from the area where the animals were kept. Moreover, the room allocation in the private part presents a hierarchy which reflects the family hierarchy. This is achieved by positioning the master bedroom in the far eastern edge, by making it larger and by providing it an ensuite bathroom. The house also features a freestanding fireplace which is located in the centre of the living room. Its prominent position underlines its importance within the house and as in the vernacular buildings this becomes the meeting point of the whole family, a custom which is still sacred for the Mediterranean cultures. As mentioned above the connection with the nature is an important aspect of the Mediterranean life. Therefore the provision of outdoor terrace in order to be used as a living space during the summer provides a modern interpretation of the solarium found in late examples of Cypriot vernacular dwellings.

134

Dominique Gauzin â&#x20AC;&#x201C; MĂźller, Sustainable Living: 25 international examples, (France: BirkhĂ¤user, 2006), p.136 135 <http://www.archello.c om/en/project/housemonasterios/image-

21>[accessed 20/01/2013]

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Influences of Vernacular Architecture on Cypriot Sustainable Housing Design 5.5 Technical: The primary material for the walls used is local limestone-blocks. The 600mm blocks were constructed using traditional methods.136 One could argue that use of a scarce material with high extraction costs such as the limestone contradicts with the vernacular principle of using locally available materials and therefore it is an inappropriate choice for a sustainable house. However, its use offers a wide range of functions: it is load-bearing, it houses the technical equipment and it is thermally and acoustically insulating. Therefore, the use of limestone goes beyond the mimic of vernacular tradition and proves much beneficial in cost as well as environmentally friendly. The roof was made out of concrete which is a thermally massive material and can block off high temperatures in the summer months. Incorporated on the roof, there is a rainwater collection system with a tank which allows for seventy thousand litres of water to be stored. This water can be used for the pool or for watering the plants. Due to the lack of sufficient rainfall in the area the use of such system is not sufficiently justified. Instead, a green roof could be used to provide insulation from the intense sun as well as to be used as green terrace. This response would be more responsive to vernacular traditions. Moreover it would be more appropriate to the architectâ&#x20AC;&#x;s initial concept of providing comfortable environmental conditions within the house.

136

< http://www.ramonesteve.com/residencial/vivienda-lasolana#navegador-siguiente> [accessed 20/01/2013]

welsh school of architecture | Pantelis Charalambides wsa5

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design The window frames galvanized steel. The use of galvanized steel is not a material friendly to the environment nor is it locally available, however comparing its environmental performance against the wood in terms of air tightness and heat exchange properties are far greater. Therefore, having in mind that the architectâ&#x20AC;&#x;s main focus was the provision of comfortable internal conditions, it is in this respect a sustainable choice. Moreover the architect has visually linked it back to vernacular traditions with the choice of its colour. The colour palette of the house follows the ones found in vernacular dwellings. The colours of the walls and roof are tones of ochre and white respectively. The bright colours are reflecting the strong solar rays helping in the reduction of the internal temperatures especially during the summer.

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Influences of Vernacular Architecture on Cypriot Sustainable Housing Design

Chapter 6: Conclusions and Findings Ramón Esteve with his design in La Solana proves that there is way to build contemporary sustainable houses based on vernacular architecture principles. In my opinion, his design is a perfect example of how a sustainable house could be employed in the Cypriot context. Not all of the principles derived in chapter four were followed in his design however, this is only an indication of how well he has thought what could be learnt, what can be carried through with some adjustments and what has to be replaced altogether from the vernacular principles in order to design a building which responds to its context. With new and improved technologies continuously emerging, there is no doubt that not the all of the vernacular principles can be carried through a contemporary housing design. Technology and its products are powerful and useful tools to use in the process of designing and building however, they need to be used wisely and more importantly appropriately. Surely, the amount of control in a building’s internal environment for example, is much greater with the aids of a high tech mechanical ventilation system than what it ever used to be before these systems were integrated into buildings. However, it doesn’t mean that it has to be done just because it is possible especially when the same effect can be achieved with environmentally friendlier ways through the aids of traditional principles. Rather, a deeper amount of thought needs to be put forward in order to achieve the exploitation of every possible way for naturally ventilating the space before the use of mechanical welsh school of architecture | Pantelis Charalambides wsa5

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design systems is sought. Similarly, from the sociocultural point of view, an architect can design a superstructure which features many innovations and originalities in its design but, if it doesn’t respond to the place’s building norms, traditions and history it would eventually look out of place both socially and environmentally. It wouldn’t reflect any historical, cultural or environmental meaning and if it doesn’t grasp the specific lifestyle of the people living in the given context it will eventually fail. Therefore, it is of essential importance to use the best available means of the time in order to give solutions which still respond to the given context just like vernacular architecture principles used to do. A solid and thoughtful evaluation perspective from the architect‟s side on what needs to be followed, what needs to be adjusted and what needs to be abandoned from the vernacular architecture principles can determine what is appropriate and what is not for each specific occasion. Having thorough understanding of the vernacular architecture principles of a place as well as keeping on track with the new technologies that constantly develop is what will help the contemporary architects to harmonically blend the two when designing a contemporary sustainable house. The thorough study and understanding of a place‟s culture, history and traditions in combination with the thoughtful use of technology would shift the interest of the contemporary architects from generating “original” or “interesting” forms into generating forms that are environmentally

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Influences of Vernacular Architecture on Cypriot Sustainable Housing Design responsive as well as original with the primary aim being to work with the environment instead of against it. It is the ability to make the best possible decisions and choices at each specific case which will distinguish a good designer form a bad one. After all, in a few yearsâ&#x20AC;&#x; time what is considered today a contemporary design will become the vernacular architecture for the future generations to study. Therefore, in this respect, the responsibility of keeping the vernacular traditions of a built environment alive at any given context lies in the architectâ&#x20AC;&#x;s hands and is something that shall not be neglected or underestimated.

welsh school of architecture | Pantelis Charalambides wsa5

Influences of Vernacular Architecture on Cypriot Sustainable Housing Design

Bibliography: Asquith, Lindsay and Marcel Vellinga, Vernacular Architecture in the TwentyFirst Century: theory, education and practice, (London: Taylor and Francis, 2006) Gauzin – Müller, Dominique, Sustainable Living: 25 international examples, (France: Birkhäuser, 2006) http://en.wikipedia.org/wiki/File:ParosHuis.JPG [accessed 10/01/2013] http://www.cycladia.com/blog/news/cycladic-architecture [accessed 28/12/12] http://www.ghs-mh.de/migration/projects/timeline/tl_cy.htm 09/01/2013]

[accessed

http://www.ramonesteve.com/residencial/vivienda-la-solana#navegadorsiguiente [accessed 20/01/2013] http://www.skiathos.gr/index.php?option=com_content&view=article&id=71&Ite mid=108&lang=el [accessed 29/12/12] Oliver, Paul, Encyclopedia of Vernacular Architecture of the World, Volume 1: Theories and principles, (Cambridge University Press, 1997) Papacharalampous, Ch. G., I Kipriaki Ikia, (Nicosia: Kentron Epistimonikon Erevnon, 1968) Rapoport, Amos, House Form and Culture (Toronto: Prentice Hall, 1969) Sinos, Stephanos, Anadromi sti Laiki Arxitektoniki tis Kiprou, (Athens: Emp Scholi Architektonon Michanikon1976), p. 21 Serghides, K. Despina, ‘The Wisdom of Mediterranean Traditional Architecture Versus Contemporary Architecture - The Energy Challenge’, The Open Construction and Building Technology Journal, 4 (2010) Theodosiou, Antonia and Anastasia Pitta, Oikismoi tou Akama, (Nicosia: Anastasios G. Leventis, 1996

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