HISTORY AND THEORY OF ARCHITECTURE
Dean Purgas
15-05-2021
KILTIR +
KILTIR +
>
P1
PLAY
CONTENTS 02 - 03 - 04 - 05 - 09 - 10
INTRODUCTION
DATA; RESEARCH ANALYSIS
PATA PATA; ESSAY COMPOSITION
DESIGN
IMPACT; STORY OF DESIGN
APPLICATION
>
INTRODUCTION
CULTURE - KILTIR Cultural and Heritage Practices in Historic Landscapes Subject: History and Theory in Architecture
Based on the principles of cultural and heritage practices in historic landscapes, this assignment is to determine what would be considered best practice in the context of the site, Cybele Geopark located at Mare Longue, Mauritius. Therefore, a design solution is proposed as an outcome of this exploration. After a visit to the site, further observations and personal experiences of the site, such as the analysis of the various essential components that constitute the history of the site and the genealogies are to be identified. In this response, the sense of influences and decisions is developed. From the theoretical deductions, a design is conceptualized as an intervention. In this case, it is the project titled the cache of Dean Purgas, Anjaka Razafindrainibe Arivahy, Ashish Luchmun and Adiib Hoossain-Saeb, as part of the training program of the École Nationale Supérieure d’Architecture de Nantes.
Sur la base des principes des pratiques culturelles et patrimoniales dans les paysages historiques, cette mission consiste à déterminer ce qui serait considéré comme la meilleure pratique dans le contexte du site, le géoparc de Cybele situé à Mare Longue, à l’île Maurice. Par conséquent, une solution de conception est proposée comme résultat de cette exploration. Après une visite sur le site, d’autres observations et expériences personnelles du site, telles que l’analyse des différents composants essentiels qui constituent l’histoire du site et les généalogies sont à identifier. Dans cette réponse, le sens des influences et des décisions est développé. A partir des déductions théoriques, un design est conceptualisé comme une intervention. Dans ce cas, il s’agit du projet intitulé la cache du doyen Purgas, Anjaka Razafindrainibe Arivahy, Ashish Luchmun et Adiib HoossainSaeb, dans le cadre du programme de formation de l’École Nationale Supérieure d’Architecture de Nantes.
Lecturer: Nokubekezela Mchunu, Architect, South Africa, Western Cape, Cape Town École Nationale Supérieure d’Architecture de Nantes (ENSA) France – Mauritius Date: May 15th, 2021
KILTIR +
P2
DATA the grid.
covering.
textures.
in between.
hidden.
connection.
KILTIR +
P3
K
iltir, a creole word in the Mauritian language which means “culture”. There is nothing more pleasant than when things start to make sense and the human body releases feelings of confidence because we have this feeling, this almost emotional feeling of having grasped, of being in the right. It is this living history that the word ‘culture’ is flooded with. The feeling of belonging and co-existing. Culture is an origin and at the same time, it is that development that cannot be stabilized. Do we really need stability? Is it really necessary to have the feeling of belonging to something? Culture is often summarized in the roots, in the anchor point and a certain reality. Indeed, it is not a fiction. Without realizing it, we are the followers of a generation, making different and ‘very different’ choices, but the same cries, the same cravings resurface overnight before we even know it. All this to say that culture, is an event, again, a reality. It is like the light that was. The Geopark Cybele has also been part of a culture that has become its legacy. The site does not need lines and boundaries, because a gathering that took place years ago does not just cover a land but generates spaces. In or out, paths are distributed in a natural way. This reflection leads us to an important decision taken during the visit, which is to take part of what it is already, an evolution of culture. Everything is about culture and this forest which contains a rich history is proof that culture cannot die because it follows us. This intense vegetation of the site where we choose to settle uses an approach that is the ‘touch’ because it touches the space, it envelops and covers a place. Touch and Touch translated from PATA PATA is an Afro-pop dance song popularized internationally by the South African singer exiled for her political activism in 1959 and settled in the United States, Miriam Makeba, sometimes called Mama Africa (by Americans), is nothing short of an icon. Her signature song, “Pata Pata,” released in the U.S. in 1967, went on to become an international chart-topper and transnational dance hit (Makeba originally recorded the song in 1959 with her girl group, the Skylarks, but re-recorded the hit with an English verse and a faster beat after establishing her solo career). She herself never really understood the success of “Pata Pata,” which she considered a “fun little song” but without “meaning.” The reading of this song is self-evident because if the singer does not see it when she sings it, it is because the dance is obvious and it comes from a culture in which she lives, a world of dance in which it is absolutely normal to dance and to touch each other. The intention is to make an architecture that will dance with its environment by touching it as the Pata Pata.
The song’s title “Pata Pata” means “touch touch” in the Xhosa language, in which the song was originally written and sung.
ESSAY
PATA PATA “Kiltir”, un mot créole de la langue mauricienne qui signifie “culture”. Il n’y a rien de plus agréable que lorsque les choses commencent à avoir du sens et que le corps humain libère des sentiments de confiance parce que nous avons ce sentiment, ce sentiment presque émotionnel d’avoir saisi, d’être dans le vrai. C’est de cette histoire vivante qu’est imprégné le mot “culture”. Le sentiment d’appartenance et de coexistence. La culture est une origine et en même temps, c’est ce développement qui ne peut être stabilisé. Avons-nous vraiment besoin de stabilité ? Est-il vraiment nécessaire d’avoir le sentiment d’appartenir à quelque chose ? La culture est souvent résumée aux racines, au point d’ancrage et à une certaine réalité. En effet, il ne s’agit pas d’une fiction. Sans nous en rendre compte, nous sommes les suiveurs d’une génération, faisant des choix différents et “ très différents “, mais les mêmes cris, les mêmes pleurs, les mêmes envies refont surface du jour au lendemain avant même que l’on s’en rende compte. Tout cela pour dire que la culture, c’est un événement, encore une fois, une réalité. Elle est comme la lumière qui fut. Le Geopark Cybele a également fait partie d’une culture qui est devenue son héritage. Le site n’a pas besoin de lignes et de frontières, car un rassemblement qui a eu lieu il y a des années ne couvre pas seulement un terrain mais génère des espaces. En dedans ou en dehors, les chemins sont distribués de manière naturelle. Cette réflexion nous amène à une décision importante prise lors de la visite, qui est de prendre part à ce qu’elle est déjà, une évolution de la culture. Tout est question de culture et cette forêt qui renferme une riche histoire est la preuve que la culture ne peut pas mourir car elle nous suit. Cette végétation intense du site où nous choisissons de nous installer utilise une approche qui est le “ toucher “ car elle touche l’espace, elle enveloppe et recouvre un lieu. Touch and Touch traduit de PATA PATA est une chanson de danse afro-pop popularisée internationalement par la chanteuse sud-africaine exilée pour son activisme politique en 1959 et installée aux États-Unis, Miriam Makeba, parfois appelée Mama Africa (par les Américains), est tout simplement une icône. Sa chanson phare, “Pata Pata”, sortie aux États-Unis en 1967, est devenue une vedette internationale et un succès transnational de la danse (Miriam Makeba avait initialement enregistré cette chanson en 1959 avec son groupe de filles, les Skylarks, mais l’a réenregistrée avec un couplet en anglais et un rythme plus rapide après avoir lancé sa carrière solo). Elle-même n’a jamais vraiment compris le succès de “Pata Pata”, qu’elle considérait comme une “petite chanson amusante” mais sans “signification”. La lecture de cette chanson va de soi car si la chanteuse ne le voit pas quand elle la chante, c’est parce que la danse est évidente et qu’elle provient d’une culture dans laquelle elle vit, un monde de danse dans lequel il est absolument normal de danser et de se toucher.
PATA PATA By: Miriam Makeba Album: Pata Pata Released: November 1967 Recorded: 1967 Label: Reprise Songwriter(s): Miriam Makeba and Jerry Ragovoy
https://miriammakeba.bandcamp.com/album/pata-pata
L’intention est de faire une architecture qui va danser avec son environnement en le touchant comme le Pata Pata.
KILTIR +
P4
DESIGN lake cluster
yoga deck
forest cluster
07
groups cluster
06 volunteers camping ground
08
family cluster
05
road
09 10
Panel
Lev
Solar Heater
4000
Water
:+
:+
Entrance
Lev 1000 Lev 2000
Slope
:+
Lev :+ 3000 Photovoltaic
Slope
Lev
Lev
Lev
:+
1000
:+
3000
2000
:+
4000
honeymoon cluster
Panel Photovoltaic
Solar Heater Water
: + 2000 Lev Slope
Lev
: + 3000 Lev
Lev
: + 4000
: + 1000
Panel
Lev :+ SolarHeater
Water
4000
oas
Slope
Photovoltaic
Slope
3000
Heater
:+
Water Solar
Lev
Panel Photovoltaic
Lev
:+
Slope
2000 :+ Lev Slope
Entrance
Entrance
Slope
1000
X
Slope
:+
Entrance
Lev Slope
Slope
La M
11
event area
Slope
04
arie
03
Slope
Entrance
Photovoltaic Panel
Lev : + 2000
Solar
Slope
Water Heater
Lev : + 1000
Lev : + 3000
Lev : + 4000
Slope
Entrance
Slope
Lev
:+
1000
Lev
:+ Slope2000
Photovoltaic
Panel
Lev
:+
3000
Water Solar Heater
:+
4000
01 02 03 04 05 06 07 08 09 10 11
proposed parking + market residential area reception treasure hunt stating point checkpoint 1 checkpoint 2 checkpoint 3 checkpoint 4 checkpoint 5 checkpoint 6 proposed project la cachette
living museum
02
MA RE
LON GL
ANE
Vac
Slope
Lev
PP
PP PP PP PP
PP
PP
PP
PP
PP
PP
PP
PP
PP
PP
01
PP
PP PP
PP
PP
PP
PP PP
PP
PP
PP PP
PP
PP
PP
X
PP
PP
PP
PP
P
P
0 km
site plan
0.05
0.1
0.2
0.5
KILTIR +
P5
DESIGN B C
D E
A
B C
5755 1255
747
170
B
B
B A
D E
A
1966
294
1255
747
170
1966
1452
1450
02
3
98
+ 0.80m
982
A
1 2
08 + 2.88m
+ 0.80m
A
A
3 968
05
A 4452
1452 98 982
A
1 2
968
4452
A
03 02 01
+ 0.80m
07 06 05 04 03 02 01
07
EL 2
3
03 02 01
EL 2
EL 2
1 2
03
D E
294
1942
04
B C
5755
4 952
4 952
4
06 EL 1
1. 2. 3. 4. 5. 6. 7. 8.
entrance - entrée living room - espace de vie small room - chambrette shower - douche w.c - toilette exterior space - espace extérieur extended living - séjour prolongé mezzanine - niveau intermédiaire
EL 1
0
0.5
1
m
ground floor - opt.1
entrance - entrée living room - espace de vie small room - chambrette shower - douche w.c - toilette exterior space - espace extérieur extended living - séjour prolongé mezzanine - niveau intermédiaire
EL 1
± 0.00m
± 0.00m
m
1. 2. 3. 4. 5. 6. 7. 8.
B
entrance - entrée living room - espace de vie small room - chambrette shower - douche w.c - toilette exterior space - espace extérieur extended living - séjour prolongé mezzanine - niveau intermédiaire
B
1. 2. 3. 4. 5. 6. 7. 8.
B
01
0
0.5
1
± 0.00m
m
ground floor - opt.2
0
0.5
1
mezzanine
KILTIR +
P6
DESIGN m
original
0
0.5
1
m
strik
0
0.5
1
m
0
0.5
1
ros
KILTIR +
P7
DESIGN m
front elevation
0
0.5
1
m
0
0.5
1
longitudinal section
KILTIR +
P8
IMPACT
Remarks: The World of Graphic Design is the evidence that history has an impact on the reading, the recognition, and the design. As mentionned in the essay, the culture, kiltir, is something we carry with us. The way we design is very sensitive because each individuals will have his interpretation of it but the use of history to design allows people to make and see the difference.
Abstract: The Art of Design NETFLIX DOCUMENTARY https://www.youtube.com/watch?v=LCfBYE97rFk
Before you even read it, you have sensibility and spirit - Paula Scher
Good Designers Learn From History “Eyes and brains have worked the same way over generations … the environment changes but the principles of visual communication survive. History helps us understand these principles.” – Principles Before Style: Questions in Design History by Richard Hollisa
SAMPLE
1930s
“Graphic designers should be literate in graphic design history. Being able to design well is not always enough. Knowing the roots of design is necessary to avoid reinvention, no less inadvertent plagiarism.” ~
ART DECO
Steven Heller — Introduction to Graphic Design History
MODERNE
IT IS A LANGUAGE THAT COULD BE DISSECTED, TAKEN APART, AND PUT TOGETHER
KILTIR +
P9
APPLICATION RE-USE + (ADD)
2021
2065
2111, 90 YEARS LATER FOREST HOTEL - TOUCH THE ATMOSPHERE
pata pata, dance with atmosphere “la question du logement” The pod is a transformable asset that can duplicate and stacked. The aim of foresting vertically and be part of the forest environment. Intervention can be very simple and considering futuristic movement, creating might not be the solution to all problems but re-adapting (keep the base)
KILTIR + P10
Bandcamp Daily. 2019. Album of the Day: Miriam Makeba, “Pata Pata”. [online] Available at: [https://daily.bandcamp.com/album-of-the-day/miriammakeba-pata-pata-review](https://daily.bandcamp.com/album-of-the-day/ miriam-makeba-pata-pata-review) [Accessed 13 May 2021]. Bradley, S., 2014. Why Understanding Design History Will Make You A Better Designer Today - Vanseo Design. [online] Vanseo Design. Available at: https://vanseodesign.com/web-design/design-history/ [Accessed 14 May 2021]. [Enea.it](http://enea.it/). 2011. Forests and humans throughout history. [online] Available at: [https://www.enea.it/it/seguici/pubblicazioni/EAI/ anno-2011/speciale-forest-a-millenary-heritage-that-guarantees-us-life/ forests-and-humans-throughout-history](https://www.enea.it/it/seguici/ pubblicazioni/EAI/anno-2011/speciale-forest-a-millenary-heritage-thatguarantees-us-life/forests-and-humans-throughout-history) [Accessed 13 May 2021].
TheQnA.Org. 2020. Amazing Information of Multidisciplinary Nature of Environmental Studies - 2020. [online] Available at: https://theqna. org/multidisciplinary-nature-of-environmental-studies/#:~:text=The scope of Multidisciplinary Nature of Environmental Studies consists of,technology%2C population%2C and ecology [Accessed 14 May 2021].
BIBLIOGRAPHY
A-H
University, D., 2017. The Travel of “Pata Pata”: Miriam Makeba and the Cosmopolitan Anthem – Sound and Double Consciousness. [online] [Sites. duke.edu](http://sites.duke.edu/). Available at: [https://sites.duke.edu/ english590s-4_02_f2019/anthems/the-travel-of-pata-pata-miriam-makebaand-the-cosmopolitan-anthem/](https://sites.duke.edu/english590s-4_02_ f2019/anthems/the-travel-of-pata-pata-miriam-makeba-and-thecosmopolitan-anthem/) [Accessed 13 May 2021]. Youtube.com. 2021. Before you continue to YouTube. [online] Available at: <https://www.youtube.com/watch?v=LCfBYE97rFk> [Accessed 15 May 2021].
[Etymonline.com](http://etymonline.com/). 2021. hide | Origin and meaning of hide by Online Etymology Dictionary. [online] Available at: [https:// www.etymonline.com/word/hide](https://www.etymonline.com/word/hide) [Accessed 13 May 2021].
I-Q J. Bascombe, R., 2018. The Influence of History on New Modern Design CO Architects. [online] CO Architects. Available at: https://coarchitects.com/ influence-history-new-modern-design/ [Accessed 14 May 2021].
R-Z [Retinart.net](http://retinart.net/). 2021. Good Designers Learn From History – Retinart. [online] Available at: [http://retinart.net/graphic-design/ good-designers-learn-from-history/](http://retinart.net/graphic-design/gooddesigners-learn-from-history/) [Accessed 14 May 2021]. Sakshieducation.com. 2015. Multidisciplinary nature of Environmental Studies. [online] Available at: https://www.sakshieducation.com/ Engineering/Story.aspx?cid=12&nid=114581 [Accessed 14 May 2021]. Scerri, E., 2018. Human evolution: secrets of early ancestors could be unlocked by African rainforests. [online] The Conversation. Available at: [https://theconversation.com/human-evolution-secrets-of-early-ancestorscould-be-unlocked-by-african-rainforests-101636](https://theconversation. com/human-evolution-secrets-of-early-ancestors-could-be-unlocked-byafrican-rainforests-101636) [Accessed 13 May 2021].
KILTIR + P11
+
S4 UE43-1 CULTURE AFRIQUE
Dean Purgas e: dean-ashley.purgas@nantes.archi.fr t: +230 59 76 45 44 KILTIR + P12