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The
Marcel Vellinga
at theimpe wrestler l?s, theinstallation [of a sumo champion rial of a Meiji shrine]as such onlydates to 1911?the invention tradition?butwhence comes itsmeaning and itsparticularity? One Modern sumo is may as truly of tradition. speak of theinventiveness a permutation made appropriate forms and relationships, clearly of older
to novel situations.1 The vernacular "There's and the past about vernacular architec
the context of a discussion on the possible futureof the field of vernacular architecture studies. At the beginning of the new millennium (a in period of reflectionand looking ahead a many fields and disciplines), tendency towithdraw into the defended, yet in fact extremely intuitivelyidentified,spiritedly diverse and therefore difficulttodefine category of vernacular
architecture is still common among many vernacular schol
something
cosy
ture," Paul Oliver wrote in his 1984 essay entitled "Round the Houses"; "It's a sheltered retreat for many who fondle the adze-marks, feel thefitof the ashlar ormarvel at the assembly
of post, "there's manship wall-plate not with and tie-beam. Somehow," he continued, work the craftsmanship simple than tools anymore; and muscle?it's after Oliver all that honest gone."2 wrote these words
ars?regardless of their disciplinary backgrounds or where work in theworld. And, simultaneously, it may be said they defined in that thecategory of thevernacular iscommonly still
terms of references in other words, For to history, or tradition, to the past. scan of the literature reveals, or pre-modernity; in reference as a
example,
quick
much of thework in thefield of European vernacular archi tecture isconcerned with thedetailed description, dating, and classification of vernacular building forms, plans, materials and technologies. The majority of these studies, ifnot all of them,are historical, dating back to the seventeenth,eighteenth or nineteenth century (fig. 1). More recent or contemporary buildings receive only limited attention, even if they have
More
twenty years
as somewhat of an aside in an article that mainly dealt with the academic neglect of British suburban architecture, their
reference to the vernacular's associations with honesty, simplic
Fig.
1. The Ley, a late sixteenth-century half-timbered house showing original color patterns; Weobley, Herefordshire,
UK.
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been
built
by
or have situation
been
made
for
inNorth has
America, generally
involved in similar activities and are indeed (and fortunately I should add) growing in number. For, as has been noted by Dell Upton, the supposition that the honest craftsmanship of
the vernacular period is gone or is in the process of disappear
defined
prising historical farmhouses and mills as well as more recent bungalows, Sears Roebuck & Co. house kits, and tenement
blocks. Here, much attention is paid to the cultural context of
study
but is in the
equally
world.7
as of many
academics
field themselves includingmany, ifnot most architects. And, of course, the assumption is largely justified, as
many unique vernacular and building a vast number traditions have disappeared in the process in recent history, is currently
present-day In many
developments. cases, the interest vernacular seems time of scholars in a inspired gone particular by of the European material, and plan, often era a in
respect
of being lost. In China, for example, a countrywith a richly diverse array of vernacular traditions (including such building
types massive as hierarchically circular earth ordered fortresses, siheyuan mobile or courtyard houses, yurts, and nomadic
for a notes, an
by?a
pre-modern to have
craftsmanship "engagement"
is supposed with
ruled world
sovereign,
in which
the natural
prelapsarian
to evade
to criticize
contemporary
perceived In
ment.
large parts
monotony,
modern designs and materials have "ruptured links with lo cal stylesand building conventions, bringing about a striking
homogenisation of housing in a country once known for the
is
is individualistic, scientific,progressive
The other is a matter of harmonious or adaptation; it is communal, spiritual,
and Romania
tendency To mentation a
(fig.2).
extent, preservation therefore, the attention buildings to the docu is under
Another
large and
of historical
represent
we inEurope community and traditional craftsmanship that and North America now regard as having been lost,are rapidly disappearing while new buildings that correspond to the old
ones are no longer, or only rarely, being made. As a result,
predominance
that substantiate it (andwhich, in combination, often result in emphatic attempts to safeguard thebuildings from modernity and preserve them, ifpossible, in their original state), is that
in doing so, vernacular to the past. architecture, By making and in effect its study, is the category of the vernacular
relegated
consist of buildings that are historical or, in the case of non western buildings, traditional (by which, generally speaking,
are meant those buildings that are or have directly evolved out
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?m
abandoned and dilapidated; Kerinci,Indonesia. (1996 Fig. 2. Traditionalhouses, SungaiPenuh, Author) Photograph,
of indigenous building traditions thatexisted in theperiod just before or during theEuropean colonial encounter), the impli
cation Because is that there with is no real future for vernacular architecture. and the unstoppable advance of modernization
hamper
the recognition
of
the vernacular
as an architectural
category worthy of fullacademic and professional attention. It effectively relegates vernacular traditions to thepast by em many people, phasizing either theirhistorical or traditional (to outdated) status,rather than helping them endure and develop by pointing out theirdynamic and adaptive character. What I want to call for in thispaper, therefore,reflect on the theme of the future of vernacular architecture ing studies, is a more dynamic approach that explicidy focuses on building traditions rather than buildings. Of course, such an approach is nothing new in itself and has already been successfully employed for a long time by many scholars in thefield.Nevertheless, as noted above, most attention in this respect has been paid to historical patterns of change and more specifically here, development. What Iwant to call for however, is an approach that acknowledges the dynamic and dialectic nature of vernacular traditionsby explicidy at tempting to understand how such traditions, through human
agency, change and adapt to the cultural and environmental
with it, itsfield of study becomes the exclusive domain of historians. At the same time,by emphasizing (because of the concerns over their vulnerability) the documentation and preservation of historical buildings,many studies in thefield of
vernacular architecture include representations that are frozen
in time and incomplete. They look at the historical meaning, use, and construction of buildings,while ignoring theiractive
re-use, re-interpretation, or adaptation in the present.
Similar observations have of course been made before by scholars like Janet Abu-Lughod
into account their arguments,
I believe
focus on a limited category of historical or traditional build ings,and to ferventiytryand safeguard these buildings from modern change and decline by studyingor preserving them in theirhistorical state,has restrictedthe scope and development of thefield of vernacular architecture studies and continues to
circumstances and challenges of not just the past, but of the present and the future.Such an approach, which removes the vernacular from its sheltered retreatby looking at old as well
Marcel
Velunga,
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inNew Zealand
process of
resurgence.10
traditions
that persist
ous or spectacular way, exemplified by converted Cotswold barns used as second homes (some of the barns have, in fact, been newly constructed), Lakota sweat lodges frequented by Native Americans and whites, "short" Borneo longhouses used as ceremonial meeting halls, or Mongolian yurts that are occasionally used as touristaccommodation. All of these
have incorporated changes in meaning or cultural context
a future
unique
undoubtedly disappeared
many are currendy under
Yet I believe it is important to recognize that as real, wide spread* and disconcerting as thisdecline and lossmay be, it does not necessarily make up thewhole story;fornext to the unmistakable tales of woe documenting the destructive im
pacts of modernization persistence and and globalization, vibrancy. Thus, there are also next tales of vernacular to the rural
earthbag-papercrete houses, or converted flatbed trucks in theUnited States, that seem new or without precedent but
draw their inspiration from vernacular forms, plans, and
technologies.
Irish farmhouses that are being rapidly replaced bymodern Chinese courtyard houses that bungalows or the inner-city have tomake way for skyscrapers and shopping malls, there are vernacular traditions like those of the Sa'dan Toraja in
they are seen as simulacra or downright fakes, deliberately manufactured to exploit their associations of tradition and authenticity forpolitical and economic reasons. After all, the
Fig.
3. Cotswold
barn, dating back to the eighteenth century, now converted into a museum
and
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true vernacular
is commonly
said
to consist
of the architecture
of the people, having been built by the owners or inhabitants themselves,using localmaterials and traditional technologies that have been handed down through the generations, in keeping with local cultural values and needs, and in response to local climatic circumstances. Many of thenew buildings, such as the modernized Sa'dan Toraja origin houses, thegen trified Cotswold barns, or the adapted Mongolian
not meet these conditions, but have been made by
Yet in many cases these buildings are undoubtedly part of a vernacular tradition, combining traditional elements ormaterials, or space use) with new ones (technologies, (forms,
conveniences, looking at an materials). example, Let me the "new" try and argue this point built by by vernacular houses
the Minangkabau
be argued and
yurts do
nologies
contractors
or professional builders, using modern materials (sometimes in combination with traditional ones) that are not necessarily suited to the local climate, and incorporating contemporary
conveniences refrigerators, such and as electricity, central heating, bathrooms, authenticity television sets. Their vernacular
(through theirplan, design, meaning and use) stillform part of a distinctive, culturally-shared and localized tradition. Traditionally, vernacular Minangkabau
constructed of timber, which was used
the roof structure,and often the floor and thewalls (includ ing their occasional colorful decorations). Other materials included rattan and bamboo tomake floors and walls, and palm fiber to thatch the characteristic upwardly sweeping roofs (fig. 4). The interiorof the traditional houses isgenerally characterised by an open hall at the front (occupying two thirdsof the total space), which serves as a communal living
is thereforeat best seen tobe questionable. Typologically situ ated somewhere between the "real," traditional, or historical
vernacular identified traditions, and as "new the modern, vernacular" or such buildings are frequendy or, in reference to non-western
as "neo-"
"post-traditional."14
the characteristic upward sweeping roof, here clad Talang, Sumatera Barat, Indonesia.
Marcel
Vellinga,
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of
that to to for
predecessors
they
are no
longer made
of
entertain
guests.
At
the rear of
the houses
are
be found
small
compartments
places
social
of house
changed.
the construction of these traditional Sumatra, by Built a houses they have of remain since the
of a vernacular
house
was
a communal
of West
thewhole familyworking together under the guidance of a master builder, while the building process was regulated by
the performance were meant of specific rituals and and social fortune festivities of the house. that to enhance the vitality
large number
so-called
vernacular and
by professionals
materials
technologies,
these
are built
divided into a large open hall at the frontand a back area that isdivided into enclosed compartments.Despite thistraditional
design have and been spatial layout, however, most and of the new houses Un built using modern resources technologies.
Fig.
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FT^TI
Fig.
6. New
vernacular Minangkabau
house, showing traditional design and layout, but built using concrete and modern
most
of
only
occasionally events,
used
that mark
social
celebrations,
to that formerly reserved for members of the Minangkabau distinctive elements of this design (es nobility and that the pecially the roof spires and woodcarvings) often tend to be emphasised, ifnot exaggerated. It also explains the symbolic
efficacy of the houses. Because a new vernacular house com
bines prestigious modern elements (modern building materi als, the involvementof architects, and new technologies) with prestigious traditional ones (a design formerly reserved for the nobility, elaborate woodcarvings), it forms a very potent
symbol?one, indeed, that has been shown to play an impor
changes
in construction
it is
(like
tantpart in localized processes of socio-political competition and displacement (fig.7).17 In those cases where houses have been built to actively claim status and power, their traditional character has been make them explicitly stressed in theirdesign and plan, so as to resemble thepopular image ofwhat an "authentic" traditional
Minangkabau pliance has house been should look almost like. In some turning cases this com into a extreme, the houses
indicating to thosewho see itthat itsowners areMinangkabau people who are proud of their ethnic background and care for the survival of their vernacular building tradition.The interrelationof thiseconomic and ethnic symbolism explains the fact that thedesign of thenew houses tends to correspond
parody of thevernacular. An example isprovided by a house thatwas built in the village of Balai Talang in the district of 50 Kota during the early 1980s (fig.6). Commissioned by a
Marcel
Velunga,
121
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Datar). Exemplifying the close linkbetween the new houses and socio-political contestations, the owners (claiming to be who was deposed descendants of the last Minangkabau ruler, in the 1830s) are keen to emphasize that this house, rather than the "official" government-funded building located a few hundred yards up the road, is the "real" palace
The modernized character of the new
8). (fig.
the ex
houses,
aggeration of theirdesign, and their economic and political have, however, raised questions (and continue instrumentality to do so) about their authenticity.Though complying with
traditional garded older by "truly forms some and plans, the new "replicas," The houses have been of seen re the as as "fakes," or "imitations" new houses are
traditional"
houses.
buildings that (havingbeen built by professional builders using modern materials, and by being emphatically used to claim
status) but are are no longer "neo-" houses a true part or of the vernacular They tradition, are, as the at best goes, "post-traditional." that are deliberately
argument
manufactured
to exploit their associations with tradition for political and lost their economic goals, but have (orperhaps, have therefore) built "converted" Like the local, "original" meaning. newly
Cotswold barns or the contemporary Sonoran style suburban
whether A question Iwould like to raise here, however, is this is a fairverdict? Does the fact that the houses are made materials and for ostensibly different with different purposes
make Fig. and exaggerated roof spires are used to emphasise 7.New vernacular Minangkabau house. Elaborate decorations them less vernacular or authentic than their traditional
its traditional
concrete and who tryto hide this factbehind timber panels? Or do they in fact represent a new phase in the evolution of a distinctivebuilding tradition thathas adapted itself to a new The cultural and ecological context? Iwould argue the latter.
"converted" Cotswold barns and Sonoran style suburban
major wealthy diplomat of local origin, it is situated along the road that runs through thevillage fromPayakumbuh to Suliki
and, like most new houses, ismade of concrete covered with
new vernacular houses in West Sumatra, like the newly built houses inArizona,
replicas or
decorated wooden panels. Topped by an impressive thatched roof featuringfour sweeping spires, it shows such resemblance to thepopular image of traditional Minangkabau architecture that it is featured as an example of authentic (jdias) Minang
kabau architecture on the cover of A.A. Navis's influential
post-traditional
Alam Terkambangjadi Guru}% Another good example is study, an elaborately designed and decorated house built during the of Tanah early 1990s in the village of Pagar Ruyung (district
we look alike see as the Minangkabau vernacular. After all, if at the traditional houses thathave been built earlier on in the twentieth century (i.e. the houses that generally serve as the
122
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InVernacular
Architecture
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r**J
Fig.
8. New
of the former
ruler of Minangkabau;
Pagar
point of reference for the authenticity of the new ones), it becomes clear that the instrumental use of houses isnothing new. Historic research has shown that quite a few of the old houses were in fact builtwith similar purposes in mind as the
new ones: to claim status and power within the context of
only
on ceremonial
occasions,
and
including
elec
localized socio-political contests and struggles.20 The differences between the so-called trulytraditional
and modernized houses, are materials and technologies, the
values, wishes, and requirements (fig. 9). Similarly, though the modern materials may not all be climatically suitable, theyare
what people nowadays want and can afford, and are, partially of large parts at least, chosen in response to the deforestation
although
culture, embodying
may
the new
houses or even
the acculturation,
the destruc
to elements as a distinct
tion and loss of the authentic timber, bamboo, and thatch building tradition, it is in fact equally valid to see them as the
representatives of a new phase in the development or evolu
commonly
to define
the vernacular
After all, theuse of localmaterials and communal construction bymembers of the community are central to many definitions of thevernacular. Yet, Iwould argue, thedynamic and flexible adaptation to local cultural and ecological circumstances is an equally important element of vernacular tradition.And
whatever houses?being else can made be said about the character materials, serving of as the new symbols of modern
tion of that distinctive vernacular tradition. Indeed, this is how many (though admittedly not all)Minangkabau people
themselves eration and see them. Tradition, as a process and of active practices regen within transformation of know-how
a contemporary local context, is dynamic and continuously A vernacular whether it is thatof changing. building tradition, the Minangkabau in Indonesia, theZulu in South Africa, the
Marcel
Velunga,
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\ -^?^?SF^aI
* I J>*'*$hI
Barat, Indonesia. (1996 Photograph, Author) Anding,Sumatera Minangkabau house; Fig. 9.New vernacular
no different; Nage in India, or theLakota in South Dakota is it is an ever changing continuous interplayof precedent and innovation that dialectically responds to changes in society,
culture, and the natural environment.
theCotswolds, and a modernized Minangkabau house only in West Sumatra. Rather than breaking with tradition, they
represent its inventiveness.
The Vernacular
Returning to the theme of thepossible futureof thefield of vernacular architecture studies, I believe that thisdynamic
and dialectic nature of vernacular traditions needs to be more
or in terms gies or forms that have been used tomake them, of the kind or class of people that associate themselveswith
Besides, I would argue, though theyare differentfrom theirpredecessors in termsof the kind ofmaterials, technolo
explicidy acknowledged in our research and teaching. The newMinangkabau houses and other new buildings that I have briefly referred to are indeed, inmany cases, and in varying degrees, differentfrom theirpre-industrial predecessors. Yet,
Iwould argue, they can still be seen as vernacular, in the sense
them, thosemodernized vernacular buildings (orperhaps we should call them "vernacularized" modern buildings) are still
genuine cultural expressions in themselves. Consequently, I believe that theydeserve as much academic and professional attention as their traditional predecessors, as each and every one of themprovides insight into the manifold ways inwhich architecture is fundamentally involved in the constitution of
cultural identities?and because each and every one may teach
that they are distinctive cultural expressions of people who live in or feel attached to a particular place or locality,and as such they form part of, or indeed help to constitute the local and shared architectural dialect. And the same, Iwould West Sumatra argue, goes for those historical buildings in world thathave undergone and forbuildings elsewhere in the
significant changes in construction, use, and meaning.
us how, intime, and interdependently linked to such cultural identities, traditionsbecome established, change, adapt, and ultimately endure or disappear. We may not like them, and we may criticize and disapprove of them because maybe we feel that the honest craftsmanship that (in our minds at least) characterized their
predecessors is no longer present; or because the new materials
are not as well suited to the local climate as the old ones; or, perhaps, because by incorporatingmodern building elements theyremind us toomuch of thenew,mass-produced buildings
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as kitsch or cheap derivatives, fakes, or imitations of the real vernacular, but as part of dynamic building traditions that, will become established, evolve, combine, like all traditions, adapt, endure, or disappear. For although they are different from thebuildings thatpreceded them, combining traditional
and modern artifacts that elements, are they are nonetheless related to the distinctive particular cultural social uniquely
them.After all, itarguably is these kinds of buildings, repre modern, senting the amalgamation of the traditional and the
that make up the contemporary and future vernacular. Study
ing themwill teach usmuch about how building traditionsare transmitted,developed, and changed, and will also give us a better insightinto the contemporary perception, appreciation,
and representation of vernacular architecture.
context inwhich they are found. In that sense they are, like
their predecessors, vernacular; tradition, that are truly is, they (and are not rooted sense "neo-," in a of "new" particular "shared" or "post-") and as place as well
Rather than lookingdown our noses at them, I therefore think thatwe, as scholars of the vernacular, should begin to pay serious attention to such buildings as convertedCumbrian
barns, regenerated Dutch windmills used as restaurants,
common
(in the
with concrete foundations and electric lights, Mongolian yurts and Bornean longhouses simultaneously used as homes and backpackers' hostels. We should also look more closely at themillions of vernacularized
London, Jakarta, Tucson, and
built, using locally available materials) by communities as part of theireveryday life. Incorporating these buildings into the vernacular dis course, alongside the historical and traditional buildings that we already are studying, will open up a wide field of research: a contemporary, varied, and exciting field inwhich new and enduring building traditions continue to come together in creative and new ways. Of course, studying theway inwhich traditionsdevelop, combine, and amalgamate has long been common in the field. But, as noted, much of thiswork has
ies all around theworld (fig. 10 and fig. 11), as well as at con temporary architectural phenomena like ethnically-themed retirementhomes, cultural villages, vernacularized shopping malls and even (as a modern variant of the Sears Roebuck & Co. house kits) IKEA flatpack houses; treating them not
so as torelate tolocalhistorical New suburban house,vernacularized Fig. 1);Pembridge, buildings (compare Fig. 10. UK. (2006 Photograph, Author) Herefordshire,
Marcel
Velunga,
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near distinctive Sonorandesignelements; New house,incorporating Bisbee,Arizona. (2005 Photograph, Author) Fig. 11.
dealt with thepast.What needs tobe done now is to broaden the scope of vernacular architecture studies by looking at
present-day as well as historical examples of change, adap
that theworld is currendy experiencing rapid environmental changes, as exemplified by a rapid loss of natural resources and species, high levelsof energy consumption, and increasing amounts of waste and pollution. This environmental change
goes together with, and is to a large extent caused, or at least
tation and amalgamation. Such a broadening of the scope will, I believe, increase the recognition of the vernacular as a field of academic and professional interest,expunging the latentprimitivism that (especially in relation to non-western traditions) characterizes some of the discourse, and evading itscurrentpredicament and historical entrapment.Requiring (as in the case of the buildings thatwe are already studying) which focused, accurate, and detailed analyses of theways in the present-day buildings relate to historical or traditional will allow places, people, buildings, landscapes, and cultures, it
us will, and to envision as Dell better a future has for the vernacular noted, history enable to a more and its study and Upton comprehensive
accelerated, by global cultural developments and transforma tions includingmass consumption, continued urbanization, and the increasing internationalization of capital, business
and power. As a major consumer of energy and a prominent
cultural category, architecture is inextricablybound up with these developments. Consequendy, therehas been a growing
interest among architects, planners, and engineers in the de sign of architecture economic, and social that can address problems and the many environmental, way. tendency seem to rel to suggest
in a sustainable
architectural
persistent
emerge.23
perhaps, a focus on the transmission, importantiy, development, and amalgamation of building traditionswill Most enable the development of an approach to architecture that acknowledges the existence of change, butwhich, rather than lamenting and tryingto stop it, tries to understand how and why it takes place and attempts to ensure, through critical as
sessment are and engagement, appropriate, that the changes and, most that are effected Though sensible, of all, sustainable.
otherwise, I believe (at therisk,perhaps, of being what Henry Glassie calls a "consumption" student of thevernacular) that
the vernacular velopment of may such have much to offer architecture. to the successful As a source de of sustainable
traditional knowledge, skills,and ideas, comprising practices, technologies, resources, and forms that often have developed as part of a continuous process of trialand error, it may offer
many valuable precedents to the scholars and professionals
critical voices can stillbe heard, it is increasingly recognized Perspectives InVernacular Architecture
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Vernacular Architecture V
(Knoxville:
University
of Tennessee
Press,
majority of people in theworld currently live in vernacular buildings and are likely to continue doing so throughout the
twenty-first ous role century, the vernacular In order into modern the point and creative will have an to play a seri of to in this respect. knowledge however, dynamic encounters, for such
Perspectives in Vernacular Architecture Press, 17; Henry 2000). Glassie, 2000), Vernacular 49.
integration practice
architectural
(Knoxville: 5 Oliver,
University
Press,
in Encyclopedia (Cambridge:
of Vernacular Cambridge
borrowings,
conjunctions
as such, should be allowed to change and develop needs to be will be necessary for scholars of the accepted. Most of all, it
vernacular engage the past to look in research can be put ahead that will to good as well teach use as behind, us how what in the future. and we to actively from learn
Press, 1997), 5. University 7 "The Tradition Dell Upton, and SettlementsReview 8 Ronald of Hawaii 9 Upton, 5, no. 1 (1993).
of Change,"
Traditional Dwellings
(Honolulu:
University
Press,
Tradition
in 1984; "New
but, to as far as out
"Disappearing tional?Modern,"
Dichotomies:
Traditional Dwellings
2 (1992).
Aspects donesia),"
finding
10 Reimar
Schefold,
House Toraja
of Ethnicity Among
inReligion andDevelopment: Towards an IntegratedApproach, eds. van Ufford Press, and Matthew 231-246; Schoffeleers Lynne (Amsterdam: "Maori: ed. Paul
1988),
Hancock,
in Encyclopedia
they relate
vernacular that a
messages, sustainable
how
in order cr-eated.
future
Acknowledgements
Iwould like to acknowledge thefinancial support of the Arts and Humanities Research Council and theBritishAcad
emy, which made itpossible for me to present an earlier version
J. Guerreiro, 1850-1990:
Longhouse
in Historical
and Adaptation
to Changes,"
Tradition and Transformation in Vernacular Architecture, eds. Reimar fold, Gaudenz 285-331; Yurt: Material The Domenig, and Peter Nas (Leiden: KITLV
Press, 2003),
C. Evans
(1999): 408-409.
A. Papadakis 3 See, Alcock, 1989
Archaeology'
"Round
Architectural I.R.
Shelter (Bolinas:
Shelter
for example,
Pattison,
D.S.
eds., A Bibliography
"Introduction,"
in Encyclopedia
of Vernacular
Architecture Carter
Group
and Elizabeth
Invitation to Press,
of Tennessee Collins
Conference
the contributions
Cromley
and Carter
L. Hudgins,
Alsayyad,
Marcel
Vellinga,
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Note,"
and SettlementsReview
6.
King,
The Bungalow: The Production of a Global Culture University Press, 1995); Paul Oliver,
Constituting Unity and Difference: Vernacular Village (Leiden: KITLV Press, 2004),
York: Oxford
and Ian Bentley, Dunroamin: The Suburban Semi and Its Enemies
Constituting Unity and Difference; Marcel Construction World of Vernacular 32, no. 92
Vellinga,
1981). (London: Barrie and Jenkins, 22 "Two or Three Things Sahlins, ture." 23 Dell Upton, lar Architecture inAmerica, "Outside theAcademy:
that I Know
About
Cul
Affair: The
17 Vellinga,
A Century
of Vernacu
Constituting Unity and Difference', Marcel in a Competition for Status: The Case
Studies,
1890-1990,"
of Houses
(Washington:
(Minangkabau),"
in Indonesian Houses:
Schefold, Gaudenz
Guru
(Jakarta: Grafiti
Press,
Simon
Press,
Architectures: Cultures andNatures "The Attraction inWest-Sumatra," of the House: Architec Spon
ture, Status
Realities: Essays
Architecture
and R. Jaff (Leiden: KITLV PJ.M. Nas, G. Persoon, 20 Constituting Unity and Difference. Vellinga,
at the Prince ofWales Institute Lecture Hepworth 27 17. "Round the Houses," Oliver,
128
Perspectives
InVernacular
Architecture
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