Earth + Roof + African Influence by Suzie Davis

Earth + Roof + African Influence Suzi Davis

Credits and Thanks for their time and knowledge Professor University of Florida | Dr. Esther Obonyo Graduate Student University of Florida | Peter Donkor Curator of African Arts Harn Museum | Susan Cooksey Professor University of Florida | Donna Cohen Contributed with Armstrong + Cohen Architecture â&#x20AC;&#x153;A roof is...Not a Hat.â&#x20AC;?

Suzanne Davis ARC 6793 December 12, 2012 Donna Cohen

Table of Contents Earth + Roof + African Influence Intro

History

Recent Construction

Poor Construction Assessed

Climate and Design Considerations

Roof Typologies

Roof + Tiles

Conclusion

Bibliography

Sustainable Practices in Developing Nations: Rural Contexts

Intro

Harn Museum Visit

Gurensi Compound Dwelling

Baltazor Sketches

Bibliography

Earth + Roof + African Influence “A magical material of beautiful contradictions, it is simple and complex, it is peaceful and violent, always the same, never the same, and endlessly fascinating.”1 Sand, the most basic of materials seen by the naked eye, covers the globe is unrefined, individual, natural, coming into existence of one billion grains each second. When molded together it performs in prolific and contrasting ways. In the built environment, sand can become any part of an enclosed space and becomes earthen construction. Its monolithic nature, hardened by compacting or heat of the sun, has provided human shelter for thousands of years. Earthen construction in contemporary vernacular is often termed as natural building or alternative construction, not viewed as a modern construction form or element. Historic or primitively viewed construction methods can find a way to move forward with technology, concurrently with contemporary forms. The inherent values of earthen materials integrated with modern and innovative construction methods, is a unique quality that can be and has been used all over the globe.

1 Magnus Larsson. “Turning Dunes into Architecture,” TED video, 14:16, filmed November 2009, http://www.ted. com/talks/magnus_larsson_turning_dunes_into_architecture.html

History The layered history providing strength in evidence of earth construction dates back to Jericho around 8,000 BC in the form of adobe structures. Rammed earth’s earliest construction is at the base of the Great Wall of China 2,000 - 3,000 BC. Generally, earth materials, are made out of clay and sand in typical forms of adobe, rammed earth, mud brick, compressed earth block, water and daub, cob and straw bale. The malleability of earth, dirt, grains of sand, soil, is the key to success of the material being used in construction for thousands of years and built works lasting over centuries. Talents of construction and technique can be see cities constructed such as the Great Mosque of Djenne, Mali (Image 1). Numerous examples are speckled across the globe. Abundant built works are found on the African Continent, ranging in all forms of earthen construction applications and techniques in homes or palaces. UNESCO has selected many as World Heritage Sites, preserving their beauty and importance within the context of place and global impact. One site is the Rock-Hewn Churches of Lalibela in Ethiopia (Image 2), what becomes the roof, was once the ground. Carved into the surface of the ground or within a cave, these churches are hidden within their landscapes and are extremely sacred. Efforts are being made to preserve these chiseled churches from weathering, often constructing a canopy structure to protect from the sun. A few mud cities are built in Western Africa, such as the Tomb of Askia in Gao, Mali (Image 3 & 4). At this site, a 17m pyramid made of mud built still exists after construction in the late 15th century.2 Recent Construction Researchers and designers alike have explored different regions of Africa with regard to earthen construction. One instance is from Hassan Fathy, an architect from the mid-20th century, who studied vernacular architecture in Egypt. He was educated in the Beaux-Arts manner, but during his research he began constructing in the form Nubian mud brick domes which allowed for the entire building to be made out of mud, roof as well.3 With this new found construction method, Fathy designed a whole city out of mud brick in New Gourna, 1945. Unfortunately, the city was never completed as the inhabitants choose not settle in the area. The city lay abandon and Fathy wrote an insightful book about his 2 3

“World Heritage Sites,” UNESCO Wed, accessed December 3, 2012, http://whc.unesco.org/en/list/1139 Rael, Ronald. Earth Architecture. New York, N.Y: Princeton Architectural Press, 2009. 12.

1. Great Mosque of Djenne 2. Rock-Hewn Church of Lalibela 3. Tomb of Askia 4. Tomb of Askia

experience and construction methods with mud brick, Book of the People and when translated to English

Building for the Poor.4 Brick formations and making process are created in different methods (Image 5) through out history while recent researchers, such as Omar Rabie (Image 6), continue studies as Fathy did. Rene Gardi, a scholar of Traditional African Architecture, wrote and studied about Sudanese clay building in the mid 1970’s. He notes that “hands are virtually the only building tool.”5 Customary building materials are sun dried bricks in many of the examples of existing compressed earth blocks or adobe bricks (Image 7). While kiln fired bricks are structurally preferred many countries do use this technique due to deforestation and lack or usable wood. Additionally, he studied Mosques near Gao and Gurensi compound dwellings made of mud, some even replicate the Baobob Tree in structure, signal of a compound (Image 8). In contemporary earth construction, Martin Rauch and Anna Heringer collaborated on a competition project, the Training Centre for Sustainability in Morocco. Rauch is a proficient designer of rammed earth walls from Austria, with numerous projects in Central Europe. Heringer recently constructed the Handmade School in Rudrapur as her thesis dissertation. Coming together for the competition, both noticed the poor quality of earthen construction near the context, they chose to re-invent earth for modern buildings as an example for sustainability and express the design.6 Incorporating modern technologies and sustainable approaches to the design emphasized the ability of earthen or mud architecture to transcend past thoughts of such material to be primitive. Poor Construction Assessed However, evidence poor construction methods have been seen on the East Coast of Africa as well. Beginning in 2007, Dr. Esther Obonyo, Associate Professor at the University of Florida, began noticing compressed earth block (CEB) construction in Kenya and Tanzania. She first was studying Swahili Architecture as vernacular architecture in Mombasa and Dar es Salaam, but many new constructions of Dar es Salaam were glass and steel buildings. Such construction was not a traditional or contextual 4 5 6

Rael, Ronald. Earth Architecture., 13. Gardi, René. 1974. Indigenous African architecture. New York: Van Nostrand Reinhold, 58. Anna heringer http://www.anna-heringer.com/index.php?id=66

5. Omar Rabie earth blocks 6. CEB brick making 7. baobob tree structure imitation (Dosso, Niger) 8. Sudanese Building with Clay

approach as in the example of graneries (Image 9) and she began to ask why glass instead of adobe brick. Dr. Obonyo summarized the issues with adobe brick as the technical, soils, and implementation while the main antagonist is social/cultural. Constructing with the bricks, which is affordable and sustainable, is viewed as being labeled as poor and often, even though it is available, is not used. Common issues were the quality of brick, finding cracks in many bricks, rotting due to moisture, and low compressive strengths. Documenting the problems of construction as well as the making process, she and her colleagues have strategized to improve the machine which determines the strength of CEB. Due to the machine being manual labor, the quality of brick was much affected by this. Thus the compacting machine she helped developed eased the intensity of manual labor and efficiency. Bricks from the modified machine were tested and found to have comparable ranges of compressive strengths.7 In addition, she has researched improving the strength of the material composition with University of Florida students. Peter Donkor, a Building Construction graduate student, is studying the material composition for interlocking bricks. In one trial he used coconut fibers to provide flexural strength (Image 10). Another student created a CEB with bamboo fibers (Image 11). Testing the bricks with hurricane force winds, the research aims to provide alternatives in the making process. Using a steel mold, the bricks designed by the students were made from a hydraulic machine.8 Another problem noticed was the lack of appropriate design of the buildings made with earth or other materials. The climate has a rainy season and sometimes hurricanes, thus rain protection is important. Swahili Architecture and contextual projects were designed with foundations and roof overhangs to protect the mud walls from water. An alternative to this is to plaster the walls with cow dung. Yet, many of the bricks cracks and rotting did have such provisions to maintain the building structure. A unique feature she noticed was the homes and buildings with separate frameworks for the roof. The walls, non-load bearing, allowed for better reconstruction in the moment after an earthquake or hurricane if the walls did fail.

7 8

Obonyo, Esther. Interview by author. Personal Interview, Gainesville, September 19, 2012. Donkor, Peter. Interview by author. Personal Interview, Gainesville, September 26, 2012.

9. Indigenous African Architecture 10. UF Grad Student Research | coconut fibers 11. UF Grad Student Research | bamboo fibers

Climate & Design Considerations While the proposed design has no specific latitude and longitude, the humid sub-tropical climate will provide design considerations, which reflects many regions of Africa (Image 12). According to the Encyclopedia of Earth, such climates can be found in parts of Angola, Zimbabwe, provinces of Mozambique, Tanzania, the majority of Malawi, Zambia, and the lower portions of Ethiopian highlands. Such climates, experience summers which are moist with temperatures between 86˚ F to 100˚ F (30˚ C – 38 ˚ C) with warm and oppressive nights. While the coldest months are a little dryer and temperatures range between 41˚ F – 54 ˚ F (5-12 ˚ C). Annual precipitation is totals average 39 inches (100 cm) but vary from 30 – 79 inches (75 – 200 cm).9 In summary, whether roof or wall, the building system must be able to cool the building throughout most of the year with shade and ventilation. Also, protect from wind driven and heavy rains, withstand lateral wind forces, and are durable for an extended amount of time. The design is to be executed as a roof tile or brick made out of clay, and glazed to act as a water barrier. In response to seismic and hurricane prone areas, a lite weight approach is also included. Essential to its local use are its thermal properties and passive cooling systems which are inherent to the chemistry of the earthen materials. Several different design strategies can be achieved in the use in the floor, wall, or roof to absorb heat or cool a building. Also, using the resource located near to a site saves in transport and energy costs, is minimally processed, and can be reused easily. Roof Typologies Traditional African Architecture, as described by Nnamdi Elleh in summary has a triple heritage of Islam, Christianity, and Traditional African. The Evolution and Transformation begins with the tent, made out of poles, skin, matting, and patterned fabrics, which were constructed in hoop-roofed houses and round huts. This led to the rectangular house which was rigid and made out of adobe. The quality of interwoven elements or geometries not only enhances structural qualities but also can reference traditional construction methods. In many examples, a simple framework is lightly sheathed by thatch or interwoven reeds.10

9 “Köppen Climate Classification,” Encyclopedia Britannica, accessed September 7, 2012, http://www.britannica.com/EBchecked/media/95795/The-major-climatic-groups-are-based-on-patterns-of-average 10 Elleh, Nnamdi. 1997. African architecture: evolution and transformation. New York: McGraw-Hill.

Earthen Material Roofing Systems

13 Conventional Roof Pitch 1:3 clay tiles

Flat Roof Clay tile components bricks

Domed Roof bricks, adobe, compressed earth blocks Precedents: Fancis Kere, Eladio Dieste

Angled Roof clay tiles components

Barrell Vaults: Guassian Curve bricks, adobe, compressed earth blocks Precedents: Fancis Kere, Eladio Dieste

Butterfly Roof Clay tiles components

12. Kรถppen Climate Classification Map 13. Common Roof Typoligies referenced to materials and architects

Moving from traditional roof typologies to contemporary and common approaches (Image 13), roof structures are being expressed in experimental manners. In the mid-20th Century Professor and architect Julian Elliot began exploring the role of the roof in South Africa as well as traditional spaces for influencing his projects. Elleh described his work as, “executed projects that tried to adapt to the African repertoire. These creations of roof-dominated architecture can be seen in several works. Attala House of 1960, and Kasama Cathedral of 1965.” (Image 14) The designs reflected the desire of understanding the African environment, which was not expressed in traditional Western styles. In Burkina Faso, architect Diébédo Francis Kéré has designed varied roof structures in response to the location of his works. His main focus is constructing schools for rural areas, in areas like Gando (Image 15), with as much local material and knowledge as possible. Majority of his projects are designed without mechanical systems, thus the interaction of the roof with its environment has become an exploratory architectural expression for Kéré. He is interested in applying different materials, but has successfully created systems with ventilated, suspended ceilings covered by corrugated sheets as well as barrel vaults of stabilized earth bricks. Also, due to local knowledge of making with rebar, he uses it as a structural system to support the large roofs, providing plentiful shade and protection from rain. Differing from Western African architecture, Peter Rich and John Oschendorf collaborated to design the Mapungubwe Visitor’s Center (Image 16). Oschendorf, who researches masonry vault structures at MIT, aided the South African architect in designing thin Timbrel vaults, echoing past cultures archeological finds.11 The vaults are made from masonry units, visually seen as the ceiling, that when constructed use little wooden framing and gain strength in their form. Rocks from the landscape were used as the exterior surface of the vaults, creating a unique landscape of built to natural. Researching the strategies used in the Gando School (Image 17) and Mapungubwe (Images 18 & 19) roof systems guided the later forms developed. Each project was recreated in a simple model form (Image 20), focusing on the main roof element, whether it’s structure or the form. Kéré has designed addtional roofing forms, but this exercise was to have a myopic view on specific elements, and so a simple system was used with the Gando School. Rich’s Mapungubwe vaults were chosen because of the strength in form, yet still clear and simple in architectural language. 11

“Mapungubwe Interpretation Center,” World Buildings Directory, accessed December 8, 2012, http://www. worldbuildingsdirectory.com/project.cfm?id=1634

18 14. Jullian Elliot | Attala House 15. Diébédo Francis Kéré | Gando School 16. Peter Rich | Mapungubwe Visitor’s Center 17 - 19. Roof Typology Model Studies

Roof + Tiles Originating as an investigation of an interlocking clay tile roofing system the project is diverging from the ubiquitous corrugated metal. It is not as an idea assuming it is better than what roof systems are currently constructed, but viewed as an alternative. Another element guiding the study was the use of technology and the development of 3D printing techniques with earth, clay, and ceramics. Explorations have been done by Ronald Rael who has created complex structures termed Digital Ceramics (Image 21) with the use of parametric design and modeled with the 3D printer. The study also considered how using mass prototyping could be used if constructed elements were shipped. Various forms were studied and contemplated as strategies for the roofing system. Hexagon forms for earth fired blocks, beveled interlocking plates, and modified squares were a few forms studied (Images 22 - 24). Muri origami was also explored as a form with strength from pleats (Image 25). Each scheme followed criteria of inherent strength, shape to determine connection, and further referenced to the design criteria for the climate. Moving from the forms of single elements a strategy to have interlocking systems both vertically and horizontally became the focus, Scheme A (Image 26). The scale and usability references the sheets of corrugated metal, in that the horizontal interlocking elements would be larger frameworks (1m x 2m), that could be a honeycomb clay structure developed by a 3D printer or poured clay. Then, the surface pieces would be glazed tiles of an elongated almond shape that interlocked with the larger framework in individual ways. Different hues of glaze would be used. On the exterior surface, white or light colors for reflecting heat, and the interior could be a variety of colors. Allowing for the play of colors, allows the owner to design their ceiling surface. Decorative patterns could reference woven patterns or the painting of homes seen in many cultures in Africa. These elements would be able to stacked and shipped in smaller scales pieces (Image 28). It provides shade, protects from the rain, and the structure creates a cooling effect in the air space above the building volume, a simple roof. Parametric modeling was used to make a express a diagrid system for further structural support for forceful weather. Along with the overall design, making the tiles became part of the exploration. 3D prints were made of the tiles, the framework, and the modified square scheme. The pieces were then cast in plaster molds

tile roof surface 23 clay framework

structure a

columns| stacked clay extructions

20. 3D prints of roof structures 21 - 25. Interlocking forms and structures 26 - 29. Sheme a model images and diagram

building volume

to make additional clay tiles (Image 27). Using a similar method could localize the transportation and leaving the framework to be created at a large scale, and then dispersed. Also, a proponent for making a two system roof was to allow for replacement of elements and to provide multiple levels of structure. As Dr. Obonyo had described issues can arrive when roof and wall are one system. Additionaly, Scheme B (Image 30) developed from the parametric modeling, using the same parameters to create a structure which gradually covers a structure, from the ground. This idea of form was to create varied â&#x20AC;&#x2DC;roofâ&#x20AC;&#x2122; systems. Tiles would be placed primarily in an overhead condition to protect from rain. The openings of the structure could vary as well, allowing movement of air and individuals. Another thought to this idea, was that vegetation could grow on the structure, aiding in cooling the environment. Tiles could be similarly painted as the previous.

27. Making process tiles | 3D print | clay tiles 28. Framework to tile 29. Scheme A | reflected ceiling plan

Conclusion This was a study of earth, clay, forms, parametric modeling, 3D printing, connections, and making process in response to climate conditions of humid sub-tropical climate of Africa. Developing strategies to find many solutions for simple requirements for shade and weather protection, the roof can be anything is wants to be. Eladio Dieste, famous for his sun dried brick vaults of Uruguay, was once described as asking bricks â&#x20AC;&#x153;what do you want to be in the 20th century and how can I help?â&#x20AC;?12 Roof structures and their making process can be asked the same question for the 21st century. Using earth and clay to find honesty in materials and structural form, enmeshed with creative and moral responsibility, similar to Dieste, challenge what the roof can be.

Pedreschi, Remo. 2000. Eladio Dieste. London: Thomas Telford. 21.

30. scheme b | model images | perspectives and viewing from underneath

Bibliography “Digital Ceramics,” Ronald San Fratella, accessed September 29,2012, http://www.rael-sanfratello. com/?p=804 Donkor, Peter. Interview by author. Personal Interview, Gainesville, September 26, 2012. Gardi, René. Indigenous African architecture. New York:Van Nostrand Reinhold, 1974. “Gando School,” KereArchitecture, accessed October 3, 2012, http://www.kerearchitecture.com/bf/ bf_001.html “Köppen Climate Classification,” Encyclopedia Britannica, accessed September 7, 2012, http://www. britannica.com/EBchecked/media/95795/The-major-climatic-groups-are-based-on-patterns-ofaverage Magnus Larsson. “Turning Dunes into Architecture,” TED video, 14:16, filmed November 2009, http:// www.ted.com/talks/magnus_larsson_turning_dunes_into_architecture.html Obonyo, Esther. Interview by author. Personal Interview, Gainesville, September 19, 2012.

Pedreschi, Remo. Eladio Dieste. London: Thomas Telford.2000. Print. Rael, Ronald. Earth Architecture. New York, N.Y: Princeton Architectural Press, 2009. Print. “Revealing the Potential of Compressed Earth Bricks,” Omar Rabie, accessed November 10, 2012, http://eartharchitecture.org/uploads/Rabie.pdf “Training Centre for Sustainability, Morroco,” Anna Heringer, accessed December 3, 2012, http://www. anna-heringer.com/index.php?id=66 “World Heritage Sites,” UNESCO Wed, accessed December 3, 2012, http://whc.unesco.org/en/ list/1139

Sustainable Practices in Developing Nations: Rural Contexts

What is Rural? Merriam Webster Dictionary: of or relating to the country, country people or life, or agriculture synonyms: bucolic, country, pastoral, rustic UNESCO report: by common definition, rural areas comprise human settlements with small populations, and the rural space is dominated by farms, forests, water, mountains, and/or desert. Typically, rural people have agriculture as their main occupation; they are farmers, nomads, pastoralists, or fishermen.

Sustainable Practices in Developing Nations: Rural Contexts

Issues: Reoccurring theme of what it means for architects, Western and local, and builders to build humanitarian works [i.e. Humanitarian Design vs. Design Imperialism: Debate] A lack of sensitivity to context, place, and meaning. Using outdated models: 1950â&#x20AC;&#x2122;s corrugated metal roofs and concrete brick [osafa.org] â&#x20AC;&#x153;people now started to abandon traditional, affordable, sustainable development construction technologies and materials, turning instead to imported, and therefore more expensive foreign building materials...Students of architecture have access to the most current journals and magazines in architecture, and they imbibe a lot of ideas from them. In many instances, however many of our students and architectural offices tend to design buildings that have to be mechanically ventilated and lit, even in daytime. Often their designs pay little or no attention to the long-standing building cultures and the environmental constraints of the region, nor do they fully appreciate the culturally imbued meanings of space in these local contexts. â&#x20AC;? George William Kofi Intisiful Professor and Dean of the Department of Architect at the Kwame Nkrumah University of Science and Technology (KNUST)

Sustainable Practices in Developing Nations: Rural Contexts

Zulu Houses

u Houses Cross section - 1882 depicts male and female spaces associated with the umsamo (space dedicated for the ancestors) Receive Souce of Empowerment from the ancestors. Spiritual Sustainability

Zulu House | Ancestral Spaces

(Left) An isimodeni , or â&#x20AC;&#x153;modernâ&#x20AC;? style Zulu house (rondawel ) in Msinga, South Africa. (Center) Drawing of a Msinga style house. Photographs and drawing by Debbie Whelan, 2000 and 2001.

nga, South Africa.

(Right) Interior of a Zulu house (indlu), showing hearth in center, and three center posts that demarcate the sacred area (umsamo) reserved for ancestors. A headrest, assegais, and rolled up mats are on the left and gourds and cooking utensils

Round

Round Chur

Interior of church of Ura Kidane Meret on the Zege Peninsula, near Bahar Dar, Ethiopia, 2001. The outer aisle or qɘne mahɘlet is lined with reed walls and wooden posts. A wooden panel transects the aisle, and a doorway to the left leads to the inner aisle. Photograph by Rebecca Nagy.

Round Churches of Ethiopia | Layering of Interior

ard the east, with the altar and sanctuary in the form of a aity was on the west side. Most early churches were built not survived.

ost round churches are made of wattle and daub or stone enter of the church. The four walls of the sanctuary are r portals for the laity on the west and east sides. Only s that form the aisles, and aisle access for the laity ing services. Sacred chants and dances are performed in main aesthetic experience is provided by religious ings, the eqa bet that serves as a treasury for books, that provides wood for construction and suggests that

Round church plan drawing by Amha Mersie Hazen, 2009.

From the 4th to the 16th century, Ethiopian churches were based on the Late Antiqu semi-circular apse located on the eastern end. A nave with flanking side aisles, was of wood, mud mortar and stone, with some carved of living rock. Except for the ro

By 1500, a new circular church plan was introduced that replaced the basilica form walls and have a conical thatched roof, although some have metal roofs. The sanctu aligned according to the four cardinal points of the compass, with the most sacred e the priest could enter the sanctuary, which had doors at the north, south and west si becomes more restricted as they approach the sanctuary. The inner aisle, the qiddis the outer aisle, the qɘne mahɘlet, a space that is accessible to the laity. The subdivi paintings on the qɘne mahɘlet or qiddist walls glimpsed through columns or doorw liturgical objects are stored, and the beta lɘhem where the bread for communion is the site may be compared to the Garden of Eden.

A Somali Home

Relief-carved beams (tir) support a roof in the interior of a Somali house. The spoke-like beams are preserved when the house is re-built. Afgooye, Somalia, 1967. Photograph courtesy of Virginia Luling.

Somali houses (mundul) are constructed of several small buildings called minin or waab, depending on their size, which serve as kitchens, or sleeping areas. They surround an interior courtyard that serves multiple purposes. Afgooye, 1967. Photograph courtesy of Virginia Luling.

The front of a house in southern coastal Somalia with an elaborately carved wooden door, porch with posts, and conical finial on the thatched roof. Men do the woodwork, whereas women smooth the walls and floor with mud and cow dung. Women also adorn the earthen floors with designs. Afgooye, Somalia, 1967. Photograph courtesy of Virginia Luling.

Somali House ly carved wooden n do the and cow dung. alia, 1967.

Gurensi DwellingsGurensi | Ghana

(Kasena and Frafra) Dwellings

Frafra Compound in northern Ghana, in the village of Nabdam, with wall-painting in the final stages of completion. The pots contain pigments to be used in painting. The Left wall is completed and covered with fixative, dawa-dawa. The right wall is in process of being painted with no fixative. Photograph by Fred. T. Smith, 1973.

The Gurensi peoples of Southern Burkina Faso and northern Ghana, including the subgroups of Kasena, Frafra and others, are known for their spectacular adobe architecture. Family compounds are circular, with linked round and rectangular buildings. Men create the structures from mud and the walls are plastered and painted by women. The women use cow dung and mud to plaster the

â&#x20AC;&#x153;if someone does not have a house, they are a vagabond, a nobodyâ&#x20AC;?

Identity | family unit | individual

â&#x20AC;&#x153;building with adobe not only begs social participation and involvement, but also periodic ritual resurfacingâ&#x20AC;?

Gurensi Compound Plan Gurensi - North, Upper Volta Rene Gardi ( 1973 ) 1. Large Houses for the Compound Chief 2. Three room house 3. Five Room house 4. Family yards 5. Bathing 6. Not Mentioned 7. Entrances to the Compound 8. Great Baobob Tree

Songo [house] Private Rooms Homes pongnia

Family Courtyards Compound Yard

frontyard

Songo [house] Light moving into the ‘sanctums’

Male and Female Spaces

Plan House 2 1. Family Courtyard 2. Main Room 3. Kitchen 4. Unadorned Bedroom 5. Drinking Water 6. Stone for Grinding Millet 7. Beer 8. Stores of millet, corn, and beans 9. Free standing support beams 10. Large earthenware jars 11. Stove and jars 12. Holy Offering Place for the family

private

outside

work and storage

privacy from adjoined homes and interior yard representation of the maternal womb division of men and women [children] dimly light - inner sactom

offering water threshold

semi - private

visual control

interior compound

Wall Texture Family Unit

bed above storage below kitchen animals

Drawings originally sketched by Baltazar Shoo

winds

sleeping

storage

kitchen

reception

Maleâ&#x20AC;&#x2122;s house is public [receiving of guests] Space is more continuous Placement of house within land relates to catching of wind, primarily for the male

Drawings originally sketched by Baltazar Shoo

Space is divided between animals, storage, kitchen, manger, sleeping for women and children Raising the beds allows for air movement through the house

“the fusion of person with place which generates an emotional attachment to architecture past and present; this is particularly relevant to the elders in that it ensures a continuity of experience and the integrity of the self in old age. It is through the agency of our bodies and the use of our senses that we create place: housing evolves as a ‘centre of meaning constructed by experience.’”

Bibliography Cassiman, Ann. 2011. Architectures of belonging: inhabiting worlds in rural West Africa. Antwerp: BAI Pub. Cooksey, Susan. Interview by author. Personal Interview, Gainesville, November 2, 2012. Gardi, René. Indigenous African architecture. New York:Van Nostrand Reinhold, 1974. “rural” Merriam-webster.com. Merriam-Webster Dictionary 2012. Web, accessed November 2, 2012

Suzanne Davis ARC 6793 December 12, 2012 Donna Cohen