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    Traditional Architecture

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    ROHIT GUPTA

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    of 74
    VERNACULAR DESIGN How can feelings of comfort? aac CR Na si al ae en greta yey) ao Sen ee ae ACKNOWLEDGEMENTS ‘There are. few people tharcome into your lifeand simply make it better, Kindness, patience and love of many such individuals have been embedded wichin this thesis chae supported its completion. I would like to express my sincere gratieude 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 graceful to Architect Mujib Ahmed for allowing me to interview him eo achieve a greater understanding of the theory, Also, my beloved grandparents, Engineer PK Abubaker and Mumtaz for sharing their life experiences and intimate understandings of the vernacular home. ‘This thesis would nor have been possible without my parents Dr Salam and Sabeena. I thank about houses, you for responding co che countless phone calls and cext messages Finally, all my friends and family for the conseant support and motivation, None withour whom this projece would not have been completed. Low, ai CONTENTS 1 Abst 2- Introduction 21 Aristotles Four Causes 2.2 Rationale for Study 3 Chapter 1 | Literature Review 3.1 What is Vernacular Design? 32 Who is the Vernacular Designer? 33 The Vernacular Home 4 Chapter 2| Comfort 5- Chapter | The Naalukercu 5 Context 52 Earth & Sky 53 Immortals & Moreals 6- Chapter 4 | Discussion 61 Sustainabilicy 6a Naruze & Form 63 Technology 64 Culture 65 Craft 7- Conclusion 8 - Recommendations 9- References 10 - Appendix 6 6 4 4 6 a 62 ABSTRACT This dissertation is an exploratory study of how vernacular design of homes can espouse comfort to dwellers. Ie studies he Naalukereu, « traditional a south Indian homestead originating from Kerala state, Prior 10 understanding comfort within the feame of this home, the vernacular design, designer ed. The Naalukectu is and home in question are de analysed based on Heidegger's fourfold - the earth, sky, mortals and immortals in relation to the man- built envivonment. ‘This thesis then identifies themes of: craft and discusses them and defines their relationship ability, nature and form, technology, culture, with che vernacular, che fiature ofhomes and building Based on this analytical framework, a set of principles are identified to inform the design of the home of the facure based on the vernacular home. First, ir should be built using locally sourced materials, Second, ic should amalgamate with nature harmoniously in a co-existence that transmutes meaning, ‘Third, ie must strike a balance berween utilitarianism and the excessive use of technology Fourth, it must foster culcural elements that augment the dweller’s spirituality, Finally, it should aspire to acquire designs from the crafes whilst supporting local artisans. It is also important ro note that the subject information acquired within this thesis is fiom multiple conversations and personal interviews with locals of Kerala, as there is lack of pre-existing material and research. INTRODUCTION “Build your archieeceure from what is beneath your fee.” Hassan Fathy, 1980 Man not simply been born into dwellings thar espouse comfort; rather, he has sought available matter thai s of value and actively drawn from it to design his Gaia /'geia/, his land, earth and abode. ‘This designed context is aimed to proffer meaning by translating his experiences within, into belongingness and comfort. During the prehistoric era, he inhabiced 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, mans boundless quest for sta protection, privacy and place - his own - drove him to dezive from the environment elements and design structures that provide this meaning that he seeks Since the primitive hut (Figa), he has continually moulded his shelter and transmuted it to a home, 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 safety co 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 sel@actualisation (Fig. 1) (Maslow, 1954). From the resources available to man in his immediate surroundings, he built his home, What is beneath one’s feet has indefinitely been procured to build, He acquired stones, leaves, wood and animal bones to best suit his need. ‘The vernacular has been explored and delved into, creating architecture that expansively accommodates meaning to those within Physiological Needs Fig 1. Abraham Maslows Hierarchy of Needs Fig 2. First Primitive Hut as Illustrated by Eugene Viollet-le-Duc Aristotle's Four Causes This meaning that man seeks can be embedded within all elements of one's home, providing colos effects to those within (Fig 3). Aristotle distinguishes and articulates four such elements that emancipate meaning which have been continually compounded bby other philosophers such as Heidegger and Mircham in relation to che man-buile environment; 1. The causa materials refers to the underlying essence of the macerials used within a build. Ie places emphasis on the Swhy’ and aids the understanding of the materials chosen to connect the designs. ‘The materials thae build the phys al space speak volumes of che roots and culture of its inhabicants, indefinitely providing a sense of belonging 2. The causa formalis outlines the purposeflness bochind the structure, form or layout the materials are aligned into, Examples of this include open windows facing a lively street or the open sea, or a verandah augmented by a bed of flowers. ‘The placement of the procured materials affeets and moulds one’s emotive bonds within spaces. Ie can possibly soothe the mind and create comfort through the positive instillation of intention during design process of this layout. 4, The causa effciens, which refers to che outcomes of che buile environment, the interaction or outcome it efficiently disperses within specified elements; the ‘what makes of what is made and what causes change of what is changed’ 4. Finally, the causa finalis, or the telos, the final cause which underpins the sake of every vernacular design (Heidegger, 1977; Mitcham, 1979), The sake of why any design is being brought co the environment, the common purpose which acts as a driving force for farther research to better create influential environments. As Heidegger stated; ‘questioning is the piety of thought’, it is vital to question vernacular design and what it entails, Aristotle's segregation of causes within the vernacular context highlights the imporcance of reason to all elements man has derived from the environment to build his home. Varying experiences lead to differing usage of materials and elements, as ultimately one is in requirement of different outcomes. However, there is no doubt that the continual need for comfort and belonging for man haas led him to mould buile houses into real homes. To feel accepted by his eavironment he has surrendered to the constant design and re-designing of all aspects of his surroundings Fig 3. Co-existence of Home & Meaning ‘This thesis aims co probe further the question, ‘How ean 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. Ie will also gather knowledge abour the subjective feelings of comfort, the necessity of this plenitude through understand case exemplar of the Naalukertu, a vernacular homes originating from Kerala, India, Finally, several themes will be identified for discussion afier the understanding of the case exemplar sustainability, nature & form, cechnology, culture, and craft. These themes will highlight the importance and relevance of this study, which develops a series of derivations a contemporary designer ean acquire fiom the vernacular home to provide man with the some level of comfort in the most efficient manner, a On eer be Fonother put my irs feared cca ei Rationale The Naalukeeru from Kerala is chosen as a case study to understand vernacular design and comfort due to it’s high quality of life indicators, such as the Human Development Index, as well as my extensive experiential interactions with the stare and its architecture Ie is nor unknown that underdeveloped areas derive fom nature locally to create folk buildings. However, overall well-being is not guaranteed due to low Human Development Index (calculated by the UN and factoring in mortality, liveracy, 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 che purpose of this research and ies aims co unveil erue comfort, it was vital choose a fally developed region that to this day acquites from navure for construction whilst maintaining its well-being in regard roall tangents, Kerala, asouth Indian stare home co about 34 million people, is an excellenc example, It is considered ro be a flly-developed stare where the ‘material conditions of living has further reflected into being (Govindan, 2000). Further, Kerala ranks highly in the their social development and individual United Nation's Human Development Index which is composed of data gathered in regard to life expectancy, healch, quality of education and overall standards of living (CNBC, 2011). ively progressing development has been established without bringing in heavy industrialisation and modern technological infrastrucrure for positive change. ‘Thus, this research and understanding of why the vernacular and grounded designs bring comfort will ch as sustainable architecture, policy making and how enable further discussions in regard to themes s vernacular design can be projected in the current world to achieve such well-being of man and those he co-exists wich. KERALA Fig. 4 This South-Indian State ranks No. 1 in cerms of Human Development Index in India 10 Kerala has been chosen as a point of study also due vo my own close understanding coward i, This tropical land emulsified within nature is the focal poine of my own upbringing. ‘The culture, people and space are ingrained within me as it isthe 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. he capitalistic, modern environment did nov espouse within me the comfort my home-town and its vernacularity had fostered. This latter is subjective = however it is clear thar the man-built environment indefinitely carries a sense of power over those dwelling within, enabling to feel differently as che environment varies. Furthermore, it was felt that the lack of vernacularity in the bustling city had contributed to my personal discomfort, Its therefore necessary 10 not just state one’s feelings’ and how a particular design makes che dweller feel, to be relevant it is of urmost importance to delve deeply into the underlying, core easons why the vernacularity of the designs can espouse comfort. These unveiled values and meaning can provide cues for facure 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 farther discussions on its values and impact. en CHAPTER 1 ee LITERATURE REVIEW What is Vernacular Design? First and foremost, it is fundamental to define vernacular design and what it concocts with, ‘There are a hundred and ninety five geographically and environmentally distinct countries, providing abode 10 a multiplying population of seven and a half billion people, This diversity inevitably fosters th stence of multitudinously diverse cultures and traditions espoused in retaliation to varying needs, ‘his culture can be understood as an organised embodiment of the derivatives of one’s experience which are learned These ed by people of different communitie: may be interpretations thar are relayed from previous generations, from contemporaries or concocted. by individuals themselves (T.Swartz, 1992; cited by Avruch 1998: 17). Vernacular design cherefore coincides with culture and its relayed learnings. Vernacular design encompasses a vast majority of the worlds built environment, thus it is resilient cowards a ingular definition, However itis optimally perceived as a pattern of designs that enlightens one on the culture of the communities who mould and receive this design, Design Historian Darron Dean suggests that the term vernacular was first incorporated in design and studied and developed alongside architecture and the built environment by George Gilbert Score in the book Domestic and Secular Architecture, published in London in 1957 (Farias, 2010) To lead to the definition of vernacular design, its exymological meaning must be analysed. ‘The rem vernacular’ has been derived from the expressions verna; home-born slave, a word of Etuscan origins and vernaculus; domestic or indigenous native, a word of Latin origins, The first resonates the ‘vernacular kind! to be anything that is crafted, woven or reured from home, for domesticated use (AAVV, 1993). The latter term ‘vernaculus’is known to have three interpretations; (i) Particular from the region it exists in (ii) Pure Language, without foreignness and (ili) The idiom of a country (Aurélio Dictionary, 1993): Therefore, a raw definition of ‘vernacular’ resonates lingual correspondence; it relates 0 native lan, from a particular country, region or locality Linking the lingual connotation, vernacular architecture can be considered as an “architectural language of the people” with its inculeation of indigenous, local, echnie and regional dialects (Oliver, 1997) Architect Frank Lloyd Wright propounded vernacular hirecture ro be the construction of folk buildings in retaliation to arising needs, embedded into the environment by individuals who ‘knew no better than to fit them with native feeling’ (Oliver, 2003) 14 Art Historian, Paul Oliver defines vernacular design of the built environment as one that encompasses the dwellings and buildings of the people. ‘These buildings are closely concomitant to their environmental contexts and are built utilising available resources and traditional technologies. These community built designs are formed, ro meet specific needs while being mindful of the values, economies and ways of life of the cultures that produce them, Embraced within the contest of vernacular design is what is known and inherited about the dwelling, building or settlement. Moreover, the collective ‘These understandings and definitions reiterate why the Naulukerrw is an excellent exemplar for use to study Vernacular design. It is buile utilising local and traditional materials such as teak wood, clay, laterice stones and red oxide procured fiom cheir own land. Additionally, che Naaluketru is @ home that realises the culture of Kerala as there is space buile within thar fosters prayer, agriculture, communal interactions and other Festivities which is all an integral part of those dwelling wichin, By fostering these elements it is clear, the home has been fir co man’s native feeling (decailed knowledge, wisdom and experience of the society and in Chapter 3). the accepted norms within, embodies the design whilst moulding the built envitonment appropriace to the group (Oliver,1997). x 7 N fs I 7 i. | | 4 > | ce i ea ~S | Fig. 5| Key Elements of Vernacular Design 15 Who is the Vernacular Designer? Furthering the definition of vernacular architecture, ie is vital co understand the role of the vernacular designer and which individuals can identify wich this dlesignacion Wright argues thar vernacular design is existentially primitive as a form, and thae the constructor ‘lacks intelligent thought’ (1908). Moreover, Brunskill put forward the propounding thought that vernacular designs are built by amateurs without being provided with formal ex ning; they are solely illuminated by the conventions of their surroundings (Brunskill, 2000), In addition, professional architects and trained designers were divested of the consideration to be vernacular due to the commerciality of their professions - “The design [arch] of the people, and by the people, but not for the people’ (Oliver, 2003) These arguments can be subjected to objections as fone cannot claim che primitive builder or building for personal comfort within context of environment lacks ‘intelligent thought’ Whilse ie may undervalue faceual knowledge; intelligent thought and collective wisdom are crucial to vernacular theory and practice. The following literature will validate and shed light upon humanistic values and wisdom of the ‘amateur. Additionally, i¢ can be argued thar a vernacular designer can be anyone - including chose with and without professional training, which includes the ‘popular’ architeets and designers, labourers, home- makers and any individual with intention for their dwelling spaces, 16 Thus, this research and understanding of why the vernacular and grounded designs bring comfort will enable further discussions in regard to themes such as sustainable architecture, policy making and how vernacular design can be projected in the current world to achieve such well-being of man and those he co-exists with Geographer Amos Rapoport (2006) claims 95 percent of the world’s buile environment is considered to be vernacular in its appraisal, leading to the contradicting assumption thar the vernacular designer could be almost any individual that one might come across An architect or designer constructs our complex built environments being a logical class through segregation of facts. However, each individual atcribures ideas and purpose co their dwelling spaces. Vernacular design studies deem these individual desires and pre- dispositions of their ideal spaces to be as significant as, the ace of building itself (Upcon & Vlach, 1986). This significance. bears weight due to one's experience in relation to simply living. To reinforce this statement; Folklorist and emeritus, College Professor of Folklore, Henry Glassie wrives in his book Vernacular Architecrure of vernacular designers with affinity using underlying vignettes of experience and nostalgia. He argues, all esigner inherently step into atmospheres that mould their notions of aesthetics, physical comforts and social propriety (Glassie, 2000). 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 knowled; elling and comfort - ‘Released fiom the hug of pleasure and nurture, they have roddled into space, learning to dwell to feel at home’ ‘Ihe underlying notions within Glassie's poetic eranscripe is thar, intrinsically inherent wichin 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 thar unconsciously or consciously alters the environment under the context of their experiences culture and available resources. Within the context of the Naalukeeru, the vernacular designers include not cets, local masons, artisans and only traditional ar carpenters but also the dwellers who know no better than to bring together chose designs that are essential to them, ‘The Vernacular Home The built environments have been subjected to classifications in an artempt to segregate the multitudinous periods of time into what home designs can be considered ‘vernacular’. To clarify and discuss the feeling of comfort in homes within a focussed spectrum requires defining the classification of design style this thesis will specifically explore. ‘There exists various classificatory schemas or styl in regard to the vernacular. The following four are a select few of these segregations; a. There is no such ching as ‘vernacular’ - only architecture (Norberg-Schulz, 1971; Bonta, 1977) bb There exis a binary opposition, between the ‘vernacular’ and ‘polite’ architecture (Brunskill, 1970) The buile environment can be further divided into folk, vernacular’ and ‘polite’ architecture (Edwards, 1979) i There exists intact a four-fold division of architecture into ‘primitive’, ‘vernacular’, ‘popular’ and high-style. (Rapoport, 1969) Segregation (a,) can be considered incorrect and is not useful in a pragmatic sense. It is inaccurate due to the presence of an intuitive taxonomic perception of the differential designs (Lorenz,1981). One is intuitively inclined to feel differently about different domains of the environment and by conglomerating all domains into one, makes research impossible (Turan, 1990). 18, For che purpose of this study domain (¢.) will be used as the spectrum to mark a specific point vo unravel and study asirisencompassingofalltheprevious mentioned domains such as folk and polite architecture. Since the term ‘vernacular’ is used as a complete separate entity within this spectrum the question arises whether these paradigms are wholly disconnected fiom the vernacular. To revert to this, i is important to define and understand the characteristics of the segregations in question. A common characteristic over the span of all divisions is that the definitions stem fiom a single variable, The primitive buile environment encompasses concepts that values the origins and very beginnings of architectural practices. ‘The single variable thar defines this primacy is thac of the dwelling within the pre-literate eva. Secondly, the ‘vernacular’ domain within the four-fold division encompasses those builr environments within the pre-industrial design environment. It is rather a pure reflection of the technology, skills and traditions of various local cultures. Popular architecture falls under contemporary architecture ind. encompasses formalistic methods of designing whilst also taking into consideration utility amalgamated wich aesthetics. On the exteeme end of the spectrum lies high-style architecture that disvegards utility and function, rather ic is build stylistically co display power or authority. All mentioned domains are based on ideal types which are considered co be intellectual constructs formulated to display polar extremes. “These concepts or ideal types can be used as conceptual markers placed om @ spectrum of continuum as design is ever-changing. According to Turan, the definitions of these environment will rarely place neatly into the single- variable definitions given above. ‘There are linkages between the pure vernacular, primitive, popular and high-style as all areas have indefinitely derived from the vernacular to produce structures defined under separate variables. All boundaries of the four domains are intact yet fuzzy in natute, definitely overlapping within one another (Fig 6). As depicted in figure 6, the area of focus within this, thesis will be the highlighted overlap between the ‘vernacular’ and the ‘popular’, Ir will emphasise the vernacular ‘and popular home - Naaluketru which has been designed formalistically between the r9th- ist centuries, with the incorporation of traditional undertones and values such as the “Vasthu Shastra’ (which is the amalgamation of ancient doctrines chat undermine the science of architecture in Kerala through highlighting the necessitation of designs being exposed to the sun, wind and skies). Fig 6| Continuum with ‘Ideal Types 19 CHAPTER 2 An Exploration of Comfort COMFORT Prior to delving into exemplars it is essential co set the framework through which th sernacular design within homes will be magnified. ‘This thesis will be bound through the lenses of human comfort and plenitude. Iris therefore paramount to understand the contexts in which the application of ‘comfore’ shall be analysed and understood. Comfort is derived fiom the late Latin verm fortis and confortare which suggests giving strength or to strengthen, Embedded within is the underlying sense of something producing ease. While the rerm plenitude is acquired from the late Latin terms plenus or plenieudo which refers to feeling fll, it suggests the condition of feeling wholesome or complete. ‘There is a fundamental need for these emotive cues deeply embedded within man, He is swamped by the need to feel at emotional and physical ease, he is driven by the innate acquirement for , ling 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 cerm comfort it is not something that can be completely ‘measured’ within subjective or objective frames, Rybezynski (1986) argues, if comfore were subjective, there would be a relevant expectation for an array of different attitudes to comfort, however at a particular within a selected area, there has been point in hist a common idea among the man of the community to what is comfortable and what is uncomfortable Within the pectrum of objectivity, comfort is one that is quite difficule to measure, Seemingly, it is possible to scientifically understand within certain contexts what makes one feel comfortable through establishing whar is considered co be a sate of discomfort. For example, to successfully understand one’ thermal comfore within a selected area, it can be ascertained what is too cold or too hot, the in-between would be derived as ‘comfortable’, Whereas, a given chair can be made too steep or flat, until a specific point beeween the wo is considered the comfortable angle. 22 The Space Shuttle Experiment Rybezynski further illustrates an experiment where an interior cabin of a space shuctle was designed utilising cardboard mock-ups. The astronauts were then allowed to move fieely while pretending to act out their daily routine within this full-sized space cabin, Obtrusive projections they constantly knocked down or hit wiehin their movements around the space were chipped away by technicians until chere were no more hindrances within the space and the eabin was finally considered ‘comfortable’ for the smooth flow of movement by the 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 whieh discomfort has been avoided.’ There is an oblivious arrogance thinly veiling this scientific defi ion as it repudiates the existence of comfort beyond measurable terms. In fact, behavioural scientists have pushed bounds of ‘comfort’ tobe 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, Ir lingers within vignettes of familiasity 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 (Rybezymski, 1989). BiVionpsironte “Comfort ro me isa room chat works for you and your guests les deep upholstered furnicure, its having a cable handy ro pur down a drinkor a book, its also knowing that if someone pulls tupa chair fora talk, che whole room doesnt fall apart. am tired of contrived decorating -Billy Baldwin Interior Decorator “Imagine yourself on a winter afternoon with a por of tea, a brook, a reading lighe and rao or three huge pillows ro lean back against. Now make yourself comfortable. Not in some sway which you can show to other people, and say how much ‘you like it I mean so thar you really like i for yourself you pc che tea where you can reach itz but i sa place where you cane possible knock ic over. You pull the lighe lon, co shine on the book, bue not roo brightly, and so thar you cant see the naked bulb, You pue the cushions behind you and place them carefully, one by one, just where you wane them, ro support ‘you hack, your neck, your arm: so thar you are supported juse comforcably juse as you wane to sip your rea, and read and dream.” -Cristopher Alexander British-American Architect & Design Theorist (Rybezynski,z989: p29) Both descriptions of comfort (left) are the result of past experiences, Baldwin's definition is derived from hi style and fashion while Alexanders descriptions hails ars of experience decorating homes of high- fiom his observations of ordinary people and ordinary homes, However both quotations are bound by their mundane, recognisable environment espousing that domesticity of an ordinary man, ‘The key clement can be drawn from these descriptions are convenience, efficiency, domesti cal ease, privacy and intimacy. These elements cannot be grasped within the binds of science, rather its depths can be magnified chrough 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 indi comfort is a past - similar to any other cultural artifice such as childhood and family. Thus to eruly underseand comfore within a space, personal hiscory along with a convergence of seudy about cultural norms must be understood ro rationalise and articulate why a space is comfortable, Witold further argues and adds co comfort’s complex nacure by suggesting thar individuals are close to ‘oblivious’ of why something adds to their comfort, rather it is inseinetual within them the ideas of comfort and they inseantly recognise a comfortable environment when experienced in contrast to an uncomfortable one, Ie is transparent: comfort is an element that is personal in all its cangents. ‘The personal understanding of comfort holds limitations within the context of attempting to understand comfort within the selected homes as there is no clear approach wader which one may dissect comfore in relation to man and his outlook. Thus, 2 ‘more segregated understanding of comfort is crucial ‘To truly understand comfort, ‘man’s relationship within the built environment. is paramount to unveil Marvin Heidegger suggests there are ewo key fiames adhered to the workings of an individual, The first is has past, his innate intellect, The second is the physical reality of his environment, which includes the five clements of fize, water, wind, sky and the earth. ‘These two aspects are known as the fourfold - earth, sky, mortals and the immortals (Fig 7) o x 4 Man provides meaning co the buile form wichin these four spectrums. ‘The built environment is rooted within the grounds and rise up to the skies, thereby establishing connections within che fourfold. ‘The quality of life and comfort of man is heavily dependent on the harmonious co-existence of the fourfold, The four elements have provided structure and momentum to understanding comfort within the ease exemplars studied in this thesis, Fig. 7 | Heideggers Fourfold 25 * dda Ls 4 : his de oes 4 4 Vise pe ip a Ore ~ CHAPTER 3 Case Exemplar | The Naalukereu @ec THE NAALUKETTU Along the sourh-cast coast of india isa state that is called Kerala - an abode t0 34:52 million people, Nestled within the land are mouncains, seas, the erees and rivers ~ bio-diverse in allies cangents. Te parallels che climacie 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 Malayati children are out playing on che swings hanging from che branches ofthe banyan tvees speaking amongst each other in their native language of Malayalam. There is a constant whir of fins in the households and there isa longing for fresh air ro ease oneself: There is a diya Ilaneern] lie ourside the house, encapsulated within are the hopes of the dweller Ie does nor experience seasons like the west; the leaves of the coconue tres and mango trees are green all year round. In the monsoon season, the mangoes ripen and the children c ecstatic to pluck them, The sound of the rain on the rooftops is prominene: Ie rains continuously, the sol soaks up the rain almost instantly. The houses are swamped with the smell of the wee soil - the smell of the famous red and black soil chat 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, Ie is where the sertlements frst arose. Families are most commonly joint. All existing generations of family live rogether, while the oldest member leads - following customary paeriarch and matriarch traditions. They live together amongst the fields and the swaying trees where the breeze and leaves rouch. The cay ends with blissful harmony berween the men within and the nature around, Neither, in the way of each other, rather each transmusing meaning off each other to feel comfort and to feel at home within their traditional homestead, the Naalukerru. 28 KERALA 29 1. Barth & Sky This section explores the Naalukerews vernacular correspondence to the ground and skies and how it balances harmony beeween the surroundings t0 secure the comfort of the dwellers within. Ir explores the structure of the home that enables the dweller vo ul chose elements thar pursue his activities with ease intermingles with navures forces co providing him with bountiful benefits potential, it is an extension of thought of the people of the community, It spurs from what is familiar to man, His cultural creations are the orderings of his own experience, like poems and rituals (Glassie, 2000). To conceive this plan, he must derive fiom the material universe co build to his comfore, Comfort within the context of any home is a response to vignettes such as the colours, rexture, dimensions, proportions and materials utilised to design it. It refzeshes the senses and arousesa sense of belonging within its inhabitants. ‘Thus ahome must be designed utilising those materials that are familiar to its inhabitant; those materials that he has touched, understood and lived among since the beginnings of his life. It is crucial to outline the core materials that is procured to build the Naalukerew and those ornamentation and utilit objects within, to deeply recognise and understand the roots of the homestead, and how it has procured from the earth to gxound itself while espousing familiarity and comfort vo those within, 11 The Home ‘The main constituents procured fiom the surroundings that holds che home together are: 30 a. Laterite Stones - ‘The bricks used for building, the walls and basie structure of the Naalukettu are procured fiom naturally occurring laterite sources such as mountains that are abundane in southeast Asia. The local masons hand cut the bricks with « due to their porous nature. On exposure to oxygen it hardens rapidly while becoming highly resistant to weathering, This stone holds within, the properties of thermal insulation, It deflects solar heat, enabling the dlveller to feel comfortable and cool without the need a technological method to cool themselves fiom the humid heat of summer. b. Teak or Anjili Wood - ‘Ihe second prominent material used is teak wood from the jackfruie trees chat are evergreen and a flourishing source of food and material in Kerala, The teak wood is utilised for the frame work to hold the roof tiles. Ir is also used to build doors, windows and pillars that bind the home together. This strong and durable materi known co last more than a 100 years without any ror or decay, thus these elements of the home are known co be a part of the families purambaryam or lineage. In addition ro visual aesthetic, it moderates temperatures by not espousing heat or cold, rather, by maintaining an optimal temperature that is comfortable co touch ~ this wood is also used for seating chat surrounds the house. Lastly, due to the climatic conditions and bio- diversity in Kerala, the presence of des ructive insects such as termites and ants are multitudinous, however the teak wood contains natural oils that repel such insects increasing longevity and overall aesthetic of che elements chat use teak, naturally supporting the overall hygiene of the house while boosting the well- being of the dweller ¢. Red Oxide : The floors of the Naalukettu are made using ted or black oxide extracted fom naturally occurring minerals, Ie adds character to the house as, permeated within is a striking red or black floors which sheens, This gleaming finish is accentuated over usage, which makes one keen to walk over it bate- foot. It is cool to touch and is soothing in warm and tropical regions such as Kerala dc Another distinctive feature of the y Tiles Naaluketru 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 thar can withseand 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 Longev as it docs nor ror in che damp climatie conditions. One of the most comforting elements of which invokes a sense of melody and calmness within chose living in the home. It eases the mind and makes one feel comfortable whil bay (Wojcik, 2018). ‘The cla setting anxiety at roof tiles assist in the successful augmentation of comfort as it initiates successful dialogue with the sky. 32 These core materials indefinitely provide comfore in al its tangents to those dwelling within, not only in terms of thermal comfort, but more importantly ic espouses meaning due co the fiumiliarity of che materials used. ‘Those dwelling, have toddled into a space abundant of the materials mentioned. Among high hilltops of laterite and farms of jackfruit trees. Ie is what is known to them, They are swamped wich nostalgia, They are at ease within cheir homes as it is made up of their childhood, 1a Ornamentation Many of the interior decor and elements that add to the home's identity are obtained fom the villages where products are locally handerafied by skilled artisans and builders. For first hand experience, I visited a crafts village to observe how the ornamentation was buile. All products are buile with locally sourced materials such as clay, leaves, bamboo and so on. The key decorums and their material usage are as follows: a. Bamboo or Chooral and Kaitha Leaves - The ch out of teak wood, tender bamboo and kaitha leaves. ables and beds of the house are mainly made ‘They are finely crafted by local designers into aesthetic seats to furnish the house, Tender bamboo or chooral is known to regulate indoor humidiey by absorption of ultraviolet rays. Iris also anti-static in nature which makes it beneficial to human health. Furthermore, it strengthens the absorption of harmful indoor gases to enhance the fieshness of living indoors. This elegant and noble material, due to its short growth cycle can be grown abundantly and is a sustainable and eco- efficient material choice for furniture. . Clay Utensils - Cooking utensils of stainless steel are widely used, however there is an extensive usage of clay pots or charts for cooking, which are procured from the local potters who handerafé these utensils. Te is interesting ro note thar inhabicants have reported that food cooked within these pots taste better and homely, than using commercialised utensils (See appendix, Interview 1, A3) 34 ¢, Other Decor - Finally, all decorum within the house is minimal. There is no sign of commercialistie procurement. The decorative pieces such as statues, ornamentation, baskets, cloth within che house are all created by skilled artisans utilising natural materials such as wood, kaitha leaves, shells and bamboo. Fabrie is weaved by the weavers utilising yarn and silk, ‘The arcisans pitch cogether beautiful decorum and furniture manually ‘The highlight of the decor of the space is the utilisation of sustainable and environmental friendly s within the home. The choices of furniture produc and utilitarian objects are chosen based on their happiness and comfort surrounding those objects By foc sing on those things that espouse meaning and allow them to feel happy as opposed to focussing on consumption and materialism. This sustainable approach contributes the individual well-being of the dwellers by enabling them to experience more happiness and a higher life satisfaction (Kasser and Sheldon, 2002; Csikszentmihalyi, 2000) etre a) 2, Courtyard ‘The most important feature of the Naalukerrw that captures the skies and the earth within a harmonious: framework is thacof the nadumueramor open courtyard which is che centre and focal point of the house. There are four blocks that are built adjacent to the central courtyard. The blocks are called Vadakkini (Northern block), Padinjatiini (Western block), Kizhakkini (Eastern block). This method of construction follows ancient Indian scientific doctrines of ‘Vastu Shastra’ (science of architecture). This doctrine theorises the precepts that stem fiom traditional views on how the laws of nature affeces human's within their dwellings Ic is buile to feed one’s mind and soul, ike a shrine that is meant to solidify one’s spirituality through ambience. ‘The key principle is that the skies muse be open to inhabitants so chat they have optimum contact with the akasha (outer space). When it tains, it also rains inside the home, Rain is associated with extreme happiness in a region dependant on agriculture such as family owned paddy fields. ‘They experience nature to the fullest by allowing it to seep within the home. Additionally, the central courtyard is compared to the lungs of the human body due vo the excellent ventilation it offers, Ic brings into the home cool winds, allowing dwellers to rest alongside the four bloc a host to one such home commented that climate~ responsive design is of utmost imporcance to Kerals's vernacular architecture. There is no need for air- conditioners as it has been successfully possible to achieve comfortable cooling by building the indoor environment of the dwelling in the likes ofan envelope chat can balance che temperature indoorsat an optimal comfortable level and provide continuous airflow. He further argues chat che Naalukerru is eriumphane in accomplishing the latter. In addition to airflow one can see the coconut trees growing outside and the ble skies from within the home, Undoubtedly, the nadumurtam is a feature that enables the skies and the earth to enter one’s home whilst augmenting their sense of privacy for those dwelling, Bringing the earth and the sky into one's home indefinitely uplifis one’s mood and enhances their emotional regulation enabling them co feel at utmost comfort within che Doundaries of their home due to che dynamism it offers (Berman, Jonides, Kaplan, 2008). 2. Immortals & Mortals According to Heidegger's fourfold, co feel at urmost comfore it is essential ro man, spaces that enable him to build relationships berween people - the mortals. Furthermore he also n es a space t0 safely practice his divine belief& while augmenting his spirituality - che immortal. As opposed co the western culture where the self und che group exist as two separate units, the Malayali man’s self is not separated fiom his group, rather he is amalgamated within a co-existence that characterises the society ollectivi ic (Moore, 2006). Thus, large communal space within and around dwelling spaces is of grea importance in Kerala, Additionally, he also is need of a home which is reflective of his religious and divine identity, Therefore, this section deals with those private and public spaces in relation to the Naalukerru that enables the dweller to carry forth re tionships with other people and also within himself ro add to his well-being and comfort; a. The Gate or Padippura - ‘The padippura is a vernacular equivalent of a gate-house buile utilising Ili wood (wild jack tree). Ic is the starting point or entry poine for any member to enter the compound. Ie served the purpose of a waiting-area for those invited for ceremonies or special oceasions within the dwelling space, Furthermore, the familial harvest of betel nus, coconuts and black-pepper ate also stored at this padippura 2 “The most interesting feature of the padippurais that it brings to highlight a is that of the low-rise entrance. To a dweller of another jective experience of comfort region may potentially find a gate of smaller height than himself uncomfortable as ic is disruptive of a smooth entrance. Howe ; interestingly in Kerala the underlying reason for the low-rise entrance rests within showeasing humility forthe mortals, Regardless of the wealth, power and authority an individual holds, they must bow before entering the Naalukert at the padippura, thus displaying an immortal facet of their life - to be humble, Such portrayal of values boosts one’s morals and accumulates comfore within chem and to those around them, b, Bath House - Another astounding clement thar hakullam is unique to Kerala homes is that of the the (pond) which is constructed utilising hand-cw laterite stones within close rangency to the home, It does not erode with contact to the water, rather it strengthens over time when in contact with o Iv is desi d in a way to accentuate a deep d into the pond with a number of descend surrounding it and a 1 of steps in a pyramidal ship in a recurring pattern, The rea on underlying this deep descent is to allow the water level to rise during times of heavy rainfall without overflowing, Ie is essentially a communal space where dwellers of the neighbourhood come together as a family to bath every day and cleanse themselves. They also follow rituals where they bathe befoze their visit 10 the temple which has eonnotations to boosting theit inner spirituality In addition, they practice walking around the pyramidal steps in a recurring pattern in the form of prayer, However, itis also a practice that enables the individual co exercise and lean toward a balanced and healthy routine, Furthermore, in enquiring from those who utilise che bath house on a daily reportedly stated that it has indefinitely brought comfort into their lives as they are swimming amongst the vibrant and diverse flora and fauna of Kerala, The bath house ties in all of Heidegger's fourfold: earth, sky, the mortals and immorcals. All, amalgamated to brin forth comfort into those lives that surround it. It is also interesting to note that, other areas of bath roilers were constructed outside the house rather than the house by a stone well as it was believed co keep the home hygienic Buse ¢. Prayers or Prarthana - In the culture of Kerala, there isa priority and significance vested in ones prayer ~ the immortal belief that is personal to the Malayalee man, Prayer is inculcared into their daily routine vo accentuate their understanding of God by perceiving his existence within che devotee’ mind, body and intellece. They seck for comfore within surrendering themselves to God. Their Acma-shakti (Energy of the Soul) along with confidence, is boosted enabling them to display excellence in casks undertaken due to the stability of che mind. Furthermore, through prayer man arcains peace within his mind which comforts him in regard co all tangents of his life (Sanstha, 2019) The Nalukettu, indeed fosters this vital element of the Malayalee mans life due co the addition of symbols and sections within his home that espouses meaning to his personal religious life and allows him co pray in a space that is sacred to him, In the Nalukectu, there is a pooja or prayer room designed for him vo devote himself to his God. Ic 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). Ie is a square installation bul Ie 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 eruly 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: The understanding of these facets of the Naalukeeru has undoubtedly enabled the realisation of comfore and plenitude within this dwelling space. This vernacular home, the Naalukerru is a home with an exquisive personality and vibrant soul which success to man's needs through its zeflection of his idencity and lifestyle as it utilises the procurement of materials that are known to him - selected carefully by local builders, artisans and masons from their immediate surroundings. Furthermore, Heidegger's fourfold = the earth, sky, mortals and immoreals is seen co be emulsified into the design of the Naalukereu co complete man’s desires and vest within him the feeling of plenitude and utmost comfort. CHAPTER 4 DISCUSSION On establishing underseandings of comfort within the Naalukettu and the vernacularity, it is now vital to highlight the relevancy of this thesis in the current times, ‘Thus five themes were elucidated from the fourfold to further create a model or framework chat can highlight the aspects of the vernacular home that can be derived or left behind. The four identified themesare sustainability, Natureand Form, Lack of Technology, Culture, and Crafesmanship. Sustainability First and foremost, upon analysing materials used for construction of the vernacular homes and the products within - fiom utensils co furniture, a deeper understanding of materials and its implications were realised. The materials explored ranged fiom hand-eut laterite stones, clay, teak wood, bamboo and leaves. All the mentioned materials, as discussed previously, are procured by local masons and artisans to weave designs thar donor contribute to the zelease of carbon emissions. ‘Thus, the level of sustainability each product offers is realised, They all have one feature in common - they are biodegradable and will replenish in the environment In the recent times, including modernising cities in Kerala, there has been a tremendous shift in aspects of construction. There isarisein skyscrapers and concreteapartmentsdue +0 globalisation and ies constant push for urbanisation and modernisation, ‘There is an increased and exponential reliance on imported materials along with unsust ble construction practices - for example che over use of steel and concrete releases carbon emissions contributing to global warming, Conservationists strongly believe this indefinitely poses long-term threats toward our environment. According to the United Nations, 40% of the world’s energy consumption and one-third of green-house gas emissions spur from buildings (CNN, 2017). Thus ie is fundamental to lay the down the regressiveness of modernity to emphasis progressiveness, Vernacular design is deeply considerate of factors such as the local climate, materials, culcural traditions and the geology ~ all contributing to its energy efficiency and sustainability, Our world is in urgent need for reform in construction and inculcating vernacular building techniques and understanding how to best procure materials that are locally sourced ean avoid global cransporeation of materials and the mass impediment of the environment. 50 Nature and Form The Naalukerru in relation to the earth and skies displays a harmonious amalgamation of form and nature, The home is inbuilt blending with nature to blur the lines between the home and the outside. Furthermore added naturalistic clements to amplify and project the nature into che home - for example the thatched roof augmenting the sound of the rain while the open courtyard enables the rain 1 seep into the home. This placement of buildings amongst nature without its disruption must be a eranscending force in the curzent times, as discussed in this thesis, such built environments taps into one’s mind, refveshes and fosters comfort through its natural ventilation and openness - which is fundamental for overall well-being, Post-industrialisation has seen the rapid increase in the shift of the populations from rural 10 urban settlements, To accommodate the large numbers and growing need homes are converted into clusters of boxed apartments, The buildings of the 2oth century was built with one goal in mind - utilise less space co accommodate larger numbers while increasing profits (Reference). However the detrimental effects these closed atmospheres imply on the dwellers must be questioned. ‘These buildings shife away from amalgamating within the natural cvironment, but exist as separate entities on their own, The lack of natural ventilation leads to lessened such as oxygen and inereased production of gas carbon monoxide and carbon dioxide. Dwellers widely experience ‘ick building syndrome’ and high discomforts in trapped and enclosed spaces 52 ‘They are further disconnected to nature which leads to concern over over-all wellbeing of nature and the dweller himself. If a connection to nature is created, dwellers will be less inclined to harm it, and ultimately harming nacure leads to harming oneself (Clayton, 2003). Furthermore, this disconnection leads co a culture surrounding dwelling within just the indoors - this leads to less healthier lives and adds to the redundancy of one’s quality of life (RSPB, 2010). Thus from our understanding of the Naalukeceu and its harmonious amalgamation with the earch must be and the skies, the values of its openn derived into modern urbanised space to provide optimum comfort co the urbanised dwellers, Upon interviewing contemporary architect Mujib Ahmed, the need for raising che boundaries of exterior and interior spaces was understood. He argued that the notion of ‘borrowed landscape’ within dwellings must be prevalent across all modern architecture to provide the population with oprimum comfort, Thus, i is vital co shift away from boxed skyserapes toopen structures co-existing with nature to provide dwellers with natural ventilation and essentially released trapped gises, Also furthering energy efficiency by flooding the spaces with abundant natural light. One does not have to access the ourside to be amongst the nature, rather they can build connections wich ic within che spaces of their modern dwellings to refresh, rejuvenate and connect with the environment for comfort and increased quality of life, Nacure and form must balance a harmonious co-existence, ‘Technology One of the key themes identified upon studying the lack of technology. It is important to highlight and re- the Naalukeeru and che patterns of living is state ~ the dwellers of the vernacular environment are happy and comfortable even though technology is scarce, Ex, PK Abubaker, upon interviewing argues that technology has gone against saving time and building connections with zeal people. He reminisced his childhood and suggested that without technology, true bondings between the locale, people and nature plished, he further seated - life was simpler and soul invigorating, With the uproar of cechnologies, man is deviating from being human, he is almost considered a cyborg placed into an environment that is voxie and sedentary to him. He is attached to sereens and adding co a wholly disconnected society. fused wisely and mindfully, it has bountiful benefits, bur technological addiction is proving to be a real and pervasive issue across the world, Adam Alter, a psychological professor at NYU, argues thar even though technology's transformative potential can be considered ‘miraculous, che arise in technological addiction slews into alienation and discomfore to man, ‘This sedentary lifestyle is known to lead to be detrimental to one’s mental health, adding to loneliness, clock-wacching and overall loss of meaning to one's life (Weingarten, 2018). is however an inevitable facet of the Technology current days. The vernacular home is also seeing signs of technology being brought in as displayed as staved in che interview by Ex. Abubaker: To tackle the loss of meaning and the rise of feelings of alienation that technology brings to dwellers itis importane to assign and give clarity to che role of technology in modern life According co Alte, if technology is solely embedded within homes as a utility that would ease on ie would add to the feeling of fulfilment (Weingarten, 2018). It is about striking a balance between utility and excessive addiction, Even though the usage and adoption of technology into on hands of the dweller, there is always significant power vested upon the designers to be able to change and enhance behaviours, With our understanding of man’s life within the Naalukeru, and their relationship with their surrounding space and the mortals, it is important vo derive the underlying values of true connectedness. It is vital to apply this value into the modern man's life even with the incorporation of technology. It is vital for the future to question, how can we study the vernacular life and truly achieve such connectedness, comfort and fulfilment of life eve with the inculeation of technology within homes? Culture Upon carefil analysation of the vernacular home, the Naalukerra, one of the mose relevune themes identified is that of cultural vibrancy. All aspects of the home symbolise and espouse meaning to reflect the values of the dweller, The stooped gate-house, the basil tree, ornamentations, he pond, the urlity of the courtyard and che prayer room all excellent examples of reflecting the cultural identity of the dweller. It fosters comfort to him as he is allowed to practice his divine beliefs and augment his spirituality in his own immediate surroundings, However, with rise in urbanisation and modernisation within lifeseyle and dwelling spaces, it is important to question the extent of which culture may be eroding over the passage of time. Further more, it is also necessary to understand the erosion of which aspeces can be considered progressive or regressive. With the coming of modernisation, there is also a noticeable influence of westernisation of designs in the east. For example, modern houses in Kerala have adopted contemporary design stylistic elements within all its tangents, including furniture ornaments, form and structure, This leads 10 the I such as che courtyard, the plants, ornamentations, and even some ‘of symbolistic elements of home, houses the loss of prayer rooms. ‘This loss of cultural identity must not be perpetuated through design. Ie is those ‘immortal’ elements that provide the dweller with comfort, solace and peace thar is lost in the modern world. Homes must foster meaning and be progressive in nature, Interviewee, Architect Mujib, pragmatic in his approach argues it is vital for design co continually evolve to match che current times, For example, the culture of bathing outdoors utilising ponds and buile bathrooms outside have dramatically lessened. Indoors are fit with contemporary bathrooms, this definitely is an aspect chat brings convenience and breaks backward raboos and notions of hygiene, However the element of community belonging and daily rieuals of bathing in the pond before visiting the temple is lessened in the society. This leads us to think, whilst modernisation can lead to improvement of comfort and convenience it will also lead to cultural erosion. Additionally, through conversation with che locals of Kerala, it was understood there is a thinly veiled backwardness in some some aspects of its designs, for example, the kitchen was always almost placed hidden at the far back end of the house, Women, though respected, have confined to the roles of servitude. Inceractions berween them always occurred in the kiechen or away fom the forefront areas occupied by men, With the introduction of contemporary styles of the open kitchens, the notions of sexist undertones are eradicated. Thus it is fe co suggest that, notions of culvural backwardness of the vernacular home must be left behind, and those cultural elements that add to the dwellers sense of belonging and identity must be carried forward into the lives of the modern man through design. cS Craft Finally, a key highlight of che Naaluketeu and its ornamentation is the employment of local erafesmen and artisans to build and create the interior products of the vernacular home. As discussed in the case study, several furniture, and utilitarian items such as bags, baskets, utensils, clothes are all the products of local hand crafted creations. None, the product of a commercialistic, capitalistic society, Sargaalaya, a crafé village situated in northern Kerala was visited to experience the designing of produets first hand ‘The craftsman, all highly skilled cx products using natural, sustainable materials, The ed. exquisive boons of acquiring and establishing such eraft was truly understood upon my visit. With the uprise of a consumeristie society, there is mass production of all home products in factories. Leading to loss of erafe and uniqueness of items within cultures andemploymencof such artisans. Indeed, skilled craftsmen of the locality are provided with employment with the adoption of natural, handerafeed products within the home, it is what they cruly know best, Furthermore, all products are seamlessly created while being sustainable and all bio degradable due to the locally sourced materials Additionally, there is a sense of uniqueness and belonging created along with these products as each product has been created by artists, and it is not the product of industrialisation or mass production. Keeping these points in mind, ie ean be said that, to avoid loss of crafi and crafesmansship, local artisans must be supported and great value and imporcance rust be vested within them. This further accentuating sustainability and notions of belonging while providing ample employment to the skilled co make crafismanship widespread, With the understandings of all these themes in mind, a model was created. This model outlines those values of the vernacular home that must be implored upon in che contemporary times and those aspects of it that must be left behind co augment progressiveness. Indeed, as discussed, the design of the modern homes must urgently acquire local materials and the erafis for build co support sustainability and erafismen. In terms of technology designers must be aware of what is being produced. A balanced usage must be brought upon the moder home. Additionally, the contemporary home must be mindfal of the surrounding nature and must also reflect upon the natives cultural identity However it must leave behind within che vernacular ~ what is culturally ‘backward. Progress and change are definitely what design must strive for to provide inhabitants with ultimate emotional responses of comfort and plenitude. Capt ————> ee Fig. | Model depicting notions that must be derived fiom the vernacular home CONCLUSION ‘This thesis began with the question, “How can vernacular design of homes foster feelings of comfort?” To effectively respond, first, vernacular design was defined, Iwas understood as the ‘architectural language of the people” - as a reflection of one’ native is a section of design that aqeuires from the immediace nature to build. Furthermore, it embeds all accepted societal norms of the locality. The research question was then farther probed in tangency to a traditional home ~ th lukettu and its relationship wich Heidegger's fourfold, the earth. slcies, immortals and the mortals, ‘The home was deeply understood in terms of the materials used to build, the nature of interactions between people, nature and surroundings along with Undoubredly, the cultural elements of che home vernacular home must co-exist harmoniously with the four-fold to provide optimum comfort to man, These understandings of local materials, crafismen, culture and other interations that foster comfore enabled the identification of several themes within the case exemplar, The discussions surrounding the identified themes (sustainability, nature and form, technology, culture, craft) highlighted those key elements of the vernacular home that can be carried forward into the contemporary design world. Indeed the vernacular home provides dwellers with utmost comfort, and ie is vital we preserve and carry forward the inculeated values to achieve such plenitude in the current times, With deeper understandings, new parallels are uncovered in comparison to current times, One of the most imporvane and elevane theme is thar of sustainability. We are indeed in. continual need of sustainable methods and resources to build, to tackle current issues such as climate change. Another key theme is that of che crafts. The ‘hand- made’ is noticeably industrialised and it is vial thar the skills of local eraftsmen and artisans are honed to acquire products that sustain, replenish and are unique whilse procecting and retaining che cultural identity id symbols of the native. Indeed, the vernacular must be preserved, and with the passage of time, an erosion of it is being s en. We must acquite values fom the vernacular home and build dwellings - and also seek co achieve comfort that is soul-invigorating and refreshing, not by designing homes that is a sep: nntity, rather by building ones amongst the surroundings that espouses the transmution of meaning. Recommendations to consider for future reference for designers based on the concluding five themes ; ~ Designers, architects and builders urgently need to dec values from vernacular architecture to farther adape sustainable construction techniques and acquire locally sourced materials to avoid mass stripping of the cavironment, ~ The design of modern homes and apartment buildings must remove boundaries between the exteriors and interiors to and ‘borrow landscape’ t0 the insides to foster overall well-being of the dwellers and building connectivity between the earth, skies and mankind. ~ The vernacular life-style muse be further analysed vo understand how designers can formulate homes with technologies that enable the dwellers to achieve true connectedness, comfort und fulfilment. Designers must be aware and concious of the cultural identities of those dwellers they axe building for, as one must not lose sight of what elements are being eroded or changes. ~Policy makers muse emphasize on the importance of craftsmen in this capitalistic society, the exaft must be sustained through inereased 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 farure designers, whilse preparing them to better tackle environmental impacts of construction and building ‘of homes. REFERENCES AAYYV. 1993, Vernacular Architecture: ICOMOS International Committee on Vernacular Architecture, Interna- tional Scientific Committee, roth General Assembly, Central Cultural Fund, Sri Lanka Amos Rapoport (1969), House Form and Culcure Englewood Cliffs, Nf: Prentice-Hall, 1969, Aristotle. (1970). Aristotle's Physics. Books 1 & 2, Oxford :Clarendon P Aurelio (2019), Aurélio Dictionary. [online] [Accessed 6 Apr. 2019] Avtuch, K. (998) Culture and Conflict Resolution, Washington DC: United States Institute of Peace Press, Berman, M., Jonides, J. and Kaplan, S, (2008). The Cognitive Benefits of Interacting With Nature. Psychological Science, 19(02), pp.207-r212, Bont: J.P (1977), Vernacular architecture and architects’ archivecture: Does the distinetion hold? Paper presented av a conference on architects’ borrowing from and lending to popul ban Planning, University of Wisconsin, Milwaukee Brookes Publishing. rchitecture. School of Architecture and Ur- Brunskill, RW. (2000) [r971). Illustrated Handbook of Vernacular Architecture (4th ed.). London: Faber and Faber ISBN 0-571-19503-2 pp 25-29 Bruxelas, 2010. p 302-306. Clayton, $ (0003) Environmental identity: a conceptual and operational definition, In Clayton, § and Oporow, C (eds), Identity and the natural environment: The psychological significance of nature (pp. 45-65) Cambridge, MA: MIT Press. CNBC (2011). Human Development Index rose 21 per cent; Kerala tops chart. fonl ¢] Available at: heeps/www. moneycontrol.com/news/business/wire-news/-2030505.huml [Accessed 6 Apr. 2019] CNN Style. (2017). What traditional buildings can teach architects about sustainability. [online] Available at: https/fedition.cnn.com/style/article/vernacular-archi

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