Geometry, vernacular architecture, and its relationship with today's world: A conversation with Salma Samar Damluji

Geometry, vernacular architecture, and its relationship with today's world: A conversation with Salma Samar Damluji - Interview by Jana Kahale, Belén Mattoli-Sánchez, Marta Klara Sadowska

Given your extensive work in vernacular traditions, especially alongside the legacy of Hassan Fathy, do you believe that his principles could one day fully integrate with modern architectural technologies? 

Modern and vernacular architecture should work together. Many of the problems we face in the Middle East come from poorly adapted modern design. There’s often no proper design or thoughtful use of materials. Instead, materials and ideas are imported; architects study abroad, return, and execute without deeper understanding. As a result, the architecture we had in the 1950s, 60s, and 70s is far better than much of what we see today. 

Many are using AI-generated designs. While AI can be intelligent, it depends entirely on the data it’s fed. There’s little attention to culture, climate, or environment. In our region, speculation and capitalist development dominate. It’s all about building to trade and sell. What we need now is to prioritize landscape architecture before focusing on buildings. Europeans have been more attentive to incorporating traditional and vernacular architecture. What we see today is often an abuse of Corbusier’s concepts.

Creating communities through architecture is far more important than building isolated towers. We should look at the language around us and understand our surroundings before we build. 

What are you trying to protect? Not just physically, but culturally and spiritually, through your work? And what kind of trace do you hope your architecture leaves behind twenty years from now? 

Most of what I’ve been writing about is the importance of real change, starting with how we design. The landscape and environment should be central to the process; architecture comes later. Reusing and adapting existing buildings is more important than ever. Most of my work in Yemen has focused on reconstruction. 

We need to view architecture as a closed system that integrates all tools: geometry, infrastructure, sewage systems, and more. These should be considered in every project, big or small. The process and the materials are essential. Every region has its own styles, resources, and building methods. 

I don’t want to be remembered; I just want my work to continue. If that happens, I’ve succeeded.

Hassan Fathy Project in New Baris, Egypt

How would you recommend we study and understand geometry? How can we understand nature through geometry and fractals, and how can these be applied in architecture and other creative disciplines? 

Why are flowers so beautiful? Because flowers and leaves emerge from geometric principles. Everything I’ve shown you today is based on geometry, it's fundamental. Just look at classical designs: Islamic architecture, paintings in Florence, Bernini’s work, Leonardo’s designs. Even DNA analysis and quantum physics reflect geometry.

The key to understanding geometry is engaging with it, by drawing. It also applies to fashion. Look at Japanese designers like Issey Miyake and Yohji Yamamoto, their cuts are deeply rooted in geometric principles. Geometry moves across disciplines. 

What would you recommend a young architect to do if they are interested in starting their careers in vernacular and mud architecture? 

Start by looking at the work of Hassan Fathy and the traditional architecture of Yemen. Don’t just study it academically, engage with it practically. Study, yes, but also practice. Your generation has knowledge at its fingertips, which changes how you learn. But there’s a unique intelligence in reading and drawing by hand. That kind of learning has depth. 

It’s up to your generation to bridge the world that’s forming. It is both beautiful and challenging. So, read and draw. Engage. 

Innovation comes through study and inspiration. You don’t copy, let the work inform you. Understand where concepts come from. Vernacular architecture is about structure, simplicity in specification, complexity made simple. This is how we renew architecture. 

Any design must respond to its place: people, community, climate, context. We can’t replicate the same design globally. Architecture must be local, even when using universal principles. 

And yes, mud brick can be adapted to Central Europe. Look at Martin Rauch’s work.