Ziad Alnussayan
The Innovativeness of the Phenomenological Understanding of Vernacular Architecture
Summary
I am an artist, designer, architect, researcher and creative maker. My project at Royal College of Art attempts to dis-entangle research on vernacular architecture, architectural heritage, intangible heritage and architectural phenomenology by looking specifically to expand the mediums of “Heritage” recognition and the decision of global protection, through a series of documenting exercises and participatory workshops to ‘Reconnect with the (in)visible’ vernacular architecture in Diriyah Town and innovate an alternative mapping archive that contribute to the future identification of other vernacular architectural sites based on visceral and phenomenological relationship to place.
Additional info
My research also argues that local communities must be involved in the protection of visual and audio content and representations associated with new sites, which involves identifying experiences of vernacular architecture through body-based emotions, senses or phenomenological response and narratives that emerge from these experiences, to explore whether heritage can be “felt”. That is, what is the relationship between heritage and phenomenological understandings of it?.
Visit Himah
Reconnect with the (in)visible - (2020)
‘Reconnect with the (in)visible’ is a map that documents and archives three sites discovered during several research trips in search of unprotected remains and ruins of vernacular architecture that sit outside the buffer zone surrounding the At-Turaif District in Diriyah Town, Saudi Arabia.
The three sites are named in tribute to a motivational song that used to be sung by the builders who first established the town. The motivational song used to be called “Hanma” and was a means of entertainment for the builders, who used to repeat the following words:
هيا هما لبنة طينة
Haya Himah Lobnah Teenah
جتك اللبنة جتك الطينة
Jitik Al-Lobnah Jitik Al-Teenah
The first line of the song begins with the repetition of four words, which translate as “Here we go!,” “Endeavour!,” “Adobe!,” and “Mudbrick!” The second line of the song is another repetition of four words, which translate to “It is coming closer!,” “The Adobe!,” “It is coming closer!,” and “The Mudbrick!”. Reference: Alnuwaiser, M. (1999). Characteristics of Architectural Heritage in The Kingdom of Saudi Arabia (Najd Region). Riyadh: King Abdulaziz Darah. pp.157
