ABSTRACT
The first cultural manifestation born under the term was the Chicha music, a sort of Cumbia fusion with huayno that incorporates some rock instruments. Although the origins of this music can be traced to the late 1960s, its real popular success will take place in the 1980. This was the time of one of the biggest crisis of the republican Peru, when a strong migration movement from the country to the cities took place, trying to escape
1 INTRODUCTION
The present research analyzes vernacular architecture as one of the architectural products of a population that manages its own habitat. This new vernacular architecture is produced by a multicultural society in constant change and evolution that expresses part of the traditional knowledge although this may not be reflected in the choice of materials and constructive procedures. The aesthetic aspirations of new Peruvian architecture and its use of traditional symbols find in the Chicha phenomenon an expression that is in apparent confrontation with building forms inherited from the Andean world, the place of origin of migrants who are the new producers of social habitat. Another theme for reflection is wondering if the concept of vernacular should be restricted to the rural sphere or might, and even should, be applied to the urban one.
