‘Submitted for module LICA300 in part fulfilment of the requirements of the degree of BA Design, Lancaster University, 7.0
VERNACULAR DESIGN How can vernacular design of homes foster feelings of comfort?
LICA300 | BA Design | Lancaster University | 7.04.2019
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ACKNOWLEDGEMENTS There are a few people that come into your life and simply make it better. Kindness, patience and love of many such individuals have been embedded within this thesis that supported its completion. I would like to express my sincere gratitude to Prof. David Hands for guiding me throughout the completion of this project and making meetings absolutely joyful. I also thank Prof. Bijan Aryana and Prof. Roger Whitham for their support in formulating my research question. Additionally, I am deeply grateful to Architect Mujib Ahmed for allowing me to interview him to achieve a greater understanding of the theory. Also, my beloved grandparents, Engineer P.K Abubaker and Mumtaz for sharing their life experiences and intimate understandings of the vernacular home. This thesis would not have been possible without my parents Dr Salam and Sabeena. I thank you for responding to the countless phone calls and text messages about houses. Finally, all my friends and family for the constant support and motivation. None without whom this project would not have been completed. Love,
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CONTENTS 1 - Abstract
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2 - Introduction
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2.1 Aristotles Four Causes
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2.2 Rationale for Study
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3 - Chapter 1 | Literature Review
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3.1 What is Vernacular Design?
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3.2 Who is the Vernacular Designer?
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3.3 The Vernacular Home
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4 - Chapter 2 | Comfort
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5 - Chapter 3 | The Naalukettu
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5.1 Context
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5.2 Earth & Sky
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5.3 Immortals & Mortals
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6 - Chapter 4 | Discussion
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6.1 Sustainability
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6.2 Nature & Form
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6.3 Technology
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6.4 Culture
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6.5 Craft
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7 - Conclusion
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8 - Recommendations
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9 - References
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10 - Appendix
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ABSTRACT This dissertation is an exploratory study of how
First, it should be built using locally sourced
vernacular design of homes can espouse comfort
materials. Second, it should amalgamate with nature
to dwellers. It studies the Naalukettu, a traditional
harmoniously in a co-existence that transmutes
homestead originating from Kerala, a south Indian
meaning. Third, it must strike a balance between
state. Prior to understanding comfort within the
utilitarianism and the excessive use of technology.
frame of this home, the vernacular design, designer
Fourth, it must foster cultural elements that augment
and home in question are defined. The Naalukettu is
the dweller’s spirituality. Finally, it should aspire to
analysed based on Heidegger’s fourfold - the earth,
acquire designs from the crafts whilst supporting
sky, mortals and immortals in relation to the man-
local artisans. It is also important to note that the
built environment. This thesis then identifies themes
subject information acquired within this thesis is
of sustainability, nature and form, technology, culture,
from multiple conversations and personal interviews
craft and discusses them and defines their relationship
with locals of Kerala, as there is lack of pre-existing
with the vernacular, the future of homes and building.
material and research.
Based on this analytical framework, a set of principles are identified to inform the design of the home of the future based on the vernacular home.
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INTRODUCTION “Build your architecture from what is beneath your feet.”
From the resources available to man in his immediate
Hassan Fathy, 1980
surroundings, he built his home. What is beneath one’s feet has indefinitely been procured to build. He
Man has not simply been born into dwellings that
acquired stones, leaves, wood and animal bones to
espouse comfort; rather, he has sought available matter
best suit his need. The vernacular has been explored
that is of value and actively drawn from it to design his
and delved into, creating architecture that expansively
Gaia /ˈɡei.ə/, his land, earth and abode. This designed
accommodates meaning to those within.
context is aimed to proffer meaning by translating his experiences within, into belongingness and comfort. During the prehistoric era, he inhabited caves and trees to engulf him in protection from the searing sun, and the frigidness of the rain. The pre-existent structures failed to be wholly alimentary toward dwellers. Thus, man’s boundless quest for stability,
SelfActualisation
protection, privacy and place - his own - drove him to derive from the environment elements and design
Esteem Needs
structures that provide this meaning that he seeks.
Belongingness & Love
Since the primitive hut (Fig.2), he has continually
Safety Needs
moulded his shelter and transmuted it to a home.
Physiological Needs
A home that is actively designed by him to fulfil all arising need - inclusive of psychological well-being. As Maslow (1954) rightly suggests, complexity of man has furthered his need for physiological amenities and
Fig 1. Abraham Maslows Hierarchy of Needs
safety to the inherent need for belonging and love. The home is also a place wherein man seeks solace and comfort. Additionally, he necessitates a space where he can attain self-actualisation (Fig. 1) (Maslow, 1954).
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Fig 2. First Primitive Hut as Illustrated by Eugène Viollet-le-Duc
Aristotle’s Four Causes This meaning that man seeks can be embedded
4. Finally, the causa finalis, or the telos, the final cause
within all elements of one’s home, providing colossal
which underpins the sake of every vernacular design
effects to those within (Fig 3). Aristotle distinguishes
(Heidegger, 1977; Mitcham, 1979). The sake of why
and articulates four such elements that emancipate
any design is being brought to the environment,
meaning which have been continually compounded
the common purpose which acts as a driving force
by other philosophers such as Heidegger and Mitcham
for further research to better create influential
in relation to the man-built environment;
environments.
1. The causa materialis refers to the underlying
As Heidegger stated; ‘questioning is the piety of
essence of the materials used within a build. It places
thought’, it is vital to question vernacular design
emphasis on the ‘why’ and aids the understanding
and what it entails. Aristotle’s segregation of
of the materials chosen to connect the designs. The
causes within the vernacular context highlights the
materials that build the physical space speak volumes
importance of reason to all elements man has derived
of the roots and culture of its inhabitants, indefinitely
from the environment to build his home. Varying
providing a sense of belonging.
experiences lead to differing usage of materials and
2. The causa formalis outlines the purposefulness
elements, as ultimately one is in requirement of
behind the structure, form or layout the materials are
different outcomes. However, there is no doubt that
aligned into. Examples of this include open windows
the continual need for comfort and belonging for man
facing a lively street or the open sea, or a verandah
has led him to mould built houses into real homes. To
augmented by a bed of flowers. The placement of the
feel accepted by his environment he has surrendered
procured materials affects and moulds one’s emotive
to the constant design and re-designing of all aspects
bonds within spaces. It can possibly soothe the mind
of his surroundings.
and create comfort through the positive instillation of intention during design process of this layout. 3. The causa efficiens, which refers to the outcomes of the built environment, the interaction or outcome it
Home
Meaning
efficiently disperses within specified elements; the ‘what makes of what is made and what causes change of what is changed’. Fig 3. Co-existence of Home & Meaning
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This thesis aims to probe further the question, ‘How can vernacular design of homes foster feelings of comfort?’. This study will outline this understanding through defining the vernacular, its designer and the period of home designs it aims to explore. It will also gather knowledge about the subjective feelings of comfort, and the necessity of this plenitude through understanding a case exemplar of the Naalukettu, a vernacular homestead originating from Kerala, India. Finally, several themes will be identified for discussion after the understanding of the case exemplar: sustainability, nature & form, technology, culture, and craft. These themes will highlight the importance and relevance of this study, which develops a series of derivations a contemporary designer can acquire from the vernacular home to provide man with the same level of comfort in the most efficient manner.
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Rationale The Naalukettu from Kerala is chosen as a case study
Thus, this research and understanding of why the
to understand vernacular design and comfort due
vernacular and grounded designs bring comfort will
to it’s high quality of life indicators, such as the
enable further discussions in regard to themes such
Human Development Index, as well as my extensive
as sustainable architecture, policy making and how
experiential interactions with the state and its
vernacular design can be projected in the current
architecture.
world to achieve such well-being of man and those he
It is not unknown that underdeveloped areas derive
co-exists with.
from nature locally to create folk buildings. However, KERALA
overall well-being is not guaranteed due to low Human Development Index (calculated by the UN and factoring in mortality, literacy, education and standards of living) in such regions. While there is scope to study how overall wellbeing can be brought within these areas through design, it is not a clear established example to draw values for design from. Thus, for the purpose of this research and its aims to unveil true comfort, it was vital choose a fully developed region that to this day acquires from nature for construction whilst maintaining its well-being in regard to all tangents. Kerala, a south Indian state home to about 34 million people, is an excellent example. It is considered to be a fully-developed state where the material conditions of living has further reflected into their social development and individual well-being (Govindan, 2000). Further, Kerala ranks highly in the United Nation’s Human Development Index which is composed of data gathered in regard to life expectancy, health, quality of education and overall standards of living (CNBC, 2011). This intensively progressing
Fig. 4 This South-Indian State ranks No. 1 in
development has been established without bringing
terms of Human Development Index in India
in heavy industrialisation and modern technological infrastructure for positive change.
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Kerala has been chosen as a point of study also due to my own close understanding toward it. This tropical land emulsified within nature is the focal point of my own upbringing. The culture, people and space are ingrained within me as it is the land I first touched, saw and felt. However, shortly after I moved to the bustling city of Dubai, where nature and the ‘vernacular’ was scarce. The capitalistic, modern environment did not espouse within me the comfort my home-town and its vernacularity had fostered. This latter is subjective - however it is clear that the man-built environment indefinitely carries a sense of power over those dwelling within, enabling to feel differently as the environment varies. Furthermore, it was felt that the lack of vernacularity in the bustling city had contributed to my personal discomfort. It is therefore necessary to not
Kerala
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just state one’s ‘feelings’ and how a particular design makes the dweller feel, to be relevant it is of utmost importance to delve deeply into the underlying, core reasons why the vernacularity of the designs can espouse comfort. These unveiled values and meaning can provide cues for future designers to retain and push forth ideas of comfort within the vernacular. This research will uncover understandings of Kerala and how its traditional vernacular design offerings can provide comfort whilst bringing to light further discussions on its values and impact.
Dubai 11
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(Authors Own)
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CHAPTER 1 Defining the Vernacular
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L I T E R AT U R E R E V I E W What is Vernacular Design? First and foremost, it is fundamental to define
To lead to the definition of vernacular design, its
vernacular design and what it concocts with. There
etymological meaning must be analysed. The term
are a hundred and ninety five geographically and
‘vernacular’ has been derived from the expressions
environmentally distinct countries, providing abode
verna; home-born slave, a word of Etuscan origins and
to a multiplying population of seven and a half billion
vernaculus; domestic or indigenous native, a word of
people. This diversity inevitably fosters the existence
Latin origins. The first resonates the ‘vernacular kind’ to
of multitudinously diverse cultures and traditions
be anything that is crafted, woven or reared from home,
espoused in retaliation to varying needs. This culture
for domesticated use (AA.VV, 1993). The latter term
can be understood as an organised embodiment of
‘vernaculus’ is known to have three interpretations; ‘(i)
the derivatives of one’s experience which are learned
Particular from the region it exists in (ii) Pure language,
or created by people of different communities. These
without foreignness and (iii) The idiom of a country.
may be interpretations that are relayed from previous
(Aurélio Dictionary, 1993)’. Therefore, a raw definition
generations, from contemporaries or concocted by
of ‘vernacular’ resonates lingual correspondence; it
individuals themselves (T.Swartz, 1992; cited by Avruch
relates to native languages arising from a particular
1998: 17). Vernacular design therefore coincides with
country, region or locality.
culture and its relayed learnings.
Linking the lingual connotation, vernacular architecture
Vernacular design encompasses a vast majority of the
can be considered as an “architectural language of the
worlds built environment, thus it is resilient towards a
people” with its inculcation of indigenous, local, ethnic
singular definition. However it is optimally perceived as
and regional dialects (Oliver, 1997).
a pattern of designs that enlightens one on the culture
Architect Frank Lloyd Wright propounded vernacular
of the communities who mould and receive this design.
architecture to be the construction of folk buildings
Design Historian Darron Dean suggests that the term vernacular was first incorporated in design and studied and developed alongside architecture and the built
in retaliation to arising needs, embedded into the environment by individuals who ‘knew no better than to fit them with native feeling’ (Oliver, 2003).
environment by George Gilbert Scott in the book Domestic and Secular Architecture, published in London in 1957 (Farias, 2010).
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Art Historian, Paul Oliver defines vernacular design
These understandings and definitions reiterate why
of the built environment as one that encompasses the
the Naalukettu is an excellent exemplar for use to
dwellings and buildings of the people. These buildings
study Vernacular design. It is built utilising local and
are closely concomitant to their environmental contexts
traditional materials such as teak wood, clay, laterite
and are built utilising available resources and traditional
stones and red oxide procured from their own land.
technologies. These community built designs are formed
Additionally, the Naalukettu is a home that realises the
to meet specific needs while being mindful of the values,
culture of Kerala as there is space built within that
economies and ways of life of the cultures that produce
fosters prayer, agriculture, communal interactions and
them. Embraced within the context of vernacular design
other festivities which is all an integral part of those
is what is known and inherited about the dwelling,
dwelling within. By fostering these elements it is clear,
building or settlement. Moreover, the collective
the home has been fit to man’s native feeling (detailed
knowledge, wisdom and experience of the society and
in Chapter 3).
the accepted norms within, embodies the design whilst moulding the built environment appropriate to the group (Oliver,1997).
Cultural
Architectural
Reflection of the
Language of the
Response to
Natives
People
Arising Need
Vernacular Design
Usage of Local Materials and Technologies
Embeds Accepted Societal Norms
Fig. 5 | Key Elements of Vernacular Design 15
Acquires from Immediate Environment
Who is the Vernacular Designer? Furthering the definition of vernacular architecture,
Thus, this research and understanding of why the
it is vital to understand the role of the vernacular
vernacular and grounded designs bring comfort will
designer and which individuals can identify with this
enable further discussions in regard to themes such
designation.
as sustainable architecture, policy making and how
Wright argues that vernacular design is existentially
vernacular design can be projected in the current
primitive as a form, and that the constructor ‘lacks
world to achieve such well-being of man and those he
intelligent thought’ (1908). Moreover, Brunskill put
co-exists with.
forward the propounding thought that vernacular
Geographer Amos Rapoport (2006) claims 95 percent
designs are built by amateurs without being provided
of the world’s built environment is considered to be
with formal training; they are solely illuminated by
vernacular in its appraisal, leading to the contradicting
the conventions of their surroundings (Brunskill,
assumption that the vernacular designer could be
2000). In addition, professional architects and
almost any individual that one might come across.
trained designers were divested of the consideration
An architect or designer constructs our complex built
to be vernacular due to the commerciality of their
environments being a logical class through segregation
professions - ‘The design [arch] of the people, and by
of facts. However, each individual attributes ideas
the people, but not for the people.’ (Oliver, 2003)
and purpose to their dwelling spaces. Vernacular
These arguments can be subjected to objections as
design studies deem these individual desires and pre-
one cannot claim the primitive builder or building
dispositions of their ideal spaces to be as significant as
for personal comfort within context of environment
the act of building itself (Upton & Vlach, 1986). This
lacks ‘intelligent thought’. Whilst it may undervalue
significance bears weight due to one’s experience in
factual knowledge; ’intelligent thought’ and collective
relation to simply living.
wisdom are crucial to vernacular theory and practice.
To reinforce this statement; Folklorist and emeritus
The following literature will validate and shed light
College Professor of Folklore, Henry Glassie writes
upon humanistic values and wisdom of the ‘amateur’.
in his book Vernacular Architecture of vernacular
Additionally, it can be argued that a vernacular
designers with affinity using underlying vignettes of
designer can be anyone - including those with and
experience and nostalgia. He argues, all ‘designers’
without professional training, which includes the
inherently step into atmospheres that mould their
‘popular’ architects and designers, labourers, home-
notions of aesthetics, physical comforts and social
makers and any individual with intention for their
propriety (Glassie, 2000).
dwelling spaces.
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Preceding any factual knowledge of spaces comes percipience - ‘their eyes have seen, their fingers have touched, their minds have inquired into the wholeness of their scenes.’ In addition, culture embeds into oneself to be utilised as a reservoir of inspiration, to draw order aesthetically whilst collecting knowledge on dwelling and comfort - ‘Released from the hug of pleasure and nurture, they have toddled into space, learning to dwell, to feel at home.’ The underlying notions within Glassie’s poetic transcript is that, intrinsically inherent within us are our predispositions about our ‘world’ and in response we build desires of our ideal atmosphere. Thus, the title of ‘vernacular designer’ can be delivered to any individual that unconsciously or consciously alters the environment under the context of their experiences, culture and available resources. Within the context of the Naalukettu, the vernacular designers include not only traditional architects, local masons, artisans and carpenters but also the dwellers who know no better than to bring together those designs that are essential to them.
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The Vernacular Home For the purpose of this study domain (d.) will be used
The built environments have been subjected to
as the spectrum to mark a specific point to unravel and
classifications in an attempt to segregate the
study as it is encompassing of all the previous mentioned
multitudinous periods of time into what home designs
domains such as folk and polite architecture. Since
can be considered ‘vernacular’. To clarify and discuss
the term ‘vernacular’ is used as a complete separate
the feeling of comfort in homes within a focussed
entity within this spectrum the question arises
spectrum requires defining the classification of design
whether these paradigms are wholly disconnected
style this thesis will specifically explore. There exists
from the vernacular. To revert to this, it is important
various classificatory schemas or styles in regard to
to define and understand the characteristics of the
the vernacular. The following four are a select few of
segregations in question. A common characteristic
these segregations;
over the span of all divisions is that the definitions
a. There is no such thing as ‘vernacular’ - only
stem from a single variable. The primitive built
architecture (Norberg-Schulz, 1971; Bonta, 1977)
environment encompasses concepts that values the
b. There exists a binary opposition, between
origins and very beginnings of architectural practices.
the ‘vernacular’ and ‘polite’ architecture (Brunskill,
The single variable that defines this primacy is that
1970)
of the dwelling within the pre-literate era. Secondly, c. The built environment can be further
the ‘vernacular’ domain within the four-fold division
divided into ‘folk’, ‘vernacular’ and ‘polite’ architecture
encompasses those built environments within the
(Edwards, 1979)
pre-industrial design environment. It is rather a pure
d. There exists intact a four-fold division of
reflection of the technology, skills and traditions
architecture into ‘primitive’, ‘vernacular’, ‘popular’
of various local cultures. Popular architecture falls
and high-style. (Rapoport, 1969)
under contemporary architecture and encompasses
Segregation (a.) can be considered incorrect and is not
formalistic methods of designing whilst also taking
useful in a pragmatic sense. It is inaccurate due to the
into
presence of an intuitive taxonomic perception of the
aesthetics. On the extreme end of the spectrum lies
differential designs (Lorenz,1981). One is intuitively
high-style architecture that disregards utility and
inclined to feel differently about different domains of
function, rather it is build stylistically to display
the environment and by conglomerating all domains
power or authority. All mentioned domains are based
into one, makes research impossible (Turan, 1990).
on ideal types which are considered to be intellectual
consideration
utility
amalgamated
constructs formulated to display polar extremes.
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with
These concepts or ideal types can be used as conceptual
As depicted in figure 6, the area of focus within this
markers placed on a spectrum of continuum as design
thesis will be the highlighted overlap between the
is ever-changing. According to Turan, the definitions of
‘vernacular’ and the ‘popular’. It will emphasise the
these environment will rarely place neatly into the single-
vernacular and popular home - Naalukettu which
variable definitions given above. There are linkages
has been designed formalistically between the 19th-
between the pure vernacular, primitive, popular and
21st centuries, with the incorporation of traditional
high-style as all areas have indefinitely derived from the
undertones and values such as the ‘Vasthu Shaastra’
vernacular to produce structures defined under separate
(which is the amalgamation of ancient doctrines that
variables. All boundaries of the four domains are intact
undermine the science of architecture in Kerala through
yet fuzzy in nature, definitely overlapping within one
highlighting the necessitation of designs being exposed
another (Fig 6).
to the sun, wind and skies).
Chosen Area of Focus
Primitive
Vernacular
Popular
Various Linkages Possible
CONTINUUM
Fig. 6 | Continuum with ‘Ideal Types’ 19
High-style
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CHAPTER 2 An Exploration of Comfort
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COMFORT Prior to delving into exemplars it is essential to set
Rybczynski (1986) argues, if comfort were subjective,
the framework through which these vernacular design
there would be a relevant expectation for an array of
within homes will be magnified. This thesis will be
different attitudes to comfort, however at a particular
bound through the lenses of human comfort and
point in history within a selected area, there has been
plenitude. It is therefore paramount to understand the
a common idea among the man of the community as
contexts in which the application of ‘comfort’ shall be
to what is comfortable and what is uncomfortable.
analysed and understood.
Within the spectrum of objectivity, comfort is one that
Comfort is derived from the late Latin term fortis
is quite difficult to measure. Seemingly, it is possible to
and confortare which suggests giving strength or to
scientifically understand within certain contexts what
strengthen. Embedded within is the underlying sense of
makes one feel comfortable through establishing what
‘something producing ease’. While the term plenitude
is considered to be a sate of discomfort. For example,
is acquired from the late Latin terms plenus or plenitudo
to successfully understand one’s thermal comfort
which refers to feeling full, it suggests the condition of
within a selected area, it can be ascertained what is too
feeling wholesome or complete. There is a fundamental
cold or too hot, the in-between would be derived as
need for these emotive cues deeply embedded within
‘comfortable’. Whereas, a given chair can be made too
man. He is swamped by the need to feel at emotional and
steep or flat, until a specific point between the two is
physical ease, he is driven by the innate acquirement for
considered the comfortable angle.
feeling complete. A perhaps simplistic understanding of comfort - though resonating vagueness - is to ‘feel good’. To answer the question; how can man derive comfort from vernacular homes it is necessary to critically understand what comfort means to man. Due to the expansiveness of the term comfort it is not something that can be completely ‘measured’ within subjective or objective frames.
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The Space Shuttle Experiment Rybczynski further illustrates an experiment where an interior cabin of a space shuttle was designed utilising cardboard mock-ups. The astronauts were then allowed to move freely while pretending to act out their daily routine within this full-sized space cabin. Obtrusive projections they constantly knocked down or hit within their movements around the space were chipped away by technicians until there were no more hindrances within the space and the cabin was finally considered ‘comfortable’ for the smooth flow of movement by the astronauts. Thus it can be understood that the scientific and objective derivation of what comfort is to an individual is through the measurement of what causes discomfort first - ‘Comfort is that condition in which discomfort has been avoided.’ There is an oblivious arrogance thinly veiling this scientific definition as it repudiates the existence of comfort beyond measurable terms. In fact, behavioural scientists have pushed bounds of ‘comfort’ to be more than just a measurable physical phenomenon (Parson, 1975). It is rather something intimate between a man and his dwelling which looks beyond measurable comfort. It lingers within vignettes of familiarity, nostalgia and memories. When one finds comfort within a home or a specific space, they are considered to be reacting in a positive manner to something special or a series of special things (Rybczynski, 1989).
Witold Rybcynski 23
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Both descriptions of comfort (left) are the result of past experiences. Baldwin’s definition is derived from “Comfort to me is a room that works for you and your guests. Its deep upholstered furniture, its having a table handy to put down a drink or a book, its also knowing that if someone pulls up a chair for a talk, the whole room doesn’t fall apart. I am tired of contrived decorating.”
his sixty years of experience decorating homes of highstyle and fashion while Alexanders descriptions hails from his observations of ordinary people and ordinary homes. However both quotations are bound by their mundane,
recognisable
environment
espousing
domesticity of an ordinary man. The key elements that -Billy Baldwin Interior Decorator
“Imagine yourself on a winter afternoon with a pot of tea, a book, a reading light and two or three huge pillows to lean back against. Now make yourself comfortable. Not in some way which you can show to other people, and say how much you like it. I mean so that you really like it for yourself, you put the tea where you can reach it: but it is a place where you cant possible knock it over. You pull the light down, to shine on the book, but not too brightly, and so that you can’t see the naked bulb. You put the cushions behind you and place them carefully, one by one, just where you want them, to support you back, your neck, your arm; so that you are supported just comfortably just as you want to sip your tea, and read and dream.” -Cristopher Alexander British-American Architect & Design Theorist
can be drawn from these descriptions are convenience, efficiency, domesticity, physical ease, privacy and intimacy. These elements cannot be grasped within the binds of science, rather its depths can be magnified through descriptions and careful understandings of one’s pasts, memories and routine. There is no scientific structure to comfort, it is rather a ‘verbal invention’ (Parsons, 1975). Parsons further elucidates that comfort can also be considered a cultural artifice. Embodied within individual comfort is a past - similar to any other cultural artifice such as childhood and family. Thus to truly understand comfort within a space, personal history along with a convergence of study about cultural norms must be understood to rationalise and articulate why a space is comfortable. Witold further argues and adds to comfort’s complex nature by suggesting that individuals are close to ‘oblivious’ of why something adds to their comfort, rather it is instinctual within them the ideas of comfort and they instantly recognise a comfortable environment when experienced in contrast to an uncomfortable one. It is
(Rybczynski,1989: p229)
transparent: comfort is an element that is personal in all its tangents.
The personal understanding of comfort holds
Man provides meaning to the built form within these
limitations within the context of attempting to
four spectrums. The built environment is rooted within
understand comfort within the selected homes as there
the grounds and rise up to the skies, thereby establishing
is no clear approach under which one may dissect
connections within the fourfold. The quality of life and
comfort in relation to man and his outlook. Thus, a
comfort of man is heavily dependent on the harmonious
more segregated understanding of comfort is crucial.
co-existence of the fourfold. The four elements have
To truly understand comfort, it is paramount to unveil
provided structure and momentum to understanding
man’s relationship within the built environment.
comfort within the case exemplars studied in this thesis.
Martin Heidegger suggests there are two key frames adhered to the workings of an individual. The first is his past, his innate intellect. The second is the physical reality of his environment, which includes the five elements of fire, water, wind, sky and the earth. These two aspects are known as the fourfold - earth, sky, mortals and the immortals (Fig 7).
Earth
Sky
Mortals
The relationship of
The dialogue that is
Includes the nature
Include those
the built environment
created between the
of mans co-existence
elements that provide
and the ground &
open skies and the
with other people.
meaning to mans
nature.
house.
Immortals
divine beliefs.
Fig. 7 | Heideggers Fourfold 25
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CHAPTER 3 Case Exemplar | The Naalukettu
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THE NAALUKETTU Along the south-east coast of India is a state that is called Kerala - an abode to 34.52 million people. Nestled within the land are mountains, seas, the trees and rivers - bio-diverse in all its tangents. It parallels the climatic conditions of the Pacific Archipelago and Southeast Asia, averaging a pure tropical temperature of 84°F (29°C). During summers it is rather humid, the Malayali children are out playing on the swings hanging from the branches of the banyan trees speaking amongst each other in their native language of Malayalam. There is a constant whir of fans in the households and there is a longing for fresh air to ease oneself. There is a diya [lantern] lit outside the house, encapsulated within are the hopes of the dweller. It does not experience seasons like the west; the leaves of the coconut trees and mango trees are green all year round. In the monsoon season, the mangoes ripen and the children are ecstatic to pluck them. The sound of the rain on the rooftops is prominent. It rains continuously, the soil soaks up the rain almost instantly. The houses are swamped with the smell of the wet soil - the smell of the famous red and black soil that has borne the fruit of the Malayali man’s toil. He has grown his rice for the family in his paddy fields by the river bank for centuries. It is where the settlements first arose. Families are most commonly joint. All existing generations of family live together, while the oldest member leads - following customary patriarch and matriarch traditions. They live together amongst the fields and the swaying trees where the breeze and leaves touch. The day ends with blissful harmony between the men within and the nature around. Neither, in the way of each other, rather each transmuting meaning off each other to feel comfort and to feel at home within their traditional homestead, the Naalukettu.
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(Authors Own)
papaya media
KERALA 29
1. Earth & Sky This section explores the Naalukettu’s vernacular
a. Laterite Stones - The bricks used for building
correspondence to the ground and skies and how
the walls and basic structure of the Naalukettu are
it balances harmony between the surroundings to
procured from naturally occurring laterite sources
secure the comfort of the dwellers within. It explores
such as mountains that are abundant in southeast
the structure of the home that enables the dweller to
Asia. The local masons hand cut the bricks with ease
pursue his activities with ease and those elements that
due to their porous nature. On exposure to oxygen
intermingles with natures forces to providing him
it hardens rapidly while becoming highly resistant to
with bountiful benefits.
weathering. This stone holds within, the properties of
1. Materiality
thermal insulation. It deflects solar heat, enabling the dweller to feel comfortable and cool without the need
Vernacular design is essentially the realisation of a
a technological method to cool themselves from the
potential, it is an extension of thought of the people of
humid heat of summer.
the community. It spurs from what is familiar to man.
b. Teak or Anjili Wood - The second prominent
His cultural creations are the orderings of his own
material used is teak wood from the jackfruit trees
experience, like poems and rituals (Glassie, 2000). To
that are evergreen and a flourishing source of food
conceive this plan, he must derive from the material
and material in Kerala. The teak wood is utilised for
universe to build to his comfort. Comfort within the
the frame work to hold the roof tiles. It is also used
context of any home is a response to vignettes such
to build doors, windows and pillars that bind the
as the colours, texture, dimensions, proportions and
home together. This strong and durable material, is
materials utilised to design it. It refreshes the senses
known to last more than a 100 years without any rot
and arouses a sense of belonging within its inhabitants.
or decay, thus these elements of the home are known
Thus a home must be designed utilising those materials
to be a part of the families parambaryam or lineage. In
that are familiar to its inhabitant; those materials that
addition to visual aesthetic, it moderates temperatures
he has touched, understood and lived among since the
by not espousing heat or cold, rather, by maintaining
beginnings of his life. It is crucial to outline the core
an optimal temperature that is comfortable to touch
materials that is procured to build the Naalukettu and
- this wood is also used for seating that surrounds the
those ornamentation and utilitarian objects within,
house. Lastly, due to the climatic conditions and bio-
to deeply recognise and understand the roots of the
diversity in Kerala, the presence of destructive insects
homestead, and how it has procured from the earth to
such as termites and ants are multitudinous, however
ground itself while espousing familiarity and comfort
the teak wood contains natural oils that repel such
to those within.
insects increasing longevity and overall aesthetic of
1.1 The Home
the elements that use teak, naturally supporting the
The main constituents procured from the surroundings
overall hygiene of the house while boosting the well-
that holds the home together are:
being of the dweller.
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(pinterest)
Laterite Stone Wall
Teak Wood Pillars and Door 31
(pinterest)
c. Red Oxide : The floors of the Naalukettu are made
These core materials indefinitely provide comfort
using red or black oxide extracted from naturally
in all its tangents to those dwelling within, not only
occurring minerals. It adds character to the house
in terms of thermal comfort, but more importantly
as, permeated within is a striking red or black floors
it espouses meaning due to the familiarity of the
which sheens. This gleaming finish is accentuated over
materials used. Those dwelling, have toddled into a
usage, which makes one keen to walk over it bare-
space abundant of the materials mentioned. Among
foot. It is cool to touch and is soothing in warm and
high hilltops of laterite and farms of jackfruit trees.
tropical regions such as Kerala.
It is what is known to them. They are swamped with nostalgia. They are at ease within their homes as it is
d. Clay Tiles : Another distinctive feature of the
made up of their childhood.
Naalukettu is the pyramidal sloping roof made using red clay. It is commonly called oadu. As mentioned before, Kerala is a state that experiences frequent and heavy rainfall. Thus, roofing that can withstand extreme weather conditions is of dire need. These clay tiles exceed one’s expectations in protecting the house from the downpour. Moreover it is prized for its longevity as it does not rot in the damp climatic conditions. One of the most comforting elements of this roof is that it amplifies the sounds of the rain, this ‘pitter-patter’ is known to be similar to white noise which invokes a sense of melody and calmness within those living in the home. It eases the mind and makes one feel comfortable while setting anxiety at bay (Wojcik, 2018). The clay roof tiles assist in the successful augmentation of comfort as it initiates successful dialogue with the sky.
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Red Oxide Flooring (pinterest)
Clay Tile Sloping Roof 33
(pinterest)
1.2 Ornamentation
c. Other Decor - Finally, all decorum within the
Many of the interior decor and elements that add to the
house is minimal. There is no sign of commercialistic
home’s identity are obtained from the villages where
procurement. The decorative pieces such as statues,
products are locally handcrafted by skilled artisans
ornamentation, baskets, cloth within the house are all
and builders. For first hand experience, I visited a
created by skilled artisans utilising natural materials
crafts village to observe how the ornamentation was
such as wood, kaitha leaves, shells and bamboo. Fabric
built. All products are built with locally sourced
is weaved by the weavers utilising yarn and silk.
materials such as clay, leaves, bamboo and so on. The
The artisans pitch together beautiful decorum and
key decorums and their material usage are as follows:
furniture manually.
a. Bamboo or Chooral and Kaitha Leaves - The
The highlight of the decor of the space is the
chairs, tables and beds of the house are mainly made
utilisation of sustainable and environmental friendly
out of teak wood, tender bamboo and kaitha leaves.
products within the home. The choices of furniture
They are finely crafted by local designers into aesthetic
and utilitarian objects are chosen based on their
seats to furnish the house. Tender bamboo or chooral
happiness and comfort surrounding those objects.
is known to regulate indoor humidity by absorption
By focussing on those things that espouse meaning
of ultraviolet rays. It is also anti-static in nature which
and allow them to feel happy as opposed to focussing
makes it beneficial to human health. Furthermore, it
on consumption and materialism. This sustainable
strengthens the absorption of harmful indoor gases to
approach contributes the individual well-being of
enhance the freshness of living indoors. This elegant
the dwellers by enabling them to experience more
and noble material, due to its short growth cycle can
happiness and a higher life satisfaction (Kasser and
be grown abundantly and is a sustainable and eco-
Sheldon, 2002; Csikszentmihalyi, 2000)
efficient material choice for furniture. b. Clay Utensils - Cooking utensils of stainless steel are widely used, however there is an extensive usage of clay pots or chattis for cooking, which are procured from the local potters who handcraft these utensils. It is interesting to note that inhabitants have reported that food cooked within these pots taste better and homely, than using commercialised utensils (See appendix, Interview 1, A3)
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Chair made using bamboo (Authors Own)
The Vernacular Designer 35
(Authors Own)
Potter at Crafts Village (Authors Own)
Kitchen with vernacular utensils 36
(Authors Own)
Ornamentation - Teak Wood
(Authors Own)
Painted clay statue of Krishna 37
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Vernacular Toymakers Work Table 39
(Authors Own)
2. Courtyard The most important feature of the Naalukettu that
It brings into the home cool winds, allowing dwellers
captures the skies and the earth within a harmonious
to rest alongside the four blocks at ease. Ravi Varma,
framework is that of the nadumuttam or open courtyard
a host to one such home commented that climate-
which is the centre and focal point of the house. There
responsive design is of utmost importance to Kerala’s
are four blocks that are built adjacent to the central
vernacular architecture. There is no need for air-
courtyard. The blocks are called Vadakkini (Northern
conditioners as it has been successfully possible to
block), Padinjatiini (Western block), Kizhakkini
achieve comfortable cooling by building the indoor
(Eastern block). This method of construction follows
environment of the dwelling in the likes of an envelope
ancient Indian scientific doctrines of ‘Vastu Shastra’
that can balance the temperature indoors at an optimal
(science of architecture). This doctrine theorises the
comfortable level and provide continuous airflow. He
precepts that stem from traditional views on how the
further argues that the Naalukettu is triumphant in
laws of nature affects human’s within their dwellings.
accomplishing the latter. In addition to airflow one
It is built to feed one’s mind and soul, like a shrine
can see the coconut trees growing outside and the
that is meant to solidify one’s spirituality through
visible skies from within the home. Undoubtedly,
ambience. The key principle is that the skies must
the nadumuttam is a feature that enables the skies
be open to inhabitants so that they have optimum
and the earth to enter one’s home whilst augmenting
contact with the akasha (outer space). When it rains,
their sense of privacy for those dwelling. Bringing the
it also rains inside the home.
Rain is associated
earth and the sky into one’s home indefinitely uplifts
with extreme happiness in a region dependant on
one’s mood and enhances their emotional regulation
agriculture such as family owned paddy fields. They
enabling them to feel at utmost comfort within the
experience nature to the fullest by allowing it to seep
boundaries of their home due to the dynamism it
within the home. Additionally, the central courtyard
offers (Berman, Jonides, Kaplan, 2008).
is compared to the lungs of the human body due to the excellent ventilation it offers.
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Open Courtyard pinterest
Nadumuttam 41
2. Immortals & Mortals According to Heidegger’s fourfold, to feel at utmost
The most interesting feature of the padippura is that it
comfort it is essential to man, spaces that enable
brings to highlight a subjective experience of comfort
him to build relationships between people - the
is that of the low-rise entrance. To a dweller of another
mortals. Furthermore he also necessities a space to
region may potentially find a gate of smaller height
safely practice his divine beliefs while augmenting
than himself uncomfortable as it is disruptive of a
his spirituality - the immortal. As opposed to the
smooth entrance. However, interestingly in Kerala
western culture where the self and the group exist
the underlying reason for the low-rise entrance rests
as two separate units, the Malayali man’s self is not
within showcasing humility for the mortals. Regardless
separated from his group, rather he is amalgamated
of the wealth, power and authority an individual
within a co-existence that characterises the society
holds, they must bow before entering the Naalukettu
as collectivistic (Moore, 2006). Thus, large communal
at the padippura, thus displaying an immortal facet
space within and around dwelling spaces is of great
of their life - to be humble. Such portrayal of values
importance in Kerala. Additionally, he also is need of
boosts one’s morals and accumulates comfort within
a home which is reflective of his religious and divine
them and to those around them.
identity. Therefore, this section deals with those private and public spaces in relation to the Naalukettu that enables the dweller to carry forth relationships with other people and also within himself to add to his well-being and comfort; a. The Gate or Padippura - The padippura is a vernacular equivalent of a gate-house built utilising anjilli wood (wild jack tree). It is the starting point or entry point for any member to enter the compound. It served the purpose of a waiting-area for those invited for ceremonies or special occasions within the dwelling space. Furthermore, the familial harvest of betel nut, coconuts and black-pepper are also stored at this padippura.
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Gatehouse
Pepper
(Authors Own)
Coconut 43
Betel Nut pinterest
b. Bath House - Another astounding element that
In addition, they practice walking around the
is unique to Kerala homes is that of the theerthakullam
pyramidal steps in a recurring pattern in the form
(pond) which is constructed utilising hand-cut
of prayer. However, it is also a practice that enables
laterite stones within close tangency to the home. It
the individual to exercise and lean toward a balanced
does not erode with contact to the water, rather it
and healthy routine. Furthermore, in enquiring from
strengthens over time when in contact with oxygen.
those who utilise the bath house on a daily reportedly
It is designed in a way to accentuate a deep descent
stated that it has indefinitely brought comfort into
into the pond with a number of descending steps
their lives as they are swimming amongst the vibrant
surrounding it and a number of steps in a pyramidal
and diverse flora and fauna of Kerala. The bath house
ship in a recurring pattern. The reason underlying
ties in all of Heidegger’s fourfold: earth, sky, the
this deep descent is to allow the water level to rise
mortals and immortals. All, amalgamated to bring
during times of heavy rainfall without overflowing.
forth comfort into those lives that surround it. It is
It is essentially a communal space where dwellers
also interesting to note that, other areas of bath and
of the neighbourhood come together as a family to
toilets were constructed outside the house rather than
bath every day and cleanse themselves. They also
inside the house by a stone well as it was believed to
follow rituals where they bathe before their visit to
keep the home hygienic.
the temple which has connotations to boosting their inner spirituality.
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Kerala Pond pinterest
c. Prayers or Prarthana - In the culture of Kerala,
The understanding of these facets of the Naalukettu has
there is a priority and significance vested in ones prayer
undoubtedly enabled the realisation of comfort and
- the immortal belief that is personal to the Malayalee
plenitude within this dwelling space. This vernacular
man. Prayer is inculcated into their daily routine to
home, the Naalukettu is a home with an exquisite
accentuate their understanding of God by perceiving
personality and vibrant soul which successfully caters
his existence within the devotee’s mind, body and
to man’s needs through its reflection of his identity
intellect. They seek for comfort within surrendering
and lifestyle as it utilises the procurement of materials
themselves to God. Their Atma-shakti (Energy of the
that are known to him - selected carefully by local
Soul) along with confidence, is boosted enabling them
builders, artisans and masons from their immediate
to display excellence in tasks undertaken due to the
surroundings. Furthermore, Heidegger’s fourfold
stability of the mind. Furthermore, through prayer
- the earth, sky, mortals and immortals is seen to
man attains peace within his mind which comforts
be emulsified into the design of the Naalukettu to
him in regard to all tangents of his life (Sanstha, 2019).
complete man’s desires and vest within him the feeling
The Nalukettu, indeed fosters this vital element of the
of plenitude and utmost comfort.
Malayalee mans life due to the addition of symbols and sections within his home that espouses meaning to his personal religious life, and allows him to pray in a space that is sacred to him. In the Nalukettu, there is a pooja or prayer room designed for him to devote himself to his God. It is built using intricately carved Anjilli wood for a door hand-carved by the local artisans. Another symbol of piety is that of the Thulasi Madaam (Holy basil tree). It is a square installation built in front of the house. This installation can be made up of clay or hand cut stone. The Thulasi plant is a symbol and representative of the Goddess of wealth, thus the dweller truly seeks comfort by praying to the installation, and its presence within the boundaries of his home allows him to believe it will achieve and elevate the wealth and happiness for his family.
Holy Basil Plant pinterest
Pooja or Prayer Room
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(Authors Own)
CHAPTER 4 Identified Themes & Discussions
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DISCUSSION On establishing understandings of comfort within
There is a rise in skyscrapers and concrete apartments due
the Naalukettu and the vernacularity, it is now vital
to globalisation and its constant push for urbanisation
to highlight the relevancy of this thesis in the current
and modernisation. There is an increased and
times. Thus five themes were elucidated from the
exponential reliance on imported materials along with
fourfold to further create a model or framework that
unsustainable construction practices - for example the
can highlight the aspects of the vernacular home that
over use of steel and concrete releases carbon emissions
can be derived or left behind.
contributing to global warming, Conservationists
The four identified themes are sustainability, Nature and
strongly believe this indefinitely poses long-term
Form, Lack of Technology, Culture, and Craftsmanship.
threats toward our environment. According to the
Sustainability
United Nations, 40% of the world’s energy consumption
First and foremost, upon analysing materials used
and one-third of green-house gas emissions spur from
for construction of the vernacular homes and the
buildings (CNN, 2017). Thus it is fundamental to lay
products within - from utensils to furniture, a deeper
down the regressiveness of modernity to emphasise the
understanding of materials and its implications were
progressiveness. Vernacular design is deeply considerate
realised. The materials explored ranged from hand-cut
of factors such as the local climate, materials, cultural
laterite stones, clay, teak wood, bamboo and leaves. All
traditions and the geology - all contributing to its
the mentioned materials, as discussed previously, are
energy efficiency and sustainability. Our world is in
procured by local masons and artisans to weave designs
urgent need for reform in construction and inculcating
that do not contribute to the release of carbon emissions.
vernacular building techniques and understanding how
Thus, the level of sustainability each product offers is
to best procure materials that are locally sourced can
realised. They all have one feature in common - they are
avoid global transportation of materials and the mass
biodegradable and will replenish in the environment.
impediment of the environment.
In the recent times, including modernising cities in Kerala, there has been a tremendous shift in aspects of construction.
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Nature and Form They are further disconnected to nature which leads
The Naalukettu in relation to the earth and skies
to concern over over-all wellbeing of nature and
displays a harmonious amalgamation of form and
the dweller himself. If a connection to nature is
nature. The home is inbuilt blending with nature
created, dwellers will be less inclined to harm it, and
to blur the lines between the home and the outside.
ultimately harming nature leads to harming oneself
Furthermore added naturalistic elements to amplify
(Clayton, 2003). Furthermore,
and project the nature into the home - for example
this disconnection
leads to a culture surrounding dwelling within just
the thatched roof augmenting the sound of the rain
the indoors - this leads to less healthier lives and
while the open courtyard enables the rain to seep
adds to the redundancy of one’s quality of life (RSPB,
into the home. This placement of buildings amongst
2010). Thus from our understanding of the Naalukettu
nature without its disruption must be a transcending
and its harmonious amalgamation with the earth
force in the current times, as discussed in this thesis,
and the skies, the values of its openness must be
such built environments taps into one’s mind,
derived into modern urbanised space to provide
refreshes and fosters comfort through its natural
optimum comfort to the urbanised dwellers. Upon
ventilation and openness - which is fundamental for
interviewing contemporary architect Mujib Ahmed,
overall well-being. Post-industrialisation has seen the
the need for raising the boundaries of exterior and
rapid increase in the shift of the populations from
interior spaces was understood. He argued that the
rural to urban settlements. To accommodate the large
notion of ‘borrowed landscape’ within dwellings
numbers and growing need homes are converted
must be prevalent across all modern architecture to
into clusters of boxed apartments. The buildings of
provide the population with optimum comfort. Thus,
the 20th century was built with one goal in mind -
it is vital to shift away from boxed skyscrapers to open
utilise less space to accommodate larger numbers
structures co-existing with nature to provide dwellers
while increasing profits (Reference). However the
with natural ventilation and essentially released
detrimental effects these closed atmospheres imply
trapped gases. Also furthering energy efficiency by
on the dwellers must be questioned. These buildings
flooding the spaces with abundant natural light. One
shift away from amalgamating within the natural
does not have to access the outside to be amongst
environment, but exist as separate entities on their
the nature, rather they can build connections with
own. The lack of natural ventilation leads to lessened
it within the spaces of their modern dwellings to
oxygen and increased production of gases such as
refresh, rejuvenate and connect with the environment
carbon monoxide and carbon dioxide. Dwellers
for comfort and increased quality of life. Nature and
widely experience ‘sick building syndrome’ and high
form must balance a harmonious co-existence.
discomforts in trapped and enclosed spaces.
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Technology One of the key themes identified upon studying
Technology is however an inevitable facet of the
the Naalukettu and the patterns of living is the lack
current days. The vernacular home is also seeing signs
of technology. It is important to highlight and re-
of technology being brought in as displayed as stated
state - the dwellers of the vernacular environment
in the interview by Er. Abubaker. To tackle the loss
are happy and comfortable even though technology
of meaning and the rise of feelings of alienation that
is scarce. Er. P.K Abubaker, upon interviewing argues
technology brings to dwellers it is important to assign
that technology has gone against saving time and
and give clarity to the role of technology in modern life.
building connections with real people. He reminisced
According to Alter, if technology is solely embedded
his childhood and suggested that without technology,
within homes as a utility that would ease one’s lives -
true bondings between the locale, people and nature
it would add to the feeling of fulfilment (Weingarten,
was established, he further stated - life was simpler and
2018). It is about striking a balance between utility
soul invigorating. With the uproar of technologies,
and excessive addiction. Even though the usage and
man is deviating from being human, he is almost
adoption of technology into one’s home rests in the
considered a cyborg placed into an environment
hands of the dweller, there is always significant power
that is toxic and sedentary to him. He is attached to
vested upon the designers to be able to change and
screens and adding to a wholly disconnected society.
enhance behaviours. With our understanding of man’s
If used wisely and mindfully, it has bountiful benefits,
life within the Naalukettu, and their relationship
but technological addiction is proving to be a real
with their surrounding space and the mortals, it is
and pervasive issue across the world. Adam Alter, a
important to derive the underlying values of true
psychological professor at NYU, argues that even
connectedness. It is vital to apply this value into the
though technology’s transformative potential can be
modern man’s life even with the incorporation of
considered ‘miraculous’, the arise in technological
technology. It is vital for the future to question, how
addiction slews into alienation and discomfort to
can we study the vernacular life and truly achieve such
man. This sedentary lifestyle is known to lead to
connectedness, comfort and fulfilment of life even
be detrimental to one’s mental health, adding to
with the inculcation of technology within homes?
loneliness, clock-watching and overall loss of meaning to one’s life (Weingarten, 2018).
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Culture Upon careful analysation of the vernacular home, the
Interviewee, Architect Mujib, pragmatic in his
Naalukettu, one of the most relevant themes identified
approach argues it is vital for design to continually
is that of cultural vibrancy. All aspects of the home
evolve to match the current times. For example, the
symbolise and espouse meaning to reflect the values
culture of bathing outdoors utilising ponds and built
of the dweller. The stooped gate-house, the basil tree,
bathrooms outside have dramatically lessened. Indoors
ornamentations, the pond, the utility of the courtyard
are fit with contemporary bathrooms, this definitely
and the prayer room all excellent examples of reflecting
is an aspect that brings convenience and breaks
the cultural identity of the dweller. It fosters comfort
backward taboos and notions of hygiene. However,
to him as he is allowed to practice his divine beliefs
the element of community belonging and daily rituals
and augment his spirituality in his own immediate
of bathing in the pond before visiting the temple is
surroundings. However, with rise in urbanisation and
lessened in the society. This leads us to think, whilst
modernisation within lifestyle and dwelling spaces, it
modernisation can lead to improvement of comfort
is important to question the extent of which culture
and convenience it will also lead to cultural erosion.
may be eroding over the passage of time. Further
Additionally, through conversation with the locals
more, it is also necessary to understand the erosion
of Kerala, it was understood there is a thinly veiled
of which aspects can be considered progressive or
backwardness in some some aspects of its designs, for
regressive. With the coming of modernisation, there
example, the kitchen was always almost placed hidden
is also a noticeable influence of westernisation of
at the far back end of the house. Women, though
designs in the east. For example, modern houses in
respected, have confined to the roles of servitude.
Kerala have adopted contemporary design stylistic
Interactions between them always occurred in the
elements within all its tangents, including furniture,
kitchen or away from the forefront areas occupied by
ornaments, form and structure. This leads to the
men. With the introduction of contemporary styles
loss of symbolistic elements of home, such as the
of the open kitchens, the notions of sexist undertones
courtyard, the plants, ornamentations, and even some
are eradicated. Thus it is safe to suggest that, notions
houses the loss of prayer rooms. This loss of cultural
of cultural backwardness of the vernacular home must
identity must not be perpetuated through design. It
be left behind, and those cultural elements that add
is those ‘immortal’ elements that provide the dweller
to the dwellers sense of belonging and identity must
with comfort, solace and peace that is lost in the
be carried forward into the lives of the modern man
modern world. Homes must foster meaning and be
through design.
progressive in nature.
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Michael, 2018
Craft Finally, a key highlight of the Naalukettu and its
Keeping these points in mind, it can be said that, to
ornamentation is the employment of local craftsmen
avoid loss of craft and craftsman’ship, local artisans
and artisans to build and create the interior products
must be supported and great value and importance
of the vernacular home. As discussed in the case
must be vested within them. This further accentuating
study, several furniture, and utilitarian items such as
sustainability and notions of belonging while
bags, baskets, utensils, clothes are all the products of
providing ample employment to the skilled to make
local hand crafted creations. None, the product of a
craftsman’ship widespread.
commercialistic, capitalistic society. Sargaalaya, a
With the understandings of all these themes in mind,
craft village situated in northern Kerala was visited
a model was created. This model outlines those values
to experience the designing of products first hand.
of the vernacular home that must be implored upon
The craftsman, all highly skilled created exquisite
in the contemporary times and those aspects of it
products using natural, sustainable materials. The
that must be left behind to augment progressiveness.
boons of acquiring and establishing such craft was
Indeed, as discussed, the design of the modern homes
truly understood upon my visit. With the uprise of a
must urgently acquire local materials and the crafts for
consumeristic society, there is mass production of all
build to support sustainability and craftsmen. In terms
home products in factories. Leading to loss of craft and
of technology designers must be aware of what is being
uniqueness of items within cultures and employment of
produced. A balanced usage must be brought upon
such artisans. Indeed, skilled craftsmen of the locality
the modern home. Additionally, the contemporary
are provided with employment with the adoption of
home must be mindful of the surrounding nature and
natural, handcrafted products within the home, it is
must also reflect upon the natives cultural identity.
what they truly know best. Furthermore, all products
However it must leave behind within the vernacular
are seamlessly created while being sustainable and all
- what is culturally ‘backward’. Progress and change
bio degradable due to the locally sourced materials.
are definitely what design must strive for to provide
Additionally, there is a sense of uniqueness and
inhabitants with ultimate emotional responses of
belonging created along with these products as each
comfort and plenitude.
product has been created by artists, and it is not the product of industrialisation or mass production.
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Craftsmanship
Cultural Identity
Usage of Local Materials
Mindfulness of Nature
The Vernacular Home
Technology
Contemporary Home
Backward Cultural Elements
Fig. | Model depicting notions that must be derived from the vernacular home
CONCLUSION This thesis began with the question, “How can
Indeed the vernacular home provides dwellers with
vernacular design of homes foster feelings of comfort?”
utmost comfort, and it is vital we preserve and carry
To effectively respond, first, vernacular design was
forward the inculcated values to achieve such plenitude
defined. It was understood as the “architectural language
in the current times. With deeper understandings, new
of the people” - as a reflection of one’s native feeling. It
parallels are uncovered in comparison to current times.
is a section of design that aqcuires from the immediate
One of the most important and relevant theme is that
nature to build. Furthermore, it embeds all accepted
of sustainability. We are indeed in continual need of
societal norms of the locality. The research question was
sustainable methods and resources to build, to tackle
then further probed in tangency to a traditional home
current issues such as climate change.
- the Nalukettu and its relationship with Heidegger’s
Another key theme is that of the crafts. The ‘hand-
fourfold, the earth. skies, immortals and the mortals.
made’ is noticeably industrialised and it is vital that
The home was deeply understood in terms of the
the skills of local craftsmen and artisans are honed to
materials used to build, the nature of interactions
acquire products that sustain, replenish and are unique
between people, nature and surroundings along with
whilst protecting and retaining the cultural identity
cultural elements of the home. Undoubtedly, the
and symbols of the native..
vernacular home must co-exist harmoniously with the
Indeed, the vernacular must be preserved, and with the
four-fold to provide optimum comfort to man. These
passage of time, an erosion of it is being seen.
understandings of local materials, craftsmen, culture
We must acquire values from the vernacular home and
and other interations that foster comfort enabled
build dwellings - and also seek to achieve comfort that
the identification of several themes within the case
is soul-invigorating and refreshing, not by designing
exemplar. The discussions surrounding the identified
homes that is a separate entity, rather by building
themes (sustainability, nature and form, technology,
ones amongst the surroundings that espouses the
culture, craft) highlighted those key elements of the
transmution of meaning.
vernacular home that can be carried forward into the contemporary design world.
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Recommendations to consider for future reference for designers based on the concluding five themes ; - Designers, architects and builders urgently need to derive values from vernacular architecture to further adapt sustainable construction techniques and acquire locally sourced materials to avoid mass stripping of the environment. - The design of modern homes and apartment buildings must remove boundaries between the exteriors and interiors to and ‘borrow landscape’ to the insides to foster overall well-being of the dwellers and building connectivity between the earth, skies and mankind. - The vernacular life-style must be further analysed to understand how designers can formulate homes with technologies that enable the dwellers to achieve true connectedness, comfort and fullfilment. - Designers must be aware and concious of the cultural identities of those dwellers they are building for, as one must not lose sight of what elements are being eroded or changes. - Policy makers must emphasize on the importance of craftsmen in this capitalistic society, the craft must be sustained through increased locale employment. - Vernacular design, its relevance and the profound impact it can undertake in terms of sustainability must be studied further, theorised and inculcated into architectural academia to further educate future designers, whilst preparing them to better tackle environmental impacts of construction and building of homes.
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Kasser, T. (2006). Materialism and its alternatives. In M. Csikszentmihalyi & I. Csikszentmihalyi (Eds.), A life worth living: Contributions to positive psychology (pp. 200-214). Toronto: Oxford University Press Kunc, N. (1992). The need to belong: Rediscovering Maslow’s hierarchy of needs. In R. A. Villa, J. S. Thousand, W. Stainback, & S. Stainback (Eds.), Restructuring for caring and effective education: An administrative guide to creating heterogeneous schools (pp. 25-39). Baltimore, MD, England: Paul H. Maslow, A. H. (1954). Motivation and personality. New York: Harper and Row. Mitcham, C (1979), ‘in Philosphy and the History of Technology’ in Bugliarrello, G and Doner, D. B., (eds), The History and Philosphy of Technology, University of Illinois Press, Urbana, pp. 176 Moore, B. (2006). What is: Collectivism? | Brandi Moore: India Expert, Cross-Cultural Communications with India Expert. [online] Indiathink.com. Available at: http://indiathink.com/collectivism/ [Accessed 25 Apr. 2019]. Norberg-Schulz, C (1971), Existence, Space and Architecture, Studio Vista London Oliver, Paul (1997) “Encyclopedia of Vernacular Architecture of the World”, Cambridge University Press Oliver, Paul (2003). Dwellings. London: Phaidon Press. ISBN 0-7148-4202-8. p-15 Parayil, Govindan (2000). “Introduction: Is Kerala’s Development Experience a Model?”. In Govindan Parayil (ed.). Kerala: The Development Experience : Reflections on Sustainability and Replicability. London: Zed Books. ISBN 1-85649-727-5. Retrieved 16 January 2011. RSPB (2013) Connecting with nature [Retrieved 8/7/15 from https://www.rspb.org.uk/Images/connecting-with-nature_ tcm9-354603.pdf ] Rybczynski, W. (1986). Home. 1st ed. England: Billing & Sons Ltd, pp.217-232. Sanstha, S. (2019). Importance and benefits of Prayer. [online] Sanatan Sanstha. Available at: https://www.sanatan. org/en/a/287.html [Accessed 6 Apr. 2019]. Turan, M. (1990). Vernacular architecture. 1st ed. Aldershot: Avebury, pp.9-76. Upton, Dell, John Michael Vlach (1986), eds. Common Places: Readings in American Vernacular Architecture. Athens, Georgia: University of Georgia Press . ISBN 0-8203-0749-1. Weingarten, E. (2018). Investigating the Irresistible: A Conversation with Adam Alter - Behavioral Scientist. [online] Behavioral Scientist. Available at: https://behavioralscientist.org/investigating-irresistible-conversation-adam-alter/ [Accessed 7 Apr. 2019]. Wojcik, G. (2018). Listening to Pouring Rain Is a Great Tonic for My Anxiety. [online] Healthline. Available at: https://www.healthline.com/health/mental-health/rain-calms-anxiety#1 [Accessed 7 Apr. 2019].
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APPENDIX
My first interview included my grandparents Engineer Abubaker P.K and Mumtaz Abubaker, both whom have dwelled in a Naalukettu during their life. This enabled me to gain deeper insight to life at the Naalukettu.
Interview Transcript 1 Q 3: Do you think the materials used to build the house
Q 1 : How was the Naalukettu a part of your life?
had an impact on you?
A : This house was an integral part of our lives as it is where we were brought up, and where we grew up
A : Definitely, There is a lot of rosewood used in my
in. All our important childhood memories lie in this
house, this actually reflects a sense of belonging because
house. Due to the fact that the joint family system is
it is taken from the trees around you. You are brought
extremely, there were quite a lot of people living in the
up among these environments and you’re familiar with
house when I was younger. I lived with my 17 brothers
the smell and touch of these woods. But nowadays the
and sisters!
sad part is, everything is starting to get commercialised, there is a lot of fake materials going around in the
M : For me the Naalukettu is close to my heart because
market which people paint to make it look like wood.
it is the home of my mother. I think I love every aspect
Even that, it just smells and feels different, these things
of it - the halls, the courtyard, my room which was
you just know. So I would say definitely materials make
the largest, an interesting thing about my room was
a huge impact on your and your well being.
that there was one larger room outside my room for interactions, and the inside room was for my privacy. I
M : Oh yes, materials definitely have a huge impact
do really miss the Naalukettu.
on you. For example, The utensils we use are mostly made out of clay, its very different to the current
Q 2 : What were the most distinct qualities of it?
commercialistic utensils you cook in. we mainly make
A : There is no doubt that it is the courtyard! It was an
fish curries in the clays pots, It cooks slowly in a ‘veragh
excellent source of ventilation, and when it rained, it
aduppu’ (fire place stove). Even the taste of the food is
rained in the courtyard. You can see and feel the rain.
just so very different in handmade clay pots, compared
There was just absolutely no need for air conditioners.
to steel and metal utensils. Its natural and homely.
Nowadays houses that are built without the courtyard
Q 4: What were the areas that fostered interactions in
are using air condition to cool the house, but nothing
the house ? How were they important to you?
technological I believe can give the same comfort as just opening the house to the skies and the earth and
A : The courtyard is where all events took place really,
gaining from it, natural ventilation. Even the windows,
be it someones wedding functions, or get togethers,
there were so many, you can never feel too hot or too
everyone knows everyone, its just how this society
cold in this house.
works. So communal gatherings are very important I would say, people can sit in the porch, or seats
Another feature is that of the attic, where they stored
surrounding the courtyard, it is just beautiful to be
coconuts collected from the countless trees surrounding
able to sit inside with the open skies but also have a
the house.
sense of privacy. We’d have easy-easy-chairs made out
M : For me it was the court yard as well, it is so unique,
of chooral- bamboo. I cant really put it into words but
no other type of houses are built this way. the sound of
it was so comfortable! Then another feature that was
the rain and seeing it is just extremely soothing for the
close to me is the Kullam, me and my friends used go
mind. You can just sleep in peace to the sound of the
bath there!
rain. 65
M : As I mentioned before there was a room outside
Everything in a way is symbolic and has meaning
my room that was actually just used to sit with my girl
attached to it, so it has to be carefully designed. When
friends and cousins and talk! also our kitchens were huge
I used to live in Pondicherry, a Hindu household had
at that time, we would mostly sit around in the kitchen
given me a contract to design a home for them, even
or near the courtyard and have long long conversations!
though I am an engineer. I designed the prayer room
There were always guests around and people visiting us
beneath the staircase as there was a beautiful space
all the time. The house was just perfectly designed to
there. However the owners of the household told me
accommodate all sorts of interactions.
that the staircase is a space that people would step on,
Q 5: Can you tell me more about the Kullam or the
so it was not appropriate for it to be designed there.
Pond? Have you ever felt that it hindered privacy? Did
This is what I mean, everything may not look like there
it give you comfort in your life?
is a meaning behind it but it does.
A: Oh the pond is where me and my friends used to
Q 7 : My final question is - has the Naalukettu fostered
go to hang out! It did not really hinder privacy as such
comfort in your life? Now that you don’t live in one,
because men and women had separate times to visit the
do you think modern architecture should consider
pond. It is a really relaxing experience, to be swimming
and take values from such Vernacular homes to foster
in nature. During monsoon seasons the water levels
the same comfort that you felt?
would rise and the water was so clean! Ofcourse things
M : definitely, I haven’t felt the same comfort I have felt
are changing now, technology is extremely popular and
in my previous home, it is something about the openness
people just don’t have time for such kind of interactions,
of it to the earth and how there was just everyone
to really achieve comfort we must detach from things
around you in the house. How it truly brought all the
that don’t give us ultimate joy, and things that seem to
important elements in your life together. Nowadays
be wasting and chipping away your time. So places like
things are moving to a more technological state where
the pond give you time for creating actual memories
no-one has time for anything, a natural touch is being
and living. So yes of course it gives comfort.
lost. I think comfort is something that lingers when
Q 6: How has this home given you a space to practice
your memories, people and everything else is ties up
your divine beliefs?
to a space. For me it was the Naalukettu, it is where I grew up.
A : See, I am a muslim, so it was different, we can pray anywhere, but my for my hindu friends it was
A : Adding to that, I think there is a lot modern
a different story. Their naalukettus had pooja room,
architecture can take from such houses… be it the
they had a holy basil tree. Prayer is a really important
material usage, the sustainability aspect of it, or even
and vital part of all our lives, so the house in a way has
retaining values behind these buildings, I think it is
fostered this to enable the people living in to practice
absolutely necessary to slow our fast paced life down.
their beliefs in a safe space.
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Arch Mujib Ahmed Head Architect at Collaborative Architecture
The second interview was of an award winning Architect Mujib Ahmed. Head of Collaborative Architecture, Mumbai. The aim was to understand the relevance of vernacular architecture in the point of view of a contemporary designer.
Interview Transcript 2 What is your take on vernacular design in the current times? Do you think it’s important to retain such architecture? Vernacular comes from that. There are two or three
Hot and arid countries like middle east or Rajasthan
things that kind of define vernacular, one is climate
would really need a house with a courtyard but in a
definitely one is material that’s available locally. And
tropical climate, along with the courtyard you need
the culture and the building tradition and finally
to find other ways to ventilate the house through
the craft. These are the five things that kind of make
linear houses with cross ventilation. The naalukettu is
vernacular what it is. All these five things put together.
essentially a product of culture. For example there were
One of these things come in between. That doesn’t make
many cultural elements embedded within, like only the
it vernacular. All these things kind of merge together in
older brother was supposed to have a lawful wife in
that you know in a symbiotic form that would give rise
the olden days, it was called the andharjanam and she
to the vernacular architecture. So, the question is is
was considered the matriarch of the family. So there
vernacular relevant today. If these five things combined
was one patriarch and one matriarch. And the younger
together. Would that make sense today? Yeah. So let’s
ones there were not supposed to have a wife, they
look at let’s look at material. So you have. Those days
were supposed to have mistresses or concubines from
the only material available was natural materials and
the lower caste such as the Nairs, and there is a study
wood and that was it, along with stone, brick, wood
that shows the nairs house was completely different
or laterite. So does this building tradition would
from the Naalukettu. So these younger men have to
that make sense in the contemporary times. With the
visit the mistresses in the evening. So the nair house
materials available to you.
has a completely different configuration. So they have
The answer is probably yes and probably no. Okay.
it verandah outside and a series of rooms facing the
Because the wood is the trees. In the recent times
veranadah. So these boys could enter Mistresses house
building with wood, they say is far more sustainable
in the evening. So what I am trying to tell you is that
than the other way around but keep in mind that’s in
- what we call the vernacular House forms is also a
the areas it is abundant. Next is Climate. Right. This
product of culture that the society is going through.
way of building was resorted to because that was the
So you kind of have to make a judgement of the pros
easiest and most economical way to kind of to adress
and cons by considering these factors - climatically -
the climate.
culturally and as a building science.
If vernacular design in general apart from I look at it would still be relevant you know. Is there any kind of traditional elements or values that can be taken from this theory that could be brought into a modern kind of contemporary designs. So that’s why I told you.
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Lets come back to the climate part of it. So in these
Yeah I would say that humanity we had all the time
closed open courtyard houses, it is necessary to have
inclined for or we would always would crave for house
more cross ventilation - so how they have designed the
that we always knew as a basic form of house. I guess
house to be porous. So if you see the naalukettu there
that does kind of tell us about the collective memory
are wooden screens at the window. you know what on
kind of stresses a about how important they are in
screen some windows just passes through from one end
contemporary times.
and the air comes through the roof into the courtyard
The entire idea of modernism came from Japanese
and rises up. However the form is dictated more by
traditional architects. About open spaces opening up
the culture by the climate because the courtyard is
on space leading to the next. What do you see in most
used for cultural activities as well. And then what we’re
of the houses that we live in. You know the old houses
looking at is the relevance of this in modern times. The
that we have it’s all closed houses and closed rooms to
traditional learnings. That these traditional learnings
you kind of progress from one room to the next to. The
are relevant because they resolved all problems in a
Japanese houses of the first house anywhere in the world
simpler way where high tech was no available. You have
that really integrated the house with the nature. So
to read about collective memory. So the only place
Japanese houses had this particular thing called inside
where that is relevant to places no one whether further
and outside and the seamless integration of inside and
we could be kind of adapt that a deeper kind of what
outside. And that’s what modern architecture also does.
do you call building resolutions from this environment
And if you ask in the global context is the traditional
that traditional architecture or vernacular architecture
architecture relevant. Yes it is relevant. In terms of
are so easily resolved. How can be adapted into modern
the modernism. The biggest idea of modernism is the
modern times. Coming up those
solutions into
kind of basis for. The flowing of space or the raising
modern times how they tackle climate how they tackle
of boundary between interior and the exterior spaces.
the structural ingenuity and how they tackle all those
What do you call Japanese houses what they call is, they
kind of thing how it tackle is something that you can
borrowed the landscape into the house.
basically look at. And secondly you can talk about the collective memory. So if you if you just ask anybody if youike there’s a case for classicist all across the globe.One of the most powerful rhetoric of a classical theoretician is that if you ask a kid to draw a house they will always draw a house like a pitched roof or a traditional form. Yeah right. They would never do a box home.
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LICA300 | BA Design | Lancaster University | 7.04.2019