Traditional buildings across Nigeria’s geographical zones are known to have demonstrated a thorough response to the climate, local technology and socio-economic milieu in which they evolved. The origin of these different traditional building body associates with the natural materials availability to the local builders as well as religious belief, cultural and taboos. The advent of colonialism in Nigeria changed the traditional life and culture of Nigerian which creates a weak connection between traditional architecture and contemporary architecture in Nigeria. Most recent buildings designs across Hausa regions in Nigeria have been built with imported materials and the construction techniques tailored to satisfy the modernity self-ego and aspirations. Thus, traditional architecture ought not to be abandoned and forgotten, hence; experts’ awareness should be tailored to the understanding of its original essence.
A review of the House, Form and Culture by Amos Rapoport Prasad Thanthratey
A presentation on review of the book "House, Form, and Culture" by Amos Rapoport from students of 6th Semester of architecture at VNIT, Nagpur (Jan-March 2016)
Architecture is influenced by sociological and psychological factors related to human wellbeing. Sociology examines how architectural forms both influence and are influenced by sociocultural phenomena. Architectural sociology uses social theory and research methods to understand how building designs impact people. Architects must understand sociology to account for how people's beliefs, geography, religion, and other sociocultural factors shape architectural forms and styles. For example, rounded hut structures in northern Ghana reflect indigenous beliefs, and materials like mud and thatch provide cooling appropriate for the climate. Religions also influence architectural styles through elements like domes, courtyards, statues, and shapes that symbolize religious ideas. Architects need sociological insight to design buildings suited to
Critical regionalism is an architectural approach that seeks to counter the placelessness of the International Style by being rooted in a specific geographical and cultural context, while still drawing from modern design traditions. It rejects both the lack of identity in the International Style as well as the whimsical individualism of postmodern architecture. The term was coined by architectural theorists Alexander Tzonis and Liane Lefaivre. Critical regionalism holds that both modern and postmodern architecture lack context and connection to place. Notable critical regionalist architects include Alvar Aalto, Kenzo Tange, and Tadao Ando, whose works emphasize simple geometric forms, natural light, and an honest use of materials to connect architecture to its unique environment.
"Sustainable development is development that meets the needs of the present without compromising the ability of future generations to meet their own needs.
SUSTAINABLE: Ecological and economical way of living to make human kind healthy and happy
�ARCHITECTURE :The art and science of making buildings.
Includes technology as well as aesthetics
�
The document discusses vernacular architecture, providing several key points in 3 or more sentences:
Vernacular architecture is architecture designed without architects based purely on a society's building needs, crafted by individuals using local materials and trial and error over time. It is perfectly adapted to its environment and users as the builders are also the occupants. We can learn from vernacular architecture's seemingly simple but effective low-tech methods to prevent modern architects from sacrificing function, comfort or sustainability for aesthetics or ego. The document then provides an example, summarizing the key design features of a traditional house in Himachal Pradesh, India, including its compact layout, sloped roof, large openings, and use of local materials.
Sustainable Design Part Two: Climate Related IssuesTerri Meyer Boake
What is Sustainable Design Part Two: Climate Related Issues looks at the bioclimatic regions and how they affect the approach to environmental building design. This also looks at the comfort zone as a way to reduce energy consumption.
This document discusses the relationship between architecture and music, specifically how rhythmic concepts can inspire architectural design. It notes that music and architecture share characteristics like rhythm, texture, harmony, and proportion. An architect can take a musical score and interpret elements like dynamics, rhythm, and texture into a building concept, such as for elevations, sections, or plans. Examples are given of Daniel Libeskind drawing inspiration from an unfinished opera for his extension of the Berlin Museum building design. In general, the document argues that music can influence an architect's inner vision and lead to successful architectural designs.
A review of the House, Form and Culture by Amos Rapoport Prasad Thanthratey
A presentation on review of the book "House, Form, and Culture" by Amos Rapoport from students of 6th Semester of architecture at VNIT, Nagpur (Jan-March 2016)
Architecture is influenced by sociological and psychological factors related to human wellbeing. Sociology examines how architectural forms both influence and are influenced by sociocultural phenomena. Architectural sociology uses social theory and research methods to understand how building designs impact people. Architects must understand sociology to account for how people's beliefs, geography, religion, and other sociocultural factors shape architectural forms and styles. For example, rounded hut structures in northern Ghana reflect indigenous beliefs, and materials like mud and thatch provide cooling appropriate for the climate. Religions also influence architectural styles through elements like domes, courtyards, statues, and shapes that symbolize religious ideas. Architects need sociological insight to design buildings suited to
Critical regionalism is an architectural approach that seeks to counter the placelessness of the International Style by being rooted in a specific geographical and cultural context, while still drawing from modern design traditions. It rejects both the lack of identity in the International Style as well as the whimsical individualism of postmodern architecture. The term was coined by architectural theorists Alexander Tzonis and Liane Lefaivre. Critical regionalism holds that both modern and postmodern architecture lack context and connection to place. Notable critical regionalist architects include Alvar Aalto, Kenzo Tange, and Tadao Ando, whose works emphasize simple geometric forms, natural light, and an honest use of materials to connect architecture to its unique environment.
"Sustainable development is development that meets the needs of the present without compromising the ability of future generations to meet their own needs.
SUSTAINABLE: Ecological and economical way of living to make human kind healthy and happy
�ARCHITECTURE :The art and science of making buildings.
Includes technology as well as aesthetics
�
The document discusses vernacular architecture, providing several key points in 3 or more sentences:
Vernacular architecture is architecture designed without architects based purely on a society's building needs, crafted by individuals using local materials and trial and error over time. It is perfectly adapted to its environment and users as the builders are also the occupants. We can learn from vernacular architecture's seemingly simple but effective low-tech methods to prevent modern architects from sacrificing function, comfort or sustainability for aesthetics or ego. The document then provides an example, summarizing the key design features of a traditional house in Himachal Pradesh, India, including its compact layout, sloped roof, large openings, and use of local materials.
Sustainable Design Part Two: Climate Related IssuesTerri Meyer Boake
What is Sustainable Design Part Two: Climate Related Issues looks at the bioclimatic regions and how they affect the approach to environmental building design. This also looks at the comfort zone as a way to reduce energy consumption.
This document discusses the relationship between architecture and music, specifically how rhythmic concepts can inspire architectural design. It notes that music and architecture share characteristics like rhythm, texture, harmony, and proportion. An architect can take a musical score and interpret elements like dynamics, rhythm, and texture into a building concept, such as for elevations, sections, or plans. Examples are given of Daniel Libeskind drawing inspiration from an unfinished opera for his extension of the Berlin Museum building design. In general, the document argues that music can influence an architect's inner vision and lead to successful architectural designs.
This document discusses ventilation and air movement in buildings. It covers natural ventilation strategies like wind patterns, opening positions and sizes, and stack effect. Cross ventilation and the venturi effect are explained as ways to induce air flow. Maintaining indoor air quality by supplying fresh air and removing pollutants requires careful ventilation design considering factors like wind direction, constrictions to increase speed, and opening placement and size. Various techniques are presented, like wind scoops, jets and tunnels, to study air movement and optimize ventilation performance in buildings.
The document discusses Expressionist architecture, an avant-garde movement that sought to transform reality rather than imitate it. Expressionism emerged from Art Nouveau in the early 20th century and was influenced by the trauma of World War I, during which architects were freed from practical constraints. Notable Expressionist architects included Erich Mendelsohn, Joseph Maria Olbrich, Rudolph Steiner, Eero Saarinen, and Frank Gehry. Their works featured organic, non-rectilinear forms meant to express deeper meanings rather than mimic surface appearances.
Balkrishna Vithaldas Doshi is an Indian architect born in 1927 who pioneered low-cost housing design in India. Some of his notable works include NIFT Delhi, Amdavad ni Gufa in Ahmedabad, and CEPT and IIM Bangalore. He combined his studies of Le Corbusier's work with research into traditional Indian architecture to create a unique form of modernism sensitive to community and environment. One of his projects, Sangath built in 1978, employs passive solar design principles like vaulted roofs, subterranean spaces, and indirect natural lighting to remain cool with minimal energy usage.
This document discusses sustainable architectural design strategies for different climate zones in India. It provides an overview of approaches to sustainable design like considering climate, use of local materials, and energy efficient design. It outlines strategies for reducing energy usage through passive design principles and renewable energy sources. It also includes a case study of the Indira Paryavaran Bhawan building in New Delhi that utilizes natural ventilation, solar orientation, green spaces, and other passive techniques.
The document discusses vernacular architecture in India, focusing on traditional materials and construction techniques. It describes the different climatic zones in India and the types of structures commonly found in each. Some key traditional elements discussed include Vaastu Shastras, which incorporate Hindu beliefs into building design, and the use of local materials like timber, stone, clay, and rammed earth. Specific regional architectural styles are highlighted, such as courtyard homes in Gujarat and Warli paintings in Maharashtra. The document advocates for a contemporary architecture rooted in vernacular traditions and responsive to local culture and environment.
The following presentation includes the case studies of different residential buildings. It was done by students of Pulchowk campus, Nepal in 2nd year.
it includes the form and functional aspects of residential buildings and how can we develop concepts. also it includes topics like site forces and how they have effects in design process.
The document discusses vernacular architecture and building styles across different climatic zones in India. It describes the major climatic zones and their characteristics, and provides examples of traditional building styles for each zone, including hot and dry, warm and humid, moderate, composite, cold, and cold and cloudy climates. Key aspects addressed include building materials, passive cooling and heating techniques, and architectural features used to adapt to local climate conditions.
The wall is a vertical plane that defines an enclosure and takes structural load. It has evolved over time from thick load-bearing walls to thinner non-load bearing walls. Key developments include the introduction of arches, which allowed for larger openings, and modern frame structures, which relieved walls of structural responsibilities. Walls have served purposes of support, defense, and separation of spaces through history. Their shapes can be straight, curved, or leaning, and materials have developed from living rock to masonry to modern reinforced concrete.
Vernacular architecture is characterized by the use of local materials and knowledge without professional architects. It uses simple, practical designs suited to the environment. Materials may include bamboo, mud, timber, stone, and later plastics and concrete. Each example follows traditions of the region. Factors like climate, available materials, culture, and lifestyle influence the forms. In different climates, structures are adapted through site orientation, insulation, ventilation, and other techniques. Vernacular architecture evolves over time based on the environmental, cultural, and historical context.
It is a literature case study, which consist of two parts. 1st half covers the introduction of hot and dry climate and design factors that we consider while designing in hot and dry areas. And 2nd part consist of litrature case study of building "SANGATH - An Architect’s Studio, Ahmedabad By B.V. Doshi".
The document discusses vernacular architecture, which is architecture based on localized needs, materials, and traditions. Vernacular architecture evolves over time based on its environmental and cultural context. It tends to use simple and inexpensive local materials and designs that meet the needs of the local population. Examples of architectural elements, materials, and regional variations from around the world are provided to illustrate how vernacular design is adapted to the environment and resources available.
The document discusses passive cooling and natural lighting strategies to minimize energy consumption in a warehouse in Sekeping Serendah, Selangor, Malaysia. It identifies factors that affect energy usage, including user habits and appliances. It then describes passive design features of the warehouse, including sun shading from surrounding plants and large roofs, cross ventilation and an open layout for natural ventilation, thermal mass from concrete and bricks, and a skylight to provide natural lighting. These passive strategies reduce the need for active cooling and mechanical lighting, lowering electrical usage and energy consumption.
This document discusses principles of sustainable architecture that can be incorporated in designing film institutes and film studios. It discusses using local and natural materials, renewable energy sources, passive cooling and heating techniques, green roofs, and minimizing resource usage. Case studies of sustainable buildings like the Mati Ghar cultural center and Ken Yeang's conceptual Nara Tower are provided as examples of implementing these principles through features like natural ventilation systems, vertical landscaping, and optimized building forms.
The document discusses various concepts related to thermal heat gain and loss in buildings, including:
- Thermal conductivity, resistivity, conductance, and resistance, which describe the ability of materials to allow heat to pass through them.
- Time lag and decrement factor, which characterize periodic heat flow patterns as outdoor temperatures fluctuate daily.
- Methods for calculating conduction, convection, radiation, and ventilation heat exchange in buildings.
- The concept of sol-air temperature, which combines radiant and convective heating effects on buildings.
- Factors like solar gain factor and surface conductance that influence a building's absorption of solar heat gain.
hello! find the details about composite climate and aurabindo ashramam here. If u want best architecture and interior services, click on https://jakkan.com/ and contact them. They give best services.
A comparative analysis of tropical architecture features aleensies
This document compares the tropical architecture features of a traditional Malay house and Ting Residence by Wooi Architect. A traditional Malay house consists of three main spaces - a serambi (public area), rumah ibu (semi-private area), and dapur (private area). It uses lightweight timber construction. The Ting Residence incorporates modern spaces like a gallery, lobby, and gymnasium while still drawing from traditional Malay design principles like large overhangs, louvred windows, and natural ventilation. Both prioritize thermal comfort through passive design adapted to the tropical climate without mechanical cooling.
Kenneth Frampton ‘Towards Critical Regionalism’: Six Points for an Architectu...Nicky Wong
This document discusses Kenneth Frampton's views on architecture and critical regionalism. Frampton believes architects should analyze native characteristics and reinterpret them using modern terms, rather than creating standalone objects. He advocates studying contextual features to adapt to a site's characteristics. Critical regionalism requires a dialectic relationship with nature beyond formal traditions, integrating architecture with local culture and landscape qualities. The concluding paragraph agrees with Frampton's idea that buildings should merge with their context while respecting local culture and site through design elements like sustainable design.
This document discusses sun shading devices used to control solar radiation entering buildings. It describes different types of internal and external shading devices, including curtains, blinds, louvers and overhangs. It explains how shading devices improve thermal comfort and energy efficiency by reducing heat gains and cooling loads. The document also discusses how to select and design shading devices based on factors like orientation, climate and sun path. It describes how to calculate the horizontal and vertical shadow angles needed to determine a shading device's size and effectiveness.
Vernacular architecture case study with examplesVISHAKA BOTHRA
case study on vernacular architecture, examples of vernacular architecture, literature case study of vernacular architecture, examples of vernacular architecture of India, Maharashtra, Nanded, Aurangabad, complete case study on vernacular architecture
A Lesson from Vernacular Architecture in Nigeria
Ph.D. CandidateJoyce Lodson1,* Ph.D. CandidateJOHN EMMANUEL OGBEBA2, Dr. UGOCHUKWU KENECHI ELINWA3
1 Department of Architecture, Federal Polytechnic Bauchi, Bauchi state, Nigeria
2Department of Architecture, Eastern Mediterranean University, Famagusta, Mersin 10, Turkey
3Department of Architecture, Cyprus International University, Famagusta, Mersin 10, Turkey
E mail:joycelodson@yahoo.com E mail: john.ogbeba@emu.edu.tr , E mail:uelinwa@ciu.edu.tr
A B S T R A C T
Contemporary architecture has its roots from the vernacular. Every cultural group in the world has its own form of vernacular though the approach may vary from place to place and from people to people. Vernacular architecture has many values which are relevant to contemporary architecture today. This paper looks at vernacular architecture in Nigeria as practiced by two ethnic groups who have varying climatic, religious and socio-cultural practices. The approaches to architecture by these two groups, i.e. the Hausas and Igbos, are looked at with the intention of finding positive values in the vernacular which can be applied to the contemporary. One of such values as seen in this paper is the harmony of traditional building materials with nature. Local building materials are able to meet housing needs without having detrimental effect on the environment. More emphasis should therefore be given to local building materials in the building industry today. The paper concludes by stating that for contemporary architecture to adequately meet the needs of man today, vernacular values which apply to the cultural and climatic needs of such places should be selected and imbibed.
A B S T R A C T
Contemporary architecture has its roots from the vernacular. Every cultural group in the world has its own form of vernacular though the approach may vary from place to place and from people to people. Vernacular architecture has many values which are relevant to contemporary architecture today. This paper looks at vernacular architecture in Nigeria as practiced by two ethnic groups who have varying climatic, religious and socio-cultural practices. The approaches to architecture by these two groups, i.e. the Hausas and Igbos, are looked at with the intention of finding positive values in the vernacular which can be applied to the contemporary. One of such values as seen in this paper is the harmony of traditional building materials with nature. Local building materials are able to meet housing needs without having detrimental effect on the environment. More emphasis should therefore be given to local building materials in the building industry today. The paper concludes by stating that for contemporary architecture to adequately meet the needs of man today, vernacular values which apply to the cultural and climatic needs of such places should be selected and imbibed.
CONTEMPORARY URBAN AFFAIRS (2018) 2(1), 84-95. Doi: 10.25034/ijcua.2018.3664
www.ijcua.com
This document discusses ventilation and air movement in buildings. It covers natural ventilation strategies like wind patterns, opening positions and sizes, and stack effect. Cross ventilation and the venturi effect are explained as ways to induce air flow. Maintaining indoor air quality by supplying fresh air and removing pollutants requires careful ventilation design considering factors like wind direction, constrictions to increase speed, and opening placement and size. Various techniques are presented, like wind scoops, jets and tunnels, to study air movement and optimize ventilation performance in buildings.
The document discusses Expressionist architecture, an avant-garde movement that sought to transform reality rather than imitate it. Expressionism emerged from Art Nouveau in the early 20th century and was influenced by the trauma of World War I, during which architects were freed from practical constraints. Notable Expressionist architects included Erich Mendelsohn, Joseph Maria Olbrich, Rudolph Steiner, Eero Saarinen, and Frank Gehry. Their works featured organic, non-rectilinear forms meant to express deeper meanings rather than mimic surface appearances.
Balkrishna Vithaldas Doshi is an Indian architect born in 1927 who pioneered low-cost housing design in India. Some of his notable works include NIFT Delhi, Amdavad ni Gufa in Ahmedabad, and CEPT and IIM Bangalore. He combined his studies of Le Corbusier's work with research into traditional Indian architecture to create a unique form of modernism sensitive to community and environment. One of his projects, Sangath built in 1978, employs passive solar design principles like vaulted roofs, subterranean spaces, and indirect natural lighting to remain cool with minimal energy usage.
This document discusses sustainable architectural design strategies for different climate zones in India. It provides an overview of approaches to sustainable design like considering climate, use of local materials, and energy efficient design. It outlines strategies for reducing energy usage through passive design principles and renewable energy sources. It also includes a case study of the Indira Paryavaran Bhawan building in New Delhi that utilizes natural ventilation, solar orientation, green spaces, and other passive techniques.
The document discusses vernacular architecture in India, focusing on traditional materials and construction techniques. It describes the different climatic zones in India and the types of structures commonly found in each. Some key traditional elements discussed include Vaastu Shastras, which incorporate Hindu beliefs into building design, and the use of local materials like timber, stone, clay, and rammed earth. Specific regional architectural styles are highlighted, such as courtyard homes in Gujarat and Warli paintings in Maharashtra. The document advocates for a contemporary architecture rooted in vernacular traditions and responsive to local culture and environment.
The following presentation includes the case studies of different residential buildings. It was done by students of Pulchowk campus, Nepal in 2nd year.
it includes the form and functional aspects of residential buildings and how can we develop concepts. also it includes topics like site forces and how they have effects in design process.
The document discusses vernacular architecture and building styles across different climatic zones in India. It describes the major climatic zones and their characteristics, and provides examples of traditional building styles for each zone, including hot and dry, warm and humid, moderate, composite, cold, and cold and cloudy climates. Key aspects addressed include building materials, passive cooling and heating techniques, and architectural features used to adapt to local climate conditions.
The wall is a vertical plane that defines an enclosure and takes structural load. It has evolved over time from thick load-bearing walls to thinner non-load bearing walls. Key developments include the introduction of arches, which allowed for larger openings, and modern frame structures, which relieved walls of structural responsibilities. Walls have served purposes of support, defense, and separation of spaces through history. Their shapes can be straight, curved, or leaning, and materials have developed from living rock to masonry to modern reinforced concrete.
Vernacular architecture is characterized by the use of local materials and knowledge without professional architects. It uses simple, practical designs suited to the environment. Materials may include bamboo, mud, timber, stone, and later plastics and concrete. Each example follows traditions of the region. Factors like climate, available materials, culture, and lifestyle influence the forms. In different climates, structures are adapted through site orientation, insulation, ventilation, and other techniques. Vernacular architecture evolves over time based on the environmental, cultural, and historical context.
It is a literature case study, which consist of two parts. 1st half covers the introduction of hot and dry climate and design factors that we consider while designing in hot and dry areas. And 2nd part consist of litrature case study of building "SANGATH - An Architect’s Studio, Ahmedabad By B.V. Doshi".
The document discusses vernacular architecture, which is architecture based on localized needs, materials, and traditions. Vernacular architecture evolves over time based on its environmental and cultural context. It tends to use simple and inexpensive local materials and designs that meet the needs of the local population. Examples of architectural elements, materials, and regional variations from around the world are provided to illustrate how vernacular design is adapted to the environment and resources available.
The document discusses passive cooling and natural lighting strategies to minimize energy consumption in a warehouse in Sekeping Serendah, Selangor, Malaysia. It identifies factors that affect energy usage, including user habits and appliances. It then describes passive design features of the warehouse, including sun shading from surrounding plants and large roofs, cross ventilation and an open layout for natural ventilation, thermal mass from concrete and bricks, and a skylight to provide natural lighting. These passive strategies reduce the need for active cooling and mechanical lighting, lowering electrical usage and energy consumption.
This document discusses principles of sustainable architecture that can be incorporated in designing film institutes and film studios. It discusses using local and natural materials, renewable energy sources, passive cooling and heating techniques, green roofs, and minimizing resource usage. Case studies of sustainable buildings like the Mati Ghar cultural center and Ken Yeang's conceptual Nara Tower are provided as examples of implementing these principles through features like natural ventilation systems, vertical landscaping, and optimized building forms.
The document discusses various concepts related to thermal heat gain and loss in buildings, including:
- Thermal conductivity, resistivity, conductance, and resistance, which describe the ability of materials to allow heat to pass through them.
- Time lag and decrement factor, which characterize periodic heat flow patterns as outdoor temperatures fluctuate daily.
- Methods for calculating conduction, convection, radiation, and ventilation heat exchange in buildings.
- The concept of sol-air temperature, which combines radiant and convective heating effects on buildings.
- Factors like solar gain factor and surface conductance that influence a building's absorption of solar heat gain.
hello! find the details about composite climate and aurabindo ashramam here. If u want best architecture and interior services, click on https://jakkan.com/ and contact them. They give best services.
A comparative analysis of tropical architecture features aleensies
This document compares the tropical architecture features of a traditional Malay house and Ting Residence by Wooi Architect. A traditional Malay house consists of three main spaces - a serambi (public area), rumah ibu (semi-private area), and dapur (private area). It uses lightweight timber construction. The Ting Residence incorporates modern spaces like a gallery, lobby, and gymnasium while still drawing from traditional Malay design principles like large overhangs, louvred windows, and natural ventilation. Both prioritize thermal comfort through passive design adapted to the tropical climate without mechanical cooling.
Kenneth Frampton ‘Towards Critical Regionalism’: Six Points for an Architectu...Nicky Wong
This document discusses Kenneth Frampton's views on architecture and critical regionalism. Frampton believes architects should analyze native characteristics and reinterpret them using modern terms, rather than creating standalone objects. He advocates studying contextual features to adapt to a site's characteristics. Critical regionalism requires a dialectic relationship with nature beyond formal traditions, integrating architecture with local culture and landscape qualities. The concluding paragraph agrees with Frampton's idea that buildings should merge with their context while respecting local culture and site through design elements like sustainable design.
This document discusses sun shading devices used to control solar radiation entering buildings. It describes different types of internal and external shading devices, including curtains, blinds, louvers and overhangs. It explains how shading devices improve thermal comfort and energy efficiency by reducing heat gains and cooling loads. The document also discusses how to select and design shading devices based on factors like orientation, climate and sun path. It describes how to calculate the horizontal and vertical shadow angles needed to determine a shading device's size and effectiveness.
Vernacular architecture case study with examplesVISHAKA BOTHRA
case study on vernacular architecture, examples of vernacular architecture, literature case study of vernacular architecture, examples of vernacular architecture of India, Maharashtra, Nanded, Aurangabad, complete case study on vernacular architecture
A Lesson from Vernacular Architecture in Nigeria
Ph.D. CandidateJoyce Lodson1,* Ph.D. CandidateJOHN EMMANUEL OGBEBA2, Dr. UGOCHUKWU KENECHI ELINWA3
1 Department of Architecture, Federal Polytechnic Bauchi, Bauchi state, Nigeria
2Department of Architecture, Eastern Mediterranean University, Famagusta, Mersin 10, Turkey
3Department of Architecture, Cyprus International University, Famagusta, Mersin 10, Turkey
E mail:joycelodson@yahoo.com E mail: john.ogbeba@emu.edu.tr , E mail:uelinwa@ciu.edu.tr
A B S T R A C T
Contemporary architecture has its roots from the vernacular. Every cultural group in the world has its own form of vernacular though the approach may vary from place to place and from people to people. Vernacular architecture has many values which are relevant to contemporary architecture today. This paper looks at vernacular architecture in Nigeria as practiced by two ethnic groups who have varying climatic, religious and socio-cultural practices. The approaches to architecture by these two groups, i.e. the Hausas and Igbos, are looked at with the intention of finding positive values in the vernacular which can be applied to the contemporary. One of such values as seen in this paper is the harmony of traditional building materials with nature. Local building materials are able to meet housing needs without having detrimental effect on the environment. More emphasis should therefore be given to local building materials in the building industry today. The paper concludes by stating that for contemporary architecture to adequately meet the needs of man today, vernacular values which apply to the cultural and climatic needs of such places should be selected and imbibed.
A B S T R A C T
Contemporary architecture has its roots from the vernacular. Every cultural group in the world has its own form of vernacular though the approach may vary from place to place and from people to people. Vernacular architecture has many values which are relevant to contemporary architecture today. This paper looks at vernacular architecture in Nigeria as practiced by two ethnic groups who have varying climatic, religious and socio-cultural practices. The approaches to architecture by these two groups, i.e. the Hausas and Igbos, are looked at with the intention of finding positive values in the vernacular which can be applied to the contemporary. One of such values as seen in this paper is the harmony of traditional building materials with nature. Local building materials are able to meet housing needs without having detrimental effect on the environment. More emphasis should therefore be given to local building materials in the building industry today. The paper concludes by stating that for contemporary architecture to adequately meet the needs of man today, vernacular values which apply to the cultural and climatic needs of such places should be selected and imbibed.
CONTEMPORARY URBAN AFFAIRS (2018) 2(1), 84-95. Doi: 10.25034/ijcua.2018.3664
www.ijcua.com
This document provides an introduction to vernacular architecture, including its definition and key characteristics. Vernacular architecture evolves over time based on the local environmental, cultural, and historical context. It utilizes indigenous building materials and methods. The document discusses the origins and various approaches to studying vernacular architecture, including aesthetic, anthropological, and architectural approaches. Climate, culture, materials, and construction techniques are some of the main influences on vernacular building forms. The importance of studying vernacular architecture for insights into sustainable design principles is also highlighted.
RESPONSE OF TRADITIONAL ARCHITECTURE TO MODERNISM IN NIGERIA: A CHRONOLOGICAL...indexPub
This research presents a comprehensive exploration of the impact of modernism on Igala architecture, tracing its evolution from pre-colonial times to the contemporary era. Employing a chronological and narrative approach, the study utilized archival research, field surveys, and interviews with local professionals, indigenous elders, and environmental experts to investigate the transformative effects of modernism on Igala architecture
A PROJECT DISSERTATION TITLED CONTEXTUALIZING MODERN ARCHITECTURE IN NIGERIA...Sarah Morrow
This document is a project dissertation submitted by Ariku Temitope Ebenezer to the Department of Architecture at Obafemi Awolowo University in Nigeria. The dissertation examines how modern architecture was contextualized in Nigeria, using Obafemi Awolowo University as a case study. It discusses the introduction and spread of modern architecture in Nigeria under colonialism. It also analyzes some buildings at OAU, including the Amphitheatre and Humanities Building, to understand how their designs addressed tropical climate and cultural expression. The dissertation aims to evaluate the successes and failures of contextualizing modern architecture in Nigeria.
A B S T R A C T
Aesthetics is the philosophical study of art and natural beauty and it is indicated by the feelings of pleasure or displeasure which comes from visual and aural elements and artifacts. Hence, aesthetics depends on animate or inanimate organization which can be perceived either subjectively or objectively. This aesthetic element is uniquely present in the traditional buildings and modern buildings of southwestern part of Nigeria. This study is set out to evaluate and bring into lime light the aesthetic characteristics of traditional buildings and that of the modern buildings, how one style or aesthetic element gradually prevail over or transform to another, reasons and consequences of one completely predominating another in Yoruba region of Nigeria. Moreover, this study therefore, is divided into four parts, which are: (a) overview of the history of modern and traditional Architecture of Yoruba land (b) aesthetic characteristics or indicators of traditional and modern architecture in Yoruba land, (c) the differences between the aesthetic of both style of Architecture and what is responsible for this change or transformation in their aesthetic value. The research concludes with recommendations of synchronizing both style of architecture design in getting an optimum aesthetic value, and offers a room for further research and development of a consistent and notable architectural typology for southwest Nigeria.
ROLE OF CULTURE IN SUSTAINABLE ARCHITECTUREVISHAKA BOTHRA
information about the role of culture in sustainable architecture, importance of culture in sustainable architecture, cultural logic of sustaiable architecture, architectural practices of cultural logic.
Affected variables on successful infill design in urban historic contextAlexander Decker
This document discusses factors that affect successful architectural design for new construction projects within historic urban contexts. It begins by outlining the importance of conserving historic urban sites and traditional contexts as evidence of past lifestyles and cultures. The document then reviews different strategies for new design in historic areas, including replication of historic styles versus intentional contrast. It discusses guidelines from organizations like ICOMOS that call for new construction to be distinguishable from historic fabric while still being compatible. The document suggests there is a range between compatibility and contrast when designing in historic contexts. It argues that achieving aesthetic fitness requires understanding how new designs can both respect the historic context through elements like compatibility, harmony and meanings, while also bearing a contemporary stamp.
Malaysia is not only unique country with a multicultural diversity but also has a rich and numerous culture and heritage treasures. Therefore, as technology growth across world, many cultural heritages might become missing without any effective efforts in preservation and conservation of the culture and heritage. Within this scenario, the qualitative study was conducted through documents review, a field observation followed by a face-to-face interview with corresponding respondents to empirically ascertain the narrative history and uniqueness of Gasing Leper Terengganu which further propose an alternative approach in preserving Gasing Leper Terengganu’s heritage.| Publisher: International Journal of Research and Innovation in Social Science (IJRISS)
Architecture is the platform where all cultures, heritages, traditions, and histories meet, through architectural conservation, the built heritage is prolonged and conserved by the planning of individuals or organisations that works solely for the purpose of conservation & preservation of Architectural heritage.
The cooperation of well-known architects, architecture students and local com...Anna Rynkowska-Sachse
The document summarizes two case studies of architectural projects that involved cooperation between well-known architects, architecture students, and local communities in Southeast and South Asia. The first case study describes a vocational school building in Sra Pou, Cambodia designed by Finnish architecture students in collaboration with the local community. Local materials and construction techniques were used, and community members participated in construction. The second case study describes a post-tsunami housing project in Sri Lanka designed by renowned architect Shigeru Ban to help the local fishing community after the 2004 tsunami. Both projects incorporated local needs, materials, and participation.
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DEVELOPMENT OF TRADITIONAL ARCHITECTURE IN NIGERIA: A CASE STUDY OF HAUSA HOUSE FORM
1. International Journal of African Society Cultures and Traditions
Vol.1, No.1, pp.61-74, June 2014
Published by European Centre for Research Training and Development UK (www.ea-journals.org)
61
“DEVELOPMENT OF TRADITIONAL ARCHITECTURE IN NIGERIA: A CASE
STUDY OF HAUSA HOUSE FORM”
Oluwagbemiga Paul Agboola*1 and Modi Sule Zango2
Department of Architecture
Faculty of Built Environment
Universiti Teknologi Malaysia
81310 UTM, Johor Bahru
Malaysia
ABSTRACT: Traditional buildings across Nigeria’s geographical zones are known to have
demonstrated a thorough response to the climate, local technology and socio-economic milieu
in which they evolved. The origin of these different traditional building body associates with
the natural materials availability to the local builders as well as religious belief, cultural and
taboos. The advent of colonialism in Nigeria changed the traditional life and culture of
Nigerian which creates a weak connection between traditional architecture and contemporary
architecture in Nigeria. Most recent buildings designs across Hausa regions in Nigeria have
been built with imported materials and the construction techniques tailored to satisfy the
modernity self-ego and aspirations. Thus, traditional architecture ought not to be abandoned
and forgotten, hence; experts’ awareness should be tailored to the understanding of its original
essence. This paper through intensive literature review of documents, journals, books,
periodical, seminar papers amongst others critically explore the key importance relating to the
development of Hausa traditional architecture. In addition, paper identifies the “determinant”
and “moderating” factors as main issues that contributed to the development of Hausa
traditional architecture, in cognizance of local materials, method of construction, methods lay-
out, social, cultural factors, and environmental factors amongst others. The enumerated
factors dominate the colonial periods and the subsequent traditional forms development. Thus,
the paper concludes that despite the impact of modernization in terms of styles, materials, and
method of construction in recent times, the professionals, designers and the researchers should
be cognizance of the social- cultural and religious beliefs of clients/users. It is recommended
that, for functional architectural forms, efforts should be geared towards harmonizing the
traditional and modern contemporary designs concepts.
KEYWORDS: Hausa, Traditional Architecture, Determinant Factors, Moderating Factors,
Culture.
INTRODUCTION
Housing encompasses environment in which man lives and grows in response to both
biological material as well as physical needs (Olotuah, 1997a, 1998b). To support this
assertion, Massoudi, et.al (1978), buttressed that for a house to perform its optimal goal, it must
possess the minimum facilities needed for human health, body and spirit. Housing is a process
of creating conditions in which higher portion of man’s life activities occurs therein, Palen,
(1987), expatiated. In a related development, the fundamental purposes of housing according
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to Mabogunje et. al (1987), are the provision of shelter for the performances of social activities,
safety, security, space, privacy, and other purposes that promote good health and dignified
living.
Nigeria is a country that parades numerous traditional building design concepts at different
regions of climatic conditions, socio-economic and cultural background. Rikko & Qwatau
(2011), referred to traditional as a cultural heritage gained from generation to generation
accepted and practiced by the people. Therefore designs in traditional architecture reflect the
cultural lifestyle of the people and represent the symbols of the heritage of the residents. Hence
response to the material, spiritual, and social design of the society cannot be over-emphasized
(Olotuah, 2001). Consequently, creation of an intimate relationship to the entire system,
reinstated the values and customs accepted by residents’ social groups. In addition, the form
and functions of housing vary with people customs and culture, as an aftermath of what the
populace considered as important in their housing. Rikko & Qwatau (2011) similarly buttressed
that different traditional housing forms paraded at different regions of Nigeria are the resultant
effects pursuit to comfortable people structures design as influenced by culture, religion,
climate, urbanization, and current expertise.. Imaah, (2008), in the same vein noted that
building science has proven that wall is witting of thermal and other environmental conditions,
therefore, using local builders and building materials, such as tempered clay and timber become
inevitable.
Fatiregun, (1999), iterated that the environment cum social factors determines the different
architectural design solutions that emerged in the pre-colonial traditional setting and
emphasized those factors such as climate and available building materials defined the nature
of the structures that were evolved. The religion or philosophical learning of each community
and their social order together with culture influenced the forms, grouping of buildings as well
as the process of their production. Opoko, (2001), enumerates the factors that led to the
development of methods as climate, technology, socio-economic and traditional building
materials. The author reported that traditional building materials utilization used in a simple
but innovative way portrays the reflection of local builder’s expertise. It was concluded that
effective building forms have emanated overtime that facilitates the attainment of high level of
comfort both within and outside of built environment without recourse to artificial methods.
The reliance on modern design techniques and materials has resulted to high cost of
construction in recent years. Contrary to this, traditional building materials enable cost
effectiveness in terms of materials and simple innovative expertise of the local builders.(
Opoko, A.P., 2001). Uji, (1992), opined that aside factors such as social structure, climate,
economy, technology, culture and religion that contributed to the development of traditional
building methods, other paramount factors comprises of defence, accessibility, physiography
and orientation.
In recent years, Nigerian Architecture is characterised by the post-modern buildings of the
1990’s and a sprawling new design concept and engrossed with new building materials mainly
imported from China. ( Ruquayya Tofa, 2011) reported. The author stated further that the most
beautiful circular shapes apparent in Hausa Architecture with its domed roofs, thick monolithic
walls and decorative plasters have been replaced by a rectangular concrete prototype with
imported roman column replicas. It is insignificantly to structural function rather possessing
decorative elements adorning the entrance of the buildings. In spite of the significance benefits
associated with traditional architecture in its possession of fairly adaptation to the environment,
little efforts have been initiated to explore the characteristics (Ade- Adedokun, 2014).
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The question at this juncture is why architects, designers and government policies have
frivolously jettisoned the traditional architecture to modern architecture in recent time? Why is
little attention focuses on intertwining between modern environment and traditional
architecture (cultural heritage), in Nigeria?. In proffering answers these questions, this paper
rooted its critical examination of the essence of encouraging the traditional architecture (Hausa
house form) with a view to appropriately intimate and enlightens experts in built environment.
The professionals such as architects, town planners, builders amongst others should take
cognizance of indigenous design theory, technology, craftsmanship and artisanship associated
with the advent of traditional building. Thus, recent domination of modern innovations would
not be to the detriment of our indigenous expertise. More so, the development of Hausa
traditional house forms is known to have demonstrated a thorough understanding and
meaningful response, in which the styles not related to individual structures alone but collective
neighbourhood design.
This paper identified and expatiate the factors that led to the development of Hausa traditional
architecture based on two major factors namely, moderating and determinant, which foothold
on their power and the influence which associates with roles both play in the development of
the design methods.
Historical Background of Hausas in Nigeria
Nigeria is located at the extreme inner corner of the Gulf of Guinea on the west coast of Africa
continent. It occupies an area of 923,768 sq km, extending 1,127 km East- West and 1,046 km
North- South as shown in Figure 1 and Figure 2. Meanwhile, Hausas dominates the northern
part of the country between latitude 3.50 east to latitude 11.0 east, and from longitude 10.50
north to longitude 14.00 north as shown in Figure 3. Kano in northern Nigeria is the primary
centre of Hausas trades and culture. Meanwhile, Hausas covering cities include Kano, Sokoto,
Zaria, and Katzina, and they speak Hausa language, which imbedded Arabic language.
Figure 1 : Map of Africa continent showing Nigeria.
Source: http // : map -of- africa.co.uk
Figure 2: Map of Nigeria showing 36 states.
Source: Encyclopaedia Britannica Inc. (2011)
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Figure 3: Map of Nigeria showing area occupied by Hausas. Source: Chokor B. A.(2005)
Also, Hausas occupied the northern plains beyond the Jos plateau, which is a crossroads open
not only to Borno state but also to the states of Mali and Songhai in the western Sudan. Hausas
according to Britannica (2011) developed numbers of centralised states, such as Daura,
Katsina, Kano, Zaria, Gobir and latter Kebbi. In summary, the seven true Hausa states or Hausa
Bakwai includes Biram, Daura, Gobir, Katsina, Kano and Zaria (Zazzau). All feudal city-states
are housed with a wall, business centre and a monarchical system of government. Islam, which
was introduced from the Mali Empire in the 14th
century, strengthened both the monarchical
impinging. It remained an urban religion until the root of the 19th
century. Despite, the walled
cities, some pre-Islamic rites stay on part of the ceremonies that maintained monarchical
authority. Conquered early in the 19th
century by Fulani in whose jihad or “holy war” many
Hausa peasants voluntarily combined and were organised into emirates. At the beginning of
the 20th
century, the British took over the administration of the former emirates, to which they
attached Borno to form the Northern provinces (subsequently the northern region) of the
protectorates of Nigeria. The earliest Hausa was animists, but Islam plays the dominantly
organised religion. The Hausa language is the largest and best –known member of the Chadic
subfamily of the Afro-Asiatic family of languages, therefore, Arabic becomes the widely
spoken amongst the people.
Kano, in northern Nigeria, is considered as the centre of Hausa trade and culture. The Hausa
culture reflects a higher degree of specialization and diversification. Thus, their economy has
rested on the subsistence agriculture which associates with intensive cultivation of sorghum,
corn (maize), millet and many other crops grown on rotation principles utilising the manure of
Fulani cattle. Agricultural activity has yielded considerably more than subsistence, permitting
the Hausas to practice such craft especially as dyeing, thatching, leather working, weaving and
silver smiting. Hausas is renowned itinerant traders trading in leather goods, as well as tourist
items.
An Overview of Hausa Settlement Pattern
Trans-Sahara Trade couple with the new religion of Islam had the most enormous impact on
the settlement pattern and local building practices of Hausa land. A simple hierarchy of rural
settlement has emerged over the Hausa house form. The compound (Gida) is usually based on
the extended family and often sub-divided into sections; each containing family houses and
next to Kauye settlement are the composition of several compounds. At the apex of the rural
HAUSA
OCCUPIED
REGION
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settlement network is the Gari (town). These historic towns reflect a compact nucleated
settlement surrounded with the defensive wall.
Historically, the settlement of the Runada (slave settlement) impact on the pattern of rural Zaria
layout. This is a replica example in which kind lord devised a settlement scheme that brought
the slave labourer in proximity to farm. It was intended to facilitate the cultivation of
surrounding farmland, and ensured higher utilization of labour force. Consequent upon which
these settlements such as Tabongari have developed into Gari settlement. The urban settlement
exists essentially in most Hausa land, which has the tendency to develop city side by side.
Usually the long existed and new one began with the development of some policy's pollution
of the indigenes by alien, who are non-Muslim couple with developmental services like rail
lines.
Meanwhile, the condition of security plays a major role in deciding why settlement would be
nucleated or dispersed. Typical Zaria is one of the first seven Hausa cities with the best
settlement pattern enclosed by ancient protective walls. For example, Kano is a walled city
likewise Zaria with its fence walls construction dated back to the 12th
century. Also, the
concentration of leaders and their families living very close to the market place is an indication
of an intention tailored towards effective defensive instinct. This summarizes the development
of Hausa's nucleated settlement pattern.
EVOLUTION OF HAUSA ARCHITECTURE
The categorization is rooted into two groups namely the “determinant factors” and the
“moderating factors."
Determinant Factors:
The following determinant factors associated with the development of Hausa house forms.
Hausa Culture:
The term “culture” to a social scientist is synonymous to human behaviour and history. Hausa
culture encompasses the kinship association and societal structure. Olotuah,(2001), explained
culture being a habitual mannerism that is evident in the distinctive characteristics of an
individual organising themselves into complex groups focussing on unique functions to create
imaginative works of art and architecture. The author opined that the functions of housing thus
vary with customs and culture. Religion, lifestyle, mode of dressing, contact with other people
are interrelated in culture. Therefore, the behavioural contents of the society described an
organised group interacting in a structural system by initiating activities necessary to produce
and sustain life. Meanwhile, Olotuah,(2001), identified three major cultural disposition which
relates Hausa people as follows:
Norms and taboos: Exhibition of Hausa behaviours is strongly influenced by their traditional
inheritance in terms of their orientation and views towards initiating final decision over some
issues.
Ideas, values and religion: Hausa is united by common language and religion of Islam. The
introduction of the Islam into Hausa land had an enormous impact on the architecture and
building practice, which dictated the use of curvilinear conical and mud dome roof structures
as shown in Figure 4 and Figure 5. Also, the ideology of seclusion and privacy for women is
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traceable to religion. In the same vein, the separation between the genders responds to Islamic
regulation. Thus, dictates the traditional courtyard family compound design. Figure five and
Figure six refer.
Hausa works and occupation: Most Hausas engaged in ornamentation and agriculture.
Ornamentation has played a significant role in their traditional architecture has evident in their
craft and dying ability (carving of calabash, making of fabric with different beautiful designs
amongst others). Thus affirmed the response to Hausa ornamentation as reflected mostly in
their building façade. Reasonable number of Hausas involved in trading and craftsmanship, an
indication concretizing the significance of agriculture and culture.
Climate:
The climate forms part of determinant factors that led to the development of Hausa house form,
which include rain, temperature, wind and humidity. Meanwhile, Northern part of the Nigeria
hosted by the Hausas and other tribes falls within the savannah area and is characterized by
very little rainfall and extreme temperature difference between day and night. Bright sunshine
and hot, dry air dominate the daytime, during night associated with extreme cold. Also, climate
in this area calls for design solution that can ameliorate the effect of daylight heat and midnight
cold. Thus, the structures in these areas where orchestrated to be adequately protected by the
introduction of shading devices.
Figure 4: Typical Hausa Traditional buildings (curvilinear conical design). Source:
Adekeye,O.F: (scholar.google.com/scholar) & Garba, S.B.(2003)
Figure 5: Internal appearance of the conical roof.
Source: Adekeye, O. F: (google scholar.com/scholar)
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Moderating Factors:
Several factors associated with transformation (changes) in the development of Hausa house
forms have reported by (Olotuah, 2001). These are referred to as the moderating factors as
follows:
History:
History is a factor affecting the transformation of housing over a substantial period. The
historical fraction reinstated the settlement pattern and the solution to the inter-tribal wars and
security to the residents. Rural settlement pattern in Hausa land emanated from both the past
and the present socio-economic, historical and social factors which reflect the changing socio-
economic conditions. Thus, settlement pattern is viewed within the context of the time
perspective.
Effect of Colonialism:
The result of colonial masters brought about an impact on modernization. The impermanent
nature of traditional buildings meant that there could be a quick adjustment in the family
compound to change circumstances. Relationships vary yearly as there bound to be changes in
the number of deaths, births and marriages. Meanwhile, advent of colonial government in
Hausa city changed the traditional life and culture of the people. Therefore, Hausa traditional
architecture is no longer in vogue; it has been overridden by modern technology and materials.
Nevertheless, the economy, political and social virtue have impacted on the traditional
architecture thus changed its forms.
The dramatic changes witnessed in recent time was brought up by modernization and so
manifested in different ways as iterated by Fatiregun,(1999) as follows:
The changes caused by the introduction of modern policies and facilities by colonial
government yet led to:
Abandonment of old traditional settlement and villages for new state settlements and towns
Disruption and fragmentation of long standing extended family bonds coupled with increased
personal freedom and decreased family sizes.
Disappearance of large family compounds and introduction of new smaller nuclear family
units.
The changes have impacted to Hausa traditional architecture by the introduction of modern
materials and technology led to:
The change in the physical appearance of settlements the form of different structures.
The rejection of traditionally moulded decorations on clay walls for modern paints.
The rejection of thatch roof for corrugated iron sheets which resulted to curve-linear forms
instead of rectilinear.
In a related development, the new religion (Islam) as well as modern education presented by
colonials with its laws and written languages, had enormous impacts on the lifestyle of whole
Hausa kingdom.
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Societal/ Economic Status:
Notable chiefs, kings and other important residents in the society in a bid to showcase the
level of their affluent often time preferred jettisoning traditional architecture for modern
architecture over a substantial period.
Material:
Evolution of Hausa’s house form based on availability of materials. None of the materials used
by traditional architecture was company manufactured, processed or fabricated. Hausas
preferred the utilization of useful materials such as vegetation and soil that were readily
available in their immediate vicinity. However, the soil in their area is loose and less plastic in
nature: therefore, it becomes essential to add grass binders, cow dung, and locust bean pod to
the mixture before being moulded to improve the plasticity of the mud. Adeyemi, (2008),
adduced this development to the cogent fact that includes cheapness and availability. The
traditional building materials proffer greater merit to housing delivery while the demerit of
using traditional materials are being solved in areas of ground stabilization in modern
construction.
ANALYSIS OF ARCHITECTURE OF TRADITIONAL HAUSA DWELLING HOUSE
AND METHOD
Typical Hausa house is a replica of a building classification under “Sudanese." The associated
building form was prevalent and paramount in the West African savannah areas of the Niger
and Chad river basin as reiterated by Fatiregun,(1999). Meanwhile, Hausa design associates
with courtyard form concepts encircled by numerous rooms that facilitate the expansion to
accommodate more inhabitants such as wives and children. Furthermore, the planning concept
involves the provision of open air space for injunction. Islamic design principle required
seclusion and privacy for women. In this regard, Hausa compounds were divided into two areas
namely: the front area or the “Zaure," which belong to the master of the house and the latter
part beyond the “Zaure” provided as women quarters arranged around a courtyard as shown in
the Figure 6 and Figure7. In compliance with Islamic injunction women in purdah are secluded
from the outer male reception area.
“ZAURE
”Figure 6: Typical Hausa traditional courtyard house plan:
Source: Rowan, 1981
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Osasona, (2007), asserted that “Zaure” happens to be a multi-purpose space that symbolizes
social- religious unit within the Hausa building, defining the level of social acceptance.
Notwithstanding, only male counterpart that is respected and dignified is allowed to move
beyond this zone. The “Zaure” major function as emphasized by Adamu, (2005), includes
reception, security, protection, privacy, moral, ethnic ideas, decorations and administration.
Moreover, the provision of fairly large spaces at the vicinity of the neighbourhood necessitates
congregational assembly to celebrate social functions such as a naming ceremony, wedding
ceremony, and playground for children and so forth.
The indigenous materials for construction in Hausa land involve four major materials namely:
earth, timber, reeds, grasses, and stones (Moughtin, 1985), (Dmochowski, 1990). The
construction involved pear-shaped sun dried mud bricks that are moulded from the red laterite
soil (Jankasa) found around the neighbourhood. The laterite soil has high fibre content, when
skilfully mould, produces excellent materials for buildings’ walls and roofs. Also, moulding
the mud walls bricks involves mixing the laterite soil with water thoroughly. When properly
dried are then laid in regular courses with points facing upwards (“Tubali” method of
construction). Egg-shaped units of Adobe (“Tubali”) which has been earth-plastered, are put
together to create buildings given a monolithic appearance (Osasona, 2007) buttressed. In the
construction, the roofs structures in this zone are formed with small door space with little or no
window openings which are usually achieved with the intention to eliminate the hot, dry and
dusty air. The prevention is also applicable to bright daylight and entry of air at night. Similarly,
the location and small size of the window helps in curtailing the incursion of dust and flies.
The construction of mud roofs involves split palm frond pieces which are laid on palm frond
beams in herringbone fashion and plastered on both sides with mud. Plastering of the walls is
made with mud containing a mixture of potash or juice derived from the locust bean.
Meanwhile, the wide use of flat or vaulted mud roofs in Hausa land indicates method of
forestalling the risks of urban fire prevention, therefore, the formulation of policies proscribing
the use of thatched roofs within the urban metropolis. This policy started the remarkable
disparity between urban and rural architecture in Hausa land. Consequently, while the
Figure 7: Typical traditional Hausa house plan.
Source: Adeyemi, (2008)
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structures in urban areas had mud roofs and rectangular walls, the ones in sub-urban areas had
simple thatch roofs over circular planes.
Meanwhile, the wide use of mud roofs respond to extreme temperature differences between
days and nights, because they are semi-conductors that maintain temperature equilibrium, as
well as buffer between interiors and exteriors environments. The introduction of new building
materials such as cement and corrugated iron sheet from Europe had the tremendous impact on
the physical appearance and body. For instance, corrugated iron sheets quickly gained wide
acceptance, hence the abandonment of traditional thatch roofs which were highly inflammable.
In addition, since it is very difficult to roof circular structure with rectangular iron sheets, this
form the basis in some areas where basic shape of their structure changed to rectangular one.
Adamu, (2005), categorized decoration in Hausa traditional architecture into three groups
namely, surface design, calligraphy and ornamental. The author observed that the three
categories could be displayed on a single facade of the “Zaure," although the choice depends
on the status and preference of the users. “Graffito” is the term given to a form of decoration
in which different colour wall plasters are laid in layers, and the design is made by scratching
away the upper layers. Denyer, (1978), pointed out that this decoration may imbue some
magical or religious significant. The Hausa practiced this form of “Graffito” on, which
decorative patterns are scratched into smooth wall patterns resulted from texturing the
interstices of the decorative layout by roughing it with a piece of metal. Hausas decorates their
street facade with intricate interlacing arabesque relief forms painted in rich colours. Hence,
street facade decoration is usually a demonstration of wealth and social prestige amongst Hausa
as indicated in Figure 8 and Figure 9.
Figure 8: External mural painting on the facade of Hausa buildings. Source
Adekeye O.F.(Goggle scholar.com) & Garba S. B. (2003)
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Figure 9: Interior gate of Emir of Kano's Palace showing mural painting on the facade of the
wall. Source: Abdullahi, A. (2009)
Another feature of Hausa facade decorations are the horns of mud (Zanko) shown along the
parapet of their buildings, which gives Hausa structure a lighter and picturesque appearance.
Figure 10 and Figure 11
Figure 10: Entrance of Hausa building showing "Zanko” and Mural decoration.
Source: Adeyemi, (2008) & Garba S.B. (2003)
12. International Journal of African Society Cultures and Traditions
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Figure 11: Entrance of Hausa building
showing “Zanko”
Source: Adeyemi, (2008) & Garba S.B.(2003)
CONTRIBUTION TO KNOWLEDGE, RECOMMENDATION AND CONCLUSION
This paper, therefore, will be beneficial to designers, architects and other allied professionals
in the built environment, reinstating the essence to integrate traditional form, ideas,
expressions, materials into their modern/ recent designs and techniques. Creation of a new
vernacular approach enhances the resultant interplay between the modern and traditional design
concepts cum materials utilization. This paper recommends that Architects’ interest should
focus on traditional design vis-avis modern concepts and expertise. Through this, the utilization
of cheaper building materials such as earth, wood, stone and thatch and the design principles
of privacy, space, comfort rooted in the Nigerian Traditional Architecture would be enhanced.
In conclusion, this paper had critically examined the numerous factors that contributed to the
development of Hausa traditional architecture of the Northern part of Nigeria. The tremendous
impact of modernization is commendable and cannot be underrated, better still; this paper
advocates the importance of cross-blending the modern concept and traditional concept. Thus,
experts are advised not jettison our traditional inheritance expertise associated with design
evolvement and execution. It will be a great tragedy and a colossal loss if our traditional
building styles and construction process disappear from the continent. The benefits derived
from our indigenous methods and materials were enormous and needed to be propagated, while
any inadequacy associated with the traditional approach could be modified.
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