form follows function, form follows culture.
Introduction.
Vernacular architecture is defined as the architectural style that relies on the use of local knowledge and materials to construct buildings1 ; this is always specific to the climate and region where the building is being designed. Vernacular architecture in Africa, specifically Niger dates far back into pre colonial history around the late 19th or early 20th century2 3 , as people built shelters with labor and materials readily available to them, the main material being mud blocks4 made from the soil that is found everywhere in Niger5 6 . The city of Agadez in Niger was an important trading center in the 15th and 16th century and many of the mud buildings made then are still in use today7 , which shows the relevance of the indigenous construction style to the Nigerien people.
5
3
1 Jean Dethier et al , Habiter La Terre: L'art De bâtir En Terre Crue: Traditions, modernité Et Avenir (Paris: Flammarion, 2019)
2
Mariam Kamara, Yasaman Esmaili, LEGACY RESTORED Religious and secular complex, 2018.
Jean Dethier et al., Habiter La Terre: L'art De bâtir En Terre Crue: Traditions, modernité Et Avenir (Paris: Flammarion, 2019) pg 267
4
Jean Dethier et al , Habiter La Terre: L'art De bâtir En Terre Crue: Traditions, modernité Et Avenir (Paris: Flammarion, 2019)
Elizabeth M. Golden, Building from Tradition: Local Materials and Methods in Contemporary Architecture (London: Routledge, 2018). Pg 10. Elizabeth M. Golden, Building from Tradition: Local Materials and Methods in Contemporary Architecture (London: Routledge, 2018) Pg 8
6
Robert Klanten and Andrea Servert, Beyond the West: New Global Architecture (Berlin: Gestalten, 2020)
7
Elizabeth M. Golden, Building from Tradition: Local Materials and Methods in Contemporary Architecture (London: Routledge, 2018). Pg 9.
Yaama Mosquée Collège Amadou Hampaté Bâ, Agadez, Niger Photos by AKTC, Toby Pear and Alfred Weidinger, respectivelyMariam Kamara, 1979, is a Nigerien born and based architect who has devoted herself to design for pedagogy in the villages and cities in her Country8 Her design ranges from cultural, educational, housing and commercial projects with a common agenda of creating public community spaces that bring people together while also promoting religio socio political connections for the individuals and the community9 Section 1 will discuss Mariam Kamara, her statement of interest, global recognitions and her approach to cultural and sustainable design. Section 2 will discuss the Religious and secular complex which is an adaptive reuse project that creates a social hub for the community while also providing a safe haven and loitering space for women of the community. Section 3 dives into contemporary and modified housing design strategies to mitigate the population density issue in Niamey. Lastly, section 4 will briefly elaborate kamaras design qualities of; building with locally sourced material, creating well thought out urban spaces that increase the quality of life for the community and finding creative design solutions in her buildings that work with the arid environment of Niger. The three buildings discussed which share her theme of religio socio political and use of indigenous construction materials are the Hikma Religious and Secular Complex, Niamey 2000 Kollo and the Regional market.
About Mariam Kamara. Mariam Issoufou Kamara is an architect from Niger, the founder of atelier masōmī10 .
Before this she attended New York University and graduated with a degree in Computer science11 and went on to create an organization to channel her skills into, a er a while she went back to school yearning to learn architecture with the goal of returning to Niger to better the economic and educational state of her country through the spaces she created12 A er graduating from the University of Washington in 2013 she became a cofounder of united4design before founding atelier masōmī in 2014, an architectural research and practice office in the capital city of Niamey Kamara’s firm projects range from cultural, residential, urban design and commercial projects which share the common theme of community design, paying homage to
8 Jane Hall, Breaking Ground: Architecture by Women (S l : s n , 2019)
9 Robert Klanten and Andrea Servert, Beyond the West: New Global Architecture (Berlin: Gestalten, 2020).
10 Amollo Ambole (2020) Rethinking Design Making and Design Thinking in Africa, Design and Culture, 12:3, 331 350, DOI: 10 1080/17547075 2020 1788257
11 FLOOR, KUITERT “Site Specific” Frame, no 128 (May 2019): 54 60 https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=135678154&site=ehost live.
12 Robert Klanten and Andrea Servert, Beyond the West: New Global Architecture (Berlin: Gestalten, 2020).
the culture and challenging illiteracy and population density. Each space she creates serves to elevate, dignify, and provide the people of Niger a better quality of life Niger is one of the poorest countries in Africa with poor leadership, illiteracy, and overpopulation, some socio economic problems she keeps in mind with every design decision she makes whether it be the materiality or labor13 She explores vernacular ways of design, with a touch of contemporary design that steers away from eurocentric styles of construction14 . This unique form of sustainability focuses on the local context to support the community and cultural heritage of the “economically emerging nation” by providing low cost solutions that create a tight knit community of people who maintain their way of life with opportunities for economic and educational betterance15 .
Awards and Recognition.
Kamara’s efforts to produce architecture that speaks to the native architectural template of design is widely recognized internationally, as she confronts typologies such as; “rural and urban, African and Contemporary, and local and western”16 terms which continually divide the architectural landscape of the country17
These recognitions include;
Architect magazine R+D Award 201718 .
Gold Lafarge Holcim Award for Africa and Middle East 201719
Silver Lafarge Holcim Award for sustainable architecture 201820 .
Laureate of the Price Claus Award, 2019.
Royal Academy of Arts Dorfman Awards Finalist, 2019 Moira Gemmill Prize for emerging architecture 2020.
13 Robert Klanten and Andrea Servert, Beyond the West: New Global Architecture (Berlin: Gestalten, 2020)
14 Jean Dethier et al., Habiter La Terre: L'art De bâtir En Terre Crue: Traditions, modernité Et Avenir (Paris: Flammarion, 2019).pg 490.
15 Elizabeth M Golden, Building from Tradition: Local Materials and Methods in Contemporary Architecture (London: Routledge, 2018) Pg 10
16 Jane Hall, Breaking Ground: Architecture by Women (S l : s n , 2019) Pg 107
17 Robert Klanten and Andrea Servert, Beyond the West: New Global Architecture (Berlin: Gestalten, 2020).
18
Robert Klanten and Andrea Servert, Beyond the West: New Global Architecture (Berlin: Gestalten, 2020).
19 “Legacy Restored in Niger,” Holcim Foundation, accessed November 21, 2022, https://www holcimfoundation org/projects/legacy restored
20 “Legacy Restored in Niger,” Holcim Foundation, accessed November 21, 2022, https://www.holcimfoundation.org/projects/legacy restored.
New York Times One of 15 creative women of our time.
Royal Institute of Canada One of their 2020 honorary fellows Atelier Masomi appeared twice on the AD100.
Hikma Religious and Secular Complex ,Dandaji, Niger, 2018 ADAPTIVE REUSE COMMUNITY WOMEN EMPOWERMENT
Having a sense of identity gives people a sense of belonging and it is important for the well being and confidence of the people. This project was designed to create an urban anchor which enhances the peoples spiritual sense of belonging but also their way of comprehending the life around them and far away. In Niger, the relics, food, language, dressing, architectural style and materiality tell a story of who the people that reside within are and where they come from, a narrative that tends to fade due to colonization and the introduction of foreign culture especially western traditions and the ethnocentric mindset. An example being that buildings made with mud blocks and for the poorer demographic and eurocentric means of construction and more attractive, favorable and richer21 This complex was designed to challenge that mindset it is designed according to pre colonial Hausa style of architecture constructed with compressed earth bricks made from the soil that is found everywhere in Niger. Kamara uses this material in all her designs for this region even though concrete is the common material used for Urban centers. She avoids concrete in the design due to its thermal massing qualities as Niger has a harsh hot climate due to it being an arid desert country and would make the buildings extremely warm. She uses the earth bricks which is a material that is native to the rural areas of Niger as it is a “so er material”22 for construction making them a lot colder Traditionally adobe clay is the earth material commonly used to build in that area as it is the most accessible traditional material in Niger23 . The firm takes this material and uses their skills to “digest, integrate and reinvent the traditional vernacular material into their forms Kamara transforms them to compressed earth brick instead as it has fire and cooling retardant qualities as well as a higher resistance to natural elements such as wind, rains and heat, but also requires less
21 Elizabeth M. Golden, Building from Tradition: Local Materials and Methods in Contemporary Architecture (London: Routledge, 2018) Pg 8
22 Robert Klanten and Andrea Servert, Beyond the West: New Global Architecture (Berlin: Gestalten, 2020)
23 Jean Dethier et al., Habiter La Terre: L'art De bâtir En Terre Crue: Traditions, modernité Et Avenir (Paris: Flammarion, 2019).pg 490.
maintenance24 . The materials drawback is that it is susceptible to moisture and frost damage which makes it excellent for the climate of Niger which is extremely warm and dry25 as its thermal storage capacity effectively provides a buffer against the outdoor temperature fluctuations, keeping the rooms cool when the temperature is very hot26
Compressed earth blocks with laterite soil image by united➃design
Apart from building with materials native to the land, the architects, Mariam Kamara and Yasaman Esmaili, designed the new mosque to be a contemporary reinterpretation of the old converted mosque through the use of compressed earth brick technology and rectilinear carvings to give it a contemporary feel27 .
The carvings are part of the native design of Niger and indigenous Hausa architecture which involve textured walls and carved out facades which give the building a strong personality and poetic radiance, found to be popular with the local earth artisans28
24 Elizabeth M. Golden, Building from Tradition: Local Materials and Methods in Contemporary Architecture (London: Routledge, 2018) Pg 10
25 Elizabeth M Golden, Building from Tradition: Local Materials and Methods in Contemporary Architecture (London: Routledge, 2018) Pg 10
26
Elizabeth M. Golden, Building from Tradition: Local Materials and Methods in Contemporary Architecture (London: Routledge, 2018). Pg 10.
27
Elizabeth M Golden, Building from Tradition: Local Materials and Methods in Contemporary Architecture (London: Routledge, 2018) Pg 15
28 Jean Dethier et al., Habiter La Terre: L'art De bâtir En Terre Crue: Traditions, modernité Et Avenir (Paris: Flammarion, 2019).pg 42, 58, 59.
Contemporary facade image by Design Indabaimage by Valtram image by Lies Ouwerkerk image by Michel
Kamaras architectural style can be said to be contemporary Hausa architecture, which involve spectacular murals that reflect the diverse artistic style that is seen with the traditional Hausa culture through painted walls or carvings or reliefs29 Kamara includes the use of red tones through the earth bricks but in a contemporary way by simplifying the reliefs on the facade It also paid respect to the old mosque ' s legacy by including the old team of masons that constructed it to join the renovation team30 , combining traditional construction techniques with modern day technological skills such as erosion and protection techniques, a “ cross pollination” of methods that brought the building back to its former glory31 32 .
29 Jean Dethier et al , Habiter La Terre: L'art De bâtir En Terre Crue: Traditions, modernité Et Avenir (Paris: Flammarion, 2019).pg 224.
30 FLOOR, KUITERT. “Site Specific.” Frame, no. 128 (May 2019): 54 60. https://search ebscohost com/login aspx?direct=true&db=asu&AN=135678154&site=ehost live
31 Mariam Kamara, Yasaman Esmaili, LEGACY RESTORED Religious and secular complex, 2018
32
Robert Klanten and Andrea Servert, Beyond the West: New Global Architecture (Berlin: Gestalten, 2020). Pg 72.
Renaudeau Mosque and library image by Design IndabaShe took an insider approach when designing the complex, turning to the users and the people that make up the community Converting the mosque into the library and building a new Mosque next to it creates an educational and religious anchor for the women that use the space as they can freely access secular and religious knowledge33 . It is made extremely accessible to them which mitigates the literacy issue the people of the community face34 , especially the women as language and education levels tend to be a barrier that limits what kind of people are “allowed” into public spaces, which is another socio political issue Kamara aims to solve with this complex that caters to the needs and wants of women that face segregation and limitations in the city35 . Colonization, influence from neighboring countries and immigrants which bring in their traditions and influence make Niger a secular nation which maintains a separation of the Mosque and Faith36 , creating a tradition that respects all faiths not just Islam and a lower level of restrictions of peoples freedom. Women in Niamey and predominantly Muslim areas are restricted when it comes to having safe spaces to socialize with one another, the means they have found for themselves is through mobile loitering which involves them paying social calls to each other to interact in privacy the way they are comfortable doing37 . The designed urban hub creates a space that would be used by the youth and women of the area to give the women a destination that is completely accessible to them in their city’s conservatively Muslim context38 as it is a popular case for public spaces to be restricted for specific demographics and discriminate against class and gender39 . Creating spaces like this for women change the traditional mindset which entails that women that longe around are loose and lack morals and
33 Mariam Kamara, Yasaman Esmaili, LEGACY RESTORED Religious and secular complex, 2018.
34 FLOOR, KUITERT. “Site Specific.” Frame, no. 128 (May 2019): 54 60. https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=135678154&site=ehost live.
35 Mariam Kamara, “Mobile Loitering: A Response to Public Space Needs in Niger's Post Colonial, Highly Gendered Urban Context , ” Scholarly Publishing Services UW Libraries, January 1, 1970, https://digital.lib.washington.edu/researchworks/handle/1773/25391.Pg 13.
36 Mariam Kamara, “Mobile Loitering: A Response to Public Space Needs in Niger's Post Colonial, Highly Gendered Urban Context , ” Scholarly Publishing Services UW Libraries, January 1, 1970, https://digital lib washington edu/researchworks/handle/1773/25391 Pg 10
37
Mariam Kamara, “Mobile Loitering: A Response to Public Space Needs in Niger's Post Colonial, Highly Gendered Urban Context.,” Scholarly Publishing Services UW Libraries, January 1, 1970,
38
Mariam Kamara, “Mobile Loitering: A Response to Public Space Needs in Niger's Post Colonial, Highly Gendered Urban Context , ” Scholarly Publishing Services UW Libraries, January 1, 1970, https://digital lib washington edu/researchworks/handle/1773/25391
39 FLOOR, KUITERT. “Site Specific.” Frame, no. 128 (May 2019): 54 60. https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=135678154&site=ehost live.
are restricted to walking through the streetscape but are not allowed to linger or interact in these areas, or worse, they should be confined to their homes to avoid the “male gaze ”40 41
Going back to the topic of site and cultural vernacularity, Kamara highlights the issue of lack of urban planning for social spaces, where there is usually a “mixture of misguided urban executions and religio socio political challenges” that lead to unwanted and unpredicted ways in which the people use the street, whether it be people using the sidewalks (which are usually not planned well and become “le over areas”) as seating spots that takes away public circulation routes and limits the quality of social life brought to the space 42 . The space provides amenities for the village such as an outdoor amphitheater, library, classroom, playground, fruit tree, stone beaches and worship43 facilities bringing the religious and circular visitors into one space to dwell in unity. The building's masonry was supported with little concrete added into the adobe
40 Mariam Kamara, “Mobile Loitering: A Response to Public Space Needs in Niger's Post Colonial, Highly Gendered Urban Context.,” Scholarly Publishing Services UW Libraries, January 1, 1970, https://digital lib washington edu/researchworks/handle/1773/25391 Pg 26
41 FLOOR, KUITERT “Site Specific” Frame, no 128 (May 2019): 54 60 https://search ebscohost com/login aspx?direct=true&db=asu&AN=135678154&site=ehost live
42 Mariam Kamara, “Mobile Loitering: A Response to Public Space Needs in Niger's Post Colonial, Highly Gendered Urban Context.,” Scholarly Publishing Services UW Libraries, January 1, 1970, https://digital lib washington edu/researchworks/handle/1773/25391 Pg 14
43 Mariam Kamara, “Mobile Loitering: A Response to Public Space Needs in Niger's Post Colonial, Highly Gendered Urban Context.,” Scholarly Publishing Services UW Libraries, January 1, 1970, https://digital.lib.washington.edu/researchworks/handle/1773/25391.
Library and mosque, image by James Wang
mixture44 45 , keeping the use of concrete to a minimum by the use of lintels, columns and beams, to improve the structural capacity of the material46 wood would have been incorporated but it has become very scarce material in the area due to the continual drought in Niamey. The interior was plastered with laterite, shea butter and salt to ensure it is termite resistant while the exterior was coated with a mix of sand, clay and arabic gum from tree sap to strengthen the adobe clay and ensure it is water resistant47 , reducing maintenance to every 10 years rather than annually.
Niamey 2000 Kollo, Niger, 2016 ECONOMICAL HOUSING URBAN SENSITIVITY CONTEMPORARY TRADITIONAL DESIGN
Niamey, the capital city of Niger continues to face issues of increasing density leading to a housing issue as not enough buildings are available to shelter the raging population48 , 50% of the population is young with most being 15 years of younger, its high infant mortality rate contributes to the high population numbers with a total of 85% of the people being under 40 years old49 50 . The rapidly increasing population rates are due to Niamey being a refugee city as it has a lot of people that migrate in51 .
City expansion diagram, by united4design.
44 Elizabeth M Golden, Building from Tradition: Local Materials and Methods in Contemporary Architecture (London: Routledge, 2018). Pg 11, 12.
45
Stephane Pradines, “Earthen Architecture in Muslim Cultures: Historical and Anthropological Perspectives,” Google Books (BRILL, September 11, 2018), https://books google com/books/about/Earthen Architecture in Muslim Cultures html?id=YpJyDwAAQ BAJ
46
47
Mariam Kamara, Yasaman Esmaili, LEGACY RESTORED Religious and secular complex, 2018.
Mariam Kamara, Yasaman Esmaili, LEGACY RESTORED Religious and secular complex, 2018.
48
FLOOR, KUITERT “Site Specific” Frame, no 128 (May 2019): 54 60 https://search ebscohost com/login aspx?direct=true&db=asu&AN=135678154&site=ehost live
49
FLOOR, KUITERT “Site Specific” Frame, no 128 (May 2019): 54 60 https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=135678154&site=ehost live. Pg 6.
50
Mariam Kamara, “Mobile Loitering: A Response to Public Space Needs in Niger's Post Colonial, Highly Gendered Urban Context , ” Scholarly Publishing Services UW Libraries, January 1, 1970, https://digital lib washington edu/researchworks/handle/1773/25391 Pg 9
51Hassane Moussa Ibrahima and Gabriella Körling, “‘Tout a Été Loti!": Decentralisation, Land Speculation and Urban Expansion in Niamey, Niger,” kritisk etnografi, January 1, 2020,
Niamey 2000, is the modern housing solution for the city's high migration rates carried out by Kamara in collaboration with united 4design where Kamara challenges the traditional design of houses in Niamey which are of standard one storey houses that have all its amenities on the ground floor52 . She proposed remodeling the existing houses into ones with increased density to mitigate the city's housing problem This design tackles the socio economic conditions in the capital through the implementation of an additional floor to the house, changing from the typical one storey home. The design was inspired by neighboring African countries' style of house design, such as; Kano Nigeria, Zinder, and Timbuktu Mali53 These pre colonial cities and dense urban centers in the surrounding region increase the density of their building through that method, while keeping the space private even with a smaller budget being allocated to the project54 Vernacularity through material is shown here again as earth; compressed earth brick is used in construction to ensure the space mitigates overheating, a passive cooling strategy implemented due to the arid desert climate in Niger55 56 .
Niamey 2000, image by Torsten Seidel Earthen architecture in Muslim culture within the contemporary urban environment is an extremely valuable strategy for sustainable growth which has a long and rich tradition that dates
52
FLOOR, KUITERT. “Site Specific.” Frame, no. 128 (May 2019): 54 60. https://search ebscohost com/login aspx?direct=true&db=asu&AN=135678154&site=ehost live
53
FLOOR, KUITERT “Site Specific” Frame, no 128 (May 2019): 54 60 https://search ebscohost com/login aspx?direct=true&db=asu&AN=135678154&site=ehost live
54 Robert Klanten and Andrea Servert, Beyond the West: New Global Architecture (Berlin: Gestalten, 2020). Pg 68.
55 Katie Gerfen, and Wanda Lau “Niamey 2000 Housing” Architect (Washington, DC ) 106, no 7 (2017): 114
56
FLOOR, KUITERT. “Site Specific.” Frame, no. 128 (May 2019): 54 60. https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=135678154&site=ehost live.
so far back57 . Apart from consuming less energy to process the material the brick also provides an affordable option which would mean lower energy bills
Compressed earth block, image by Torsten Seidel
The project consists of six homes that take up the site which would usually only house two people if constructed under the typical typology, as mentioned earlier it was built with compressed earth bricks to save cost as concrete is more expensive and causes the building to overheat on extremely warm days58 The spirit of designing for the region and the people as seen already has been through materiality, native architectural typologies and site analysis according to the climate, another one seen is by designing a building that shares the underlying message as its surrounding context The houses are not apartment towers, nor apartment blocks which would feel alien to the style of architecture that resides in the area and erase social connections
59 . Eurocentric solutions are sometimes considered when solving problems in African countries as the style of building is seen to be modern and sophisticated60 , however, the architects need to always yearn to build for the community and in the spirit of the culture and region The Afro inspired solution was instead to reduce the building's typical footprint and build one more level up, maximizing the privacy in the muslim environment.
57 Stephane Pradines, “Earthen Architecture in Muslim Cultures: Historical and Anthropological Perspectives,” Google Books (BRILL, September 11, 2018), https://books google com/books/about/Earthen Architecture in Muslim Cultures html?id=YpJyDwAAQ BAJ
58
FLOOR, KUITERT. “Site Specific.” Frame, no. 128 (May 2019): 54 60.
https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=135678154&site=ehost live.
59
FLOOR, KUITERT “Site Specific” Frame, no 128 (May 2019): 54 60
https://search ebscohost com/login aspx?direct=true&db=asu&AN=135678154&site=ehost live
60
FLOOR, KUITERT. “Site Specific.” Frame, no. 128 (May 2019): 54 60. https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=135678154&site=ehost live. Pg 6.
Building density strategy, by united4design
The idea of apartment towers were rejected in order to show the need to decolonize design as designers need to understand the culture that exists in the area and design for them61 .
Regional market- Dandaji, Niger. 2018 COLOR IDENTITY SHADE
The arid climate that is constituted with Niger limits the possibility of a fecund landscape and growth of natural elements that make the environment so and greener 62 . The firm was chosen to renovate the existing market to create a more organized space for the members of the community to interact and exchange services. The chosen design sought to mimic natural elements like trees and greenery that do not grow in that environment through architectural elements, the posts were topped with flat metal disks paying homage to the previous weekly market that existed around the ancestral tree in the Dandaji village63 . The tree like stands are set at different heights mimicking the trees that are found in cooler climates as the site's climate limits its ability to grow vegetation.
Dandaji market, Community courtyard and shade,image by Maurice Ascani
A structure that brings vibrance and color to the market but also acts as a shading device to integrate thermal comfort for the artisan retailers that would be at this site for most of their day64 The new market was designed with architectural qualities that make up the traditional
61 Amollo Ambole (2020) Rethinking Design Making and Design Thinking in Africa, Design and Culture, 12:3, 331 350, DOI: 10.1080/17547075.2020.1788257
62 Robert Klanten and Andrea Servert, Beyond the West: New Global Architecture (Berlin: Gestalten, 2020)
63 Robert Klanten and Andrea Servert, Beyond the West: New Global Architecture (Berlin: Gestalten, 2020)
64 Amollo Ambole (2020) Rethinking Design Making and Design Thinking in Africa, Design and Culture, 12:3, 331 350, DOI: 10.1080/17547075.2020.1788257
markets in the area with adobe posts and reed roofs bringing about the use of compressed earth brick in yet another project65
It
Conclusion
The form, function and spirit of any building designed should follow a well thought out study of the region and culture which the building will exist in. As designers you need to immerse yourself in not only the site conditions but the economic, social and political challenges that are faced by the people66 . As seen in the previous sections Mariam Kamaras principles revolve around community design which pays homage to the architectural style and materiality that is native to the site, whether it be a renovated building or an exterior structure you find her designing with the community in mind67 . Even with the modern traditional style and execution of her design she only uses materials that are most prominent on the site and recycled elements for detailing and color, as seen in the market, Niamey housing, library and the secular religious complex. Kamara ensures that every space she designs gives her people a sense of identity and belonging, to ensure they are immersed in their surroundings and culture with direct access to secular and religious knowledge68 She indeed made it her mission to ensure the betterance of her country through the way she knows best with impacts that continue to mitigate homelessness, increase literacy and challenge socio political and economic issues that
65 Robert Klanten and Andrea Servert, Beyond the West: New Global Architecture (Berlin: Gestalten, 2020).
66
FLOOR, KUITERT. “Site Specific.” Frame, no. 128 (May 2019): 54 60. https://search ebscohost com/login aspx?direct=true&db=asu&AN=135678154&site=ehost live
67
FLOOR, KUITERT “Site Specific” Frame, no 128 (May 2019): 54 60 https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=135678154&site=ehost live.
68
Robert Klanten and Andrea Servert, Beyond the West: New Global Architecture (Berlin: Gestalten, 2020).
Atelier Masōmī’s Dandaji Regional Market, completed in 2018. Image by Maurice Ascani. is seen in use in the walls as demarcation and structural support with an overhead canopy made from recycled coloured metal to provide shade and shelter.Niger faces, but also environmentally through the use of local and recycled materials which as a whole contribute to the crucial ecological and social shi 69
69 Jean Dethier et al., Habiter La Terre: L'art De bâtir En Terre Crue: Traditions, modernité Et Avenir (Paris: Flammarion, 2019).pg 486.
Amollo Ambole (2020) Rethinking Design Making and Design Thinking in Africa, Design and Culture, 12:3, 331 350, https://doi org/10 1080/17547075 2020 1788257
Dethier, Jean, Patrice Doat, Hubert Guillaud, and Hugo Houben. Habiter La Terre: L'art De bâtir En Terre Crue: Traditions, modernité Et Avenir. Paris: Flammarion, 2019.
Gerfen, Katie, and Lau Wanda “Niamey 2000 Housing” Architect (Washington, D C ) 106, no 7 (2017): 114 .
Golden, Elizabeth M. Building from Tradition: Local Materials and Methods in Contemporary Architecture. London: Routledge, 2018
Ibrahima, Hassane Moussa, and Gabriella Körling. “‘Tout a Été Loti!": Decentralisation, Land Speculation and Urban Expansion in Niamey, Niger.” kritisk etnografi, January 1, 2020. https://www.academia.edu/43127529/ Tout a %C3%A9t%C3%A9 loti Decentralisation_Land Speculation and Urban Expansion in Niamey Niger
Kamara, Mariam. “Mobile Loitering: A Response to Public Space Needs in Niger's Post Colonial, Highly Gendered Urban Context” Scholarly Publishing Services UW Libraries, January 1, 1970. https://digital.lib.washington.edu/researchworks/handle/1773/25391.
Klanten, Robert, and Andrea Servert. Beyond the West: New Global Architecture. Berlin: Gestalten, 2020.
Kuitert, Floor “Site Specific” Frame, no 128 (May 2019): 54 60 https://search.ebscohost.com/login.aspx?direct=true&db=asu&AN=135678154&site=ehost live.
“Legacy Restored in Niger” Holcim Foundation Accessed November 20, 2022 https://www.holcimfoundation.org/projects/legacy restored.
Mpho, Matsipa. “MOIRA GEMMILL PRIZE SHORTLIST CUSTOMS MADE.” The Architectural Review, no 1470 (2020): 113
Pradines, Stphane. “Earthen Architecture in Muslim Cultures: Historical and Anthropological Perspectives” Google Books BRILL, September 11, 2018 https://books.google.com/books/about/Earthen Architecture in Muslim Cultures.html?i d=YpJyDwAAQBAJ.
Sitz, Miriam. “David Adjaye’s Protégé Mariam Kamara Designs Cultural Center.” Architectural Record 208, no. 1 (2020): 26 .
Traldi, Laura “Mariam Kamara: Africa Needs Architecture, and Here Is Why” DesignAtLarge Designatlarge, August 29, 2018. https://www.designatlarge.it/mariam kamara niger architect/?lang=en.
Figures list
Figure 1. Yaama Mosquée, Photo by AKTC.
Figure 2 Collège Amadou Hampaté Bâ, Photo by Toby Pear
Figure 3. Agadez, Niger, Photo by Alfred Weidinger
Figure 4 Compressed earth blocks with laterite soil, image by united➃design
Figure 5. Contemporary facade, image by Design Indaba
Figure 6. Traditional Mosque facades, image by Valtram
Figure 7. Traditional Mosque facades, image by Lies Ouwerkerk
Figure 8. Traditional Mosque facades, image by Michel Renaudeau
Figure 9. Mosque and library, image by Design Indaba.
Figure 10. Library interior view, image by James Wang
Figure 11 Mosque interior view, image by James Wang
Figure 12. City expansion diagram, by united4design
Figure 13 Niamey 2000 exterior view, image by Torsten Seidel
Figure 14. Compressed earth block, image by Torsten Seidel.
Figure 15 Building density strategy, by united4design
Figure 16. Dandaji market, image by Maurice Ascani.
Figure 17 Community courtyard, image by Maurice Ascani
Figure 18. Shade, image by Maurice Ascani.
Figure 19. Atelier Masōmī’s Dandaji Regional Market, completed in 2018 Image by Maurice Ascani