2. Historic preservation
• The challenges of preservation are clear, and the solutions
are challenging.
• The important work ofpreserving the missions is underway
, but much more needs to be done.
• Time, technology and money must be
devoted to ensuring the historical integrity of these
centuries-old missions.
· .
3. Historic preservation
Careful and appropriate repairs are expensive and
mandatory for historically accurate preservation and
adherence to government standards for historic properties.
4. Historic preservation
• 3 ways to enforce historic preservation guide lines
i. Aesthetic regulations, such as design, review guide lines
ii. Administrative/management/ techniques
iii. Economic incentives
• In addition to time, technology
and money the following could be the
main challenges and risk of preserving historical heritages.
Risk of historical heritage
1,primary risks
2,secondary risks
· .
5. • Cultural heritage is affected by primary risks, that is, direct damage
from the natural disaster
• Infrastructure repair or replacement (e.g., road widening)
disregards or encroaches up on cultural assets.
• Temporary camps are sited without regard to cultural heritage
concerns.
• Illegal and uncontrolled relocation and reconstruction spoil heritage
landscapes or damage other assets
• Financial assistance policies encourage demolition of heritage buildi
ngs.
Historic preservation primary risks
6. Cultural heritage is also threatened by secondary risks that arise
during recovery and reconstruction,
including: rescue and relief measures that are carried out with no regard
heritage value of damaged areas (e.g., water damage from fire
fighting and debris removal with no regard to heritage value);
looting of heritage buildings; and reuse of cultural and natural heritage
resources as fuel, food, and reconstruction materials.
Historic preservation secondary risks
7. Group assignment
• Write and compare the relation and difference of Venice
charter and Athens charter. ( not exceeds a paper )
(15 point)
8. • The cultural and natural heritage criteria help to define ‘out-standing
universal value’ and have been revised over time to adapt to
changing interpretations of this concept.
• The key message of the Convention –
the need to preserve and transmit cultural and natural heritage of
‘outstanding universal value’ to future generations
9. The World heritage Danger List
• Placing a site on the Danger List is a way of signaling to the
international community the gravity of the risks in order to facilitate
support and actions to safeguard the site.
• objective of the Committee is therefore to provide direct and indirect
support to sites on the Danger List, and gradually to re-establish
normality.
• This process has been resoundingly successful in a number of cases –
for example at the cultural heritage sites of the Old City of Dubrovnik
(Croatia)and of Timbuktu (Mali), or of the natural heritage sites of
Iguazu / Iguaçu National Park (Argentina and Brazil) and Yellowstone
(United States).
10. Old City of Dubrovnik (Croatia) & and of Timbuktu (Mali),
12. List of World Heritage in Danger
• Sites are inscribed on the List of World Heritage in Danger
for a variety of reasons, including natural catastrophes,
impact of urbanization and damage arising from conflict.
13. OVERVIEW OF THE CONVENTION
• 1. Strengthen the ‘CREDIBILITY’ of the World Heritage List, as a
representative and geographically-balanced testimony of cultural and
natural properties of outstanding universal value;
• 2. Ensure the effective CONSERVATION of World Heritage properties;
• 3. Promote the development of effective CAPACITY-BUILDING
measures, including assistance for preparing the nomination of
properties to the World Heritage List, for the understanding and
implementation of the World Heritage Convention and related
instruments and;
• 4. Increase public awareness, involvement and support for World
Heritage through COMMUNICATION.
14. Excavation tools for heritages sites
• Shoves, trowels, spades, brushes, sieves and
buckets are some of a common tools for
archeologist may carry with them to most dig
19. GENERAL OVERVIEW
DEFINITION
Architecture that makes use of common regional know how forms and materials at a
particular place and time.
Modest , unassuming, unpretentious, indigenous, non elite /common/, domestic
building practice.
Characteristics
• Often Owner-built
• Local material
• Local building customs and techniques
• Responsive to contextual factors
e.g regional climatic conditions
Often transforms into a mixture of traditional and current influences
Strongly linked with ethnic as well as joint visual identity
20. GENERAL OVERVIEW
GENERAL OVERVIEW
THE ETHIOPIAN
VERNACULAR
SAMPLES
CLOSING DISCUSSION
THE ETHIOPIAN VERNACULAR
DIVERSE ETHIOPIA.
ENVIROMENT
Altitudinal differences (100m below sea level to 4900m
above see level
Vast and deep valleys and plateaus – isolation
Population density
CULTURE/ ETHNIC mosaic
History
83 Languages/200 dialects
Slight cultural differences b/n the closest neighbor's
Occupation: farmers, pastoralists, nomads…
21. THE ETHIOPIAN VERNACULAR
Mountains surronding present day lalibbela town
GENERAL OVERVIEW
THE ETHIOPIAN
VERNACULAR
SAMPLES
CLOSING DISCUSSION
22. SAMPLES OF ETHIOPAN VERNAUCLARS
• SOUTHERN
VERNAUCLAR
• DORZE
• GURAGHE
• HARARI
• OROMO
• SIDAMA
• KONSO
GENERAL OVERVIEW
THE ETHIOPIAN
VERNACULAR
SAMPLES
CLOSING DISCUSSION
Sampling on the basis of
bold distinctive
characteristics, building
techniques and procedures
NORTHERN VERNACULAR
AFAR
TIGRAY
AMHARA
23. SAMPLES
NORTHERN VERNACULAR
AFAR
TIGRAY
AMHA RA
THE AFAR
Place:
A roughly triangular area of the denakil
depression/ desert
One of the most inhospitable environments on
earth
50 degrees and beyond, no rain, below sea
level, dry rocky land
People:
clan organization, pastoralist, mostly Muslims,
nilo Hamitic language
The camp is chiefly the women’s province
Architecture:
The camp consists of 2-6 tents enclosed by
torn bush fence
Have three types of dwellings
The demountable tent
The hut
The temporary shelter
24. SAMPLES
NORTHERN VERNACULAR
AFAR
TIGRAY
AMHA RA
THE AFAR
construction
-clearing the site
-dig 15-20 cm deep holes to erect
structure
-armature is erected
-The longitudinal side arches (arhina)
1st
Latitudinal arches (aboli) follow
30-50 semi circular transverse arches
final
-Longitudinal and transverse arches
are connected using a small cord
(maderto)
-Armature is covered by 3 different
types of mat overlap
26. SAMPLES
NORTHERN VERNACULAR
AFAR
TIGRAY
AMHA RA
THE TIGRAY
Place
Thin and less fertile soil
Highly mountainous
Stone is abundant
Architecture
Stone culture/ display axumite
influence
Scattered in semi isolated
homesteads
Two main house types
The rectangular flat roofed
(hidmo)
The round thatched double
storey type
27. SAMPLES
NORTHERN VERNACULAR
AFAR
TIGRAY
AMHA RA
THE TIGRAY
construction
-Collection and pilling of stones from fields
-A foundation ditch is dug 1m deep and 1m wide
-Wall is built of basaltic/sandstone/ granite stone and clay mortar mixed with straw
-Opening are left for doors and windows to be completed with wooded lintels
-deciduous tree beam(awhi) supported by a pillar (andii) is laid diametrically across the center
on upper part of the wall
-flat pieces of wood are carefully placed b/n the wall and beam
-clay mixed with straw is evenly spread and well trodden/compacted so that rain water can run
off.
-2nd story will be added when family size and income increases along with an external staircase
and porch like structure
--doors and windows are made of flat wooden planks joined with u-shaped iron nails
-Central post supports the rafters, brushwood and thatch of the conical roof
-The ceiling is well decorated with geometric patterns
-Floor is plastered smooth with cow dung and internal wall and mud plastered
29. SAMPLES
NORTHERN VERNACULAR
AFAR
TIGRAY
AMHA RA
THE AMHARA
The tukul or sarbet is the prevalent housing
typology.
The structure uses simple building techniques
and excellent use of natural resources
Procedure of construction
1) first a circle with a diameter of 2.7- 3m in
diameter is drawn. Poles are placed in the
ground about 90 cm apart along the
circumference
2) The walls are filled with flexible upright poles
set close together and stuck in the ground. rope
is used to tie supports to the side of the wall. The
eaves project a minimum of 30 cms and might
extend to become the veranda.
3) More supports are added to the roof and tied
with rope and the roofing material (samba lit) is
used.
30. SAMPLES
NORTHERN VERNACULAR
AFAR
TIGRAY
AMHA RA
THE AMHARA
4)An adobe plaster of straw
and mud is put on the wall.
After plastering is finished, a
door is built and installed and
two holes are put in the wall to
allow sunlight to come in.
5) The interior is designed
according to the use, living
quarters, kitchen, stable ,
storage or maybe as a
combination of all these.
31. SAMPLES
SOUTHERN VERNAUCLAR
DORZE
GURAGHE
OROMO
SIDAMA
KONSO
THE SOUTHERN VERNAUCLARS
Houses built by Ethiopians beyond the highlands share
many characteristics
Circular plans are widely employed
Extensive use of Poe and plaster walls
Surrounding verandas
Tiered thatched roofs with decorative/pottery
32. SOUTHERN VERNAUCLAR
DORZE
GURAGHE
OROMO
SIDAMA
KONSO
THE DORZE
The dorze house is also called the chencha house. The house is
distinct from other tukul in its oval (rather than hemi –spherical
shape.)
The height of the hut sometimes exceeds 8 m but is usually not less
than 6m
The hut is then replaced after sufficient bamboo is connected.
The average d- 7-8m
The plan layout of the chencha house
has two distinct areas separated by a
Bamboo partition approximately 2m
high
The back portion of the hut appears to
Serve as a kind of store
All other activities are carried out in
the front.
The hut is wather tight with a small smoke outlet.
33. SOUTHERN VERNAUCLAR
DORZE
GURAGHE
OROMO
SIDAMA
KONSO
THE DORZE
Construction
-site is cleared and leveled
-Split bamboo pieces are driven in to the ground
-A series of horizontal rings are then interlocked
between the vertical pieces from the bottom to the
top
--When the main framework is completed, a
portion is added around the house. This portion
starts from the floor, continues on both sides and
gradually tapers off at the top, giving the
impression of gigantic nose appended at the hut
The area created by this nose serves as a kind of
entrance hall to the main enclosure.
Layers of leaves are placed outside the framework
of the hut
35. SAMPLES
THEGURAGHE
People of the enset
Clustered in numerous small, densely settled,
kin-group villages
Construction is a communal effort,
The door frame, the central supporting pole
and the struts supporting the roof and the
thatching call for special skills
Progression of space
The spaces around a gurage house follow a
strict progression from the private to public
The road- the front yard-the house-the
backyard –the forest
36. SAMPLES
SOUTHERN VERNAUCLAR
DORZE
GURAGHE
OROMO
SIDAMA
KONSO
THEGURAGHE
Most of the houses
are approached via
the divulging
footpath.
The proximity,
orientation as well as
demarcation of the
gurage communal is
determined by
relationships
The compounds are
cooperatively fenced
and mostly found in a
circular arrangement
38. SAMPLES
SOUTHERN VERNAUCLAR
DORZE
GURAGHE
OROMO
SIDAMA
KONSO
THE OROMO
The oromo house is a vernacular
typology with a lot of variation s based
on the tukul depending on the
location in the oromo region.
Construction is a communal effort- jigi
There are three main types of tuku
among the oromo.
1) The acute- angled roof, rather
convex,
-no verandah,
found among the beco and ania
(telema borelli and paulitschke)
-with the narrow verandah
Found among the the leqa (meca)
39. SAMPLES
THE OROMO
2) obtuse-angled roof
No verandah
Found in shoe( inner concentric wall)
Verandah
Found in jimma(borelli)
Carefully constructed and finished short verandah
3)Walls and roof in the same plane
-straight
Found in arsi, ridiculed typology
-curved
41. SAMPLES
THE SIDAMA
Bamboo is the material used for the framework
and is covered with grass and enset leaves. And
covered with a second layer of bamboo
wickerwork
There are two major distinctions between the
sidama and dorze house
The sandwich bamboo construction
The central pole
The small front porch shades the entrance
Inside the family has th right side and the calves
have the left side
42. SAMPLES
SOUTHERN VERNAUCLAR
DORZE
GURAGHE
OROMO
SIDAMA
KONSO
THE SIDAMA
clearing the site
-planting the wooden bamboo sticks in a circle
-bamboo skin wickerwork is done on the stick
framework
-the inner layer of the roof (bamboo rafters
intermediate sticks are tied together in
concentric circles of flexible bamboo sticks of
using again the bamboo rope.
The central pole is erected with the roof frame
on top whose bamboo extensions are joined to
the walls and continued to the floor.
The weaving of the outer wickerwork is done
axially from the bottom to thee top
The entrance is cut out from the wickerwork and
placed on posts creating a small porch and a
door is constructed along the void
