by Abhranil Munsi
Imagine yourself stranded in a dense forest, away from the mundane city life as you know it. A storm from the previous night has left the entire place in turmoil and yet, you could infer from the footprints along the fresh mud underneath your feet that life doesn’t stop for anyone.
As you leave the forest behind and chance upon the small houses made of adobe and hay huddled together, with the people repairing the thatch roofs damaged by the storm - a cool, gentle breeze flows through your hair, carrying the smell of flowers and mud. The people there seemed to have found peace with the life they’ve built for themselves, crafted with culture, tradition and simplicity. Here, the images of the modern cities seem to slowly fade away.
A cultural landscape reflects the interactions defined by the people of that community over time and space. It mirrors the local perception which in turn shapes the lifestyle and the built environment. We have found ways to express our intangible feelings, desires and aspirations through art and the environment. We can say that Architecture is a non verbal expression of human needs – it becomes a symbol for cultural values while producing a sense of security. It finds purpose and meaning through its role in the society and thus carries an identity.
The geographic, climatic and geological formations are critical in terms of shaping the cultural landscape of a region but it’s the human life and it’s response to the environment which ultimately provides the region with its identity.
Therefore, Vernacular Architecture is a part of the cultural landscape responding to the local forces – people, culture, climate and technology. It’s a self-built endeavour without the intervention of professional architects – defined by the builders and craftsmen using the technology and materials which are locally available. The entire community participates in the development process and can contribute effectively, which is why one can come across mud walls full of intricate paintings made by the village artists. A small contribution imparts a sense of traditional symbolism to the building, welcoming it as an identifiable member of the community. During the scorching summer day, it becomes a storage facility for grains but by the end of the coldest night, it becomes a backdrop for a group of storytellers encircling a fire, waiting for another day.
The style of architecture varies according to the changing context and the environment thus; it establishes a stronger sense of local identity. It attempts to blend in harmoniously with its natural setting, utilising materials which are available near the construction site to minimise the embodied energy. In the absence of expensive technology, it learns to adapt to the climatic conditions in an economical manner. These strategies however, when implemented in modern designs can become pivotal in achieving a net-zero energy system. But, all this while, we have stressed on the word “local” without actually defining what it means today. The world consists of innumerable “local” regions - politically distinguished but naturally connected. The world has always been a global place - with a constant exchange of people and ideas. The rate of globalisation has drastically increased over the past few years with people influencing other people; cultures influencing other cultures.
The British colonial Architecture which exists in Bengal - soon recognised as a traditional setting for Kolkata or the usage of Mughal elements in the local houses of North India are just a few examples of the foreign exchanges that has transpired through the ages. In many parts of the world today, materials which were once locally sourced are now obtained from faraway places while the ones which were known to be foreign are now produced in the backyard. In that case, does the local identity truly exist today?
At present, most cultures are disappearing with people constantly migrating towards ever-expanding cities; abandoning the rural communities and their way of life. Rapid urbanisation and its challenges in the housing sectors have defined what is known as a Megalopolis. Judging by the current rate of development, one can even imagine an unlikely yet a very possible scenario where the entire world shares the same architectural typology and characteristics – people being unable to distinguish two places effectively.
Why else does the Mumbai skyline resemble the one in New York?
Apart from that, the 20th century which celebrated the age of Industrialisation and Technology has overdone itself, exhausting the natural resources, affecting the environment negatively while creating a universal process of designing purely functional structures with a globalised aesthetic standard – lacking a sense of connection with its surrounding context. Jean Nouvel, an eminent architect exclaimed that the Modernist movement is a series of accidental architecture which lacks a proper identity. More than that, the idea of being surrounded by a concrete jungle hampers the ecological balance and promotes global warming. Where does Architecture stand? It serves well to imagine that the peaceful coexistence of the built form and its environment should help bring back the natural balance. Michael Reynolds is a Mexican based designer who serves as the proponent of “radically sustainable living” by reusing unconventional yet natural materials from waste streams. Such methods have proven to yield excellent passive systems – which he calls “The Earthship.” A time when climate change is alarmingly terrifying with all the natural systems getting affected at once and the cultural landscapes fading away, the solutions should be more holistic in nature. Adopting the Vernacular Way of Life and their passive strategies are probably the best known ways to solve the issues of the lost cultural identities and natural disruption. In essence, humanity must acknowledge the past in order to create a sustainable future.
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