Vernacular Architecture Research

Vernacular Architecture

Vernacular architecture as a means of promoting sustainable design and building practices is a topic in which I am very interested. Historically, non-colloquial architecture communicated the wealth and power of the occupant because of the expense and difficulty importing foreign materials, methods, and craftspeople. As architecture moved to promote international design and prove that any type of structure could be built, using any type of materials in any location, regional architectural traditions and identities were considered less valuable, or in some cases, lost completely. Now as architects and designers are more aware of and concerned with resource conservation and sustainability, there is a trend toward reinvestigating colloquial methods and materials and that, somehow, these are inherently sustainable. While it is true that many of these methods are more environmentally sustainable, it is a mistake to assume that vernacular architecture is wholly sustainable.

When deciding on vernacular architecture’s level of sustainability it is as important to consider social conditions as it is building traditions. The built environment needs to respond to the things that make us human and not become limited by an architect’s or designer’s inability to consider those needs. Therefore, social sustainability is an important consideration when discussing the overall sustainability of a built environment. And social considerations can often be evident in vernacular architecture, however, in some cases, may need updating. That being said, vernacular architecture can offer solutions for sustainable building practices while preserving, or in some cases, reinventing regional identities.

Vernacular architecture is dependent on regional/local materials that are built in response to specific geographical, climatic, geological, and social conditions. By studying vernacular architecture, designers and architects can make informed design decisions about orientation, siting, and plantings that will help to create more sustainable methods of building, as well as employ methods or aesthetics that are reminiscent to the region.

References

Cromley, E. (2008). Cultural Embeddedness in Vernacular Architecture. Building Research &

            Information. 36:3, 301-304.

Ford, M., El Kadi, H., & Watson, L. (1999). The Relevance of GIS in the Elevation of Vernacular

            Architecture. Journal of Architectural Conservation. 5:3, 64-75. doi: 10.1080/13556207

            .1999.10785252

Foruzanmehr, A. & Vellinga, M. (2011). Vernacular Architecture:Questions of Comfort and

            Practability. Building Research & Information. 39:3, 274-285. doi: 10.1080/09613218

            .2011.562368

Heal, A., Paradise, C., Forster, W. (2006). The Vernacular as a Model for Sustainable Design.

            The 23^rd Conference on Passive and Low Energy Architecture.

Tiny Houses

Tiny House Studio Project

I am excited about the first studio assignment for this semester. The assignment is to design a 500 sq. ft. house that is easily replicable for a co-housing community in Franklinville, NC. The design must incorporate sustainable technologies and building practices to ensure that the project has a minimal lifetime footprint; from its inception to the structure’s end-life. The entire project will be a challenge, as there is a great deal of research that must occur in order to make appropriate design decisions. Perhaps most challenging, however, will be to be mindful of waste during the design process. As designers who need to design in an age of decreasing resources and increasing environmental concerns, it is imperative that we think about sustainability in the physical work that we do and not only in the structures and interiors that we create. This is an idea that I have not thought about before but, as challenging as it may be, it will be a priority for this project.

I am a firm believer that reviving or developing vernacular architecture is a major component of the green building movement and a key ingredient in sustainable design and building practices. For this project I intend to research the colloquial architecture of the past in the Piedmont of North Carolina, in which Franklinville is located. I also plan to pay special attention to the site, its orientation, climatic patterns, elevation, and its indigenous flora and fauna. I will also be interested in any gardening/planting traditions that may have been common to Franklinville and/or Randolph County that could be incorporated into the site’s design.

My goal is for my 500 sq. ft. design to easily accommodate two adults and possibly one child. Ideally, I want my design to be easily modified into a (slightly) larger space (700-1000 sq. ft.) to more easily accommodate a larger family.

I am currently in the “information-gathering” phase of my research and am a little overwhelmed by how much there is to learn. I would like to utilize a new skill that I learned last semester, developing a programming document, to sift through my research and help to inform my design decisions. I am enthusiastic and eager (if overwhelmed) to learn as much as I can. There is a lot to do!

Sound Sketch

 

 

 

sound effects + gatewood studio arts building

 

Hearing Architecture

Hearing Architecture

 

In the chapter, Hearing Architecture, the question was asked, “Can architecture be heard?” The answer is most definitely, YES. The chapter discussed arched and domed ceilings and the effect of those architectural details on the way in which we experience sound. Also discussed are materials and architectural details that provide sound absorption. The general synopsis of the chapter is that certain materials and architectural details that create poor acoustics in some instances can produce phenomenal acoustics in others. The job of a designer is to understand how materials and architectural details affect the way in which a space is experienced and design for the desired effect.

 

I think I am sensitive to sound and, for me, there is a fine line between sound and noise. I have experienced a variety of occasions in which sound played a significant role in my overall enjoyment of the space or activity.

 

For instance, many years ago I attended an International Festival in one of the permanent buildings at the fairgrounds in Raleigh. I was very excited to go because I was looking forward to sampling food from different countries. The building was long and open, individual spaces were delineated by food stalls; there were no permanent walls in the space. I am unsure of what the building was constructed, but my guess is that it was a pre-fabricated metal building. The floors were commercial tile. Because there were so many people crammed into the space there was a constant din of sound. Because there were few permanent sound absorptive materials, the din grew. The constant hum of people was tolerable for me at first, but the longer I was there, the more intolerable it became. There were not any specific loud noises, just that din. My anxiety level grew so much because of the noise that I had to leave the festival. When I exited the building I felt instant relief in the relative quiet of outside. I was disappointed to leave the festival early but the noise level in the space became intolerable to me.

 

On the other hand, I have experienced music performances that were an acoustical delight. As discussed in the chapter, some sound reverberation is critical to create an acoustic environment in which music sounds are at their richest. When I was young I went to music camp at Lake Junaluska in western North Carolina every summer. Most of the music performances that I attended there were held in an austere, casual (camp-like) auditorium. The auditorium was a huge octagonal building with concrete floors, wooden theater seats, and was surrounded by windows. The sound in that auditorium was great, although the seats were not too comfortable. The materials used in the space and the shape of the building allowed for reverberation that made human voices and instruments sound fantastic.

 

As a designer it is important for us to design for all of the senses, not just the visual. Sound in an interior plays a huge role in the comfort and enjoyment of the people in the space. Most people do not think about how architecture sounds until the sound in a space is uncomfortable/annoying or magnificently beautiful.

Light Box

Shadows of Light

An Exploration of Shadow Cast by Colored Light



Light Sketch 3

 

Textured Fabrics Under Various Lamp Types 

 

 

Light sketch four required our light box group to go on a scavenger hunt for different light sources and document how each affects the appearance of color and texture. We chose four very textured fabrics in warm and cool colors and photographed them with a variety of lamp types. The lamp types we used were fluorescent, LED, halogen, and HID. Not only did we document the different sources but we also documented them in daylight and night conditions.

 

It is clear to see how some lamp types can drastically change the color of the fabric. One of the most interesting changes is documented in the HID lamp. The green swatch (the last one) looks vastly different under the same lamp, in different natural lighting conditions.

 

 

 

 

 



Light Sketch 2

 

 

 

 

Analyzing Lighting Conditions

 

 

 

 

 



 

 

 

The retail establishment had fluorescent, halogen track and incandescent sconces. The three different types gave the space plenty of light showcase the clothing. The track lighting along the wall gave a little glare on the walls. I would recommend possibly a lower watt bulb there.

 

 

 

 

 

 

 

 

 

 

The museum space had halogen track lighting set up along the side walls and another set towards the middle running parallel to the wall. The ones in the middle were pointed towards the sculpture and walls. Only a few of the lights against the walls were being used and they were pointed toward the sculpture as well. This gave a beautiful effect of shadows in the space and really highlighted the sculpture but wasn’t overpowering on the wall artwork.

 

 

 

 

 

 

 

 

 

 

The restaurant had adequate lighting for the space. They had halogens lamps on a string type strip. This created a nice ambient light. The space had windows that let in some nice natural lighting on the corners and some niches that appeared to have some up lighting.