Vernacular Design of Homes & Comfort

‘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

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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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Laterite Stone Wall

Teak Wood Pillars and Door 31

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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

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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

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Ornamentation - Teak Wood

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Painted clay statue of Krishna 37

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Vernacular Toymakers Work Table 39

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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

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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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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

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Pooja or Prayer Room

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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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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.

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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