1. Vernacular Landscape
1.1. Cultural landscapes
1.1.1. Cultural landscapes are made by humans
1.1.2. Cultural landscapes can grow old and fall into decay
1.1.3. Cultural landscapes exist vitually everywhere human activities have affected the land
1.2. Natural landscapes VS Cultural Landscape
1.2.1. The distinction between natural and cultural landscapes is often blurred, because human activities have affected most of the earth
1.2.2. in reality, it is hard to find a place on earth that is not affected by human beings and our cultures. Therefore, the separation between natural and cultural landscapes is often blurred
1.3. spirit place
1.3.1. Spirit place maybe the reason why past built environments still resonate with us today
1.3.2. Spirit place embodies a certain timelessness and identity
1.3.3. Spirit place helps determine a place's character
2. Materials, Construction and the Vernacular
2.1. Material
2.1.1. Both natural and manufactured materials can contribute to the vernacular elements of a building
2.1.2. The use of reinforced concrete in vernacular building implies that vernacular architecture can adapt to changes in order to changes in order to meet certain needs of the people.
2.1.3. The use of manufactured materials in buildings can sometimes help to elevate the status of the families who can afford them
2.2. Construction
2.2.1. Building methods, structural systems and workmanshop represent the wisdom of the individual or group
2.2.2. Building methods, structural systems and workmanshop represent are passed down from one generation to another
2.2.3. Building methods, structural systems and workmanshop represent are a intergal part of vernacular architecture
2.2.4. In mud dwellings, the thickness of the sunken cave ceiling is directly related to the stability of the cave
2.2.5. In mud dwellings, the thickness of the sunken cave ceiling maybe influenced by the amount of rain in the region
2.2.6. In mud dwellings, the thickness of the sunken cave ceiling is influenced bu the amount of soil above the cave
2.2.7. Traditional vernacular architecture is a spiritual body that is housed in a physical built form is the associated rituals and rites are an essential part of vernacular architecture's cultural value.
2.2.7.1. The apprentice learned by reciting oral 'secret rhymes' which explained the dimension system for building was one technique builders traditionally used to pass on their knowledge to their apprentivces.
3. Climate and the Vernacular
3.1. Reason of many different types of VA in asia
3.1.1. A wide range of architectural forms are likely to be found in Asia as a result of the wide range of climatic variance, a large geographical area, cultural diversity
3.2. Climate zones in Asia
3.2.1. Desert
3.2.2. Maritime
3.2.3. Arctic and subarctic
3.2.4. Continental
3.2.5. Montane
3.2.6. Sub-tropical climate
3.2.7. Monsoon
3.2.8. Tropical
4. People, Culture and the Vernacular
4.1. Vernacular Environment Defination
4.1.1. It is man-made and can include both buildings and landscapes
4.1.2. it can exist in both urban and rural settings
4.1.3. people of the same culturla or ethic roots are able to understand the meaning of the vernacular environment, for example, the desires and aspirarions behind it
4.1.4. passing down the kownledge and process of the vernacular environment from one generation to the next forms a part of the local culture and tradition
4.2. Culture & Tradition
4.2.1. understanding the vernacular buildings could be one means to understnding different cultures as they embody the elements of everyday life.
4.2.2. VA is a form of culturtal tradition as its a window to the local culture which gives us an understanding of how people express themselves through their built environment
4.2.3. VA is a form of culturtal tradition as it contains material artefacts which provide hints of how different cultures cope with their problems, develop symbols and implement designs that help them to lead their particular way of life
4.2.4. Vernacular architecture carries meaning which are understood by the local people. The mechanism by meansings are communicated when cues are noticed and understood
4.3. Three levels of meaning framework
4.3.1. Definition
4.3.1.1. It helps us make connections between people and their use of space
4.3.2. Low Level Meaning
4.3.2.1. What constitutes public or private behaviour, and thus what happens in public or private spaces, can differ greatly across cultural contexts.
4.3.2.2. It is more about the function
4.3.3. Middle Level Meaning
4.3.3.1. Middle level meaning is to communicate the community ot the resident;s identity, status, wealth and power
4.3.4. High Level Meaning
4.3.4.1. High-level meaning is concerned with the sacred, cosmologies, world view, and philosophies of the community, the clan, or the family
4.3.4.2. In some Asian countries such as China, Japan or Korea, the compass is often used to determine the exact direction a building should face
5. VA Basic
5.1. VA Definitation
5.1.1. The materials used to build the vernacular architecture buildings do not necessary need to be from local resources, so it can be imported from elsewhere, tho many VA have years of history, but history is not a defining characteristic of vernacular.
5.1.2. VA remains adaptable which changes and develops with time and may even be reused for other purposes.
5.1.3. VA forms part of our cultural heritage
5.1.4. VA is found in the everyday environment in which people live.
5.1.5. VA is "the local dialect" in built form
5.2. Economy VS Conservation
5.2.1. VA in the current role has to be in a balance between hertiage conservation and economic development.
5.3. Theathens towards VA
5.3.1. Rapid urbanization
5.3.1.1. More populatin concentrating in cities
5.3.2. Economic trnasformation
5.3.2.1. Rapid economic growth
5.3.3. Natural and Environemntal changes
6. Rural Vernacular
6.1. Rural Situation
6.1.1. Origin
6.1.1.1. how it starts
6.1.1.1.1. self-conscuiosness
6.1.1.1.2. unself-conscuiosness
6.2. Way of apperication of rural vernacular
6.2.1. The building typrs that make up the rural vernacular
6.2.2. The social, economic and cultural system in which the rural vernacular is embedded
6.2.3. The local spoken language, or dialect of the rural community
6.2.4. The building process used to construct the vernacular buildings
6.3. Settlement and setting
6.3.1. Rual community propagates its culture from one generation to another through its chouces and decisions with regard to their community settlement and setting
6.3.2. the interaction and interfependency between the nautual and man-made settings and the embedded architecture makies up the rural vernacular environment that represents the tradition and culture of that comuuninty
6.4. Value
6.4.1. Diaolou buildings illustrate the social, economic and cultural aspectsw define the value of rural vernacular architecture
6.5. Spiritual side
6.5.1. Ancestral worshiping in many of the families in rural areas of Asia may indicate that these families view this as a way to connect to the spirits of the ancestors
6.5.2. Ancestral worshiping in many of the families in rural areas of Asia may indicate that they wish upon the spiritual forces of their ancestors for protection from adversity and insurance of a good year.
6.6. Timeless way of building
6.6.1. its about a technique that pass from one generation to the next generation
6.6.2. The timeless quality that generates from the care and attention that the owner and builders put in the production of the buildings.
6.6.3. The sustained evolvement and use of the buildings as a result of the continuous efforts to maintain their essential quality.
7. The Urban Vernacular
7.1. kinds of adaptations that cities make in their building decisions
7.1.1. Buildings may no longer be built with local natural materials that come directly from the earth.
7.1.2. Buildings are no longer handcrafted, or by the clansmen or with the local climatic condition or topography.
7.1.3. Houses, tenements, apartment buildings, shops, and many others are built in great quantity.
7.1.4. The majority of the buildings are built with manufactured materials such as reinforced concrete and systematic construction methods.
7.2. Material
7.2.1. Vernacular building is a continuing process including necessary changes and continuous adaptation as a response to social and environmental constraints
7.3. Types of urban Vernacular Architecture
7.3.1. Apartment buildings
7.3.2. Home-based shops
7.4. City as a cultural milieu
7.4.1. Chinatown, Indian Town, Muslim Quarter or European Quarter found in some cities are examples of people who are from the same ethnic, religious and cultural origins forming clusters within the city to preserve their tradition and livelihood.
7.4.2. ‘Hybrid buildings’ serve multiple purposes such as habitation, production and commerce.
7.5. Urban Situation
7.5.1. city as a cultural Milieu
7.5.1.1. vernacular environment
7.5.1.1.1. spontaneous is part of the process but it doesn't always true
7.5.1.1.2. somehow it can be with temporary structure as long as it does not affect with the existing environment permanely
7.5.2. the place of building
7.5.3. it brings from people
7.5.4. the urban situation is build by the developers and building epartment
7.5.5. the Urban VA is the extension from Rural VA
7.5.6. working for the developmers and government will distory the VA
7.5.7. Building the urban vernacular
7.5.7.1. represent the most likely buildings to be built in a particular place and at a particular time
7.5.7.2. the building have to be kept as diversity
8. Informal Settlements and the Vernacular
8.1. Types of informal settlements
8.1.1. The major impediment to the improvement of informal settlements is due to lack of land tenure and land ownership by the inhabitants
8.2. Vernacular value of informal settlements
8.2.1. They are built with commonly understood patterns and materials.
8.2.2. These buildings are built in a piecemeal fashion
8.2.3. They are built within a complex culture of material supply and expertise.
8.2.4. Informal settlements accommodate and represent people's lives. They are often built with commonly understood patterns using readily available waste materials. Settlements gradually evolve as people develop a more permanent attachment to their houses.
8.3. The economy within informal settlements
8.3.1. Informal settlements are not a drain on the economy and an economic dead-end for the people who live in them
8.4. Improvement efforts
8.4.1. Informal settlements are like a ‘double-edged sword’. On the one hand they represent how people and communities take responsibilities for their own environments; on the other they have problems that need to be addressed, for example, eviction of people living there and destruction of the houses, and lack of property ownership.
9. Architectural Conservation of the Built Vernacular Heritage
9.1. importance of vernacular architectural heritage
9.1.1. It epitomizes humanity’s cultural diversity
9.1.2. Vernacular architecture represents humanity’s many different ways to adapt to the environment to suit our needs and our survival in both tangible and intangible ways.
9.2. Sustainability
9.2.1. the challenge with vernacular architecture is how we make these ordinary forms sustainable
9.2.2. The needs of both the current and future generations are considered.
9.2.3. The concept of sustainability is widely accepted as follows: While we wish to meet the needs of the present generation, we don’t want to compromise or jeopardize the ability of the future generations to meet their needs and aspirations.
9.3. Definition of architectural conservation
9.3.1. Architectural conservation is a process by which the economic life of a building or group of buildings is extended. And the cultural significance of the place is retained.
9.4. Necessarity of conservation
9.4.1. Extending the economic life of a building or groups of buildings.
9.4.2. Retaining the cultural significance of a place.
9.4.3. Preserving both the physical buildings and their cultural values.
9.4.4. Sometimes it is necessary to make changes to the vernacular built heritage in order to maintain it.
9.4.5. conserving a living vernacular environment different from preserving historic monuments or archaeological sites
9.4.6. With historical monuments, we are trying to preserve their historical values; with vernacular architecture, we often are trying to conserve their cultural significance and values.
9.4.7. When we conserve a living vernacular environment, which may be a village, a settlement, a place or a group of buildings, and where the places are very much active and alive, we are dealing with people’s daily livelihood. This is very different from dealing with the preservation of historic monuments or archaeological sites. With historical monuments, we are trying to preserve their historical values, whereas with vernacular architecture, we often are trying to conserve their cultural significance and values.
9.5. Value
9.5.1. The physical fabric or context of a place
9.5.2. A special association with the place for a certain group of people
9.5.3. There are many ways to help construe cultural significance, one of which is referred to as the ‘values’ of a place. These ‘values’ are embodied in tangible and/or intangible attributes. Tangible attributes can be something about the physical fabric or physical context of a place. The intangible, for example, can be a special association for a certain group of people. Together, these character-defining elements embody the cultural significance or value of a heritage place.
9.5.4. Vernacular places also ought to be truthful and authentic. No later alterations should be faked as real or original, and the protection of a vernacular place should take into consideration its surrounding cultural landscape.
9.5.5. Is it the best the way to keep the things as it was, like the function to the outlook and material
9.5.6. So is it a realy bad thiug to change its function to üpgrade” the function
10. The Future of Asia's Vernacular Architecture
10.1. Traditional VS modernity
10.1.1. vernacular tradition is both a process and a product. we must view the vernacular architecture in two distinct aspects: Tradition as a product and tradition as a process. As a product, we see the vernacular buildings; as a process, we see the ways the traditional built forms are built and handed down from one generation to another.
10.2. VA implies a distant local expression in the built forms and raises questions about the people’s identity
10.3. Living Tradition
10.3.1. Searching for tradition and identity
10.3.2. Tradition and modernity are two sides of the same coin: no society refereed to itself as traditional before the first few centuriesm and the idea of the traditional did not arise until the inverntion and articulation of the modern
10.3.3. To understand the tradition modernity dialectic, its historic continuum and its effect on thebuilt envieronment , it is important to focus on one of the most significant aspects of modernity itself that is, modernity as an experience by nezar
10.3.4. consider about the timeframe, so when we are moving forward, the modernism is becoming part of vernacular, so the contemporary
10.3.5. For the tea house, it is more about the culture.
10.3.6. About the homogenous appearance, everything looks alike with the same façade, but when you tear off it, you will find the inside spaces which is more diversity