Much Ado about Vernacular Architecture

When two architecture students in my school, Niño Guidaben and Elka Go, defended their thesis this semester half an hour was devoted on the definition of vernacular architecture. The Dean, Archt Maxwell Espina, stated that vernacular architecture is the architecture of the “un-schooled”. This raised the question on the difference between vernacular structures and heritage structures. After the thesis defense, the students’ quest for an answer continued.

The director of the Metropolitan Museum, Mr. Ino Manalo, clarified things further. It seems that vernacular architecture is indeed the work of artisans who have not been given formal education on architectural design and building construction. Moreover, vernacular architecture is their interpretation of the current trends on architectural design and building construction. Thus it is possible that even during this modern time, a vernacular architecture can still be created.

In the Philippines, the very basic house unit is the “bahay kubo”. The presence of the Spaniards later introduced Spanish architectural styles. The locals interpreted this style on their own and came up with the “bahay-na-bato”. When the Americans came, the locals came up with their interpretation of American architecture resulting in our own colonial style homes, art deco style homes, or bungalows with the “dirty kitchen.” Academics fondly call these as “mestizo houses.” We might be able to get an idea on how the locals interpreted the modern trend if we are able to view the on going exhibit in the National Museum. The theme happens to be “Modern Vernacular.” The exhibit runs until May.

In an interview with an expert in Heritage Architecture, Arch’t Melva Rodriquez-Java, we learned that vernacular architecture is very much a part of the heritage of a place. It is local culture asserting its presence amidst influential foreign cultures.

There had been a long standing debate about what constitute a Filipino Architecture. I have often considered this discussion as boring and futile. I now think that a Filipino architecture does exist. This is created in the hands of the “un-schooled”, but documented in the hands of the “schooled.”

More questions are raised: "If the 'unschooled' can create a vernacular architecture what can the 'schooled' ones create?"; also, "should we allow the 'unschooled' to practice architecture in order to sustain our culture?" The quest for answers continues.