Vernacular and Transnational Urbanism
Across every global city, a mixture of transnational and vernacular architecture can be found. Bangkok is no exception to this, so understanding these two concepts becomes crucial in order to understand the city’s urbanism. These two concepts represent a contrast between the local and the international, which can be seen and experienced in every corner of the city of Bangkok. Their balance and disposition are what endows the city of its unique character, and what explains many of its characteristics, which makes them an important and recurrent topic when discussing and explaining the layout of the city.
Vernacular Urbanism
According to Henry Glassie’s Vernacular Architecture, vernacular architecture is created in and for the local environment and population. It is deeply connected to its location, being based on local knowledge of the land and materials and embodying the local cultural character in its design and purpose. Vernacular architecture is also dependent of the circumstances that surround it, being able to adapt to its creator’s needs.
Transnational urbanism
Transnational urbanism is a concept that is depicted in Eric Darton’s The Janus Face of Architectural Terrorism. It is characterized by huge structures and buildings, so monumental that can be dehumanizing, and for the use of “modern” materials such as glass and steel. It is the result of the massive linkage between numerous independent cities by an international public works project, resulting in more interconnected cities with a very similar architectural style.
In Bangkok, multiple expressions of both vernacular and transnational architecture can be found. The two types of architecture coexist in the city, while fighting for space for expression at the same time. Transnational architecture is manifested mostly in the business and shopping areas of the city, which are also the touristic areas. They manifest in the form of never-ending skyscrapers and glamorous malls, always constructed in metal and glass. However, transnational architecture can be found in a smaller scale too. The construction of new, European-inspired gated communities, as well as the construction of modern public transportation systems or the renovation of buildings in the town center in a typical European fashion, are also expressions of transnational architecture. Meanwhile, vernacular architecture manifest itself in the truly local spaces of the city. Informal settlements and markets are great and numerous examples of this, as they are constructed with simple and recycled materials in a pragmatic, rather than aesthetic, fashion.
The concepts of vernacular and transnational architecture may seem as opposites at first, as vernacular urbanism is focused on the relationship between the architecture, local people, environments and materials whereas transnational urbanism is focused on architecture being the link among global places, people and economy. But even while having different conceptions, they aren’t necessarily exclusive. Both of the previously mentioned readings exemplify the concept of “creative destruction” very similarly, picturing it as man conquering and dominating space. Henry Glassie exemplifies it through the making of a log cabin with natural resources in the woods, and Eric Darton through the destruction of small business and neighborhoods in New York to create space for the new World Trade Center. The difference between them is that Henry Glassie makes it seem as if it is a great achievement while Eric Darton depicts it as a more destructive process. However, these two concepts of vernacular and transnational architecture could be applied simultaneously, resulting in a city that is as connected to its environment as it is with the rest of the world.