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NEO-VERNACULAR ARCHITECTURE – CONTRIBUTION TO THE RESEARCH

ON REVIVAL OF VERNACULAR HERITAGE THROUGH MODERN
ARCHITECTURAL DESIGN

Conference Paper · January 2011

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 ARCHITECTURAL
NEO-VERNACULAR ARCHITECTURE – CONTRIBUTION TO THE RESEARCH TOPICS
Sustainable Re-Use
ON REVIVAL OF VERNACULAR HERITAGE THROUGH MODERN in disused buildings
and abandoned sites
ARCHITECTURAL DESIGN
Elša Turkušić

Faculty of Architecture in Sarajevo

Contact: turkusic@bih.net.ba; elsat@af.unsa.ba

Key words: Vernacular architecture, Restoration/ Revitalization, Interpolation,

Continuity of building, Identity of place

SUMMARY
The main goal of the study is to present neo-vernacular architecture as a part of
a broad range of revitalization of cultural heritage (specifically as a part of indigenous
folklore style of building heritage).
Mostly in literature, both conservation works on existing structure and some of
the (new) buildings that are designed by traditional materials and technology are only
considered as neo -vernacular expressions. Therefore, the research is focused on detecting
the aspects of active and creative „conservation” of some specific vernacular ambient.
Under that the revival of vernacular heritage and its inclusion into the contemporary
trends in society is considered as architectural and urban “synthesis of existing and new”
(genius loci and spirit of the time).
Insight into the contemporary theoretical and critical tendencies shows that neo-
vernacular architecture could be defined and interpreted within the regional, ambient,
contextual, local-eclectic, formalistic, retro-traditional and pseudo architectural design
approaches.
506
ARCHITECTURAL Bearing in mind all these possible attributes in this field of space creation (inspired
TOPICS by vernacular heritage) two questions arise through research:
Sustainable Re-Use
in disused buildings Can every new interpolation within vernacular environment be considered as an
and abandoned sites
example of neo-vernacular architecture?
And whether the objects that are located outside of vernacular (indigenous)
environment but are designed on the interpretation of vernacular elements, represent
neo-vernacular architecture?
Within the study different examples of architectural structures, executed in
different regions, which upgrade the current built context were selected and presented.
In order to obtain a wider view of the problem all presented buildings and complexes
have different functions and programme demands. Also, they are designed by architects,
with different architectural language, but who all used design and conceptual schemes
to respond to the question of identity and continuity of a specific location and inputs.
The argumentation and critical analyses of explored possible solutions suggest
appropriate and proper activities in and around certain place- which incorporated the
value of a given site into the new facility, in a relation that should be new facility and
existing vernacular environment, on which level the symbolic architectural language
should be set (local, regional or universal) and what is the vital role of the architects and
the local community? Consideration of these questions could create an opportunity to
recognize and (re)value neo-vernacular approaches in architectural design process.
INTRODUCTION
The revival of vernacular heritage and its inclusion into the contemporary trends
in society is considered as architectural and urban “synthesis of existing and new”
(genius loci and spirit of the time). Insight into the contemporary theoretical and critical
tendencies shows that neo-vernacular architecture could be defined and interpreted
within the regional, ambient, contextual, local-eclectic, formalistic, retro-traditional and
pseudo architectural approaches. Bearing in mind all these possible attributes in this field
of space creation (inspired by vernacular heritage) one main question is arised through
this research:

507
 Can every new interpolation within vernacular environment be considered as an ARCHITECTURAL
example of neo-vernacular architecture? TOPICS
Sustainable Re-Use
Consideration of this question could create an opportunity to recognize and (re) in disused buildings
and abandoned sites
value neo-vernacular approaches in process of architectural design. Within the study
different examples of architectural structures, executed in different regions, which
upgrade the current built context were selected and presented. In order to obtain a wider
view of the problem all presented buildings and complexes have different functions and
programme demands. Also, they are designed by architects, with different architectural
language, who use design and conceptual schemes to respond to the question of identity
and continuity of a specific location and inputs.
VERNACULARISM
“Vernacular architecture (individual buildings, ensembles and settlements) is
described as architecture without architects. It follows the local tradition and reflects
the evolution of structural types in relation to climate and lifestyle of the individual sites
and available materials. Usually associated with conditions of the people rather than with
time.”1It is characterized by utility and sustainability, the use of local materials through
purposeful-utility design. “Vernacular architecture is surely a contradiction in terms, said
many of the architects who were invited to take a part in this book. The vernacular is
an unconscious work of craftsmen based on knowledge accumulated over generations-
the very opposite of architecture which involves a premeditated design process with
a conscious appeal to the intellect.”2In literature, the term “vernacular architecture”
is interpreted in various ways, where often traditional and regional architecture called
vernacular (folk or popular). But regional and vernacular architecture are the authentic
ones, with the vernacular is a limited part of regional or traditional architecture of a
particular geographic region. Furthermore the different styles appear into traditional
and regional architectures, while stylistic features can not be attributed to vernacular
architecture.

1 Sanković-Simčić, V.: Revitalization of the Architectural Heritage, Integracija staro-novo, NNP Naša
riječ d.o.o., Sarajevo, 2000.
2 Richardson, V.: New Vernacular Architecture, Watson-Guptil Publications, New York, 2001.
508
ARCHITECTURAL NEO-VERNACULARISM
TOPICS
Sustainable Re-Use
in disused buildings
Neo-vernacular architecture is a contemporary interpretation of vernacular
and abandoned sites building. Actually, it presents contemporary architectural interpolation, within vernacular
environment, that was inspired by the elements of vernacular heritage and expresses
technological and aesthetic language of its time. Many architects reject the possibility of
building in the spirit of the vernacular architecture, because mostly believe that it means
the appliance of local traditional materials and forms. However, in defining and solving
problems one should go much deeper than just reaching visual context or “scenery”. In
fact, present (specific) context should be accepted and analyzed as “a term that covers a
much wider area of spiritual, historical, structural, program, spatial and cultural issues.”3To
preserve vernacular settlements or ensembles it is necessary to involved them in the
flow of contemporary life, by introducing new functions and objects which are usually
unknown to indigenous architectural structure. The new structures are mainly intended
for tourism or culture, but in recent times also for other functions that strengthen the
local economy. Since it is a dialogue between old and new, the decisions on these specific
programs and their implementation should be carefully taken. Because sometimes new
functions, despite the successful architectural intervention, may regress or desecrate the
living culture and even contribute to the gradual degradation of an authenticity (which is
often in case with tourist areas).
Neo-vernacularism is usually based on only two approaches that are essentially
opposite: interpretative and conservative. Conservative approach is limited in its operation
and present utilization of an appropriate traditional materials and forms for new time
(best example is work of Egyptian architect Hassan Fatih). While interpretative one is just
the physical extension of the existing structure and in its architectural conception follows
only new functional requirements. 4

3 Radović, R.: Active space, Nezavisna izdanja 24, Beograd, 1979. F.L. Wright was convinced that the
more knowledge and values are in the folklore architecture than in all academic teachings together. However,
access to the past becomes creative only when the architect is able to penetrate into its inner meaning and
content. It can rise into a dangerous past when it just tends to forms-”playboy architecture” (Gideon, S.:
Space, time, architecture, Građevinska knjiga, Beograd, 1969.)
4 Suha,O.: Regionalism with Modernism- Regionalism in Architecture, Seminar Exploring Architecture
in Islamic Cultures II, Dhaka, Bangladesh, 1986.
509
 But the new modern structure could achieve a harmonious relationship with its ARCHITECTURAL
indigenous space environment. If only the interest for developing local forms exists - TOPICS
Sustainable Re-Use
through formally applying the visual elements in process of designing through new spatial in disused buildings
concepts and needs, then the meaning between architecture and its shape is lost. This is and abandoned sites
actually a regional or local eclecticism. One should not accept the view that authenticity
can only imitate, or literally copy, or completely ignored. The local community identifies
with the existing facilities therefore this same sense of identity must be achieved with
the new facility. Consequently the genius loci should be understood and appreciated,
so that the essence of existing identity could be further developed and transformed.
So implicating the identity of given site is an important determinant of neo-vernacular
expression.
„Vernacular building was invariably sustainable; it had a strong cultural dimension
in this regard almost by definition but it was also of course, at the same time, quite
pragmatic. Of course one cannot simply replicate historical details, but at least one
should be cognizant of the role that specific details played from an ecological standpoint
in the earlier epoch.“ 5
Every modern expression does not become less attractive, but rather becomes
much richer, through true understanding of the existing values of a particular environment
and culture. To what extent and how new architectural composition (elements, forms
and materials) will be interpreted, primarily depends of an architect’s creativity and his
feelings for a given location. New spatial concepts must not only represent a synthesis
of dialogue between contemporary and old values, but should be also a reflection of a
personal architectural philosophy. This can save new interventions of repetitions and
monotony. But it often happens that architects decide for mimicry of existing environment
or believe that personal creativity is above all- with this approach authors lose their
attitude about current location through underestimation of existing architectural and
cultural values. “Cities with strong identity- to architects who are willing and able to
recognize their genius loci, and involved the acquired knowledge in their projects- inspire
a special method of resolving the new urban elements.”6 Sometimes happens that the
modern architectural interpolation achieves harmony with the surrounding building and

5 Frampton, K.: Identity comes from Political Consesnus, ORIS IX-46-2007, ARHITEKST, Zagreb
6 Dražić, Đ.: Town as Matter, ČIP 3/1985 (384), Zagreb
510
ARCHITECTURAL the area, but on the other hand does not succeed to establish the identity of location. In
TOPICS that case, it is a modern expression which could be described as neutral or unclassified,
Sustainable Re-Use
in disused buildings
but not as new-vernacular one. Mostly, every building has its own identity based on
and abandoned sites architect’s creative vocabulary, while the vernacular architecture contains the identity
of location. It is necessary and important that the new facility achieve compliance with
the past and the future- because it is the only way to enable morphological and cultural
continuity in a particular place. Luis Barragan spoke to his students: “Do not work what I
do, but look what I saw!”
“Folk architecture to us is not a goal, not a practical tool. It is merely a direct
medium of spatial-time communication with native-land and spiritual catalyst- “native-
land constant” in designing a new space.”7
Specifically, local form of manifestation of world culture considers contemporary
products of architecture that primarily evolves a creative method of a given environment.
This means that architect includes and evaluates the achievements and possibilities
of the current spatial context. Local can be processed only within the native spatial
structure that differs from other native structure, although both belonging to the same
regional climate. Outside of an area that hasn’t emphasized the authenticity one can
considers the question of relations between regional and universal. In this case, architect
mostly interprets the traditional regional elements. But it often happens that modern
interpretation interpolates or imports some certain vernacular elements from one
location to another similar location. This happens when the authors were not able to
recognize the genius loci and the complexity of the site. With the line of least resistance,
they just simply serve the concept based on a “copy-paste principle.” No one is trying
to oppose the method of analogies in solving certain problems, but one should avoid
the imposition of uniqueness of one identity to other one. Contemporary aesthetic and
technological approach of spatial design through the reconsideration of the vernacular
context in architecture is the essence of neo-vernacular architecture.

7 Salopek, D.: The future of Rural Heritage, ČIP 307, Zagreb

511
 EXAMPLES OF THE NEO-VERNACULAR ARCHITECTURE ARCHITECTURAL
TOPICS
Sustainable Re-Use
This review of particular buildings of neo-vernacular expression will show the in disused buildings
and abandoned sites
richness, complexity and variety of applications of this expression. Selected buildings are
dating from the last three decades, have different capacities and functions (educational
and cultural, sporting and residential) and located in different regions (with rural-urban,
rural and urban characteristics) and societies.
Residential Ensemble in Port Santa Maria, Cadix, Espana (1985)
Arhitect: Antonio Gonzales Cordon

Fig.1 South façade with galleries Figure 2 – General view of lamella

Cadiz is a quite visited Mediterranean resort in Southern Spain. The bastions, arches
and arcades are recognizable elements of its ports. This new small housing development
in Port Santa Maria along the bay of Cadiz is a part of protection zone.
Residential lamella consists of 11 two-storey apartments. Architect reinterpreted
the local architecture, but building a structure with more urban character. So gallery, stone
walls (that evokes stability) and the arches indicate the local architectural vocabulary.
Modern and comfortable housing is the result of author’s apprehension of essential value
512
ARCHITECTURAL of culture and tradition of living in this region. The advantages of the climate of this area
TOPICS are exploited by using a symbolic language to preserve identity and cultural context. On
Sustainable Re-Use
in disused buildings
the south facade massive wall made of local stone and the facades white wall recall some
and abandoned sites of characteristic features of vernacular architecture in Cadiz. North facade is much more
open and its transparency allows a pleasant break from the summer heat in Southern
Spain.
Segger House in Blaen Camel, Wels (1999)
Arhitect: David Lea
New residential building is an extension to the existing typical Welsh farmhouse
with pitched slate roofs and chimneys on the gables. With this new ground-floor and
self-contained unit, architect did not interfere proportion or scale of the existing two
storey house, as well as its local identity. His design approach is based on using of local
materials, in such a manner that it is economically and rationally justified, in combination
with modern technology. In this way there is avoid the literal usage of materials in terms
of achieving physical context- emphasizing propagation of certain local forms and styles-
which according to the author’s words it creates the effect of “ Disneyland’s emptiness.“
With this realization and concept there allows to the community to revive the economy
in its environment.

Fig.3 Old and new building

513
 “Extending such self-contained unit in an appropriate manner required great ARCHITECTURAL
sensitivity, both to the character of the Welsh vernacular and the possibilities offered by TOPICS
Sustainable Re-Use
modern architecture.”8For instance, by using (floor-to-ceiling frameless double-glazed) in disused buildings
windows and skylights is realized both comfortable interior atmosphere and interaction and abandoned sites
with the surrounding garden.
The applied design method is based on: contrast between light and dark colors,
rough and smooth surfaces; modern plan that interprets the existing forms (gabled cube)
with a serene, open and intimate interior.
Hasan Kafija Pruščak Memorial in Prusac, Bosnia and Herzegovina (1998-2002)
Architect: Zlatko Ugljen

Fig.4 General view of composition from main street

Prusac is a rural settlement in central Bosnia with excellent strategic position and
natural environment. Today’s image of Prusac does not show untouched architectural
authenticity that could testify on the cultural, historical and economic role of this
settlement, which had its golden age in the late 16th /early 17th century. Only the remains
of medieval Castle Prusac, two mosques (the Handanija and the Hasan Kafija one with
tombe and mekteb- religious school) and few residential houses with valuable regional
characteristics of architecture, contribute to the preservation of genius loci.
8 Vicky, R.:“op.cit.“ 2 6 /
514
ARCHITECTURAL The new public building is a cultural and educational complex, which combines
TOPICS spaces with different purposes: studies, multi-purpose hall, teachers’ bedsits, courtyard
Sustainable Re-Use
in disused buildings
and a service facilities. The interpolation of these new functions will contribute to revival
and abandoned sites of settlement and its further continuous development. This newly built harmonious
architectural composition is not disrupted existing spatial relations but even more
strengthened it.

Fig. 5 View from medieval Castle Fig. 6 View of courtyard

Stane Bernik, historian and art critics, explains this design attitude in Monography
of Zlatko Ugljen: “ From this environment there derives the approach “constructing the
site”, and in the context of the regional and universal, with a marked emphasis on the
affirmation of local architectural values, in the spirit of preserving architectural identity
of this part of the world. Thus the fragmented volumes of the complex gradually slide to
the footing of the mediaeval ramparts, with a tendency to form an agglomeration with
the character of the small town residential neighborhood known as the mahala.(…) Lower
buildings of various volumes according to function and intended use, but of the same
typological register form the primary visual effect with the tendencies already referred
to. This compact, coherent composition, in its basic visual and vernacular hallmarks is a
reinterpretation of the Bosnian mountain house. But its materialization implies use of the
most up-to date materials: plasticized metal, laminated wood, structural glass surface
and so on.(…) In its concluding form, therefore, this should be architecture articulated
in a contemporary technological vocabulary. In this relation and contrast the vernacular
form is the essence of formative approaches to this task.”9
9 Bernik, S.: Architect Zlatko Ugljen, Međunarodna galerija portreta, Tuzla , 2002.
515
 Sports Hall in Bale, Croatia (2005-2006) ARCHITECTURAL
TOPICS
Arhitects: 3LHD Sustainable Re-Use
in disused buildings
Bale is a town in the Western Istria, which, unlike other small towns in Istria has closed and abandoned sites
andBale is a town in the Western Istria, which, unlike other small towns in Istria has closed
and homogeneous structure. The silhouette is dominated by typical local church and
atypical Renaissance palace, while other parts of city’s harmonious composition belong
to traditional houses, half-urban and half-rural in character. Within this environment the
modern gym is interpolated, on the initiative of local contractors in order to revive the
town, which presents initial part of the tourist-oriented urban development plan.10 This
new public building fits to the morphology of the settlement thanks to building’s carefully
shaped volume. The size of gym hall was defined by the dimensions of basketball courts
and other additional facilities, which is almost the size of the local church. But architects
have been carefully set up the concept according to which they are partially burying the
building. On the opposite side there is formed an entrance sequence- small square and
main glassed hall, that penetrated by daylight. Architects used precast elements for the
construction and the facade, because it was the quickest (and only) way to answer on
investor’s demand that the structure must be completed in 11 months. The incorporated
dry -stone motif on the facade is associative, not a literal, connection with the Istrian and
Dalmatian countryside.

Fig.7 View of entrance with small square Figure 8 – Rear façade or view from the school
backyard
10 Ivanišin, K.: Sport Hall, New European Architecture, edited by Ibelings H. and Hannema K., A10, 2008
516
ARCHITECTURAL CONCLUSION
TOPICS
Sustainable Re-Use Neo-vernacular architecture is a continuity of approach in the understanding of
in disused buildings buildings, space and human needs. Or it presents the way of the local indigenous spatial
and abandoned sites
articulation. It best shows through “active attitude of modern creator to the spatial
coordinates of superstructure”. Also, it can be described as “creative conservation, rather
than static preservation and imitation, which is nothing more than nostalgia“.11 Overview
of the presented examples shows that the neo-vernacular architecture usually manifests
in indigenous environments dominated by vernacular architecture. This fact is very
logical, because these environments are managed to preserve its vernacular character
-what makes it a source of inspiration. Then within such ambient the architects, in close
cooperation with urban-planners, sociologists and entrepreneurs, are “forced” to act in a
manner of architectural expression that is consistent with the architectural characteristics
of that ambient and follows the principles of restoration. Neo-vernacular architecture is
neither instantaneous reaction to the rotation of styles/fashions nor merely answers to
globalization. But it is a continuum of respecting of an authentic environment, which has
preserved its local idea of defining the space, both in visual and social terms.
Vernacular expression should be primarily understood dialectically- through
detection of fluidity of spatial expression. In all examples there is evident that local
elements have evolved into new relationships through personal and creative approach
by the author. Staring point for creating own conceptual language and concepts is based
on the analysis of the exiting built milieu. Design mastery is to associatively express the
local elements that are evolved into magnificent visual performances that are almost lost
the connection with its local exemplar.12 In that case, there is a possible to talk about an
excellent and outstanding architecture that can not be classified. According to its values
it is universal and polyvalent.

11 Norberg- Shultz, C.: Priciples of Modern Architecture, Andreas Papadakis Pub, 2000
12 Buzeljko, E.: Hotel Bregava in Stolac, ČIP 319 , Zagreb
517
 BIBLIOGRAPHY: ARCHITECTURAL
TOPICS
Sustainable Re-Use
[1] Bernik, S..: Architect Zlatko Ugljen, Međunarodna galerija portreta, Tuzla , in disused buildings
and abandoned sites
2002
[2] Brolin, Brent C.: Architecture in Context, IRO „Građevinska knjiga“ Beograd ,
1985.
[3] Dražić, Đ.: Town as Matter, ČIP 3/1985 (384), Zagreb
[4] Frampton, K.: Identity comes from Political Consesnus, ORIS IX-46-2007,
ARHITEKST, Zagreb
[5] Gideon, S..: Space, time, architecture, Građevinska knjiga, Beograd, 1969
[6] Ivanišin, K..: Sport Hall, New European Architecture, edited by Ibelings H. and
Hannema K., A10, 2008.
[7] Julbez, Hose Maria B.: Architecture of Luis Barragan, Rizzoli, 1997.
[8] Norberg- Shultz, C.: Priciples of Modern Architecture, Andreas Papadakis Pub,
2000.
[9] Radović, R.: Active space, Nezavisna izdanja 24, Beograd, 1979.
[10] Richardson, V.: New Vernacular Architecture, Watson-Guptil Publications,
New York, 2001.
[11] Salopek, D.: The future of Rural Heritage, ČIP 307, Zagreb
[12] Sanković-Simčić, V.: Revitalization of the Architectural Heritage, Integracija
staro-novo, NNP Naša riječ d.o.o., Sarajevo, 2000.
[13] Suha,O.: Regionalism with Modernism- Regionalism in Architecture, Seminar
Exploring Architecture in Islamic Cultures II, Dhaka, Bangladesh, 1986.

518
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