See discussions, stats, and author profiles for this publication at: https://www.researchgate.

net/publication/303549712

TOWARDS A CONTEMPORARY VERNACULAR BUILDING ENVELOPE

Conference Paper · May 2016

CITATIONS READS

0 3,470

3 authors:

Sanja Paunović Žarić Amira Salihbegovic

University of Montenegro University of Sarajevo
20 PUBLICATIONS   3 CITATIONS    18 PUBLICATIONS   2 CITATIONS   

SEE PROFILE SEE PROFILE

A.L.P. Rosemann
Eindhoven University of Technology
146 PUBLICATIONS   454 CITATIONS   

SEE PROFILE

Some of the authors of this publication are also working on these related projects:

THE IMPORTANCE OF PLACE CONFERENCE THEME: Cities and Cultural Landscapes: between recognition, preservation and usage View project

other - catch-all category View project

All content following this page was uploaded by A.L.P. Rosemann on 21 July 2016.

The user has requested enhancement of the downloaded file.

The 3rd International Conference with Exhibition

25–27 May 2016, Budva, Montenegro

TOWARDS A CONTEMPORARY VERNACULAR BUILDING

ENVELOPE
Sanja PAUNOVIĆ ŽARIĆ1*, Assist. Prof. Amira SALIHBEGOVIĆ1, Prof. Dr.-Ing.
habil. Alexander ROSEMANN2
1
University of Sarajevo, Faculty of Architecture
71000 Sarajevo, Bosnia and Herzegovina
*sanja.paunovic@ac.me, amiras@af.unsa.ba
2
Eindhoven Technical University, Department of the Built Environment
5600 MB Eindhoven, The Netherlands
A.L.P.Rosemann@tue.nl

Abstract
Technology tends to standardize architecture, striving to make it uniform and resulting in a
globalization of the architectural thought. The trend of contemporary architecture is not
characterized by adapting to the urban or natural context. As such, new buildings are
frequently put in opposition to their urban and natural context, which is often completely
ignored. Solving this issue requires vernacular architectural solutions. The research
presented in this paper aims to adapt technologically advanced concepts to new vernacular
façade concepts.
The study first provides an overview of how different factors (such as climate, location, local
materials and socio-cultural factors) had influenced the vernacular building envelope.
Furthermore, vernacular building envelopes are compared to contemporary building
envelopes with the aim of finding out how influencing factors have changed due to
technological demands. The study concludes by presenting a new building envelope concept
by transposing vernacular principles to the design of contemporary building envelopes. The
study shows that the harmonization of contemporary vernacular building envelope concepts
and technological solutions lead us to a more genius loci (Lat. “spirit of the place”) oriented
architecture. This paper suggests the evolution and generation of all of the mentioned
factors in a matrix system, resulting in a completely new and unique façade solution.

Keywords
vernacular architecture, new vernacular façade, transmitting traditional envelope,
architecture and environment, sustainable architecture

S.ARCH-2016nnn.1
 S.ARCH-2016nnn.2

1 Introduction
The answer to the quest for a more in-depth approach, departing from contemporary
architecture to establishing a balance with nature, may already be found in achievements of
the past. According to the definition, the objective and the construction, traditional
architecture was the most integrated architectural form together with its environment. As a
result of the complex balance among materials, the form, as well as the social, technological
and natural context, the “architecture without architects” could, by means of transposing its
core principles, be considered a sustainable foundation for designing contemporary
envelopes in two ways [1]: through an expression of utmost respect and harmonious union
with the natural surroundings or by establishing a perfect balance to encompass the users’
needs.
The experiences with the authentic materials that were used to create a very efficient eco-
design may be used as guidelines for launching revolutionary and utterly new techniques
such are the steel, concrete and glass techniques. The premises based on experiences may
result in the usage of the bioclimatic responsible construction. Similarly, it can be used for
models to generate nature-friendly architecture. “Items” of nature should be observed as
artefacts “which means, to observe local architecture… in relation to the environment that
created it, the epoch that nurtured it, and the financial and technical means that provide
it…” [2].
The attempt to link up the envelope to its place has nowadays become questionable in the
context of fast technological and innovations of materials. The transparent envelope has
transformed its formal features. With the introduction of artificial lighting, the treatment
and role of the façade has been changing rapidly so that it becomes an independent
architectural element. Acting as a separate layer per se, it is being treated independently of
the rest of the building thus adding new layers of meanings to its functions. Designing the
façade envelope in relation to the factors that generate form in contemporary constructions
includes:
- implementing materials and technological solutions for shaping the façade envelope,
- responding to climatic parameters by means of designing climate envelopes,
- interpreting natural rules, respecting the spirit of the place, etc.
Contemporary views on the mentioned values mean new approaches with the aim of
comprehending and integrating experiences and values of pre-architecture into
contemporary projects. This allows promoting responsibilities regarding preservation and
valorization of the built environment as well as technologies and techniques applicable in
contemporary design. By means of understanding the “continuity approach“, i.e.
understanding the place, its spirit and evolution, one may reach clearer and better
conclusions and applicable guidelines while using technological solutions for modelling the
contemporary façade envelope. The harmonization of transmitted vernacular building
envelope concepts in line with technological solutions lead us to a more genius loci oriented
architecture. In the following sections, the authors suggest the generation of a matrix system
that addresses all of the above-mentioned factors with the intent to introduce a completely
new and unique facade design approach.

Proceedings of the 3rd International Conference with Exhibition S.ARCH “Next ARCHITECTURE”
25–27 May 2016, Hotel Splendid Conference & SPA Resort, Budva, Montenegro
 S.ARCH-2016nnn.3

2 Vernacular architecture - dominance of nature over humans

The basic human need to be protected was the major cause leading to the evolution of the
façade envelope, which made the relationship between architecture and the natural
environment in which it was established as a matter of discussion. Vernacular architecture
(traditional, anonymous, folk, autochthonous, rural, local, and inherent) is the term used for
architecture founded on the principles of tradition which has been isolated within a
geographical or cultural area. Traditional structures are built from local materials and shaped
in accordance with the well-known forms and construction types [3]. As such, vernacular
architecture does not use words, but represents a coherent and easily readable system of
signs everyone can understand.
Vernacular architecture typology varies depending on climatic, topographical, natural and
socio-cultural factors. The evolution of all these factors has been transmitting the code on
how to preserve energy and other sustainability factors. The facilities constructed from
materials available reveal an utmost respect towards the existing environment, taking into
consideration the passive solar techniques and creating a bio-climatic concept the aim of
which is to create a micro-climate and architecture with sufficient thermal comfort
conditions [4].
Pre-architecture represents a harmonious relation between the dwelling, the dwellers and
the environment while taking into consideration the following aims of sustainability [5]:
- optimizing the location potential,
- preserving the regional and cultural identity,
- utilization minimization, protection and preservation of resources,
- using eco-friendly materials,
- attaining thermal comfort, and
- optimization in the functional sense and in terms of maintenance.
The construction techniques are usually transposed by means of tradition and the
generations-long trial-and-error patterns [6]. In order to for the construction continuity to
persevere in a certain space, it is necessary to respect all the levels of continuity regarding
the creation of the urban matrix manifested as the continuity in the functional sense, the
continuity of individual physical structures, as well as the continuity in terms of the spirit and
idea of the place (Lat. genius loci) [7]. This serves the overall aim of comprehending,
identifying and analysing traditional patterns and the possibility to creatively transmit
certain concepts to the vastness of the contemporary context.

2.1 Towards contemporary vernacular architecture

A built environment is susceptible to constant modifications, consideration and evaluation,
which leads to change and thus to innovation. Innovation may simply be interpreted as “to
bring in novelties; make change in” [8]. In order to be considered as innovated, it is
necessary to make an improvement over the previous situation. Tannenbaum defines
technological innovation as new implementation of physical skills and technological
knowledge with the aim of introducing changes in the physical aspects of the environment in
which human beings live [9].

Proceedings of the 3rd International Conference with Exhibition S.ARCH “Next ARCHITECTURE”
25–27 May 2016, Hotel Splendid Conference & SPA Resort, Budva, Montenegro
 S.ARCH-2016nnn.4

In the light of change and innovation, tradition may be characterized as an “existing

innovation”. According to Hannah Arendt [10]: "tradition neither belongs to past nor to
future, it continuously renews itself between past and future while reconciling them; it is
more the desire for completion, and determines itself as no longer and not yet. It is no longer
because it is not representation of past images anymore and it is not yet as it still carries
potential for the future or the past, but enduringly it fills the gap between past and future”.
Although tradition of different demos is deeply rooted and well understood in vernacular
architecture, the power of tradition in contemporary architecture has been dwindling.
When transposing vernacular principles, one has to take into consideration the changing
nature of the society in relation to users, the interaction between form, culture and
immediate surroundings (both natural and urban). Only after these processes have been
taken into consideration they may be incorporated into the contemporary context. Rapoport
emphasizes the utmost importance of understanding the reasons for studying these
principles in order for one to understand that the past is the best of teachers. He claims that
implementing lessons learned from the past should come down to analysing conditions and
responses to vernacular environment and not to copying its individual formal qualities
(shape, the relation between masses, details, etc.) [11]. Contemporary vernacular
architecture pays special attention to national cultural identities and seeks to discover
authentic regional characteristics of architecture. Today, architects are striving to bridge
vernacular and contemporary architecture in order to ensure sustainability, independence,
autonomy, endurance and resistance in contemporary architecture.
In the attempt to reach or restore a balance between all the above mentioned
requirements, to prevent a shift towards a “universalized civilization” known for its lack of
identity in contemporary architecture, Lewis Mumford promotes the idea of regionalism.
Mumford understands regionalism as a synonym for modernism. He is against absolute
historicism and reproduction which cannot be relevant for the present [12]. Frampton
summed up characteristics of regionalism calling it critical regionalism, which is a critical
category in which elements are overlapping, i.e. elements that both accept and emphasize
certain specific characteristics and premises, as opposed to style. In other words, critical
regionalism does not encourage ideals of modern architecture but uses their nature and
technology [13]. Frampton refers to several architects (Jorn Utzon, Tadao Ando, Alvar Aalto
and Alvaro Siza) who integrated some of the ideas of critical regionalism both when
analysing and reinforcing the concept in the process of unveiling personal expression.
When inheriting lessons learned from vernacular architecture, the main challenge is in
finding the methods necessary to integrate traditional skills and knowledges into the
contemporary design and practice [14]. In order to implement these lessons from the past
into the present context, it is necessary that the tradition remains recognizable, durable and
relevant in terms of cultural, social and technological aspects. A deeper understanding of the
‘’bioclimatic façade aesthetics’’ concept may lead architects and urbanists towards better
placemaking processes in built environments, in which case experience and memory may
lead towards a collective expression thus allowing creativity to serve heritage.

3 Technology transfer - the phenomenon of reversibility

The development in glass technologies has significantly contributed to the power of
architecture over nature and thus allowed architecture to marginalize ecological influences.
Proceedings of the 3rd International Conference with Exhibition S.ARCH “Next ARCHITECTURE”
25–27 May 2016, Hotel Splendid Conference & SPA Resort, Budva, Montenegro
 S.ARCH-2016nnn.5

The role of the building envelope has shifted from the primary role of protection and
interaction with natural factors to the role of manipulating these factors by means of
implementing glass envelopes. The relation between place and identity has become
ambivalent and as such, the cultural identity of cities as well.
The process of evaluating a Global Environmental Agenda started as early as the 1960.
Questions regarding utilization of natural resources and energy in construction were given
more importance due to the economic crisis in the 1970s. It was only by the end of the 20 th
century that questions regarding moral responsibility of such buildings in relation to the
urban environment were raised in relation to the issue of using fully glazed envelopes, which
opposed the concepts of beauty, place, ethics and aesthetics. Therefore, contemporary
architects are striving to restore the balance by basing their concepts on bioclimatic lessons
learned from the past, while retaining specific features of their own cultures.
The façade no longer represents a “boundary” encompassing a volume, but a bridge
between nature, environment, building and inner volume. The technological liberation of
the façade introduced exoskeleton as an “integral part of the creative, i.e. generative
process” [15]. Technical liberation of the façade and adding values to interpretations bound
to these processes requires that physical, functional and symbolic boundaries of the façade
be addressed more critically. Along with technological solutions, the term “sustainable“
often needs to be mentioned thus referring to architecture that respects its natural
surroundings and contributes to preservation of natural values and resources while
preserving the identity by means of tectonics, proportion and harmony. By treating the
envelope in the right manner, aspects of the comfort of the interior may be significantly
improved. One of the methods of connecting the envelope with the environment came with
the introduction of shades as integral and inevitable elements of architectural modeling, in
the design implication of the axiom that ''form follows the Sun'' (see: Figure 1).

a) b)

c) d)
Figure 1: Development of design implication of the axiom that 'form follows the Sun'
a) 8000 BC: Lepenski Vir House - Trapezoidal shape of the house is built in accordance with climatic factors
[srpskoblago.rs] b) 400 BC: Socrates' house - Megaron house phenomenon[naturalbuildingblog.com] c) 1952:
Unité d’Habitation, Le Corbusier - 'brise-soleil' systems [facadesconfidential.blogspot.com] d) 2012: Al Bahar
Towers, Aedas - A High Techbuilding that responds to the Sun [architectureyp.blogspot.nl]

In search of new methods, the architect, by planning and communicating to assess how
architecture influences other factors, places architectural elements in such a way that

Proceedings of the 3rd International Conference with Exhibition S.ARCH “Next ARCHITECTURE”
25–27 May 2016, Hotel Splendid Conference & SPA Resort, Budva, Montenegro
 S.ARCH-2016nnn.6

architecture in the best possible way serves its purpose and results in a “purposeful design“.
Research is based on treating the facility as a thermo-dynamic system in which matter and
energy are being exchanged with the natural environment [16] and also on the concept of
sustainable development: doing research on different materials, methods, theories,
simulations, measurements, the influence of natural and social surroundings, economic
limitations, all with the aim of providing comfort. Kurović-Folić considers that the answer
may be found in establishing a dialogue between quality of the traditional knowledge and
modern technology [17], while timeless architecture is the one which reflects the spirit of all
times. Kurović-Folić also claims that the second segment also refers to the method of
implementing a technology, whereas modern technology should not be perceived as the
objestive or value in itself but a tool for creating a humane and friendly environment which
will fulfill fundamental needs that all human beings have in common. The genesis of
knowledge and skills may be expressed through a new idea - a method, valorization of the
existing, conceptual and visionary experimenting with new materials and technological
developments with the aim of contextualizing new architecture.

4 From vernacular to the neo-vernacular building envelope

In the contemporary context, one may not inherit traditional models as ready-to-use
solutions. The reversibility phenomenon offers “necessary knowledges on how to go back“
without counterfeiting the past while transposing traditional architecture [7]. Scarcity of
materials and operative construction techniques to all who value intermittence of the built
environment is reduced to a minumum. “From the challenge to the 'truth of materials' that
steel, concrete and plate glass posed, to the design implication of the axiom that the 'form
follows function', architects were searching for a new paradigm that would help give them
direction in the twentieth century“ [18]. The dwellings–design–development relation is being
supplemented by the technology–research relation. That means that the technology transfer
operates as a link between the vernacular and the neo-vernacular building envelope.
“Negative resistance to vernacular building methods and materials persists, even when
augmented by the so-called 'modern materials' where circumstances warrant it“ [18].
Different vernacular influencing factors (such as climate, location, local materials and socio-
cultural factors) have been undergoing change due to technological demands and in order
for a new building envelope concept to be developed by transposing vernacular principles to
the design of contemporary building envelopes.

4.1 The façade as a balance between architecture and natural environment

Pre-architecture did not imply developing physical barriers between the dwelling and the
immediate context. Aristotel examined the relationship between nature and built
environment, in which nature represents an anthology where each part of the composition
of the building (as is the case with nature) is an important element for the function of the
composition as a whole [19]. Vitruvius described this interactive relationship between the
façade and nature using the example of primitive cottages, where the metaphysical and
physical processes between what is inside and what is outside of the building are visible and
temporary [20]. The factors that influenced the modification of the envelope may be
classified into the following categories [21]: absolute height, topographic relief, vegetation
and human action.
Proceedings of the 3rd International Conference with Exhibition S.ARCH “Next ARCHITECTURE”
25–27 May 2016, Hotel Splendid Conference & SPA Resort, Budva, Montenegro
 S.ARCH-2016nnn.7

The spirit of the place directly influences the choice of the location, the structure and its
shaping, the population density, the relation of the built structure towards the settlement
and the settlement towards the region (see Figure 2). Local factors have limited the role of
the envelope to a mere formality conditioned by available local materials and construction
technologies, which was directly reflected in the treatment of the façade as an element for
forming the microclimate in the interior. Stein and Reynolds [22] defined two opposing
concepts for designing traditional building envelopes in relation to the natural contexts in
which they were created: the open frame and the closed membrane. In the first case, the
building envelope interacts with natural factors, while the closed membrane may be
implemented in harsher climates with unfavourable conditions from the environment, such
as noise and aggressive natural factors.

a) b)

c) d)
Figure 2: Architecture vs. natural environment (how to meet genius loci)
a) Tungkwan (Honnan), China - underground cities of China, the loessial belt [18] / 2009: Funen Blok K, NL
Architects – the concept of protecting buildings from noise [archisketchbook.com] b) fish scales
[asknature.org] / 2013: Hartje Rio Eindhoven – architecture as collective epidermis or biomimetics of
architecture c) Stone terraces found in the coastal area of Montenegro [detail-online.com] / Boka Artist
Residence, Tomohiro Hata - stone, isohypses and the natural subsidence of the ground affected the formation
of the structure [bustler.net] d) Traditional green roof - turf covered lodge [pinterest.com] / 2015: Modular
"Hobbit Houses" – resistant green outer shells [archdaily.com]

Genius loci may be best defined as continuity in terms of spirituality and the idea of the
location. In order for a building to reach the “genius” the identification with the place has to
be achieved: ’’To identify with a place primarily means to be open to its character or ‘genius
loci’ and to have a place in common means to share the experience of the local character. To
respect the place, finally, means to adapt new buildings to this character“ [23]. Each place
has its own peculiarity which is necessary to be preserved by architecture. Architecture is a
medium for visualizing the spirit of the place and its task should be to unify the meaning and
the structure of the place. Genius loci also recognizes the interpretation of the known
principles in new ways because by means of new methods the “genius quality” of the place
is further emphasized, the place is given a new appearance and is fitted into the landscape
as a completely new manifestation. If the house flows from the inside towards the outside,
the phenomenology of the interior is joined to the phenomenology of the exterior. By this
harmonious relationship, architecture will be achieved as a “living” and not a “visually
perceived” or “observed” system [23].

Proceedings of the 3rd International Conference with Exhibition S.ARCH “Next ARCHITECTURE”
25–27 May 2016, Hotel Splendid Conference & SPA Resort, Budva, Montenegro
 S.ARCH-2016nnn.8

4.2 The façade as a result of a complex balance of socio-cultural factors

Relations within families, the position of women in societies (as this is a human need),
privacy and social relations – support the thought that a series of the above-mentioned
socio-cultural phenomena have a direct influence on how the envelope is treated in
vernacular, as well as in contemporary architecture. Social interaction, privacy, local customs
and beliefs, changeable climatic factors and practical aspects, have contributed to the
vernacular architecture in relation to the continuity of settlements being classified as:
nomadic and permanent places of residence. The lifestyles and the ways residents use their
“shelters“, the size of the family unit, the diet and methods of storing and preparing the
food, have greatly contributed to the form of the atrium building or a building with a
courtyard [16].
The focus of contemporary architecture is on buildings themselves rather than on more
complex socio-cultural issues and their systematic relations with bioclimatic potentials of the
environment and technological advancements. In this regard, technology has to act as a
basis for establishing a stable, balanced and sustainable relationship between socio-cultural
and socio-economic development and the stimulus to preserve and rehabilitate traditional
folk masonry. Norberg-Schulz says that “Socio-economic conditions are like a picture frame;
they offer a certain space for life to take place, but do not determine its existential
meanings“ [24]. Such an approach may be accepted only if the potential, the limitations and
parameters have been successfully analysed as well as the parameters of such solutions and
their relations to the ecological and socio-economic forces that previously shaped them.
Due to an emergence of specific elements, such as doksats1, led to the development of a
system expected to serve multiple complex purposes. Figure 3 shows a few overhangs
solutions, ranging from bizzare interventions on the faҫade resembling a cage, to artistic
installations, and finally, to Bloomframe Balcony solutions.

a) b) c) d)
Figure 3: Overhangs as a response to the complex balance of socio-cultural factors
a) Doksat - a house in Pljevlja, Montenegro b)1930: outdoor baby cages installed to outfit windows [vintag.es]
c) 1967: ''Balcony for two'', Haus-Rucker-Co[universaldeco.es] d)2015: Bloomframe Balcony[bloomframe.com]

4.3 The façade as ratio of construction, materials and technology

In terms of materials and construction technology, nomadic architecture made a step further
in the technological sense so that the house and the environment were no longer constant
categories; the house was constructed so that it could be portable and adapted to the

1
Doksat is a ’’bay window’’ overhang similar to a closed balcony; a characteristic open-air living room,
which served as a place for family gatherings positioned on the first floor and usually found in Muslim
households built in such a way to emphasize privacy of family life
Proceedings of the 3rd International Conference with Exhibition S.ARCH “Next ARCHITECTURE”
25–27 May 2016, Hotel Splendid Conference & SPA Resort, Budva, Montenegro
 S.ARCH-2016nnn.9

change of the context. In numerous daring 'primitive' solutions we are recognizing ancestral
shapes resulting in our complicated technology, such as: prefabrication, standardization of
construction elements, flexible and portable constructions, but also some specific solutions
such as underfloor heating, air conditioning, lighting control, or even elevators [25].
If we obliterate the expression of the traditional form, we will also obliterate the culture
which created it. Each traditional form is different and possesses a high degree of visual
complexity in terms of the visual vocabulary and possible combinatory of features. Physical
factors of the environment are defined by materials available, technology, terrain and
climatic characteristics of the place and, as such, are significant triggers of new
developments. Such a construction procedure may be conducted in three major phases:
identifying materials available, selecting relevant construction materials and providing a
response in the form of the building in relation to its selected materialization (Figure 4).

Figure 4. The relation between the material and the form worldwide [archdaily.com / slideshare.net /
theguardian.com / bokanews.me / citylab.com / angiedoor.wordpress.com / montenegrina.net]

Although it is not possible to design in relation to only one element of “vernacularity“,

materialization may be considered as one of the first footprints of authenticity. With the
introduction of prefabricated structures, construction has been facing a lack of originality
when compared on-site construction by craftsmen who improvised and adapted their needs
to formal solutions offered by materials available at the time of construction. In that way,
the continuity of shaping and coming up with new solutions is gradually lost which is the
reason why transposing traditional materials is manifested by means of two methods: using
vernacular principles of materialization and construction thus resulting in new forms and
counterfeiting the form by enveloping contemporary structures using materials available to
shape a form fitting the ambience. Both methods are legitimate if correctly implemented
and based on the identity of local solutions. If the forms are fit to follow the evolutionary
flow of the built heritage process, which would allow reaffirmation of one’s own tradition.
Figure 5 shows the evolutionary flow of the traditional conical shape house.

a) b) c)
Figure 5: Development of construction, materials and technology
a) The traditional Kanak Great House in conical shape[generativedesign.com] b) 1998: J.M Tjibaou Cultural
Centre, Renzo Piano - technology in its unique expression [wikipedia.org / generativedesign.com] c) 2016:
Zayed National Museum, Foster+Partners - highly efficient, contemporary forms with elements of traditional
Arabic design should act as solar thermal towers [consorzio-gate.it / dezeen.com]

Proceedings of the 3rd International Conference with Exhibition S.ARCH “Next ARCHITECTURE”
25–27 May 2016, Hotel Splendid Conference & SPA Resort, Budva, Montenegro
 S.ARCH-2016nnn.10

4.4 The façade as a result of a complex balance of climatic factors

From the early beginnings, human beings have been striving to adapt and make their
shelters resistant using the benefits of natural lighting and adapting to climatic factors of a
particular location. In order for one to examine the relation between climate and vernacular
architecture, it is necessary to compare and classify different types of climate worldwide.
The average temperature and humidity may be considered as the most representative
parameters allowing for the major types of climates to be identified [21]: cold climates, dry
and warm climates, dry and humid climates. To these three categories one may add wind
climates and other complex parameters.
In 1929, the French architect Le Corbusier said that ’’the history of architectural material...
has been the endless struggle for light... in other words, the history of windows“. The shape
of windows and fenestration are reflecting the climatic zone of the building as well as its
cultural context. Windows control the flow of daylight, air and noise in the building and
protect the interior from unfavourable weather conditons while framing the view from the
interior. Le Corbusier introduced ancient principles into the scientific paradigm by analysing
specific climatic and geographical parameters and by identifiying and trying to solve
architectural issues arising from the tropical climate. He divided the parameters into three
categories: category 1: natural factors (as temperature and humidity), category 2: aspects of
improving the comfort level of the interior, and category 3: architectural solutions/elements
that would enhance the comfort level of the interior [26].
One response to complex climatic conditions were Climate Adaptive Building Shells
(smart/intelligent/kinetic envelope) in terms of their meaning and functional characteristics
as active, dynamic and flexible membranes (Figure 6). Unlike the traditional faҫade solutions
which are static and do not meet users’ needs, the adaptive faҫade is percieved as the
medium connecting and separating the interior of the building with its surroundings while
shaping comfort living and working spaces. At the same time is allows the envelope to act as
an independent and primary element of shaping and appearance [27]. The Climate Adaptive
Façade has the potential to meet varying changeable weather conditions in accordance with
various users’ demands by means of transforming the interior by “mediating” and not
“manufacturing” the environment. As such, each adaptively-designed façade is unique as it
both joins and combines numerous specific patterns and design methods.

A) b) c)
Figure 6: Development of the traditional mashrabiya to "high-tech" and multi-layered building envelope
a) The traditional mashrabiya - lathe-turned pieces of wood used as a screen over a window[islamic-arts.org]
b) 1987: Institut du Monde Arabe, Attelle Jean Nouvel – transmitting of the vernacular wooden structures into
the "high-tech" daylighting control system [610f13.wordpress.com] c) 2016-17: Louvre Abu Dhabi, Jean Nouvel
–transmitting multi-layered roof construction into the ‘rain of light’ [pinterest.com / saadiyat.ae]

Technological contexts of traditional architecture may serve as both an idea and response to
bioclimatic and energy-efficient construction. Technological demands should be observed as

Proceedings of the 3rd International Conference with Exhibition S.ARCH “Next ARCHITECTURE”
25–27 May 2016, Hotel Splendid Conference & SPA Resort, Budva, Montenegro
 S.ARCH-2016nnn.11

one of the factors determining the form and representing the techne. Architects should
strive to create architecture in a dynamic interaction with the natural environment and
technological advancement because, otherwise, the envelope would become yet another
“cosmetic add-on” in the construction industry. An appropriate and responsible façade must
not be regressive but should be absorbing scientific achievements and theoretical
frameworks while longing to imitate ecological processes in order to emphasize its cultural
significance.

5 Conclusion
The fundamental human need to be protected from natural forces was the major cause for
the façade envelope to evolve. Striving to reach universal solutions, we reflect on the past
and traditionally “proven“ solutions. Such an approach reflects the burden of the past and
can easily lead to a twofold complexity. The past and the tradition are treated as static
phenomena devoid of progress being frozen in time or a random interpretation of heritage.
The is being formed and then exposed to an utterly subjective interpretation of the author,
which is usually lacking an in-depth comprehension [28]. Indeed, there are few of those who
are transmitting the message of the tradition by means of spatial elements and their
individual forms [7], whose manifestations are not visible on the level of authenticity.
The focus of this paper has been to address innovations based on the existing and proven
“recipes” of tradition. Higher life standards and higher demands for achieving adequate
comfort levels indicate that it is not possible to provide exact copies of vernacular principles.
However, lessons about simplicity, economical and practical solutions, may be learned from
vernacular architecture. Utterly new spatial elements and visual shapes, introduced for the
first time in a visual environment, should express the values of the times in which they are
being created and at the same time, offer a vision for the future.
Such an approach will be carrying a strong message about memory, identity and the spirit of
the place as “the inherited knowledge” which “dominantly determines the final
manifestation of the traditional value of the form” [7]. Upon inheriting lessons from
vernacular architecture, the main challenge is in finding methods by which traditional skills
and knowledges would be integrated into contemporary design and practice [14]. In order
for the lessons from the past to be implemented into the present context, it is important
that tradition remains recognizable as a continuation of relevant cultural, social and
technological aspects. The concept of the context is rather complex and implies all factors
defining its meaning and arising from the interior features of space – both, visible and
invisible, as well as material and non-material. The importance of vernacular architecture is
not a mere study of tradition but understanding how it can contribute to new methods,
solutions and achievements for the future which the tradition has to build a harmonious
relationship with. This is only possible to achieve if we allow technology to serve
architecture. The role of technology would have to be to act as a basis for achieving a stable,
balanced and sustainable form through a contemporary vernacular shell. Accepting such a
concept requires the acceptance of mutual relations through their contrasts. For this reason
it is necessary to establish a new track of thought corresponding to the contemporary
context. The codes are found in the spatial experiences and values represent the very
spatialization of time.

Proceedings of the 3rd International Conference with Exhibition S.ARCH “Next ARCHITECTURE”
25–27 May 2016, Hotel Splendid Conference & SPA Resort, Budva, Montenegro
 S.ARCH-2016nnn.12

Vernacular architecture is, above all, rational; it is not forcibly avantgarde. It is this very
feature of vernacular architecture that makes it so ornate and complex. Architecture will go
back to its roots by means of joining the traditonal and the modern, by applying traditional
principles transposed to new shapes and by fulfilling functional requirements and
materializing the uniqueness of each expression.
From this paper, it can be concluded that traditional architecture is vernacular, bioclimatic,
ecological and self-sustainable. It cherishes the spirit of the place and the place in which it
was created together with complex socio-economic, socio-cultural and climatic factors.
Encoded with ancient knowledges and their evolutionary processes and enshrined by
technical methods combined with a romantic sensibility, traditional architecture could be
the key to success of contemporary vernacular building envelope.
References
[1] Pađan, Zvonko, Predarhitektura - pogled na prapočela arhitekture (SR), /Pre-Architecture: A Review of
Primeval Sources of Architecture/, Školska knjiga, Zagreb, Croatia, 2007.
[2] Gabrijan, D., Neidhardt, J., Arhitektura Bosne i put u suvremeno (BiH), /Architecture of Bosnia and the
Gateway to the Contemporary (B&H)/, Državna založba Slovenije, Ljubljana, Slovenia, 1957, pp. 7.
[3] Maldini, S., Enciklopedija arhitekture (SR), /Encyclopaedia of Architecture/, Thames and Hudson Ltd.,
London, United Kingdom, 2004, Volume II, pp. 675.
[4] Sayigh, A, Marafia, H., “Thermal Comfort and the Development of Bioclimatic Concept in Building Design”,
Renewable and Sustainable Energy Reviews 2:3, 1998, pp. 24.
[5] Mateus, R., Sustainability Assessment of an Energy Efficient Optimized Solution, In: M. Santamouris & P.
Wouters, eds. 2nd PALENC Conference and 28th AIVC Conference on Building Low Energy Cooling and
Advanced Ventilation Technologies in the 21st Century, Heliotopos Conferences, Heliotopos, 2007.
[6] Sayigh, A, Marafia, H., “Vernacular and Contemporary Buildings in Qatar”, Renewable and Sustainable
Energy Review 2(1-2), 1998, pp. 25–37.
[7] Chabbouh Akšamija, L., Tradicija između autentičnosti i falsifikata (SR), /Tradition between Authenticity
and Counterfeits/, Faculty of Architecture, Sarajevo, Bosnia and Herzegovina, 2015, pp. 58.
[8] The Concise Oxford Dictionary, Oxford University Press, Oxford, United Kingdom, 1964.
[9] Roy, R., Wield, D., Product Design and Technological Innovation, Open University Press, 1986, pp. 22.
[10] Demirel, D., “The Renewable Tradition: Le Corbusier and the East”, Architectural Research Quarterly 13,
2009, pp. 249.
[11] Rapoport, A., “Vernacular Design as a Model System”, In: Vernacular Architecture in the Twenty First
Century: Theory, Education and Practice (ed. Lindsay Asquith and Marcel Vellinga), Taylor & Francis,
Abingdon, Oxon, 2006, pp. 179-198.
[12] Lefaivre, L., Alexandee, T., Critical Regionalism: Architecture and Identity in Globalized World, Prestel,
2003, pp. 36.
[13] Frampton, K., Modern Architecture: A Critical History, Thames & Hudson, London, UK, 2007, pp. 314.
[14] Day, H., The Vernacular as a Model for Design: Design Studies for the contemporary Welsh House (Ph.D.
Thesis), The Welsh School of Architecture, Cardiff University, 2013.
[15] Oliver, Paul, Dwellings, Phaidon Press, London, 2003, pp. 09-10.
[16] Salihbegović, A., Atrij u arhitekturi – transparentna struktura integrisana u volumen objekta, / The Atrium
in Architecture: Volume-Integrated Transparent Structure/, Ph.D. Thesis, Faculty of Architecture, University
of Sarajevo, Sarajevo, 2012.
[17] Kurtović-Folić, N. , Strategija održivog znanja: budućnost arhitekture, / Sustainable Knowledge Strategy:
The Future of Architecture/, 2012 (www.trend.uns.ac.rs).
[18] Ćuković Ignjatović, N., Fasada – adaptacije i transformacije (SR), / Façade - Adaptation and
Transformation/, Zadužbina Andrejević, Beograd, 2010.
[19] Elkadi, H., Cultures of Glass Architecture, Ashgate, Hampshire, England, 2016, pp. 17.
[20] Vitruvius, P., Vitruvius: Ten Books on Architecture, Cambridge University Press, New York, 1960, pp. 38.
[21] Coch, H., “Bioclimatism in Vernacular Architecture”, In: Renewable and Sustainable Energy Reviews 2,
1998, pp. 67-87.
th
[22] Stein, B., Reynolds, J., Mechanical and Electrical Equipment for Buildings, Wiley, 9 edition, 2000

Proceedings of the 3rd International Conference with Exhibition S.ARCH “Next ARCHITECTURE”
25–27 May 2016, Hotel Splendid Conference & SPA Resort, Budva, Montenegro
 S.ARCH-2016nnn.13

[23] Norberg-Schulz, C., The Concept of Dwelling, On the Way to Figurative Architecture, Rizzoli, New York,
1985, pp. 63.
[24] Norberg-Schultz, C., Genius Loci: Toward a Phenomenology in Architecture, Rizzoli, New York, 1980.
[25] Rudolfski, B., Arhitektura bez arhitekata(SR), /Architecture without Architects/, Građevinska knjiga,
Beograd, 1976, pp. 6.
[26] Mohammad, A. K., “Le Corbusier’s Solar Shading Strategy for Tropical Environment: A Sustainable
Approach”, In: Journal of Architectural/Planning Research and Studies (JARS), Vol 10/No 1, 2013.
[27] Salihbegović, A. Salihbegović A., “Interactive Building Structures as Thermal Storage of Solar Energy”, The
2nd International Conference with Exhibition S.ARCH “Environment and Architecture”, Conference
Proceedings, Budva, 2015.ISBN 978-3-9816624-5-0.
[28] Petrović, B., Rašković, I., Tradicija – tranzicija (SR), /Tradition – Transition/, Onion Art, Beograd, 2011.

Proceedings of the 3rd International Conference with Exhibition S.ARCH “Next ARCHITECTURE”
25–27 May 2016, Hotel Splendid Conference & SPA Resort, Budva, Montenegro

View publication stats