Everything from African tribal huts to exotic architecture such as Jantar Mantar were included under the term ‘Vernacular’ by Rudofsky.
According to him:
‘Vernacular architecture does not go through fashion cycles. It is nearly immutable, indeed un-improvable, since it serves its purpose to perfection.’
Across the globe there exist long surviving examples of architecture without architects of this kind...
And also examples of evolution through re-discovery of the grammar of vernacular design systems in some regions...
Time is an important factor in architecture, since a building is usually comprehended in a succession of experiences rather than all at once.
In most architecture there is no one vantage point from which the whole structure can be understood.
The analysis of building types provides an insight into cultures and eras.
These styles often reflect the needs of a specific way of life.
Climate, methods of labor, available materials, and financial resources all impose their dictates.
Each of the greater styles has been aided by the discovery of new construction methods.
Once developed, a method survives tenaciously, giving way only when social changes or new building techniques have reduced it.
That evolutionary process is exemplified by the history of modern architecture, which developed from the first uses of structural iron and steel in the mid-19th century.
Yet the vernacular system of design continue to exist in a 'timeless' domain. In India this system spread across different climatic zones can be classified in an 'Indian' way of expression...
Kachcha is a building made of natural materials such a mud, grass, bamboo, thatch or sticks and is therefore a short-lived structure.
Since it is not made for endurance it requires constant maintenance and replacement.
The practical limitations of the building materials available dictate the specific form which can have a simple beauty.
The advantage of a kachcha is that construction materials are cheap and easily available and relatively little labor is required.
Pukka is a structure made from materials resistant to wear, such as forms of stone or brick, clay tiles , metal or other durable materials, sometimes using mortar to bind, that does not need to be constantly maintained or replaced.
However, such structures are expensive to construct as the materials are costly and more labor is required.
A pukka may be elaborately decorated in contrast to a kachcha.
A combination of the kachcha and pukka style, the semi-pukka, has evolved as villagers have acquired the resources to add elements constructed of the durable materials characteristic of a pukka.
Architecture as always evolves organically as the needs and resources of people change
Eluding a clear cut definition, vernacular architecture has hence been described as spontaneous, uncultivated, anonymous, indigenous, popular and unrelated to what we call mainstream architecture produced by trained architects.
It displays an amazing honesty of expression, thrift and directness in response to building needs.
Aesthetically it is an inexhaustible reservoir of inspiration.
Outside influences do not affect it and does not alienate the community of its context.
All built forms are the result of interaction between man and his environment, natural, social, economic and political and the level of technology employed.
The evolution of traditional forms takes place within this continuous cycle of interaction.
Over a period of time they become established as symbols and morphology of a region.
Every society develops its own methods and language of architectural expression through cycles of interaction and intervention.
Traditional cultures enter into dialogue with nature and climate and with materials which are a direct result of that climate.
Modern methods of intervention exploit the environment in an attempt to extract unlimited benefits from a limited set of resources.
In the former there is harmony resulting in a stable code of communication, whereas in the latter there is domination which inhibits communication between nature and man and user and designer.
The underlying sensation in any aesthetic experience is Delight, be it in the visual arts, in music or in architecture.
One of the foremost quality of Vernacular is its ability to evoke delight.
Modern architecture is sterile and has lost the capacity to evoke spontaneous delight in the user, even as much as what a vernacular door can do...
