2
3
Introduction The area of Makoko is regarded as a prime waterfront location for new development. Located on the edge of the Lagos Lagoon, by the Third Mainland Bridge, which connects two parts of Lagos, the mainland and the Island as seen in Figure 1. In Lagos, Nigeria, the rise in economic development has resulted in the creation of new infrastructure and jobs and as a result the population continues to increase and so do the demand for new homes. As a reaction to this pattern, interest from private developers to purchase new land to take opportunity of a new and growing market is 1 only part of the cycle .
Figure 1: View of Third Mainland Bridge Overlooking Makoko
2
Currently Makoko is the home to a large Fishing community and Sawmill Industry that inhabit the water. Buildings are constructed using wood from the sawmill providing homes for carpenters, fishermen and their families.
1
Alexis Okeowo, "A Safer Waterfront In Lagos, If You Can Afford It", The New Yorker, 2013 <http://www.newyorker.com/business/currency/a-safer-waterfront-in-lagos-if-you-can-afford-it> [accessed 10 March 2017]. 2 Yann A. Bertrand, Makoko Shanty Town [n.d.}
4
The concerns of the government are that the inhabitants leaving on water are seen as illegal as they have no ownership to the land and so believe that the dwellers should find alternative settlement so the land can be used for new development. Makoko lacks basic infrastructure, the water is polluted, as there is no proper waste management and there are no basic amenities. All of this is seen as an embarrassment to the Lagos state government. Threats of demolition were aired and 3 even implemented at some point . However the people still live there.
4
Figure 2: The Okobaba Sawmill, Makoko, Lagos . The people depend on the industry and the Lagoon for their source of livelihood and so live and work in those unpleasant conditions, which leads to the line of inquiry “could the rise in the industry have played a part in the hindrance of the Makoko’s craftsmen” is as a result of the sawmill’s modes of production have contributed to the poor physical material of Makoko as seen in Figure 2. The practices seem to have played a part to the way Makoko has evolved. The aim of this dissertation is to determine the effects of the sawmill industry in the degrading of Makoko and its craft and prepare a route that allows the potential craftsmen, the fisherman and the carpenter of Makoko, to flourish. This essay will interrogate the concept of Alienation by Karl Marx; this provides an understanding of man working in industry as unfavorable, as the situation hinders cooperation and
3
The Economist, "Destroying Makoko", 2012 <http://www.economist.com.plymouth.idm.oclc.org/node/21560615> [accessed 10 January 2017]. 4 Yann A. Bertrand, Makoko Shanty Town [n.d.}
5
5
initiative in man hence, poor production and estrangement in the society . This essay will undertake ethnographic research, adopting Makoko as the case study to undertake critical analysis on work processes and methods of production as a way to determine the effects on Makoko. By exploring the Ideals of The Arts and Craft Movement through the contributions William Morris, the effects industry had on crafts will be understood and the ideals expressed will start to illustrate ways for craft to improve. Morris expressed the value of “association instead of competition” to achieve a collaborative society where quality objects were made and work was pleasant to do 6 for all men . This research will adopt the art and craft ideals and employ the concept of association into the design of a society using 3D modeling and digital tools, the hope is for visual representation for a Craft Society for Makoko to emerge and with the research carried out, pose a way forward for the development of the settlement.
5
Karl Marx, Economic And Philosophic Manuscripts Of 1844, 5th edn (Moscow: Progress Publisher, 1977), pp. 64-70. 6 William Morris, Architecture, Industry & Wealth, 1st edn (New York: Garland Publishing, 1978), p. 64
6
Chapter 1: The Alienated worker in Makoko The aim of this chapter is to determine the effects of industry on man, his work and the environment. The concept of Alienation will be explored and interrogated in the background of the worker in Makoko particularly the sawmill industry. By exploring the current processes and methods of production in Makoko to this chapter will determine if the worker in Makoko is Alienated.
Â
7 Â
Alienation by Marx Marx describes the worker in the act of production as estranged, the productive activity 7 he undertakes is an alienating activity and the product is a produce of that activity . Alienation affects the relationship man has with this work and environment as Marx put it, man is alienated from his productive activity, his product, the species and other men. In alienation the man’s labour becomes external to him, he is unable to recognise his produce, he is unable to form relationships with his fellowmen due to hostility, and is unable to recognise himself, as his work does not belong to him but to the capitalist. The capitalist owns the work and so owns the worker. As part of the modes of production, division of labour are controlled by the capitalist, Marx stressed the influential part Production played in determining the social process and also emphasised that Private Property and Division of Labour establish the 8 material foundation for society’s division into classes . This is to say that the act of production and the processes that relate to production determine the way in which social groups are formed and how they relate to each other. Bertell Ollman explained that divisions, social groups and classes were as a result of the divisions that the systems of production had created when referring to 9 Mark’s concept of Private Property and Division of Labour . It appears that the state of the society had been very much influenced by the systems of production resulting in division.
7
Karl Marx, Economic And Philosophic Manuscripts Of 1844, 5th edn (Moscow: Progress Publisher, 1977), pp. 64-66. 8 Karl Marx, Economic Manuscripts, pp. 77-81. 9 Bertell Ollman, Alienation: Marx's Conception Of Man In The Capitalist Society, 1st edn (London: Cambridge University Press, 1971), pp. 131-141.
8
Evolution of Craft
Figure 3: Where to find Makoko
10
Makoko is strategically located on the lagoon and has close networks to neighbouring forest as seen in Figure 4. The fishermen needed to build their houses as close to the water as possible to monitor the water for the catch. The need for carpentry skills was a result of the fishermen’s need for settlement, the fishermen required boats for transport and homes to live in and so with the cooperation of carpenters, they were able to source wood from the forest to be used to build the objects they needed, this 11 was the beginning of trade in Makoko .
12
Figure 4: Makoko’s proximity to forest via connecting creeks
10
See Appendix 1 Duro Adeseko, "News -- We Can't Live Outside Water, Displaced Makoko Residents Tell Lagos State Government", Odili.Net, 2012 <http://odili.net/news/source/2012/jul/28/510.html> [accessed 7 January 2017]. 12 NLE Architects, Makoko Floating School Research Document, [2012] 11
9
The opportunities of trade meant more fishermen were needed to catch more fish, more smokehouses were needed to preserve the fish, and more loggers and carpenters were needed to prepare planks for building. So the population of Makoko increased as a result of this trade, many people migrated to Makoko for the increased opportunities of employment. Makoko was originally a small fishing village; however, over a period of 200 years it has evolved into a self-sufficient community operating a vibrant sawmill and fishing industry. The population is unknown but several estimates 13 put the population to be over 100,000 . Figure 5 shows aerial images of Makoko in 1981 and 2012 respectively showing the fast growth of settlement in Makoko.
14
Figure 5: Aerial Images of Makoko in 1981 and 2012
Timber Production in Makoko In the industrial age of England, trade gave opportunities for goods to be exchanged and this led to a rise in production due to the increase in demand between countries. In other to accommodate these trends, modes of production grew larger and took up more space, the resources required to undertake the craft evolved, requiring more tools, more labour, more organisation and more efficiency to produce products that 15 were then being sold in exchange for other valuables . Paul Mantoux produced a detailed account of the industrial revolution capturing the impacts of trade, the rise of the machine and the impacts on society in England, he noted the need for producers to keep up with demand and keep the business going in the competitive market left no time for refinement in practices or maintenance and exposed the workers to 16 unfavourable conditions .
13
Jan Riise and Kunlé Adeyemi, "Case Study: Makoko Floating School", Current Opinion In Environmental Sustainability, 13 (2015), 58-60 <https://doi.org/10.1016/j.cosust.2015.02.002>. 14 NLE Architects, Makoko Floating School Research Document, [2012] 15 Sir Nikolaus Pevsner, Pioneers Of Modern Design : From William Morris To Walter Gropius, 2nd edn (Harmondsworth: Penguin Books, 1960), p. 45. 16 Paul Mantoux, Industrial Revolution In The Eighteenth Century, 1st edn (London: Methuen, 1964), pp. 399-401.
10
To undertake the ethnographic study the use of secondary data in the form of Photographs, prepared by Akintude Akinleye, of how the trees are sourced from the forest, transported to the sawmill and prepared into planks will explored for clarity of the work process these are illustrated from Figure 6-14. The work processes are interrogated to explore sawmill’s effects on man and the environment.
Figure 6: A Logger cutting a tree with a saw
17
17
Akintunde Akinleye [2014] http://avax.news/fact/Trees_Planks_and_Sawdust_Logging_in_Nigeria.html
11
Figure 7: A fallen Tree ready for loading
18
18
Akintunde Akinleye [2014] http://avax.news/fact/Trees_Planks_and_Sawdust_Logging_in_Nigeria.html
12
19
Figure 8: Rafts of Tree Logs for Transportation to Okobaba Sawmill
19
Akintunde Akinleye [2014] http://avax.news/fact/Trees_Planks_and_Sawdust_Logging_in_Nigeria.html
13
20
Figure 9: A group of workers bring out logs from the Lagoon
20
Akintunde Akinleye [2014] http://avax.news/fact/Trees_Planks_and_Sawdust_Logging_in_Nigeria.html
14
Figure 10: Worker Carrying a Saw Blade
21
21
Akintunde Akinleye [2014] http://avax.news/fact/Trees_Planks_and_Sawdust_Logging_in_Nigeria.html
15
22
Figure 11: Workers Rolling Log on to Saw Machine
22
Akintunde Akinleye [2014] http://avax.news/fact/Trees_Planks_and_Sawdust_Logging_in_Nigeria.html
16
Figure 12: A view of the Okobaba Saw Mill and arrangement of Logs
23
23
Akintunde Akinleye [2014] http://avax.news/fact/Trees_Planks_and_Sawdust_Logging_in_Nigeria.html
17
Figure 13: A Labourer cutting a Plank
24
24
Akintunde Akinleye [2014] http://avax.news/fact/Trees_Planks_and_Sawdust_Logging_in_Nigeria.html
18
Figure 14: Planks are Piled Up at the Mill
25
The first part of the process is the collection of the raw materials, Logging. The trees for the production of the timber are sourced from nearby forests in Lagos by independent loggers or mill operators. Most of the trees sourced at the forest are done illegally, so the government is unable to keep adequate records of logging activities. 26 The result of this is deforestation, the declining in the forest area . Akintude Akinleye undertook the photographic study to illustrate the decline in the forest as a result to logging practices undertaken by mill operators and loggers. The next part of the process is transporting the logs to the sawmill. The trees in the nearby forest are transported in the streams that connect to the Lagoon were Makoko 27 is located . The rafts float in the water around the sawmill then the workers in their division work to bring the logs out of the water in preparation for cutting.
25
Akintunde Akinleye [2014] http://avax.news/fact/Trees_Planks_and_Sawdust_Logging_in_Nigeria.html 26 Blaser, J., Sarre, A., Poore, D. & Johnson, S. (2011). Status of Tropical Forest Management 2011. ITTO Technical Series No 38. (Yokohama: International Tropical Timber Organization,2011) 27
Elijah Elegbede, "Environmental Sustainability Impact Of The Okobaba Sawmill Industry On Some Biogeochemistry Characteristics Of The Lagos Lagoon", Poultry, Fisheries & Wildlife Sciences, 3.1 (2015), 3-5 <https://doi.org/10.4172/2375-446X.1000131>.
19
The sawmill operates using round band saws, this is the only piece of advanced technology, every other process such as measuring, lifting, sorting and waste management is carried out by the labours as seen in the previous Figures. The Sawmill’s lack of proper management accounts for a combination of air and water pollution. Without proper waste management and refined processes, pollution occurs as a result of the many scrap wood and sawdust accumulation. The mill operators resort to burning the sawdust however this also has its effects on the environment. The 28 burning emits thick black smoke, which is bad for the surrounding inhabitants . Figure 15 shows the rafts of logs that float around the Okobaba Sawmill, and the site used to burn waste such as sawdust.
Figure 15: Floating Rafts and Burning Site employed by the Sawmill
29
28
Elijah Elegbede, "Environmental Sustainability Impact Of The Okobaba Sawmill Industry On Some Biogeochemistry Characteristics Of The Lagos Lagoon", Poultry, Fisheries & Wildlife Sciences, 3.1 (2015), 3-5 <https://doi.org/10.4172/2375-446X.1000131>. 29 NLE Architects, Makoko Floating School Research Document, [2012]
20
Alienating Modes of Production Surrounding the Sawmill Industry Cost to Man and environment Exploring the systems of production in the industry the mill adopts division of labour, to maintain efficiency. Division of labour, explained by Marx, is a system of production 30 where the production process is broken down into divisions . The work done in the mill is repetitive in nature and requires mostly manual labour, employing a work force that mostly consists of the locals. The sawmill’s practices allow them to remain competitive and still make profit. But these practices are at the cost of the man and the environment. The processes have yet to evolve, there is no adequate Infrastructure for waste management, regulation or organisation. The labourers in the Mill industry carry out their tasks in divisions, the sawmill processes divides the man into a group to undertake repetitive task, he is unable to make choices on what work he will do or how he will do it, he is also separated from the finish product as he does not have any control over the planks or how they will be used. The Okobaba Sawmill is Private Property, as the sawmill and all the products that come out of it belong to the Owner. All decisions are in the power of the producer because he is the owner of all the property. Man is also separated from other workers’ divisions, competition is common as rewards are given on the work one can do in their divisions so division of labour 31 disintegrate any opportunity for relationship between workers . According to Marx alienation disconnects man from the making of things, the work man does becomes external to him, the object made is reduced to its basic function, the labour works to make a living and so without much though neglects his surroundings, his fellowmen, his work is alien to him and so fails to make objects that satisfy himself and in to 32 neglecting himself . Logging is a division of the sawmill processes. In division of labour a group is made to undertake a certain task, that group does this certain task repeatedly. The logger is in no control of what happens to the tree once it has been delivered to the sawmill. The logger is also external to the forest as he does not have any responsibility to the forest so does not take the initiative to replant tress which he has cut down, so the concept of deforestation is unknown to the him. This is because the scope of his work does not extend beyond cutting down trees and delivering it for processing. His employer determines the scope of his work. The employer has paid him and given him an 33 instruction so what happens before and after that is alien to the logger .
30
Karl Marx, Economic And Philosophic Manuscripts Of 1844 (New York: International Publishers, 1964), p. 101-102. 31 Karl Marx, Economic And Philosophic Manuscripts Of 1844, p. 64. 32 Amy E Wendling, Karl Marx On Technology And Alienation, 1st edn (Basingstoke: Palgrave Macmillan, 2009), p. 57. 33 Bertell Ollman, Alienation: Marx's Conception Of Man In The Capitalist Society, 1st edn (London: Cambridge University Press, 1971), pp. 158-161.
21
The sawmill’s practices has many diminishing effects to the environment, from sourcing the wood in the forest to the sawdust management; the industry in its hastes to supply timber to the market has left a series of gaps in its processes and management. Marx identified the Industry as a body that dominates all factors and outcomes in a particular society; saying that the modes of production owned by the capitalist are “the forms of community” this explains how the products or gaps in the 34 industries processes affect a society . These gaps overtime have accumulated to create the physical material you see in Makoko today.
The rise of An Industry The early carpenters that settled in Makoko were craftsmen, as they used their skill to build house on the water, As a craftsman he has more say over what he does, what he produces, how it is used and this gives a sense of appeasement with his creation. The notion of craft is used to describe an activity undertaken by man, which creates an expression of his skills, knowledge, experience and expertise, Morris believed that craftsmen and arts were equal as they both created objects for the decoration of 35 society . The carpenter was the builder of the houses on water, with his skill he was able to build house for families and provide structure to the community. The construction of the houses is of typical Timber Frame construction, supported on stilts dug in the water; the stilts are either composed of bamboo poles or timber. The bamboo or timber stilts are then knocked into the ground below the water for stability. 36 Figure 16 illustrates the typical construction process .
34
Bertell Ollman, Alienation: Marx's Conception Of Man In The Capitalist Society, 1st edn (London: Cambridge University Press, 1971), p. 163. 35 William Morris, Architecture, Industry & Wealth, 1st edn (New York: Garland Publishing, 1978), pp. 103-106 36 Isi Etomi, "AID - Makoko", Architectureindevelopment.Org, 2011 <http://www.architectureindevelopment.org/project.php?id=173> [accessed 13 January 2017].
22
Figure 16: Typical Construction sequence
37
The increase in demand for wood in a developing city like Lagos was seen as a bigger market to dominate by Okobaba Sawmill. To meet the overwhelming demands for timber, the sawmill employed workers to undertake the work of the production of timber planks. Now the Okobaba Sawmill in Makoko supplies Lagos most of its timber. Producers saw opportunities of Makoko’s strategic location and the available workforce, soon the industry grew and because of employment more settlers came to the water community to find work. This situation is similar to the industrial age where factories employed workers to undertake work in factories. With trade came the effects of the industry, exploitation, pollution, alienation, and low 38 quality goods were the outcomes of the industries processes . Due to poverty and lack of maintenance the people employ salvaged materials such as corrugated iron, plastic bags to fortify their structure. These practices further degrade the structure and create unpleasant shacks as seen in Figure 17. The lack of basic infrastructure such as drainage was made worse by the sawmill’s contribution to pollution. This has accounted to the poor hygiene practices and the 39 areas vulnerability to diseases . The wear and tear of the community caused by weather defects such as flood, poor management in the continuous passing of time 40 has resulted in the slum settlement we see today .
37
http://www.architectureindevelopment.org/project.php?id=173 Amy E Wendling, Karl Marx On Technology And Alienation, 1st edn (Basingstoke: Palgrave Macmillan, 2009), p. 206. 39 Babatope Babalobi, "Water, Sanitation And Hygiene Practices Among Primary-School Children In Lagos: A Case Study Of The Makoko Slum Community", Water International, 38.7 (2013), 921929 <https://doi.org/10.1080/02508060.2013.851368>. 40 Heinrich Boll Stiftung, What Are Sustainable African Cities?, 3.12 Perspective Political Analysis And Commentary From Africa (Cape Town: Heinrich Boll Stiftung Foundation, 2012), pp. 19-21. <https://za.boell.org/sites/default/files/perspectives_cities_3.12_web.pdf> [accessed 10 January 2017]. 38
23
41
Figure 17: Fall in Building Maintenance
41
Isi Etomi, "AID - Makoko", Architectureindevelopment.Org, 2011 <http://www.architectureindevelopment.org/project.php?id=173> [accessed 13 January 2017].
24
Chapter 2: Degrading Crafts & Emerging Ideals The aim of this chapter is to explore the Craft ideals emergence, as a result of the industry’s contribution to the degrading of the craftsmen by hindering creativity, innovation & association, and explore how it can be adapted to the Makoko Community.
25
The Arts and Craft reaction to industry & Emerging Ideals William Morris, a contributor to the arts and craft movement, detested the factories and the “ugliness” they created, the physical material that the industry brought could not be described as beauty, as “sordidness, filth [and] squalor” were the result of the activities. The producers ignored the pollution due to their concentration on the competitive market. The production of things for the competitive market was causing a fall in the integrity of products that flood the market and the degrading of the man and the 42 environment as well . The capitalist’s aim to maximize profit in a competitive market had enslaved the worker in his work to create useless objects for society. The machines brought demeaning to 43 the lives of the workers . The factories dictated what workers should do, the machine took one part of work and a lesser job was forced upon the worker. Just as in the sawmill the labours do all the manual labour. Morris expressed art as “man’s expression of his satisfaction in his labour” however this was not the case, the worker was required to do work in order to satisfy basic needs for survival, demeaning his 44 body and mind in order to do so . The arts and craft movement was born out of the aversion to industralisation and mass production by the machine. A lot of the rebellion was due to the reoccurrences of products that were made in the factories and the ways in which they were made. A faction of the movement was in opposition of the use of machines. Their ideals were for a socialist society where all men could enjoy quality life with arts for the people made by the people. The movement expressed the equality between artist and craftsmen and promoted a set of principles especially valuing craftsmanship, honesty 45 in the materials used and construction . Morris made numerous remarks about the state of production; expressing that art was 46 dependent on the systems of production . If the very nature of production in a society encourages alienation then it is difficult for people to form genuine relationships that can lead to meaningful work, or even to create art and crafts. This was the fear, which gave rise to a number of reforms and at the time a number of craftsmen, designers and critiques where against the industrial age and the state of the society. Morris, pointed out that manufacturers would use their machinery to create thousands of low quality 47 objects with the same amount of time and cost it would to make one quality object .
42
William Morris, Architecture, Industry & Wealth, 1st edn (New York: Garland Publishing, 1978), pp. 103-104. 43 William Morris, Hopes And Fears For Art & Signs Of Change, 1st edn (Bristol: Thoemmes Press, 1994), pp. 16-17. 44 William Morris, Architecture, Industry & Wealth, p. 105-106 45 Sir Nikolaus Pevsner, Pioneers Of Modern Design: From William Morris To Walter Gropius, 2nd edn (Harmondsworth: Penguin Books, 1960), pp. 40-45. 46 William Morris, Architecture, Industry & Wealth, 1st edn (New York: Garland Publishing, 1978), pp. 63-67. 47 Sir Nikolaus Pevsner, Pioneers Of Modern Design: From William Morris To Walter Gropius, 2nd edn (Harmondsworth: Penguin Books, 1960), p.20.
26
The movement referred to times before industrialisation, before the machine had been created and expressed that the quality of the lives of craftsmen and artist were much better and the relationship between people were cooperative. Before the industrial age, artisans and merchants went about their business leisurely. Simple tools were used to enable them carry out their craft. To accompany the simple tools, there was a simple organisation system that allowed the processes to be carried out among a small group of people and simple exchange of goods between merchants was the level of trade at the time. Organisation systems were much simpler then and relied on people 48 communicating with each other . Makoko’s fishermen community has similar organisation and practices that were just as intimate.
The Co-operative Craft in Makoko: Community Cooperation The only form of leadership among the community is a Baale, which is the most 49 respected person in that social group .. The water the fishermen reside on is open to anybody, so settlers have the opportunity to come to Makoko and live there, that is once one has conversed with a Baale, and enjoy the public benefits of the water, such as the income from catching and selling fish. The fishermen catch enough fish for their family to eat, and enough to be sold. Their wives sell the fish in the markets and preserve them by smoking it. The Fishermen community has a Baale, they all respect, which allows individual 50 fishermen to catch fish to sell in the Makoko market . This social relationship is illustrated in Figure 18. This organisation of work has allowed the fishermen make their own money not depending on wages from an employer to get by. The fishing industry has seen a steady growth and co-operative lifestyle as a result of this system.
48
Paul Mantoux, Industrial Revolution In The Eighteenth Century, 1st edn (London: Methuen, 1964), pp. 47-58. 49 Jan Riise and Kunlé Adeyemi, "Case Study: Makoko Floating School", Current Opinion In Environmental Sustainability, 13 (2015), 58-60 <https://doi.org/10.1016/j.cosust.2015.02.002>. 50 Duro Adeseko, "News -- We Can't Live Outside Water, Displaced Makoko Residents Tell Lagos State Government", Odili.Net, 2012 <http://odili.net/news/source/2012/jul/28/510.html> [accessed 7 January 2017].
27
Figure 18: Example of Social Group
51
The way they have planned their system of production has allowed them to benefit from the water as the inhabitants have excess to the water and its gifts. According to James Yunker social ownership in a market economy would resolve the major cause of 52 social inequality , the water is open to the public and so everyone is able to reap benefits from it according to their abilities, there is equal opportunity among them. There is no class among the fishermen; there are social relationships between them that offer a sense of unity. The social relationships illustrate a degree of co-operation, as inhabitation of the water is a shared resource among all, resulting to the cooperative nature of the community.
51
Authors Image James A. Yunker, "The Social Dividend Under Market Socialism", Annals Of Public & CoOperative Economy, 48.1 (1977), 93-98 <https://doi.org/10.1080/00346767400000026>. 52
28
Future of Makoko New development received mixed reactions from the public; the producers applauded it, however many craftsmen were against it. The introduction of new machinery was received as a threat to jobs and security. At a point Morris rejected the use of machines and insisted on creating arts and craft using the medieval methods as at the 53 time he felt it was true to craftsmanship and maintained the integrity of the object . The processes in the fishing industry are very traditional, employing simple tools such as boats and woven fishing nets to carry out their work as seen in Figure 19. The Makoko Community has not adopted any new technology in its practices and the way the community has evolved illustrates the co-operative society that Morris envisions, but all of this does not override the fact that the settlement has not been recognised as legitimate to the government and so many times the government has ordered that they move so the land may be used for new development.
Figure 19: A Fisherman casting his net
54
To make way for new utilisation of the waterfront, the government has voiced out progress of the Okobaba sawmill relocating to an ultra modern facility in an area called
53
Sir Nikolaus Pevsner, Pioneers Of Modern Design: From William Morris To Walter Gropius, 2nd edn (Harmondsworth: Penguin Books, 1960), p.24. 54 Sunday Alamba https://www.flickr.com/photos/sunday_alamba/2271409162(2008)
29
Agbowa. New facilities will be available to improve the output and maintenance of the 55 sawmill . The Makoko Fishermen, Sawmill workers and their families live in Makoko because the Lagoon is where they get their source of income. Many are going to lose employment as a result of this relocation of the sawmill and such provisions for the fishing industry have yet to be made, the future of Makoko’s fishing community may become extinct. The uncertainties the people feel were made public; they pleaded for security as they argue their need to stay in Makoko that it is the only place they have 56 work to cater to their families, was yet to be addressed by the government . However, a recent prototype designed by Kunle Adeyemi, popularly known as the Makoko Floating school set Makoko, as a promising architectural model for African Water Cities, on a global platform and so instead of the threats of demolition, new talks of regeneration was voiced out. The Floating school acted as an agent that afforded a dialogue between the water community and the government to develop building 57 technologies and improve living opportunities on water . The project gave the people a voice proving that with the right help they could strive. The floating School served as a model that focused on the issues of a site and also worked with the site to produce architecture that was inspired by the vernacular, the local craftsmanship, the culture of the people and the place. The making of the Floating School was a collaborative effort between the locals and the design team of NLE Architects; the design team was in conversation with the local craftsmen. The Craft of Building in Makoko is a skill, undertaken by local carpenters, as wooden houses on stilts have been supported in water for many decades. An understanding of how they had been building in the water was a way forward in discovering a new route. Environmental issues they faced such as the destruction of homes due to bad weather, flood as a result of climate change, were addressed by adopting new technology of floatation barrels instead of wooden stilts as shown in Figure 20. The Floating School 58 adopted promoted the dialogue between craft and technology . Social issues were also communicated to the team, at the time there were not enough children getting a primary education. The prototype was also able to address social issues as it provided an avenue for some children to receive an education and for the locals to have a place to dialogue and trade. This collaboration of an intimate level put
55
George Okojie, "Ambode Says No Going Back On Relocation Of Sawmill, Mile 12 Market", Leadership, 2016 <http://leadership.ng/news/517764/ambode-says-no-going-back-relocationsawmill-mile-12-market> [accessed 7 January 2017]. 56 Duro Adeseko, "News -- We Can't Live Outside Water, Displaced Makoko Residents Tell Lagos State Government", Odili.Net, 2012 <http://odili.net/news/source/2012/jul/28/510.html> [accessed 7 January 2017]. 57 Jessica Collins, "Makoko Floating School, Beacon Of Hope For The Lagos 'Waterworld' – A History Of Cities In 50 Buildings, Day 48", The Guardian, 2013 <https://www.theguardian.com/cities/2015/jun/02/makoko-floating-school-lagos-waterworldhistory-cities-50-buildings> [accessed 11 January 2017]. 58 NLE Architects, Makoko Floating School Research Document (Amsterdam: NLE Architecture, 2012) <https://www.scribd.com/document/322582648/Makoko-Research-DocumentNLE> [accessed 9 January 2017]. pp. 83-87
30
the designers and the craftsmen on an equal platform, with a common goal. This sort 59 of collaboration allows the craftsman to create and innovate .
60
Figure 20: Using Floatation Devices as a Solution
The Makoko Floating School is a prototype of the vision for the Lagos Water Communities Project as shown in Figure 21. The visualisation evokes a society with refined craft practices and basic infrastructure and utilities that are necessary from living. The vision does not suppress the living practices and culture of the locals but gives a fresh perspective addressing several issues and implementing it into the design. The goal of the project was to conceive a future for the people of the Makoko community, with the right infrastructure, facilities, new building techniques, and a more livable community could be created.
59
60
NLE Architects, Makoko Floating School Research Document (Amsterdam: NLE Architecture, 2012) <https://www.scribd.com/document/322582648/Makoko-Research-DocumentNLE> [accessed 9 January 2017]. pp. 142-147 NLE Architects, Makoko Floating School Research Document (Amsterdam: NLE Architecture, 2012)
31
Figure 21: The vision of the African Water Cities by Kunle Adeyemi
61
Like the aims of the craft movement, a good quality of life for all people, with pleasant work done by the people which would be used by the people in order to live a meaningful life. Morris believed in art being not just a painting or sculpture but the physical material of the world, which one should be able to look at as a thing of 62 beauty . Art to compose of the things, which are created for the decoration of our environment, and also to stimulate our minds and create collaborations among men. Morris taking inspiration from John Ruskin’s teachings expressed that art was an expression of man’s joy in his labour; and so making should be enjoyed by the maker and the user. The conditions of a craft society would include that man should be able to engage in work that is worth doing, that were in favorable conditions and pleasant to 63 do .
61
NLE Architects, African Water Communities Project, (2012) http://www.nleworks.com/case/lagos-water-communities-project/ 62 William Morris, Hopes And Fears For Art & Signs Of Change, 1st edn (Bristol: Thoemmes Press, 1994), pp. 81-83. 63 William Morris, Architecture, Industry & Wealth, 1st edn (New York: Garland Publishing, 1978), p. 69
32
Chapter 3 The aim of this chapter is to use the Arts and Craft ideals as a response to alienation in Makoko and create a representation of a Craft Society using 3D modeling software and Digital tools.
Â
33 Â
Findings New Ways to Undertake Craft: Processes for better Outcomes The Craft Ideals believed in better conditions of work for all. So finding more improved and pleasant ways of working is a route to creating a craft Society. Morris although opposes the use of the machine had expressed that if they could be used to undertake unintelligible labour than promote enslavement of the worker, then they could be 64 employed . The very act of making in craft requires tools that aid the acts to take place, so is 65 anything done by hand? David Pye questions if anything is actually done by hand . Machines are also tools that are employed by the user to undertake a task and so what a faction of the art and craft movement rebelled against was for the hindrance of development. Referring to the machine, as a creator of alienation is incorrect. As man employs the machine, man made the machine and the man determines its use, so it is the man that has decided how the machine should be used, Frank Lloyd Wright 66 expressed . Hence the man is the creator of the division of labour system that occurs in the factory system. The rebellions and hate against the machines were misplaced by the many reforms, seeking the end of the machine, however employed properly could be used to at the appeasement of the handle. After evaluating the Modes of Production at the sawmill in the previous chapters the obvious presence of division of labour has not allowed man to use his skill as the continuous repetitive tasks of a sawmill worker hinders him from evolving or developing in his work. The repetitive tasks Marx said the man undertakes in division of labour cause alienation to the man however, practices of division of labour is seen as the most efficient and may be required to maintain quality of a product and maintains an organised mode to carry out work and repetition in tasks is present in almost all acts of craft. Although these acts tend to appear mechanical, the repetition was what built the knowledge and the expertise of the craftsman to the point where the craftsman is 67 respected for his discipline . New technology is able to undertake a number of techniques that are repetitive in the making of a product, so the machine can be used to undertake those certain tasks and more intimate techniques can be left for the man to undertake. In model making, using CAD to create a template to undertake Laser cutting was a more efficient way to model and produce timber cladding and planks for hand modeling as seen in Figure 22-23.
64
William Morris, Architecture, Industry & Wealth, 1st edn (New York: Garland Publishing, 1978), pp. 73-74 65 David Pye, The Nature And Art Of Workmanship, 1st edn (Bethel: Cambium Press, 1995), pp. 25-29. 66 Sir Nikolaus Pevsner, Pioneers Of Modern Design: From William Morris To Walter Gropius, 2nd edn (Harmondsworth: Penguin Books, 1960), p.31. 67 David Pye, The Nature And Art Of Workmanship, 1st edn (Bethel: Cambium Press, 1995), pp. 21-23.
34
Figure 22: Laser cutting of model parts
68
68
Author’s Image
35
Figure 23: Laser cut Model used to undertake repetitive task
69
From this study it is seen that Work should be done in favourable conditions for people at least and it should be useful work and not useless toil like Morris expressed. Manufacturers took advantage of these machines and decided to exploit them for much profit. Using machines to create large numbers of cheaper products to dominate 70 the market . Craft products were expensive as they were traditionally made and took longer so could not compete in the market, so the number of practicing craftsmen and 71 artisans started to fall . Recognising that machines are only tools and that with supervision craftsmen with solid ideals and workmanship, crafts could still be made with the same richness and utility, the craftsman mastering the machine guarantees continuity. The craftsman should aim to employ honest construction methods. By respecting workmanship and employing the adequate techniques with the most suitable materials available, the craftsman will feel satisfaction in his craft as the work and allow for a sense of 72 responsibility and integrity in design .
69
Authors Image Sir Nikolaus Pevsner, Pioneers Of Modern Design: From William Morris To Walter Gropius, 2nd edn (Harmondsworth: Penguin Books, 1960), p.20. 71 Sir Nikolaus Pevsner, Pioneers Of Modern Design:, p.45. 72 William Morris, Architecture, Industry & Wealth, 1st edn (New York: Garland Publishing, 1978), p. 10 70
36
Modeling Craft Society In Makoko the fishermen are independent craftsman with equal opportunities due to their inhabitation of the water, however their traditional methods are out of date and in these times of change and need for new development, the government’s right to the waterfront may mean a new settlement for the People of Makoko. The rise in the use of 3D modeling tools is as a result of its ability to create representations of visions for designers, artist and craftsmen. The Planning, 73 construction and representations of objects are easily manipulated . This tool is used to engage with the craft of Makoko and construct the Model Concept of the Craftsman’s Society in Makoko. Figure 24 illustrates the makings of a Co-operative Spatial Arrangement with the core areas as the points for exchange and collaborative work.
Figure 24: Sketch 3D Model of Spatial Arrangement for Craftsman’s Society
74
73
University College London, Visualizing The City: Communicating Urban Design To Planners And Decision-Makers, CASA Working Papers 32 (London: Centre for Spatial Analysis UCL, 2000), pp. 2-9 <http://discovery.ucl.ac.uk/158113/> [accessed 14 March 2017], pp. 1-5. 74 Author’s own
37
Wood being the most used and readily available material is an obvious element that has become part of the livelihood of the locals. It makes up their shelter and mode of transport, houses and canoes. The carpenters’ use of Timber Frame Construction to build houses is the prime mode of construction. All of these as well as the Industries in Makoko such as The Sawmill, The Fishery, have created the atmosphere and the physical material of Makoko. Using these materials, as a base for the 3D model is only the start of the concept, according to Tim Ingold, the design process following up to the final construction is not the end of the building. Figure 25 shows a representation of the construction sequence in the Making of a shelter for Makoko.
Figure 25: Construction Sequence
75
Ingold explains that the inhabitants that occupy these building as well as several 76 factors such as weather will over time change the building . Designing for different factors is an important expect of design. Figure 26 attempts to test inhabitation, social relations around the prepared Timber Construction famous in Makoko.
75
Author’s Image Tim Ingold, Making: Archaeology, Anthropology, Art And Architecture, 1st edn (London: Routledge, 2013), pp. 47-50. 76
38
Figure 26: Inhabitation of the Craftsman’s Society Makoko
77
This is an attempt at using Visualisation methods for Prototyping to examine how the actual concept of a Craft Society may operate and will give an insight on how to further develop the concept of the Craft Society. The concept of the Craft Society is a result of the interrogation of the art and craft ideals during a time of industrialisation and its many effects. Using Makoko and its local craft as the canvas to test this concept it is understood there are still many factors that have contributed to the way Makoko has evolved and that with further engagement with environmental and social issues along with new technology and of course a supportive government, there can be a more organised yet organic mode of development for the community.
77
Author’s own
39
Conclusion The ethnographic research undertaken has revealed that the rise in the Sawmill industry in Makoko has contributed to the deterioration of the vicinity and its workers. The sawmill workers work in alienation, and the corruption of the industries may have tainted any skills they possess. Marx’s concept of Alienation occurs as a result of physical and social barriers man feels to his work, product, himself and his environment. Through the elimination of alienation, cooperation can begin to emerge. The industry’s struggle in the competitive market has affected the crafts as the practices have employed man to undertake useless toil. This was proven in a study undertaken in this research as dialogue with new technology proposed routes for the craftsman to work more efficiently. People should be able to undertake work in an environment that is pleasant and encourages co-operation and that will provide a way to remove these barriers produced by alienation. Paul Greenhalgh summaraised the aim of the Arts and Craft Movement saying that “crafts were to be a politicised form of work which produced art objects to decorate 78 society” this explains that makers should be given the opportunity to work within a stimulating environment to produce art. Taking on the concept of a collaborative society and following the interrogation of the craft ideals in this research has formed the ingredients for a Craftsman’s society. The creation of a more co-operative society that believes in delivering a pleasant environment for all craftsmen so they can undertake useful work that will create beautiful, useful objects for the society is the vision of the Craftsman’s Society. The use of 3D modeling has represented the ideals of co-operation, useful work through adaptation of new technology and craftsmanship to offer a vision of a striving community, The aim of this research is that the concept of a Craft Society can be used as a tool to aid in the creation of architecture that evokes the value of Craftsmanship while still embracing technological development. This will then provide a route for urban planners to begin to propose possible alternate solutions to pave way for change in Makoko.
78
Paul Greenhalgh, “The History of Craft”, in Peter Dormer (ed.), The Culture Of Craft (Manchester, UK: Manchester University Press, 1997), p.35.
40
References Adeseko, Duro, "News -- We Can't Live Outside Water, Displaced Makoko Residents Tell Lagos State Government", Odili.Net, 2012 <http://odili.net/news/source/2012/jul/28/510.html> [accessed 7 January 2017] Adeyemi, Kunlé, "African Water Cities", Architectural Design, 82 (2012), 98-101 https://doi.org/10.1002/ad.1468 Ang, Rachel, "Makoko Floating School, Lagos, Nigeria.", A Magazine, 2013 <http://amagazine.com.au/makoko-floating-school-lagos-nigeria/> [accessed 4 March 2017] Babalobi, Babatope, "Water, Sanitation And Hygiene Practices Among Primary-School Children In Lagos: A Case Study Of The Makoko Slum Community", Water International, 38 (2013), 921-929 https://doi.org/10.1080/02508060.2013.851368 Cole, G. D. H, and Raymond Postgate, The Common People, 1746-1946, 1st edn (London: Methuen, 1946), pp. 69-73 Collins, Jessica, "Makoko Floating School, Beacon Of Hope For The Lagos 'Waterworld' – A History Of Cities In 50 Buildings, Day 48", The Guardian, 2013 <https://www.theguardian.com/cities/2015/jun/02/makoko-floating-school-lagoswaterworld-history-cities-50-buildings> [accessed 11 January 2017] Dormer, Peter, The Culture Of Craft (Manchester, UK: Manchester University Press, 1997) Elegbede, Elijah, "Environmental Sustainability Impact Of The Okobaba Sawmill Industry On Some Biogeochemistry Characteristics Of The Lagos Lagoon", Poultry, Fisheries & Wildlife Sciences, 3 (2015), 3-5 https://doi.org/10.4172/2375446X.1000131 Etomi, Isi, "AID - Makoko", Architectureindevelopment.Org, 2011 <http://www.architectureindevelopment.org/project.php?id=173> [accessed 13 January 2017] Heinrich Boll Stiftung, What Are Sustainable African Cities?, 3.12 Perspective Political Analysis And Commentary From Africa (Cape Town: Heinrich Boll Stiftung Foundation, 2012), p. 19 <https://za.boell.org/sites/default/files/perspectives_cities_3.12_web.pdf> [accessed 10 January 2017] Ingold, Tim, Making: Archaeology, Anthropology, Art And Architecture, 1st edn (London: Routledge, 2013), pp. 47-50 Mantoux, Paul, The Industrial Revolution In The Eighteenth Century, Etc, 1st edn (London: Methuen, 1964), pp. 47-52 Marx, Karl, Economic And Philosophic Manuscripts Of 1844, 5th edn (Moscow:
41
Progress Publisher, 1977), pp. 64-70 Mészáros, István, Marx's Theory Of Alienation, 4th edn (London: Merlin Press, 1975), pp. 205-210 Morris, William, Architecture, Industry & Wealth, 1st edn (New York: Garland Publishing, 1978), pp. 63-67 Morris, William, Hopes And Fears For Art & Signs Of Change, 1st edn (Bristol: Thoemmes Press, 1994), pp. 81-98 NLE Architects, Makoko Floating School Research Document (Amsterdam: NLE Architecture, 2012) <https://www.scribd.com/document/322582648/MakokoResearch-Document-NLE> [accessed 9 January 2017] Okeowo, Alexis, "A Safer Waterfront In Lagos, If You Can Afford It", The New Yorker, 2013 <http://www.newyorker.com/business/currency/a-safer-waterfront-in-lagos-if-youcan-afford-it> [accessed 10 March 2017] Okojie, George, "Ambode Says No Going Back On Relocation Of Sawmill, Mile 12 Market", Leadership, 2016 <http://leadership.ng/news/517764/ambode-says-no-going-back-relocation-sawmillmile-12-market> [accessed 7 January 2017] Ollman, Bertell, Alienation: Marx's Conception Of Man In The Capitalist Society, 1st edn (London: Cambridge University Press, 1971), pp. 131-141 Pevsner, Sir Nikolaus, Pioneers Of Modern Design : From William Morris To Walter Gropius, 2nd edn (Harmondworth: Penguin Books, 1960), pp. 40-45 Pye, David, The Nature And Art Of Workmanship, 1st edn (Bethel: Cambium Press, 1995), pp. 25-29 Riise, Jan and Kunlé Adeyemi, "Case Study: Makoko Floating School", Current Opinion In Environmental Sustainability, 13 (2015), 58-60 https://doi.org/10.1016/j.cosust.2015.02.002 University College London, Visualizing The City: Communicating Urban Design To Planners And Decision-Makers, CASA Working Papers 32 (London: Centre for Spatial Analysis UCL, 2000), pp. 2-9 <http://discovery.ucl.ac.uk/158113/> [accessed 14 March 2017] The Economist, "Destroying Makoko", 2012 <http://www.economist.com.plymouth.idm.oclc.org/node/21560615> [accessed 10 January 2017] Wendling, Amy E, Karl Marx On Technology And Alienation, 1st edn (Basingstoke: Palgrave Macmillan, 2009), p. 206
42
Yunker, James A., "The Social Dividend Under Market Socialism", Annals Of Public & Co-Operative Economy, 48 (1977), 93-98 <https://doi.org/10.1080/00346767400000026> Pictures Akintunde Akinleye [2014] http://avax.news/fact/Trees_Planks_and_Sawdust_Logging_in_Nigeria.html
43
Appendices Appendix 1 Makoko is located on the Lagos Lagoon in Lagos State, Nigeria Boundary of Makoko
79
Map Showing Lagos Boundary
80
Map showing the Third Mainland Bridge along Makoko (E1)
81
79 80 81
Google Earth Google Earth Google Earth
44
45
Map Showing Nigeria, early Fishermen migrated from nearby Countries like Benin 82 Republic to settle in Makoko .
82
http://www.welt.de/reportage/water/habitat/article158122289/the-bitter-fight-for-nigeria%27swater-slum.html#Teil-5
46
47