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Fresh out of the two-century-old British legacy, Bangladesh, formerly known as East Pakistan from 1947 to 1971, was searching for a post-colonial architectural style. Colonial architecture in the region in general often imposed imported European elements, ignoring the preceding legacies of the Sultanate and the Mughals. The critical challenge was to find a balance between the prevailing high modernism in architecture and the local vernacular and climatic forces. The Pakistani government invited international architects to fill the gap left by a non-existent local architectural industry. Unfortunately, their work has rarely been properly analyzed. With selected case studies, this paper analyzes their work in an attempt to explore their contribution to creating a national architectural identity.

This study uses a case study approach with selected architectural projects from the period. It uses research tools such as systematic analysis of drawings, volumes and photographs and archival research.

The international architects took inspiration from the strong vernacular and climatic forces of the region. The resultant expressions of the two-decade-long search in their combined body of work are some of the finest examples of vernacular and climate-responsive architecture in the region. They transcended the regular international style and became context-specific and unique. The quest for East Pakistan's post-colonial architectural identity was partially met by the newly found identity through vernacular and climate-responsive adaptation in architecture.

This study explores how a unified vernacular and climate-responsive adaptations potentially shaped the post-colonial architectural identity of the region. No prior study exists on this issue for the time period.

Given the broad scale and fundamental transformations occurring to both the natural environment and human condition in the present era, what does the future hold for vernacular architecture studies? In a world where Capital A (sometimes referred to as ‘polite’) architectural icons dominate our skylines and set the agenda for our educational institutions, is the study of vernacular architecture still relevant? What role could it possibly have in understanding and subsequently impacting on architectural education, theory and practice, and in turn, professional built environment design? Imagine for a minute, a world where there is no divide between the vernacular and the ‘polite’, where all built environments, past and present are open to formal research agendas whereby the inherent knowledge in their built histories inform the professional design paradigm of the day – in all built settings, be they formal or informal, Western or non-Western. In this paper, the author is concerned with keeping the flames of intellectual discontent burning in proposing a transformation and reversal of the fortunes of VAS within mainstream architectural history and theory.

In a world where a social networking website can ignite a revolution, one can already see the depth of global transformations on the doorstep. No longer is there any excuse to continue intellectualizing global futures solely within a Western (Euro-American) framework. In looking at the history of VAS, the purpose of this paper is to illustrate that the answers for its future pathways lie in an understanding of the intellectual history underpinning its origins. As such, the paper contends that the epistemological divide established in the 1920s by art historians, whereby the exclusion of so-called non-architect architectures from the mainstream canon of architectural history has resulted in an entire architectural corpus being ignored in formal educational institutions and architectural societies today. Due to this exclusion, the majority of mainstream architectural thinkers have resisted theorizing on the vernacular. In the post-colonial era of globalization the world has changed, and along with it, so have many of the original paradigms underpinning the epistemologies setting vernacular environments apart. In exploring this subject, the paper firstly positions this dichotomy within the spectrum of Euro-American architectural history and theory discourse; secondly, draws together the work of scholars who have at some point in the past called for the obsolescence of the term ‘vernacular’ and the erasure of categorical distinctions that impact on the formal study of what are perceived as non-architectural environments; and finally, sets out the form by which curricula for studies of world architecture could take.

In recent decades, Iranian vernacular architecture has defined the local architectural identity by demonstrating distinctive characteristics. Defining such a critical role for vernacular studies has led to different approaches in the design of the contemporary architecture of Iran. The first approach of integrating vernacular and contemporary designs has focused on local people, their needs, local construction, and building materials. The revival of vernacular architectural design and building elements has been at the forefront of this approach in Iran. However, recent use in Iran has concentrated on the symbolic/abstract reuse of vernacular building forms. Vernacular architecture is known to merely provide for the functional requirements of buildings, and not for aesthetic purposes. Conversely, in the second approach, vernacular building elements are considered to be symbols of local identity. This paper will argue that although the symbolic reuse of vernacular features may not uphold the functional expectations of the vernacular form, this reuse is useful in reviving architectural identity. In addition, underscoring such a different role for vernacular building features in contemporary architecture might help to expand the realm of vernacular studies. Thus, the purpose of this paper is to provide an overview of the conversion of vernacular architecture in Iran by focusing on the instance of wind-catchers. Wind-catchers typically were used in residential buildings and are considered potent symbols of climate adaptation. In contemporary architecture, however, a form of wind-catcher has been used as a symbol for local architectural identity. Through this transformation, the essential nature of the wind-catcher has found new life in the contemporary architecture of Iran.

This paper aims to elaborate on the characteristics of vernacular architecture, particularly the architecture of the Turkish eastern Black Sea region, through a case study in the area; and to attract the attention of architects and researchers on the unique characters of the region. Another aim of the paper is to examine the contribution of vernacular architecture to sustainability through its design methods and principles, which have been developed throughout centuries.

This paper presents a single case study on the architecture of the Turkish eastern Black Sea region through 14 unique samples from Senoz (Büyükdere) Valley. The case study is preceded by theoretical research on vernacular architecture, its characteristics and its contribution to sustainable architecture.

The case study carried out in the Senoz Valley revealed that the region's vernacular architecture is still living. However, it has lost its importance in the past. Outcomes of the case study indicate that the unique character of the architecture in the valley needs to be protected and sustained, so that future generations can also benefit from its special design features.

Senoz Valley is a settlement located near the city of Rize in the eastern Black Sea region of Turkey. Vernacular architecture reflects the characteristics of the region and contains unique features in construction and planning. According to these special features, the architecture of Senoz valley deserves a place in the literature of vernacular architecture.

Embedded in built environment discourse, this chapter examines the traditional knowledge and resilience of the Ngadjuri Nation Peoples through an Elder’s narrative of reconciliation as well as resistance in their subsisting colonial settlement. Removed from ‘Country’ in the 1840s, Ngadjuri Aboriginal community endured colonial industries of open-cut copper mining and large-scale pastoralism as irreparable destruction to their cultural landscapes. European processes in the resources sectors reshaped natural topographies, deconstructing Ngadjuri Songlines and Ancestral Dreaming stories. Burra’s colonial stone buildings of settlement, painstakingly cut and composed from materials of the surrounding ecological terrain, prompted new narratives from Ngadjuri as a way of alleviating scars. Broadly speaking, this chapter aims to show how cultural heritage of two communities is provocatively and conceptually unpacked through the vernacular buildings’ cross-cultural foundations. That is, an under-reported narrative was unwittingly bestowed on the colonial-built forms with hidden meanings that deserve further investigation. This chapter offers a counternarrative to colonial histories revealing Ngadjuri’s methods for reconnecting to Country and culture after generations of disempowerment. It explores how within the materiality of colonial structures, the Ngadjuri entwined their remediated storylines – revealing a data curation that had avoided popular discourse in the galleries, libraries, archives, and museums [GLAM] sector representation. This example implies there are bodies of knowledge in built cultural heritage hidden elsewhere on our Aboriginal Nations and the challenges it presents GLAM in their Indigenisation processes.

This paper focuses on the evolution of and changes in French colonial architectural designs over time in terms of the use of vernacular architectural features of Vietnam.

It first examines the underlying principles of spatial compositions behind traditional vernacular architecture, thus revealing vernacular architectural values that have survived from the past. Styles of vernacular houses differ by region; thus, their unique spatial characteristics are analyzed by selecting the typical houses in each region. The study also illuminates ecological features and technical norms tailored to the local climate and Vietnamese traditional architecture. It examines how local and regional characters of vernacular houses affect the developments and changes in the French colonial public buildings in Vietnam, forming an identity that represents an eclectic Indochina style with the adaptation of local discourses on climate.

The Vietnamese have developed unique architectural styles that are inextricably linked to their identities, cultures, climates and livelihoods – for example, vernacular houses. Although at the beginning of the colonial period, the French imported their styles, decorations and details, which were foreign to the Vietnamese, later, they perhaps realized that such direct import was no longer suitable for the natural and socio-cultural situation of the colony. Toward the end of the colonial period, it is noticeable that French colonial architects gradually started using local design principles.

Although many existing buildings can be further added for the discussion, we limit a few cases, due to the length of the paper.

This paper proves that toward the end of the colonial period, colonial architecture in Vietnam became increasingly localized, adapting to the local environment and climate. The buildings during the period were gradually associated with Vietnamese culture and sentiment.

Although few papers deal with the vernacular architecture in Vietnam with regard to local climate and regional characteristics, there are no paper that related the vernacular Vietnamese houses to influence the French colonial designs in Vietnam. Therefore the paper has value and significance.

The main purpose of this study is revival of vernacular architecture of Zegalli houses, which can be beneficial in several aspects of sustainable architecture, and therefore, its reuse in contemporary architecture can be strongly recommended. Zegalli houses, in northern Iran, are almost-entirely wooden vernacular houses, which beside to having several aspects of sustainable architecture, have shown good resistance against past earthquakes. Their relatively good seismic performance is mainly because of their specific timber foundation, which creates a kind of rocking/rolling isolation, as well as their light weight and diagonally braced stiff walls.

In this paper, first the architectural features of Zegalli houses, particularly energy efficiency, sustainability and eco-friendliness are described. Then, their structural system, focusing more on their foundation, is discussed. Finally, a simplified model of the house, developed in a powerful finite element analysis program, is introduced, and sample results of a series of time history analyses (THA), employing three-component accelerograms of three selected earthquakes, are presented.

Results of THA show that the rocking/rolling behavior of foundation timbers in various levels significantly reduces seismic response of the house, leading to its stability against earthquakes with peak ground acceleration up to 0.25 g.

Regarding the architectural and structural merits of Zegalli houses, they can be considered as sustainable vernacular architecture, and therefore, architects and civil and structural engineers are encouraged to reconsider the use of these houses, with some modifications, in future developments.

3D dynamics analysis of Shikilli foundations of Zegalli houses is done for the first time in this study.

Much of the world, is currently experiencing intense growth, especially in and around cities. Most conventional practitioners of modern design and construction find it easier to make buildings as if nature and place did not exist. Cars and factories might be thought as the most obvious enemies of the environment, but buildings consume more than half the energy used worldwide. Attempts to destroy building traditions have been associated in some countries with a drive to modernize. Beyond the traditional aspects of dwelling, the impact of globalization and its effect on rural economies, environmental problems, rapid urbanization and the unprecedented scale of housing problems which confront the peoples of the world in the twenty-first century, bring a new urgency to the study of the vernacular architecture in a sustaining sense. In this work, the concept of “sustainability” will be taken into consideration especially within the building scale. Vernacular architecture in the past produced a built environment which met people's needs without deteriorating the environment. This paper discusses the concept of sustainability in building design and connects it to the vernacular architecture with the search of the vernacular Antiochia houses as a sample; focusing on its architectural properties in detail. The study concludes that what is expected of architects in the current century is, wherever they work, they are to understand and digest the nature of climate, history and culture, that is to say, to obtain inspiration from the essence of place and to contribute to the creation of relevant architecture and city for a sustainable future.

This article aims to raising awareness on the potential of the application of the Heritage Impact Assessment (HIA) methodology – developed by ICOMOS in 2011 – with a focus on UNESCO World Heritage sites that are characterized by a widespread presence of vernacular architecture, one of the most vulnerable and fragile typologies of heritage.

Starting from a theoretical introduction about the recognition of vernacular heritage into the international non-governmental panorama, and the dynamics that are mostly affecting it, the present contribution focuses on the case study of the Chora of Patmos (Greece), a UNESCO World Heritage site since 1999. The research has been carried out as follows: (1) comparative analysis of selected literature for the theoretical part; (2) field research; (3) interdisciplinary research for understanding the features of the site and assessing potential risks; (4) project design and assessments of the potential impacts.

The pivotal application of the HIA method on the case study of Patmos highlighted the importance of the methodology as an essential tool for facilitating management and safeguarding WH sites from possible threats due to development projects on vernacular architecture.

The originality of the research presented here lies in the connection between three different topics: vernacular architecture, Heritage Impact Assessment and Sustainable World Heritage Management. In fact, its goal is to bring cultural heritage management and sustainable development closer together, by emphasizing that HIA should not be used as a tool to hinder development, but as a practice for shaping and evaluating projects that might alter or compromise the integrity and authenticity of WH sites in a sustainable and balanced way.

The purpose of this paper is to examine the need to go beyond the “monumentalist” vision in restoration of built heritage and embrace principles of sustainability in this architectural practice.

Case studies as conceptual reference. Architectural typology.

The environmental crisis that is currently recognized as one of the most important problems that contemporary society must address urgently is a situation that still has not permeated enough in the practice of monumental restoration, which is still carried out using unlimited resources.

In that sense, the close relationship between the built and the natural environment as an essential ingredient of the vernacular is analysed.

Much of the sustainable principles, that have been put forward as an example to be followed, are elements that have hundreds of years in the constructive tradition.

In this context, vernacular architecture has much to contribute in the field of conservation by the enormous accumulated knowledge that its shapes, materials and social use represent.

This experience must be retrieved, but not as an aseptic laboratory experiment, but through its updated application and active implementation to improve the quality of life for inhabitants and contribute to the preservation of our cultural and natural environments.