Earth + Roof + African Influence

Earth + Roof + African Influence

Suzi Davis


Suzi Davis

Credits and Thanks for their time and knowledge

Professor University of Florida | Dr. Esther ObonyoGraduate Student University of Florida | Peter Donkor

Curator of African Arts Harn Museum | Susan CookseyProfessor University of Florida | Donna Cohen

Suzanne DavisARC 6793December 12, 2012Donna Cohen

Contributed with Armstrong + Cohen Architecture

“A roof is...Not a Hat.”

Table of Contents


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

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“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

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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 “World Heritage Sites,” UNESCO Wed, accessed December 3, 2012, http://whc.unesco.org/en/list/11393 Rael, Ronald. Earth Architecture. New York, N.Y: Princeton Architectural Press, 2009. 12.

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1. Great Mosque of Djenne2. Rock-Hewn Church of Lalibela3. Tomb of Askia4. Tomb of Askia

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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 Rael, Ronald. Earth Architecture., 13.5 Gardi, Rene. 1974. Indigenous African architecture. New York: Van Nostrand Reinhold, 58.6 Anna heringer http://www.anna-heringer.com/index.php?id=66

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5. Omar Rabie earth blocks 6. CEB brick making7. baobob tree structure imitation (Dosso, Niger)8. Sudanese Building with Clay

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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 Obonyo, Esther. Interview by author. Personal Interview, Gainesville, September 19, 2012.8 Donkor, Peter. Interview by author. Personal Interview, Gainesville, September 26, 2012.

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9. Indigenous African Architecture10. UF Grad Student Research | coconut fibers11. UF Grad Student Research | bamboo fibers

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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/EB-checked/media/95795/The-major-climatic-groups-are-based-on-patterns-of-average10 Elleh, Nnamdi. 1997. African architecture: evolution and transformation. New York: McGraw-Hill.

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Earthen Material Roofing Systems

Conventional RoofPitch 1:3clay tiles

Domed Roofbricks, adobe, compressed earth blocksPrecedents: Fancis Kere, Eladio Dieste

Flat RoofClay tile componentsbricks

Angled Roofclay tiles components

Butterfly RoofClay tiles components

Barrell Vaults: Guassian Curvebricks, adobe, compressed earth blocksPrecedents: Fancis Kere, Eladio Dieste

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12. Köppen Climate Classification Map13. Common Roof Typoligies referenced to materials and architects

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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 Diebedo Francis Kere 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 Kere. 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. Kere 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

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14. Jullian Elliot | Attala House15. Diebedo Francis Kere | Gando School16. Peter Rich | Mapungubwe Visitor’s Center17 - 19. Roof Typology Model Studies

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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

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building volume

columns| stacked clay extructions

structure a

clay framework

tile roof surface

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20. 3D prints of roof structures21 - 25. Interlocking forms and structures26 - 29. Sheme a model images and diagram

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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 ‘roof’ 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.

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27. Making process tiles | 3D print | clay tiles28. Framework to tile29. Scheme A | reflected ceiling plan

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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 “what do you want to be in the 20th century and how can I help?”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.

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

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

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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, Rene. 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-of-average

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

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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.


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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: 1950’s corrugated metal roofs and concrete brick

[osafa.org]

“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. ”

George William Kofi Intisiful

Professor and Dean of the Department of Architect at the Kwame Nkrumah University of Science and Technology (KNUST)


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(Left) An isimodeni , or “modern” style Zulu house (rondawel ) in Msinga, South Africa. (Center) Drawing of a Msinga style house. Photographs and drawing by Debbie Whelan, 2000 and 2001.

(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 are hung from the rafters. The men’s area is on the right, and women utilize the space on the left. Drawing from Captain W.R. Ludlow, Zululand and Cetewayo, 1882.

Zulu Houses

(Left) An isimodeni , or “modern” style Zulu house (rondawel ) in Msinga, South Africa. (Center) Drawing of a Msinga style house. Photographs and drawing by Debbie Whelan, 2000 and 2001.

(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 are hung from the rafters. The men’s area is on the right, and women utilize the space on the left. Drawing from Captain W.R. Ludlow, Zululand and Cetewayo, 1882.

Zulu Houses

Zulu House | Ancestral Spaces

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

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Round Churches of Ethiopia

From the 4th to the 16th century, Ethiopian churches were based on the Late Antiquities basilica plan. Early churches were oriented toward the east, with the altar and sanctuary in the form of a semi-circular apse located on the eastern end. A nave with flanking side aisles, was lit by clerestory windows. The main portal for the laity was on the west side. Most early churches were built of wood, mud mortar and stone, with some carved of living rock. Except for the rock hewn churches, most basilica-plan churches have not survived. By 1500, a new circular church plan was introduced that replaced the basilica form. The round church plan has lasted to the present. Most round churches are made of wattle and daub or stone walls and have a conical thatched roof, although some have metal roofs. The sanctuary is an enclosed square structure situated in the center of the church. The four walls of the sanctuary are aligned according to the four cardinal points of the compass, with the most sacred eastern space reserved for the altar. The main exterior portals for the laity on the west and east sides. Only the priest could enter the sanctuary, which had doors at the north, south and west sides. The sanctuary was encircled by concentric rings that form the aisles, and aisle access for the laity becomes more restricted as they approach the sanctuary. The inner aisle, the qiddist, was accessible to the priest and communicants during services. Sacred chants and dances are performed in the outer aisle, the qɘne mahɘlet, a space that is accessible to the laity. The subdivided interior restricts visibility of spaces, so that the main aesthetic experience is provided by religious paintings on the qɘne mahɘlet or qiddist walls glimpsed through columns or doorways. The church precinct also includes smaller buildings, the eqa bet that serves as a treasury for books, liturgical objects are stored, and the beta lɘhem where the bread for communion is prepared. The walled precinct is situated in a grove that provides wood for construction and suggests that the site may be compared to the Garden of Eden.

Exterior of rural church of St. Mary , near Bahar Dar, Ethiopia, 2001. Photograph by Rebecca Nagy.

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 church plan drawing by Amha Mersie Hazen, 2009.











Round Churches of Ethiopia | Layering of Interior

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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 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.

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.

A Somali Home

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 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.

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.

A Somali Home

Somali House

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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 walls, then paint them with pigments made of red soil, black ground stone, and a white, chalk-like stone. Locust bean (dawa dawa) is used as a varnish-like fixative. The designs on the walls are geometric motifs, including 17 standard patterns, and new variations. In the image above, the pattern on the left building is called Zanlenga, or “net”, rerferring to a woman’s net bag. The pattern on the upper portion of the building on the right is called tana, and refers to cloth strips sewn together to make a man’s smock.

A Frafra)woman burnishing a painted wall of a compound with a smooth pebble. Burnishing smoothes and adds luster to the surface. From the town of Uarungu, Burkina Faso Photograph by Fred T. Smith, 1973.

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.

Nankani (Frafra) Compound in the Town of Sirigu, northern Ghana, showing an exterior wall with window. In Nankani style similar to Kasena wall paintings. Photograph by Fred T. Smith, 1973.

Gurensi (Kasena and Frafra) Dwellings Gurensi Dwellings | Ghana

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Identity | family unit | individual

“if someone does not have a house,

they are a vagabond, a nobody”

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Gurensi Compound PlanGurensi - 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

“building with adobe not only begs social participation and

involvement, but also periodic ritual resurfacing”

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Private Rooms

Homes

Family Courtyards

Compound Yard

Songo [house]

frontyard

pongnia

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Songo [house]

Light moving into the ‘sanctums’

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Male and Female Spaces

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Plan House 2

4. Unadorned Bedroom

3. Kitchen

2. Main Room

12. Holy Offering Place for the family

1. Family Courtyard

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

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dimly light - inner sactom

division of men and women [children]

representation of the maternal womb

privacy from adjoined homes and interior yard

visual controlofferingwaterthreshold

work and storage

private semi - private interior compound

outside

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42

Family Unit

Wall Texture

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N

winds 0 10

bed abovestorage below

kitchen

animals

Drawings originally sketched by Baltazar Shoo

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0 5

Drawings originally sketched by Baltazar Shoo

Male’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

Space is divided between animals, storage, kitchen, manger, sleeping for women and children

Raising the beds allows for air movement through the house

sleeping

storage

storage

kitchen

sleeping

reception

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“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.’”

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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, Rene. Indigenous African architecture. New York:Van Nostrand Reinhold, 1974.

“rural” Merriam-webster.com. Merriam-Webster Dictionary 2012. Web, accessed November 2, 2012

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Suzanne DavisARC 6793December 12, 2012Donna Cohen

Credits and Thanks for their time and knowledge

Professor University of Florida | Dr. Esther ObonyoGraduate Student University of Florida | Peter Donkor

Curator of African Arts Harn Museum | Susan CookseyProfessor University of Florida | Donna Cohen

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Earth + Roof + African Influence

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