Philosophy and Theory of Vernacular Architecture arch 520

1. Philosophy and Theory of Vernacular Architecture arch 520 Aesthetic in vernacular architecture Prepared by : MarjanehKhorsand Student no:095122

2. Aesthetic in vernacular architecture Understand the aesthetic dimensions in the culture of builders and user of traditional architecture. means The ethnographic Two distinct approaches can be termed aesthetic by Balancing utilitarian interpretations that reduce buildings and to symbols with social consequences. As a result It is a long with other material culture with particular people in particular times and places. Select neglected buildings and to bring them in to the circle of consideration. means The responsive by Widing the architectural appreciation spectator. As a result Using of alien architectural concepts to alter the observer’s tradition.

3. The idea of aesthetic • The building can not be satisfactorily reduces to its sheltering or social functions. The act of buildings, its design and construction and the fact of building, its appearance and occupation contain aesthetic potential . • View aesthetically • People feel pleasure or displeasure , the reaction is based upon the innate ability to distinguishthe pleasant from the unpleasant , which people share with all sensate beings . Communications, spoken or architectural ,employ both utilitarian and aesthetic means to create meaning , when an intention to give pleasure of certain of matches with an appropriate pleasurable response , aesthetic meaning has come to be. • In • architectural • action

4. Intention under the rubric of expression via the ethnographic student • ethnographic student • In aesthetic approach, intention is divided from response • How builders manage the aesthetic aspects of the culture during the creative act. • Under expression • Theclearest materialization of the relation of the aesthetic to the utilitarian is found in the useful building cover with ornament .Ornament on the exterior is assemble at key point , marking the portal or the juncture of geothermic elements. • The will to aesthetic expression • Which is easy to see in decoration.it means in technology and form. For example in the Japanese tea house, the artful is not restricted to the display of scroll and a flower vase in an alcove but extend to the size of the room ,its height,thedimentions of its opening and the plain,carefully crafted surfaces of the floor and the walls. • As a result • Highlightsthe aesthetic in culture,itstendecyto decoration or plainess,its tendency to symmetry or asymmetry to reveal or conceal the natural source of building materials

5. Response from responsive student view • Focus upon their own aesthetic reactions, neglecting the study of • builders intentions means • seeking to discover through observations and interviews how • people feel about the buildings they see and use. • The student is remove from the creators and users. In isolation with objects,scholare are forced back upon their own response to material evidence. • The varieties of response in the observer may be categorized along a scale of removal from the intention of the builder leading from meaning through conservation to consumption

6. Study is less complete but some feeling for the builders goal remains. This loose sense of intention is mixed with the viewer response ,which is derived from her or his own system of value in order to select some building as a worthy of recording. • In conservation • The responsive approach is perfect. Building are appreciated entirely in accord with observer structure of value. Operating in the frame of consumption, responsive thinkers seem to imagine vernacular,primative or folk or popular. • In consumption

7. conclusion Architecture created the responsive study of vernacular aesthetics ,making it an essential feature of modern movement .At the same time, the scholars followed seeking to temper their enthusiasm and bring richer data into consideration through ethnographic study of vernacular aesthetics.

8. Thank you for your attention