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lecture3.ppt
- 1. Historic Heritage and Vernaculararchitecture Dep’t of Architecture Wosen A.
- 2. Historic preservation • Thechallenges 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 Carefuland appropriate repairs are expensive and mandatory for historically accurate preservation and adherence to government standards for historic properties.
- 4. Historic preservation • 3ways 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 heritageis 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 heritageis 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 • Writeand compare the relation and difference of Venice charter and Athens charter. ( not exceeds a paper ) (15 point)
- 8. • The culturaland 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 heritageDanger 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 ofDubrovnik (Croatia) & and of Timbuktu (Mali),
- 11. Iguazu / Iguaçu OldCity of Dubrovnik (Croatia)
- 12. List of WorldHeritage 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 THECONVENTION • 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 forheritages sites • Shoves, trowels, spades, brushes, sieves and buckets are some of a common tools for archeologist may carry with them to most dig
- 15. Excavation tools forheritages sites
- 17. SAMPLES OF ETHIOPIAN VERNACULARHERITAGE
- 18. The relation betweencultural heritage and vernacular architecture
- 19. GENERAL OVERVIEW DEFINITION Architecture thatmakes 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 THEETHIOPIAN 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 Mountainssurronding present day lalibbela town GENERAL OVERVIEW THE ETHIOPIAN VERNACULAR SAMPLES CLOSING DISCUSSION
- 22. SAMPLES OF ETHIOPANVERNAUCLARS • 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 THEAFAR 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 THEAFAR 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
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- 26. SAMPLES NORTHERN VERNACULAR AFAR TIGRAY AMHA RA THETIGRAY 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 THETIGRAY 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
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- 29. SAMPLES NORTHERN VERNACULAR AFAR TIGRAY AMHA RA THEAMHARA 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 THEAMHARA 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 SOUTHERNVERNAUCLARS 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 Thedorze 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 -siteis 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
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- 35. SAMPLES THEGURAGHE People of theenset 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 ofthe 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
- 37. SAMPLES SOUTHERN VERNAUCLAR DORZE GURAGHE OROMO SIDAMA KONSO THEGURAGHE Internal arrangements Hasa 12-13m diameter Orientation toward the road but tilted privacy and dust protection The fire place is made of cut stone, roughly circular in shape and is normally placed between the door and pillar Kot a bamboo platform on wooded pillars used for storage. Cattle are tied underneath
- 38. SAMPLES SOUTHERN VERNAUCLAR DORZE GURAGHE OROMO SIDAMA KONSO THE OROMO Theoromo 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-angledroof 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
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- 41. SAMPLES THE SIDAMA Bamboo isthe 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 clearingthe 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
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