PLEA2012 - 28th Conference, Opportunities, Limits & Needs Towards an environmentally responsible architecture Lima, Per 7-9 November

2012

Aesthetics of Vernacular Architecture

Comparative analyses of context aesthetics in Balkan region
MILICA JOVANOVIC-POPOVIC1, VESNA SUNJKIC1, RADMILA TOMOVSKA1
1

The Faculty of Architecture, University of Belgrade, Belgrade, Serbia

ABSTRACT: In this paper vernacular architecture is explored through the aspect of contemporary aesthetics. The research is
focused on the environmental aesthetics as the part of contemporary aesthetics. Recent development of this aesthetics field, which
considers environment, provide new possibilities to examine the vernacular architecture with the contemporary approach.
The question of context, as the basic parameter of vernacular architecture is considered. The comparative analysis of the elements of
the context is elaborated for chosen representatives of vernacular architecture. The intuitive approach to the process of design and
creation of the buildings of vernacular architecture evidently implement elements of context in a process of building generation as
well as in generation of the environment itself. In effort to follow these principles, vernacular architecture carries logic and harmony
in entity and details, evident aesthetic meaning and need for its expression. The research includes contemporary aesthetic
interpretation of the vernacular architecture context of particular region.
The subject of this research is a single-family house of vernacular architecture. Two regional types of Balkan traditional vernacular
architecture are chosen: Vojvodina and Ohrid traditional house. Elements of context and aesthetics characteristics have been
analyzed, both as a consequence of harmonious relation of the object and the environment.
Keywords: Vernacular architecture, Environmental aesthetics, Context, Traditional Ohrid house, Traditional house in Vojvodina,.

AESTHETICS HISTORY OF AESTHETIC IDEAS

AND THEORIES
Aesthetics as a discipline was originally part of
philosophy and cosmology, primarily it was used to
create a holistic picture of the world. Throughout history,
subject and tasks of aesthetics as a discipline have been
changing in different historical, cultural, religious and
artistic discourses. There
are many
definitions of
aesthetics, in global sense: "Aesthetics as a philosophical
discipline is multitude of philosophical theoretical both
successful or unsuccessful
attempts
to
establish
systematic and fragmentary discourses between open and
closed philosophical doctrines. The extraordinary focus
on sensualism and sensually presented artistic,
cultural or natural, which is always derived from
cultural conditions of individual and collective relations
of particular art, culture or nature is usually called
aesthetics. " [14].
Traditional aesthetics studies fundamental aesthetic
categories especially considering the question of artwork
and its aesthetic experience as well as criteria of the
value and evaluation [6]. There are some aspects that
separate aesthetic qualities of the nature from those of art
where the accent is on artistic or intentional
expressiveness as their
particular difference [6].
Aesthetics is defined here as beauty of things made
consciously [6] and that from the perspective of aesthetic
qualities of architecture provides concrete guideline for
this research. Stanislaw Osowski [9] speaking of
aesthetics, as a subject clearly distinguishes the beauty of

nature and the beauty of objects intentionally produced

by man, but doubts in division of aesthetic experiences in
comparison to these variants of beauty. The theme of this
research deals with the relation of the objects made
intentionally - objects of traditional architecture and
naturally created context of the objects1 This relation
with its interactions forms unique environment whose
aesthetic
components
are
considered
through
interpretation of contemporary aesthetics.
Aesthetic as a science that deals with consideration,
determination and evaluation of the aesthetic qualities of
natural objects and human (artistically expressive or nonexpressive) acts has an important role and position in
creating and valuating architectural act. This research
does not deal with the evaluation of the architectural
object as a piece of art, but with the evaluation of the
environment that is created by architectural object in
relation with its surroundings (natural and built
environment).
Different aesthetic concepts: pragmatic ones and
idealistic ones define the relation between architecture
and aesthetics. In the first concept exact parameters are
accepted as self-sufficient (symmetry, rhythm,
proportion) and they define architecture as aesthetic
object, while in the other concept those exact parameters
represent just tools of non aesthetic values through which
1

The expression natural / developed context essentially

signifies natural and built surrounding (environment) of
particular building.

PLEA2012 - 28th Conference, Opportunities, Limits & Needs Towards an environmentally responsible architecture Lima, Per 7-9 November 2012

they achieve necessary sensual appearance of the ideas.

Idealistic concept is an attempt to establish essential
values that belong to field of aesthetics, and that are
observed through philosophical, cultural, religious,
sociological aspect [4]. Thus this concept is crucial for
the planned research.
Traditional aesthetics (ancient, medieval, renaissance,
baroque and classical interpretation of the aesthetics) is
based on pragmatic aesthetic concept, while
contemporary aesthetic interpretations are based on
idealistic concept. In last three decades of XX century an
immense reversal takes place in aesthetic theoretical
aspects, its studying is in fact theoretical basis of this
research.
ENVIRONMENTAL AESTHETICS
At the end of XX century an enormous reversal takes
place in aesthetic understandings that are for the most
part shown through enrolment of environmental
aesthetics. Environmental aesthetics is one of the major
new areas of aesthetics to have emerged in the last part
of the twentieth century. It focuses on philosophical
issues concerning appreciation of the world at large as it
is constituted not simply by particular objects but also by
environments themselves. In this way environmental
aesthetics goes beyond the appreciation of art to the
aesthetic appreciation of both natural and human
environments.[13] Theories about technology, machines
and industrial aesthetics are very actual, and once again
aesthetics returns to nature and glorifies ancient view that
emphasizes the importance of nature. Right here
theoretical strongholds significant for this research are
positioned. Aesthetics of XXI century, in the way nature
is treated, is closer to ancient theoretical aspects then to
the modernistic ones, despite the fact that on a
conceptual level they differ completely (pragmatic and
idealistic level).
When we speak of contemporary interpretation of
environmental aesthetics we should underline that it does
not consider only the natural factors but the factors
created as a consequence of human influences
(sociological, cultural, economical). A new field of
research is opened here which could in a special way
consider contemporary interpretation of aesthetics of
vernacular architecture, in fact that represents the starting
point of this research.
The contemporary positions in environmental
aesthetics were developed from different points of view
concerning the aesthetic appreciation of the natural and
generated environment. These positions in environmental
aesthetics are divided into two main viewpoints:
cognitive and non-cognitive [1], conceptual and nonconceptual [5], or narrative and ambient [2]. Within
these main viewpoints several distinct positions have
been developed. It is important to emphasize that this

research considers conceptual or cognitive point of view

in environmental aesthetics.
Cognitive (conceptual or narrative) positions in
environmental aesthetics consider the thought that
knowledge and information about the nature of the object
of appreciation is central to its aesthetic appreciation. In
other words, aesthetic appreciation of nature could
require knowledge of natural history the knowledge
provided by the natural sciences or especially sciences
such as geology, biology, and ecology, etc. Several
cognitive approaches emphasize different kinds of
information, claiming that appreciating nature may well
involve experiencing it in light of various cultural and
historical traditions. The cognitive approach relevant for
this research focuses on exploring local and regional
characteristics of natural environment, human respond to
the climate conditions of the region, culture, folklore and
traditions which are approved either as complementary
with or as alternative to scientific knowledge. Noncognitive in environmental aesthetics are not relevant for
this research.
Conducting this research we want to analyze
traditional architecture from the aspect of contemporary
aesthetics. More precisely, aesthetic manifestations that
have been created in relation to the objects of traditional
architecture and its environment. To establish relation
between traditional and contemporary we search for
operational elements in contemporary bioclimatic
architecture. Consequently, it was necessary to
interpret objects of traditional vernacular architecture
from aspect of contemporary, precisely environmental
aesthetics as its part. The context, as a common
denominator for three considered fields of the research:
bioclimatic architecture, vernacular architecture and
environmental aesthetics, stood out through conducted
theoretical research.
BIOCLIMATIC/VERNACULAR ARCHITECTURE
Bioclimatic architecture signifies architectural
concept where building becomes an integral part of the
environment. It implies designing and constructing or
reconstructing of houses, where climate, conditions of
the location, tradition, materials, context, resources,
capacity, customs and conditions of the natural and
developed environment of a certain region have been
considered [16]. This is architecture sensitive to context
[3]. The term bioclimatic architecture can be defined as
overall programmingplanningdesigning architectural
approach to comprehend urban and architectural pieces
as organisms of multiple correlation to its environment,
based on scientific research of natural and developed
characteristics of every concrete place and its influence
on man and his activity [10].
Vernacular architecture as a term has numerous
interpretations. In the most general sense, it implies
methods of constructing where locally available

PLEA2012 - 28th Conference, Opportunities, Limits & Needs Towards an environmentally responsible architecture Lima, Per 7-9 November 2012

materials and traditional experiences are used. Bernard

Rudolfsky (1987) [12] names it: architecture without an
architect or architecture without pedigree. Regarding the
generic naming he uses terms vernacular, anonymous,
spontaneous, indigenous and rural, depending on a case.
Therefore it is anonymous architecture - architecture of
nameless architect (Amos Raport, 1969) [11] and it
comes from culture and tradition of specific community
(Paul Oliver, 1997) [8]. As already mentioned, for this
research traditional, actually folk architecture of the
chosen region has been analyzed. The chosen examples
may be named examples of vernacular architecture of the
region.
Darko Radovic2 emphasizes the attitude that
bioclimatic architecture is, comparing to natural
environment and to integration into its flows and
rhythms, very close to principles of the vernacular
architecture [10]. The vernacular architecture of the
chosen region has been confirmed here as a logical
choice for polygons research. Researches as well as
theoretical assessments are numerous and they confirm
that vernacular architecture follows certain principles of
bioclimatic architecture. In this sense, vernacular
architecture as the essential case of this study might be
defined also as bioclimatic architecture.
CONTEXT AS A BASIC PARAMETER FOR BOTH
BIOCLIMATIC AND VERNACULAR
ARCHITECTURE
The importance of the context as a starting
component of bioclimatic architecture could be
recognized in the examples of vernacular architecture.
The objects of vernacular architecture are directly
conditioned by the context in which they originate (both
natural and man-made: the sociological, cultural, etc.).
Regarding that, the context is their essential component,
which is the main point in this research.
The term context signifies assemblage of
circumstances where concrete object exists including
social and natural environment. Starting from theoretic
attitude of Cristian Norberg Shulc concrete place is a
product of interactions of natural and social factors that
influence it [7]. Interpretations that represent this idea are
numerous. The aspect of dialectical materialism
considers the relation between man and nature, insisting
on the idea that nature cannot be separated from man.
These interpretations succinctly illustrate the idea of
human habitation as a syntheses of natural and social
factors. Concerning that, components that constitute
context may be divided into:

Darko Radovic received his doctorate in Architecture and

Urbanism from the University of Belgrade. He did various
researches in the field of Vernacular architecture, sustainability,
environment, urban and architectural design.

NATURAL CONDITIONS OF THE ENVIRONMENT:

Climate
Soil
Topography
Vegetation
Water surface

DEVELOPED CONDITIONS OF THE ENVIRONMENT:

Urban structure
Street grid
Parcel

Phenomenon context interpreted in this way, can be

mainly identified with Shulcs theory of tradition of the
place, where he considers spiritual aspect of the place or
genius loci. The spirit of the place is an expression of
traditional folk spirit, actually it is the result of
everything that has been stored throughout time and
sublimed through its authentic expression. () Folk
architecture interacts profoundly with the ambient. [7]
Context or according to Shulc the genius loci, is the
expression of natural characteristics of the location and
in that manner it is unique. Combination of climate,
geographical and other circumstances of every place is
similar to a fingerprint - there are similar situations but
they are never the same [10]. That gives an exceptional
individuality to any context, which if it is respected,
results into architecture of outstanding regional
characteristics. Master-builders of traditional architecture
throughout history have created remarcable architectural
pieces that confirm that logic.
REGIONAL VERNACULAR ARCHITECTURE
In this chapter elements of context (natural/
developed) and their aesthetic manifestations are
analyzed as a consequence of harmonious relation of the
chosen objects and their environment (natural/built). Two
regional types of Balkan vernacular architecture are
chosen: Vojvodina and Ohrid traditional house.
Vojvodina traditional house can be characterised as
type of house in plain earth topography. Vojvodina has
continental climate. The average temperature amplitude
winter/summer is over 40C. The house is constructed of
one main building material: earth or clay, which
responses very well on these climate conditions. The soil
is composed of loess deposits which is very suitable for
intensive agriculture, which is the main occupation of the
population in Vojvodina. This directly influenced the
developing of the house and its surrounding.
Considering the topography, the terrain is flat. The
height elevation is around 80 meters above the sea. Vast
plains dominates and causes the building to lay on the
ground. Houses are always with only one floor which
was more practical for the every day life activities. From
the aesthetics point of view houses and all settlements are

PLEA2012 - 28th Conference, Opportunities, Limits & Needs Towards an environmentally responsible architecture Lima, Per 7-9 November 2012

laid down on the ground making the impression of

fleetness even stronger.
Vegetation in this region is usually represented
through deciduous trees positioned in precise lines
parallel with the street.
Vojvodina settlements were mainly developed to
have the water near the surface, but there is no unique
regulation, so each situation is different.
Urban structure can be characterised as orthogonal
geometrical structure. These settlements have being
formed as planned settlements dating from the XVIII
century. Most of the settlements were built in the process
of artificial colonisation and urbanisation implemented
by the Austro-Hungarian monarchy. All the settlements
had very strict plane which was implemented. The
streets, average wide from 25 to 40m. are interconnected
in the correct geometrical patterns. Basically urban
structure does not correspond with natural environment,
it is completely artificial. Subdivision was set up without
dimensional limitations, in strict geometrical grid, each
parcel wide from 20 to 40m. and long from 120 to 150
m. long. The site disposition of the building is artificially
imposed and its not always favourable with the natural
conditions of the environment.
Used materials are compact earth or bricks. Various
types have been developed but basic type of house has
three rooms in a row and in later period continues to
develop longitudinal always in strict geometrical shape.
Although emerged in the strict architectural and urban
regulations houses strive to adjust to the conditions of
environment both natural and generated.
Ohrid traditional house can be characterised as a
combination of a type of house typical for a mountain
and a lake region. Ohrid region has Mediterranean continental climate. In other words: moderately warm
rainy climate. The house is constructed of two main
building materials: stone and wood in two constructive
systems: massive (lower part winter apartment) and
bondruk (upper parts of the house summer apartment).
In that way the house responses in the best way on the
climate conditions during the all year around. This region
is relatively windy: during the day - south wind blows,
during the night - west. The average temperature
amplitude winter/summer is approximately 30C.
The soil is composed of rocks with sand in the bottom
of the hill and rock with earth in upper parts of the hill.
The town is located on a hill surrounded with the
mountains Galicica and Jablanica on the height elevation
from 693,50 to 794 m. The facilities are based on the
slope, the terrain has steep course. Objects oppose the
terrain and are positioned one under the other from the
top of the hill going down all the way till the lake bay. In
that way they are establishing a harmony with the terrain
and the lake. This characteristic, we are observing as an
aesthetic manifestation.

Table 1: Parallel overview of characteristics of the elements of

the context of considered regional types.

Even though in this way the houses form very dense

urban matrix, every house enjoys lots of sunshine, fresh

PLEA2012 - 28th Conference, Opportunities, Limits & Needs Towards an environmentally responsible architecture Lima, Per 7-9 November 2012

air and a beautiful view. The lack of vegetation in the

immediate surroundings of the objects is a result of this
dense urban matrix.
The town is positioned on the northern side of the
Ohrid Lake.3
Talking about artificial preconditions (human influenced and human - constructed environment) we
must mention that the urban structure of the town of
Ohrid is very thick and irregular. It is formed
spontaneously through the centuries. 4 Urban matrix
consists layers of different historical periods,
civilizations and building traditions. The street width is
from 2,4 m to 5 m. The streets can be described as
winding that follow the contours of the terrain. This
characteristic forms one kind of organic street pattern, or
seen widely as an organic urban matrix.
The house parcel is very small, narrow and
inaccessible. That is a result of the falling terrain and it
resulted in vertical superposition of the program content
of the house on 3 or 4 levels. Usually the object is partly
buried. Ohrid house can be described as vertical
silhouette emerging from the steep terrain. In that way
the flexibility and elasticity of the object allows
adaptations and modifications of the house. Main
orientation of the houses is south, southeast or southwest,
which can be determined as a harmonious relations
between the facility and the transit flow of wind and
solar radiation.
METHODOLOGICAL PROCEDURE AND
REVIEW OF THE RESULTS OF COMPARATIVE
ANALYSES
Conducted interdisciplinary research as a dominant
methodological procedure uses: historical, interpretative
and comparative analyses as well as elements of case
study. Methodological procedure is chosen in order to
examine aesthetic characteristics occurred as a
consequence of harmonious relation of the object and the
environment. Implemented research will be shown in the
tables. The comparative analyses of two case studies has
been done: 1.Ohrid traditional house and 2.Vojvodinian
traditional house. Completed comparative analysis
between chosen types of vernacular architecture is done
in two steps. In the first step (Table 1), parallel overview
of characteristics of the elements of the context is done
and their similarities and differences have been noticed
as well. In the second step (Table 2), the comparison is
done - review of the aesthetic manifestations of primarily
considered elements.
Analysed examples has been recognized the human need
to give his own creation harmonious and outstanding
shape and to fit it in his living environment - context,
3

The deepest lake of the Balkans and one of the oldest in the
world.
4
This town has been living continuously from the 4 century BC
to the present day.

Table 2: Review of the aesthetic manifestations of primarily

considered elements.

as well as the need to use the potentials of an aesthetic

principle followed by establishment of harmonious
relation5 [15] between the object and natural/generated
environment.
5

According to Bruno Zevi two complementary aesthetic

qualities of contemporary architectural interpretation are:

PLEA2012 - 28th Conference, Opportunities, Limits & Needs Towards an environmentally responsible architecture Lima, Per 7-9 November 2012

This harmony which reflects to the conditions of life

comfort is achieved by using the basic design and
constructional principles, which does not require the use
of artificial technological systems for regulating air
temperature, humidity, insulation etc. Builder with his
intuitive creative approach does not strive to do anything
but to respond to mans needs who lives in a concrete
object, using optimally the natural resources. In other
words, vernacular house can be characterized as material
form based on harmonic relations between a particular
person and a particular place.
CONCLUSION
The research has shown that each context element,
considered in case of two diametrically different types of
houses, essentially is conditioned by the same context
factor: natural, socio-cultural, historical, and economical.
We may conclude that, almost by the rule, identical
context factors (climate, topography, soil) result in
diverse aesthetic manifestation. This diversity initially
derives from very various characteristics of climate, what
primarily was conditioned by creating very different
types of houses. Regional architecture is architecture of
natural and developed context of certain region/climate,
while the house itself can be defined as integral part of
the environment, or as an extension of the eco-system.
Analysis has shown that harmony of the object and
the environment dominates as an aesthetic principle.
Listening to the nature, and profound considering of the
concrete conditions of the environment are very
significant for creating the quality architecture, in fact
quality house as the basic precondition for quality living
environment.
Object of vernacular architecture - the house (Ohrid
and Vojvodina traditional house) carries logic and
harmony in the entity and in the details, evident aesthetic
meaning and need for its expression among the analysed
communities. This research directs us again to the
ascertainment that harmony between house dorm and
natural and generated environment is not simply the
results of physical forces or any single casual factors, but
in the consequence of a whole range of socio-cultural
factors seen in their broadest terms.

liveability (signifying - suitable for living in material,

psychological and spiritual sense) and design (what could be
translated as harmonious and rhythmic relation between parts
of one single thing, in fact simultaneously, unique and variety
of one theme). [15]
Harmony as an aesthetic category in architecture, in
contemporary context, primarily could be interpreted as
harmony between man and space around him. Harmony is a
term for coherency.

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