Architecture and society, holding hands with Africa Culture
African Architecture and Urban Planning Marie-Alphonse Liwata
Joana dos Santos Ferreira Home Faculty - Faculty of Architecture of University of Porto, Portugal (5th year) Erasmus Faculty Tampere University of Technology
2012 1st period
African Architecture and Urban Planning
2012 1st period
African Architecture and Urban Planning
2
Tampere University of Technology, School of Architecture
SUMMARY
“Antes de arquitecto, arquitecto é homem, e homem que utiliza a sua profissão como um instrumento em benefício dos outros homens, da sociedade a que pertence” (Fernando Távora, da organização do espaço, Faup publicações, porto, 1996). “Prior to becoming an architect, an architect is a man, and a man uses his job as an instrument for the benefit of other men, and the society he belongs to” In which way can we relate architecture with society, and what is the architect’s role in the ancient and modern society? What are the consequences of architecture in collective spaces? What is an impact of ephemeral and permanent work on the society? Architecture is a subject that evolves in line with human progress, influencing ideas, tastes, needs, culture or ways of life. Following this concept, architecture tries not only to answer question about private living and housing but also about society in general. The question to be explored is: since it is really difficult to predict long-term effects of architecture on the society, should architects try to respond to the society’s demands and problems, or rather should the society adapt to the design? Should an individual expression be sacrificed in favor of formal, unified and standardised society?
Joana dos Santos Ferreira
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2012 1st period
African Architecture and Urban Planning
2012 1st period
African Architecture and Urban Planning
CONTENTS Summary
3
Reflection
6
Introduction
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1| Architecture as an image
8
2| The condition of time in architecture
forming a society
2.1| The social production
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2.2| The social function of architecture
11
3| African architecture
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3.1| Urban planning in Africa: Utopia or reality?
13
3.2 | Social Patterns in Architecture
14
4| Final Remarks
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5| Practice Poject
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4
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5.1| The house
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5.2| Public/Private
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5.3|Connections
22
23
5.4| Portuguese culture
5.5| Analysis
25
5.6| Project
27
Footnotes
31
References
32
Images References
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“This building is interesting for theoretical and conceptual reasons, constructive and others, but the problem is that it has no soul.” Peter Zumthor, ”Thinking Architecture” (1998)
Joana dos Santos Ferreira
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2012 1st period
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2012 1st period
African Architecture and Urban Planning
REFLECTION The theme of this essay reflects the relation between architects and society. The role of selected elements of architecture in the societal needs will be discussed. In the course of this text, two different points of view related to the theme “Architecture as a social production” will be presented: how to associate architecture with physical, structural or expressive qualities of art, and how architecture can be self-produced, regarding ethical responsibility of architectural profession in societal contexts. “E finalmente chegou a casa. O refugiar e o defender transformaram-se no habitar. E o Homem, uma vez dominado o espaço definido pelos planos correspondentes, concebeu a possibilidade de o controlar. De o proporcionar. E viu que, com a luz, podia tencioná-lo”1
Image 1| representation of a house by a child in western countries
(Campo Baeza, 2008, p57) “And then there was the house, and with it the sense of inhabiting, sheltering and protecting. It also meant that within its corresponding delimiting lines, Men could dominate and control space. Give it proportions and realise that, in using light, that space could be planned”2. (Campo Baeza, 2008, p57)
The symbolism of ‘the house’ is one of the most compound we know. It can be found in many art forms, such as music, literature, film, theatre, photography etc. These media try to explore different concepts of “the house”. However, in all of them the house remains the frame depicting human being.
Image 2| African ancient houses
“a casa é um verdadeiro cosmos”3 (Bachelard, 1996,p24). “the house is a truly cosmos”4 (Bachelard, 1996, p24).
It illustrates the private lives of its users and acts as a frame for memories. Unlike the city, with all of its typological mutations, the house provides stability, contrasting with the dynamics of exterior world.
Image 3| Egyptian ancient houses
“Uma casa (do latim casa) ou uma residência (do latim residentia) é, no seu sentido mais comum, uma parede artificial construída pelo ser humano cuja função é constituir-se de um espaço de moradia para um indivíduo ou conjunto de indivíduos, de tal forma que eles estejam protegidos dos fenómenos naturais exteriores (como a precipitação, o vento, calor e frio, entre outros), além de servir de refúgio contra ataques de terceiros.”5. (infopédia 2010) “A house (from latin ‘casa’) or a residence (from latin ‘residentia’) is, in its most common meaning, an artificial construction, built by a human being, whose function is to provide a dwelling for one or more inhabitants, so that they can be protected from natural phenomena, (such as rain,wind,heat etc.) and function as a shelter from external factors”6 (Infopedia 2010)
To outline the aforementioned concept, the thematic house of Gaston Bachelard will be explored. The relation between the architect and the understanding of what people intend to possess in their houses will be addressed.
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Image 4| Typical Portuguese house
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INTRODUCTION
“ as long as there is a man who needs a house, architecture will still exist” 9 (Mário Botta, 1999, p.20)
The points to be outlined in more detail: a)
Genuine meaning of architecture, and its responsibility to society;
b)
“Social usefulness” of architecture;
Although both of these arguments refer to the same type of problemrelation between architecture and society- they pose two different meanings. The first argument refers to architects and their concerns about addressing national-scale functional problems typical for housing, urban planning and master planning. In addition, they also need to consider imagery of architecture in aesthetic, philosophical, artistic or sociological terms etc. The second argument describes the new needs, behaviours and wishes of contemporary men in a sociophysical context and the ways in which architecture responds to such factors. In this regard, the architect becomes the critic, influencing the appearance of the society. These are the two levels of social responsibility which can be thus defined.
Image 5| M.C. Escher draw, Relativity 1953 Lithograph. This draw show us that everything is relactive until we can understand it purpose. Such as archtecture and society patterns
Image 6| Optic illusion
Joana dos Santos Ferreira
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2012 1st period
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2012 1st period
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1| Architecture as an image
All artists strive to communicate their final work to the society, by means of various images. The visual image is the most important part of interchanging artist’s ideas with the external world, and over the decades the significance of this communication has been gaining more and more critical attention. Since the prehistoric times, people have felt the need to personalize and empower their own space, by means of cave painting or drawing. The means for spreading such images to wider circles of reach have been constantly changing, from word of mouth, through travels, up to contemporary media and marketing. Cities act not only as a communication instrument between past and future generations, but also as a setting for architects’ art, where they can have the privilege of revealing their autonomy and organizational skills. It is in this context that we can figure out the architect’s role in spatial modeling and managing functional layouts. This brings to mind the idea of one Portuguese architect: “uma forma só é significativa se for funcional na sua totalidade. (..) Uma forma só possuí significado na medida em que representa ou satisfaz, para além de um homem, toda uma sociedade que dela se utiliza” 10 (Fernando Távora, Porto, 1996). “shape is only significant if it is functional in its entirety (…) Shape only has a meaning if it satisfies, besides a single man’s needs, the whole society for which it is used” 11 (Fernando Távora, Porto, 1996).
This can mean that it is not a single individual who architects need to cater for, but the society instead. And it is this large-scale picture through which socially-sensitive architecture is formed. Architects intend to benefit from their knowledge of space creation in facilitating the social urban sustainability.
Image 7 | lantshoong pattern from Central Africa
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2 | The condition of time in architecture – forming a society! “todo o homem cria formas, todo o homem organiza o espaço e se as formas são condicionadas pela circunstância, elas criam igualmente circunstância, ou ainda, a organização do espaço sendo condicionada é também condicionante”12 (Fernando Távora, Porto, 1996, p73). “Every man creates shapes, every man organizes space, and if forms are conditioned by external circumstances, they also create these circumstances, moreover, the organization of space being conditioned, is also a source of impact”13 (Fernando Távora, Porto, 1996, p73).
We are used to confronting ourselves with habitation typologies in a variety of different media such as publications, television etc. Most of them are considered impossible to live in, because they are not designed or developed according to our personal needs. Such spaces are usually quite impersonal, which can imply that the needs of an individual are often neglected in domestic or collective architecture. Architecture is permanent, and it is intended to be used and enjoyed by people with diverse needs over the time. The way inhabitants think about their own house is reflected in the way it is occupied. This diversity of spatial appropriation allows us to understand the variety of the social and physical organization of space and its correspondence to inhabitants’ needs. Architecture is an exceptional field of social planning due to the variety of constraints, such as changing cultural demands, dynamic demographics, climate conditions, expensive materials and production techniques. This results in the outstanding complexity of architectural profession in managing a wide spectrum of problems, such as typology differentiation, spatial articulation, master planning.
Image 8| Carlos Ramos Pavillion, Alvaro Siza Vieira, 1986-1996. This work show us how does the time works with architecture, and how does the society interacts with it. We can never forget that architecture is a perenal work in society, which means that we have to think in many ways, not only our time but also other times and societies.
Architecture addresses a number of interrelated factors affecting the holistic overview of society. All of these ingredients form the basis for the standards and constraints to which architecture should be sensitive and responsive.
Image 9| Tea House, Leça da Palmeira, Alvaro Siza Vieira,1958-1963.
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2.1| The Social Production
The opportunity to create innovative directions towards a new built environment, places architects and planners in another dimension of thinking, which considers its impact on the society. Architects need to place themselves in a position of a user of the built environment but at the same time act as professionals influencing the shape and quality of social space. It cannot be underestimated how inseparable architecture and society are. Being aware of this crucial connection as well as of current consumerism notions across the society, architects changed their view. Instead of thinking exclusively from a functionalist point of view, solving problems and the need of shelter and protection (pure and simple housing), he created images that approach the public, privileging relations between inhabitant/space/house. The philosophy of dwelling considers the essence of humanity as entirely determined and shaped by the quality of one’s dwelling. As Bachelard said, Man dwells his own house, before he dwells the world. “The house is our own space in the world”; “our first universe” 14 (Bachelard, 1957, p24).
The house as a shelter prepares residents for interactions with the exterior world. According to Bachelard, the house establishes an everyday experience, and is one’s own personal and safe universe. Contrary to the constantly changing appearance of the city, the house, as a permanent structure, provides a feeling of security and stability, counterbalancing the chaos and diversity of the external world.
Image 10| La tourette 1857-1904, Le Corbusier. this works is one of the most amazing woks of Corbusier. Ii is the piece that can show to the work that man can live as a machine of dwelling. This idea was developed by him during the 20th century. He believes taht architecture and society should go along together, so in his idea, architecture should be inspired by the industrial production of that century, creating the serial construction for architecture.
2.2 | The social function of architecture “A arquitectura é, entre todas as artes, aquela que mais ousadamente procura reproduzir no seu ritmo a ordem do universo, que os antigos chamam de Kosmos, isto é, ornado, na medida em que é como um grande animal sobre o qual refulge a perfeição e a proporção de todos os membros.” 15 (Umberto Eco, Barcelona, 2002, p28) “the architecture, among all arts, is the one that most daringly seeks to reproduce in its rhythm the order of the universe, which the ancients called Kosmos, ie, ornate, insofar as it is a large animal on which the perfection shines and the proportion of all members” 16
Image 11| Unités d’Habitation, 1947-1952, Marseille. Le Corbusier
(Umberto Eco, Barcelona, 2002, p28)
To understand a human being is to decipher a certain cultural identity as well as the sociophysical context that defined it. In order to fully interpret this environment, it is essential to consider both its physical and metaphysical qualities. 10
Image 12| Le Modulor, Le corbusier draw. He used Man as a measure for his projects.
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The primary intention of architecture is to organize the space, facilitate its occupation and give it a unique aesthetic expression. Unlike other arts, architecture is omnipresent and has a direct impact on people’s everyday lives. According to Bruno Zevi17, the architect interprets compound characteristics of the society and users of the built environment, and then addresses them in his own spatial ideas. Image 13| Farnsworth House,Chicago,Mies Van der Rohe,1945-51
Image 14| Farnsworth House Plans
Architects are not always part of the social context which they are commissioned to design for. Moreover, each of such contexts poses different cultural, social, historical or typological challenges, which makes it even more complicated for architects to appropriately tackle design tasks. For these reasons, it is absolutely necessary that architects are familiar with the compound qualities of each new context, so that it is clear what kind of and extent of changes needs to be proposed. At this point, it is worth mentioning the first works of Mies Van der Rohe (1886), prominently exposing different classical architectural elements. The past should never be forgotten in order to understand and affect the present. Gradual and rapid changes among different societal contexts should be carefully regarded, so that a balance between innovation and respect for the past can be found. In the sixties, Philip Johnson (1906) argued that the architectural profession poses no social responsibility for urban contexts. Johnson saId:
Image 15| The Blas House, Spain, Alberto Campo Baeza, 2000
“I do not know where they come from forms, but it has nothing to do with the functional or sociological aspects of our architecture”. Likewise, post-modern architect Peter Eisenman (1932) based on the hostile theory: “I don’t do the function”. On the
other hand, famous westernized architects such as Frank Gehry (1929), Steven Holl (1947) or Richard Meier (1934), see themselves as artists, proving that architecture does not give in to a modernization. Thereby, rather than flashy images, architecture provides a user-tailored and socially responsive space of everyday use.
Image 16| The Blas House plans
Image 17| Classical building renaissance
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3| African Architecture
In this chapter, different examples of African settlements will be explored. Is it possible to follow traditional concepts of urban planning in Africa? How is this cultural and geographical context different to other places and why? What is the idea of architectural design in the built environment of Africa? How does the contemporary culture affect new projects? Is it possible to distinguish certain patterns in architectural approach? The western World believes that this task should ends in culmination between a visual idea and a cultural idea. An urban development in Africa is defined by an extremely multicultural environment, which is shaped through its local conditions, ethnic background of its residents, history and colonial experience. This is why in their design approach, architects need to consider a spectrum of challenging dimensions. David Adjaye (1966)18, in his thesis, argues that unique conditions of each region have a decisive effect on the appearance of its architecture and urban context.
Image 18| MIPIM architectural review future project awards 2007, Regeneration and Masterplanning for Dondo, Mozambique.
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3.1| Urban planning in Africa: Utopia or reality?
The city development is a complex process, a dynamic game of changing territorial occupation. It is an interrelated flow of demographic, economic, social and cultural characteristics. Architects and planners are the ones who hold the privilege of influencing this process. It is defined by “occupation of urban territory and construction of a human scale, essential for the quality of urban life”19 (Arqa103, Portugal,p.025)
The current demographic explosion in African dictates the intensity of urban transformations in African cities. The future of the African continent requires a careful understanding of historical references – ranging from initial kingdoms and empires, to strenuous relations with Europe and the colonization, ending on the dead of modernity. 20 (Arqa103, Portugal,p.032) The problem characteristic for these cities is that the urban space is used as a platform for political and economic maneuvers. These conditions do not allow the liberated and uncorrupted practice of valid mechanisms to improve cities. The possible solution for this problem is to apply the political force, but it becomes to tight and undisciplined, which delays the innovation and creativity in African cities. Another suggestion is expressed by Diébédo Francis Kére (1965)21, “O arquitecto deve resistir às práticas políticas e administrativas estabelecidas, no que diz respeito à urbanização. Por exemplo, de acordo com as políticas correntes para o desenvolvimento urbano, a construção de habitação ocupa novos terrenos sem que haja um planeamento rigoroso das infraestruturas, (…). As políticas actuais de planeamento urbano também negligenciam a paisagem (…). Temos que modernizar enquanto preservamos e ensinamos.” 22 “The architect must resist political and administrative practices related to urbanization. For example, under current policies for urban development, construction of housing occupies new territory without any careful planning of infrastructure, (...). Current policies of urban planning also neglect the landscape (...). We have to modernize but at the same time preserve and teach.” 23
Image 19| MIPIM architectural review future project awards 2007, Regeneration and Masterplanning for Dondo, Mozambique.
Architecture and urban planning in Africa has been influenced by many colonialist paradigms. It is reflected in a hybrid territorial context with different socio-physical characteristics. “Africa is a huge continent with a highly diverse set of physical and cultural characteristics” 24 (Arqa 103, 2012 pag037)
The westernized idea of “Africa” is a myth, and the aforementioned paradigms are defined by the Urban Planning in Africa.
Image 20| MIPIM architectural review future project awards 2007, Regeneration and Masterplanning for Dondo, Mozambique.
Joana dos Santos Ferreira
In a continent of such fast pace of development, architects and planners should remain aware of the importance of their social role in shaping the existing conditions of urban contexts and embracing their new character. The required solutions should encapsulate both local and large scale. Instead 13
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of only counterbalancing the political forces, architects should pursue to balance between the existing conditions and innovative solutions. Africa has always been characterized by complicated historical mechanisms, which have to be nevertheless taken into account.
3.2 | Social Patterns in Architecture The meaning of the word ‘architecture’ has greatly evolved over the course of time. From its definition, architecture involves a process which, combining arts and science, allows the creation of a final product of planning, designing and construction. “Architecture (Latin architectura, from the Greek ἀρχιτέκτων – arkhitekton, from ἀρχι“chief” and τέκτων “builder, carpenter, mason”) is both the process and product of planning, design and construction. Architectural works, in the material form of buildings, are often perceived as cultural symbols and as works of art. Historical civilizations are often identified with their characteristic architectural achievements. (…) In relation to buildings, architecture has to do with planning, design and construction of form, space and ambiance, which reflects functional, technical, social, environmental, and aesthetic considerations.” 25
Image 21| Interpretation center Mapungubwe, Limpopo, Peter Rich Arhitects,2002-10; plans
(Rowland, 1999)
As mentioned earlier, urban planning and architecture are the main disciplines shaping the built environment for the society. New visions and solutions should be regarded as a continuity of culture, mixing innovative solutions with existing patterns. Various elements of urban built environment play an extremely important role in our daily lives. Architectural and urban design should thus embrace and promote the fundamental concepts of social mechanisms.
Image 22| Interpretation center Mapungubwe, Limpopo, Peter Rich Arhitects,2002-10; constructive sistem of vaults.
“A structure that makes up our build environment, one in which we will live, work, play.”26 (African Fractals, 2002, page 20)
Many public buildings use certain techniques to reflect the social dimension of architecture. Religious buildings usually follow the concept of the Holy Trinity as a fractal, which is furthermore shaped by the specific conditions of certain cultural contexts. “take religious architecture for example. Several churches were built using a triangular floor plan to symbolize the Christian Trinity; others used a shape of a cross. The Roman Pantheon was divided into three vertical levels: (…)but we do not need to look to grandiose monuments; even the most mundane shack will involve geometric decisions (…)and so culture will play a role here as well.” 27
Image 23| Interpretation center Mapungubwe, Limpopo, Peter Rich Arhitects,2002-10; sections.
(African Fractals, 2002, page 20)
At a first glance, African architecture seems to be so complex that 14
Image 24| Interpretation center Mapungubwe, Limpopo, Peter Rich Arhitects,2002-10
Tampere University of Technology, School of Architecture
no homogenous patterns can be distinguished. But as relations between different places in Africa are carefully examined, some common design features, creating a certain architectural pattern, can be detected. The author of “African Fractals” outlined a few categories of fragmented city design, and divided them into three types: rectangular, circular, sprawled. Identifying these types of fractal African settlements allowed to develop a more detailed knowledge of the subject. The fractal structures which can be found in African cities pose a great contrast to Euro-Americans settlements, insofar as their social structure is very different. In most Euro-American countries, the social hierarchy is politically divided according to a “top-down” society, described as “the society with a large political hierarchy, labor specialization, and cohesive, formal controls”28 (African Fractals, 2002, page 39). On the other hand, African society is defined
as a “bottom-up” society, which is defined as a “non-state” organization, with “many state societies, as well as an enormous number of smaller, decentralized social groups, with little political hierarchy” 28 (African Fractals, 2002, pag39). This refers to the aforementioned idea, that every society creates its own fractals, depending on its specific cultural conditions. Culture is thus the most influential engine, shaping architectural patterns and societal development in this context. In fact, these different patterns do not only appear in architecture but also in many other types of “design and cultural practices” such as wall painting or textile design. But can we define these patterns as an intentional attempt to embrace culture, or only as a result of an “intuitive inspiration” 29?(African
Fractals, 2002, pag53). Image 25| Emerging Ghana prototype, Cape Coast, Blaanc+Rootstudio, 2010-12
In his book, Ron Eglash defines three types of fractal design in African culture: fractals deriving from unconscious activity, from nature (mimesis versus modeling) and from esthetics. From all these, he concludes that only nature and esthetic fractals are the ones that can be mathematically determined, which means they can define a strategy for a social production of urban contexts. These kinds of fractals are the ones which intentionally attempt to encapsulate culture. What are the consequences of occurrence of these fractals in the social development of African indigenous design? How can this appearance affect urban architecture of Africa?
Image 26| Room to think, idea from a practice investigation by Paulo Moreira, 2011
Joana dos Santos Ferreira
The phenomenon of space appropriation is less embedded in Africa than anywhere else in the world. This idea results from the conclusion that, unlike in many other countries, in Africa the concept of permanence and durability of built structures is not as omnipresent and natural. Most of the time, production costs are dependent on materials imported from abroad. There is a lack of skilled labor force, required for professional detailing and 15
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materials handling. This, along with the local political and administrative turmoil, creates an unfavorable environment for potential construction. As an analyst of social space production, the architect must be able to read such patterns in the African society and create logical and innovative proposals to facilitate sustainable development of these cities. New pedagogical concepts should be introduced in professional architectural training of architects, urban planners and engineers, in order to implement the idea of sustainable architecture. This can be applied through using local materials, reinterpreting traditional local typologies or involving local residents in the construction process. In a continent of such fast-paced development, architects have the opportunity to influence this turbulent pattern of growth, establish their relationship with local communities and legitimize the act of building construction.
Image 27| Feminine School St Cyprians, Oranjezicht, Cape town. Noero wolff. Life center part.
Image 28| Feminine School St Cyprians, Oranjezicht, Cape town. Noero wolff. Perspective and section
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4| Final Remarks
“Penso que a arquitectura, hoje em dia, se deve recordar das suas tarefas e possibilidades genuínas. A arquitectura não é nenhum veículo ou símbolo de coisas que não fazem parte da sua natureza. Numa sociedade que celebra o insignificante, a arquitectura pode opor resistência, contrariar o desgaste de formas e significados e falar a sua própria linguagem. A linguagem da arquitectura não é, a meu ver, nenhuma questão de estilo arquitectónico. Cada edifício é construído com um determinado objectivo, num determinado lugar e para uma determinada sociedade. Às questões que resultam destes factos simples tento responder com as minhas obras do modo mais preciso e crítico que consigo.” 30 (Zumthor, 2006,p27). “I believe that contemporary architecture must respect its tasks and genuine possibilities. Architecture is not a vehicle or a symbol of things that are not part of its nature. In a society that celebrates the insignificant, architecture can offer resistance, counterbalance wear and tear of forms and meanings, and speak its own language. I believe that the language of architecture is not a question of specific style. Every building is built with a specific purpose in a particular place and for a particular society. My buildings try to answer the questions that emerge from these simple facts as precisely and critically as they can.” 31 (Zumthor, 2006,p27).
Image 29| Pounded bark painted with gardenia dye and charcoal
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Contrary to Zumthor opinion, I am convinced that architecture is also a vehicle of new ideas, new symbols, more then its formal and genuine character of construction and Man shelter. However, I agree that sometimes architects should look for answer primarily to the society, to their needs, solving the act of inhabiting. Architecture can be a society mirror, howerver can not be exhausted in its “spirit of time” (Pedro Vieira de Almeida, “Da utilidade Social da Arquitectura”). it behooves us to chose between all meanings and signifiers that society reveals, which ones represent important and permanent values, that represent the city (as a social element). Maybe that is the reason why we question some historical works and its importance in nowadays architecture. I would say that are works that answer to commons and central ideas of humanity, that distinct and different, use it as a connection to a uniform and stable representation for the man’s path. It will always be impossible for architecture aspire to a consensus, however we must seek by means of fragments that are ideal (s) of company (ies), the bridges. What I prupose to this subject is to be able to overcome formal and material issues from the place, and stays and a permanent work in society, representing its time. This sense refers not only to current values or characteristics of the time where we are, but timeless values that affect it. To Renounce to get this timeless sense, we withdraw to the architecture all its social production and the relation to what is more important to it, the Man and his timeless. Architecture shouldlook for surprise and, idealistically, formalize different ideals, never forgetting the meaning of the masses of humanity.
“That’s what you should ask the architects. And it’s a lot. “
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5| Project
“I believe that they [materials] can assume a poetic quality in the context of an architectural object, although only if the architect is able to generate a meaningful situation for them, since materials in themselves are not poetic.” Peter Zumthor, ”Thinking Architecture” (1998) 32
In this chapter the proposal for a modernised African settlement will be presented. The design concept relates to the previously mentioned theoretical ideas of social sustainability in the built environment. What proved to be a design challenge is the lack of familiarity with the characteristics of this specific geographical and cultural context. A number of daring socio-physical and technical issues had to be embraced.
30| Kuba textiles, Africa: the art of a continent.Munich, New-York : Prestel, 1995.
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5.1| The House The reason for choosing this specific case study as the basis for the project is the fact that the metaphorical representation of human figure is not as evident here as in the considerable majority of indigenuous African settlements. The following drawings will aim at identifying the concept of a human body as depicted in the sequential circulation route.
31| House choosen 0
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33| Diagram representing circulation route
Firstly, different zones of functionality within the house were outilned (Image 32). The first space after entering is the Man’s house, which is the only room in the entire building with a connection to the entrance. It has to be passed through in order to reach the private part of the house. Although the circulation route through the house can happen in many possible variations, it always refers to the idea of human body (see Image 33) 20
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32| Diagram representing different zones of functionality
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5.2| Public and Private
34| Diagram representing public and private zones
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35| Diagram representing public and private zones
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Both the exterior and the interior were divided to public and private zones. The pattern of private spaces in the interior is determined by the level of accessibility among its users.
In the diagram above three different exterior areas (grey) were identified. The biggest one with approximately 380 m2, defines the perimeter of the property and can be accessed by everyone.
Some areas in sqm |
The smallest, oval-shaped area defines the entrance zone. It is the only point in the entire scheme where the house can be accessed. The remaining exterior area has an exclusively private character, since it can be only used by the residents. It serves as a private garden, which can be accessed only with the permission of the Man of the house. Moreover, the only access point to this zone can be found in the Man’s room.
50 m2 29 m2 380 m2
The interior spaces can also be divided accordingly. The Man’s house and the Barn are the only interior public spaces, and the others are private. They can only be accessed through the “private garden”. 0
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170 m2 50 m2
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5.3| Connections
As it can be seen in the image, there are two entrances to the interior private space. The first is through the Man’s house, which has a secondary entrance connected to the private garden. The second entrance leads directly to the private garden and the Man can always see who enters. Once we are inside the Woman/Children’s house, you can access the attic, the kitchen, and the goat house. None of these spaces is connected to the exterior.
36| Diagram representing connections between spaces
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In conclusion, the main ideas are: . The connections are made through differents spaces, depending on the function they hold; . No building as a direct access to the perimeter of the property; . Only the Man’s house, the attic and the Sacred House can access the private garden. . There are no common areas between all the rooms;
37| Diagram representing connections between spaces and public zones
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Tampere University of Technology, School of Architecture
5.4| Portuguese Culture It is impossible to define the term Portuguese culture in such a brief work. However, I believe that the chosen reference, The Porto House, can attempt to sufficiently illustrate the cultural features relevant to the overall theme. This house typology contains some spaces representing similar social concepts to the house in question. Nevertheless, plenty of significant differences occur. The Porto House dates back to the 17th century, and it continues to be used as a model for socially-aware architecture. Many of these buildings are being renewed because of their poor state.
38| Porto’s city, zona ribeirinha, Portugal
Because of the tall and narrow form of the building, the initial idea was to place the apartments for the rich on the ground floor, so that they did not have to use the stairs. In the past, the higher you lived, the poorer you were. In addition, the poor had no access to the garden. The only public common area was the staircase, and each floor was designed accordingly to the material and social status of the people occupying it. It reminds of an inverted pyramid, with the rich at the bottom of it.
39| Porto’s city, zona ribeirinha, Portugal
Poor Middle class Rich
40| Porto House, Nuno Valentim doctoral thesis, 2006, page 16
Joana dos Santos Ferreira
Less important Important
More important
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Examining the plans, we can see that the ground floor has access to the main entrance and the private garden, but only for the rich people. Due to the fact these people occupied this level, they always knew who entered or left the house. If we compare this situation with the house in question, we can see that the idea is similar - the Man of the house always controls the entrance.
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Some of the more important Porto houses also contained a private room on the ground floor, men could invite some guests, without anyone else knowing. It is located right next to the main entrance. Like in African houses, only men can receive guests and the guests cannot see anyone else except for the host.
41| Porto House, Nuno Valentim doctoral thesis, 2006, page 15
The major difference between these two types of housing is the height. In Porto, due to the density of urban tissue, people have to build high, because there is not enough land. In Africa, with plenty of vast and unused areas, the construction spreads uniformly across the territory, without any high buildings.
42| Porto House, Nuno Valentim doctoral thesis, 2006, page 20
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Tampere University of Technology, School of Architecture
5.5| Analysis PROS - private | public space well defined - easy control of people entering or leaving the house - big garden spaces - the places are different from each other, depending on their position and the connections they facilitate - use of basic geometric forms
43| The Rolex Center |Sanaa
Joana dos Santos Ferreira
CONS - poor fluidity of space - no common areas for the whole family - no openings from the rooms onto the pivate courtyard or public exterior zone - the irregular shape of the courtyards, unlike the harmonious geometry of the building - no connections between man’s house and other spaces from the inside - no use of light
44| The Barcelona Pavilion | Mies van der Rohe
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women / children Attic
shipyard
sacred house
women / children
kitchen
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Man’s house
entrance
Attic
barn
Tampere University of Technology, School of Architecture
5.5. Project
The diagram on the left represents different spaces. The yelow blocks are the houses, the glass blocks are the courtyards, whose form is influenced by their function. 0
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Distribution of these blocks represents the functional layout. Courtyards are proposed for each of the rooms.
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Extra walls are incorporated to further divide the space and create visual relationships. The space between the walls and the blocks becomes an internal common area, so we are able to access different spaces without going outside 0
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The idea is to represent the same spatial idea but with different functions. The yellow blocks, (houses) still have no openings, so that the idea of the house used only for sleeping remains. Nonetheless, now there are new common spaces where people can meet each other during their daily activities. These are all illuminated by the light from the courtyards. They can also be used as an external space for different activities.
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Plan and Section produced by the student
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Tampere University of Technology, School of Architecture
Renders/3D images of the Prototype produced by the student
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Tampere University of Technology, School of Architecture
FOOTNOTES 1.BAEZA, A.C., 2004. A Ideia Construída. Lisboa: Caleidoscópio. 2.Translation from footnote number 1 BAEZA, A.C., 2004. A Ideia Construída. Lisboa: Caleidoscópio. 3.BACHELARD, Gaston, A Poética do espaço. São Paulo: Martins Fontes, 1996. 4.Translation from footnote number 3 BACHELARD, Gaston, A Poética do espaço. São Paulo: Martins Fontes, 1996. 5.Infopédia 2010, accessed in October 2012, http://www.infopedia.pt 6.Translate from footnote number 5 Infopédia 2010, accessed in October 2012, http://www.infopedia.pt 7.TÁVORA, Fernando, 1962, Da organização do espaço, 2ºedição, Porto, FAUP publicações 8.Translation from footnote number 7 TÁVORA, Fernando, 1962, Da organização do espaço, 2ºedição, Porto, FAUP publicações 9.BOTTA, Mário; retirado de Philip Jodidio, Building a new Millenium, taschen, Espanha, 1999, p.20 10.TÁVORA, Fernando, 1962, Da organização do espaço, 2ºedição, Porto, FAUP publicações 11.Translation from footnote number 10 TÁVORA, Fernando, 1962, Da organização do espaço, 2ºedição, Porto, FAUP publicações 12.TÁVORA, Fernando, 1962, Da organização do espaço, 2ºedição, Porto, FAUP publicações 13.Translation from footnote number 12 TÁVORA, Fernando, 1962, Da organização do espaço, 2ºedição, Porto, FAUP publicações 14.BACHELARD, Gaston, “A poética do espaço”; Paris; PUF, 1ºedição; 1957; 15.Umberto Eco, O nome da Rosa, Bibliotex, Barcelona 2002 16.Translation from footnote number 15 Umberto Eco, O nome da Rosa, Bibliotex, Barcelona 2002 17.ZEVI, Bruno, 2002, Saber ver a arquitectura, 5ºedição, s. Paulo, Editora Martins fontes, Tradução: Maria Isabel Gaspar /Gaëtan Martins de Oliveira; 18.Fall 2010 Graduate Studios in Princeton University School of Architecture. Architect, curator and author or “Urban Africa” 19.Arqa 103, BAPTISTA, L.S.; MELÂNEO, P.; Contrastes Africanos, Perspectivas críticas, Arqa103, Portugal, nº103;18 pages full article, Sep | Oct. 2012 20.Withdrawing idea from Arqa 103, BAPTISTA, L.S.; MELÂNEO, P.; Contrastes Africanos, Perspectivas críticas, Arqa103, Portugal, nº103;18 pages full article, Sep | Oct. 2012 21.Architect, Professor HGSD E.U.A., Wisconsin University, E.U.A., Architecture Academy of Mendrisio 22. Arqa 103, BAPTISTA, L.S.; MELÂNEO, P.; Contrastes Africanos, Perspectivas críticas, Arqa103, Portugal, nº103;18 pages full article, Sep | Oct. 2012 23.Translation from the footnote number 21|Arqa 103, BAPTISTA, L.S.; MELÂNEO, P.; Contrastes Africanos, Perspectivas críticas, Arqa103, Portugal, nº103;18 pages full article, Sep | Oct. 2012 24.Arqa 103, BAPTISTA, L.S.; MELÂNEO, P.; Contrastes Africanos, Perspectivas críticas, Arqa103, Portugal, nº103;18 pages full article, Sep | Oct. 2012 25.D. Rowland - T.N. Howe: Vitruvius. Ten books of Architecture, Cambridge, 1999; Cambridge University Press 26.EGLASH, Ron; “African Fractals: Modern Computing and Indigenous Design”; 2nd edition, 2002, British Library (no editor). 27.EGLASH, Ron; “African Fractals: Modern Computing and Indigenous Design”; 2nd edition, 2002, British Library (no editor). 28.Withdraw from | EGLASH, Ron; “African Fractals: Modern Computing and Indigenous Design”; 2nd edition, 2002, British Library (no editor). 29.EGLASH, Ron; “African Fractals: Modern Computing and Indigenous Design”; 2nd edition, 2002, British Library (no editor). 30.Translate from footnote number 29.ZUMTHOR, Peter; Pensar la arquitectura; 1st edition, D. Gilli, 2006 31. ZUMTHOR, Peter; Pensar la arquitectura; 1st edition, D. Gilli, 2006 32. ZUMTHOR, Peter; Pensar la arquitectura; 1st edition, D. Gilli, 2006
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REFERENCES BACHELARD, Gaston, “A poética do espaço”; Paris; PUF, 1st edition; 1957; ZEVI, Bruno, 2002, Saber ver a arquitectura, 5th edition, s. Paulo, Edited by Martins fontes, Translation by: Maria Isabel Gaspar /Gaëtan Martins de Oliveira; TÁVORA, Fernando, 1962, Da organização do espaço, 2nd edition, Porto, FAUP publicações., BENEVOLO, Leonardo, 1998, A cidade e o Arquitecto, Lisboa, SP Editora Perspectiva. Edições 70, ISBN 972-44-0107-3; EGLASH, Ron; “African Fractals: Modern Computing and Indigenous Design”; 2nd edition, 2002, British Library (no editor). ZUMTHOR, Peter; Pensar la arquitectura; 1st edition, D. Gilli, 2006 Arqa 103, BAPTISTA, L.S.; MELÂNEO, P.; Contrastes Africanos, Perspectivas críticas, Arqa103, Portugal, nº103;18 pages full article, Sep | Oct. 2012 BAEZA, A.C., 2004. A Ideia Construída. Lisboa: Caleidoscópio
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IMAGE REFERENCES 1| http://spaceworkerscps.blogspot.fi/2009/01/casa-pao-de-sousa.html 2| http-//www.suhogproject.org/ 3| http-//www.historylink101.net/egypt_1/a-housing 4| http://www.123rf.com/photo_9386218_ancient-country-house-in-the-village-of-monsanto-in-portugal.html 5| http://tudocabe.blogspot.fi/2010/11/em-brasilia-uma-outra-perspectiva.html 6| http://hypescience.com/incriveis-ilusoes-de-otica/ 7|http://fearlessperfection66.blogspot.fi/2012/09/textiles-central-african.html 8| http://www.djibnet.com/photo/Álvaro+joaquim+de+melo+siza+vieira/faculdade-de-arquitectura-da-universi- dade-do-porto-2811032918.html 9| http://www.porto.taf.net/dp/taxonomy_menu/1/353 10| Own images from a trip to Basel, in 2012 11| Own images from a trip to Basel, in 2012 12| http://www.ionone.com/arclecorbu.htm 13| http-//1.bp.blogspot.com/-aSovVDDvpjE/T7FP8n3PSOI/AAAAAAAAAgI/F3sOEknz1aI/s1600/IMG_3382.JPG 14| http://ericablog101.blogspot.fi/2010/11/history-and-theory-of-interior-design.html 15| http-//farm1.static.flickr.com/192/441029242_5022080c6e.jpg 16| http-//1.bp.blogspot.com/_x99guRlpF9o/SuL5QkHWiRI/AAAAAAAAKVY/ehTiabg-oIM/s400/CB-E.jpg 17| http://www.lookingatbuildings.org.uk/styles/classical.html 18| http://archaeology.about.com/od/africa/ig/West-African-Adobe-Buildings/Coumound--Sirigu--Ghana--2000.htm 19| Arqa 103, BAPTISTA, L.S.; MELÂNEO, P.; Contrastes Africanos, Perspectivas críticas, Arqa103, Portugal, no103;18 pages full article, Sep | Oct. 2012; page 026 20| Arqa 103, BAPTISTA, L.S.; MELÂNEO, P.; Contrastes Africanos, Perspectivas críticas, Arqa103, Portugal, no103;18 pages full article, Sep | Oct. 2012; page 027 21| Arqa 103, BAPTISTA, L.S.; MELÂNEO, P.; Contrastes Africanos, Perspectivas críticas, Arqa103, Portugal, no103;18 pages full article, Sep | Oct. 2012; page 044 22| Arqa 103, BAPTISTA, L.S.; MELÂNEO, P.; Contrastes Africanos, Perspectivas críticas, Arqa103, Portugal, no103;18 pages full article, Sep | Oct. 2012; page 048 23| Arqa 103, BAPTISTA, L.S.; MELÂNEO, P.; Contrastes Africanos, Perspectivas críticas, Arqa103, Portugal, no103;18 pages full article, Sep | Oct. 2012; page 046 24| Arqa 103, BAPTISTA, L.S.; MELÂNEO, P.; Contrastes Africanos, Perspectivas críticas, Arqa103, Portugal, no103;18 pages full article, Sep | Oct. 2012; page 043 25| Arqa 103, BAPTISTA, L.S.; MELÂNEO, P.; Contrastes Africanos, Perspectivas críticas, Arqa103, Portugal, no103;18 pages full article, Sep | Oct. 2012; page 089 26| Arqa 103, BAPTISTA, L.S.; MELÂNEO, P.; Contrastes Africanos, Perspectivas críticas, Arqa103, Portugal, no103;18 pages full article, Sep | Oct. 2012; page 127 27| Arqa 103, BAPTISTA, L.S.; MELÂNEO, P.; Contrastes Africanos, Perspectivas críticas, Arqa103, Portugal, no103;18 pages full article, Sep | Oct. 2012; page 076 28| Arqa 103, BAPTISTA, L.S.; MELÂNEO, P.; Contrastes Africanos, Perspectivas críticas, Arqa103, Portugal, no103;18 pages full article, Sep | Oct. 2012; page 077 29| http://fearlessperfection66.blogspot.fi/2012/09/textiles-central-african.html 30| http://www.vub.ac.be/BIBLIO/nieuwenhuysen/african-art/african-art-collection-textiles.htm 38| http://www.homeaway.pt/arrendamento-ferias/p834831 39| http://100mim.wordpress.com/2012/05/26/viva-o-porto-a-beira-do-rio/ 40| VALENTIM, Nuno; “Reabilitação de Caixilharias de Madeira em Edifícios do Século XIX e Início do Século XX”; Doctoral final thesis, Porto, December 2006 41| VALENTIM, Nuno; “Reabilitação de Caixilharias de Madeira em Edifícios do Século XIX e Início do Século XX”; Doctoral final thesis, Porto, December 2006 42| VALENTIM, Nuno; “Reabilitação de Caixilharias de Madeira em Edifícios do Século XIX e Início do Século XX”; Doctoral final thesis, Porto, December 2006 43| http://www.archdaily.com/50235/rolex-learning-center-sanaa/ 44| http://a2d-architecture.com/post/25012108227/to-german-pavilion-barcelona-spain-by-mies-van-der
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Joana dos Santos Ferreira Student Number | 234405 Tampere University of Technology Home University | FAUP Faculty of Architecture of Univeristy of Porto email | jo.santof@gmail.com