Vernacular architecture is a

term used to categorise

methods of construction which
use locally available resources
and traditions to address local
needs. Vernacular architecture
tends to evolve over time to
reflect the environmental,
cultural and historical context
in which it exists.
It can be contrasted
against
polite architecture
which is characterised
by stylistic elements of
design intentionally
incorporated for
aesthetic purposes
which go beyond a
building's functional
requirements
The building knowledge in vernacular
architecture is often transported by local
traditions and is thus based largely - but
not only - upon knowledge achieved by
trial and error and handed down through
the generations, in contrast to the
geometrical and physical calculations that
underlie architecture planned by
architects. This of course does not
prevent architects from using vernacular
architecture in their designs or from being
firmly based in the vernacular architecture
of their regions.
R.W. Brunskill says..
•...a building designed by an amateur
without any training in design; the
individual will have been guided by a
series of conventions built up in his
locality, paying little attention to what may
be fashionable. The function of the
building would be the dominant factor,
aesthetic consderations, though present to
some small degree, being quite minimal.
Local materials would be used as a matter
of course, other materials being chosen
and imported quite exceptionally.
Modern proponents of the use
of the vernacular in
architectural design include
Charles Correa, a well
known Indian architect, and
Balkrishna Doshi, also
Indian, who established the
Vastu-Shilpa Foundation in
Ahmedabad to research the
vernacular architecture of
the region. The Dutch
architect Aldo van Eyck was
also a proponent of
vernacular architecture.
Architects whose work
exemplifies the modern take
on vernacular architecture
would be Samuel Mockbee,
Christopher Alexander and
Paolo Soleri.
 Vernacular architecture is influenced by a
great range of different aspects of human
behaviour and environment, leading to
differing building forms for almost every
different context; even neighbouring villages
may have subtly different approaches to the
construction and use of their dwellings, even
if they at first appear the same. Despite these
variations, every building is subject to the
same laws of physics, and hence will
demonstrate significant similarities in
structural forms.
The way of life of building occupants, and the way they
use their shelters, is of great influence on building
forms. The size of family units, who shares which
spaces, how food is prepared and eaten, how people
interact and many other cultural considerations will
affect the layout and size of dwellings.

Culture also has a great

influence on the
appearance of vernacular
buildings, as occupants
often decorate buildings in
accordance with local
customs and beliefs.
 There are many
cultures around the
world which include
some aspect of
nomadic life, and they
have all developed
vernacular solutions
for the need for
shelter. These all
include appropriate
responses to climate
and customs of their
inhabitants, including
practicalities of simple
construction, and if
necessary, transport.
 The Inuit people have a number of
different forms of shelter
appropriate to different seasons and
geographical locations, including the
igloo (for winter) and the tupiq tent
(for summer). The Sami of Northern
Europe, who live in climates similar
to those experienced by the Inuit,
have developed different shelters
appropriate to their culture,
including the atnaris-kahte tent.The
development of different solutions in
similar circumstances because of
cultural influences is typical of
vernacular architecture.
 IGLOOS

DIFFERENT FORMS OF VERNACULAR

STYLE