CRITICAL REGIONALISM FEATURES IN ORPHANAGE DESIGN FOR INTERNALLY DISPLACED ORPHANS, GOMBE; NORTH EASTERN NIGERIA

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CRITICAL REGIONALISM FEATURES IN ORPHANAGE DESIGN FOR INTERNALLY DISPLACED ORPHANS, GOMBE; NORTH EASTERN NIGERIA.

BY

ABDULLAHI Yusuf Yusuf Bsc. Arch. (ABU ZARIA, 2014) P13EVAT8047

DEPARTMENT OF ARCHITECTURE AHMADU BELLO UNIVERSITY, ZARIA NIGERIA.

JUNE, 2015

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CRITICAL REGIONALISM FEATURES IN ORPHANAGE DESIGN FOR INTERNALLY DISPLACED ORPHANS, GOMBE; NORTH EASTERN NIGERIA.

BY

ABDULLAHI Yusuf Yusuf Bsc. Arch. (ABU ZARIA, 2014) P13EVAT8047

A DISSERTATION SUBMITTED TO THE SCHOOL OF POSTGRADUETE STUDIES AHMADU BELLO UNIVERSITY, ZARIA

IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE AWARD OF A MASTER OF SCIENCE DEGREE IN ARCHITECTURE

DEPARTMENT OF ARCHITECTURE, FACULTY OF ENVIRONMENTAL DESIGNAHMADU BELLO UNIVERSITY, ZARIA NIGERIA JUNE, 2015

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DECLARATION I declare that the work in this dissertation entitled “CRITICAL REGIONALISM FEATURES IN ORPHANAGE DESIGN FOR INTERNALLY DISPLACED ORPHANS, GOMBE; NORTH EASTERN NIGERIA." has been carried out by me in the Department of

Architecture, A.B.U Zaria. The information derived from the literature has been duly acknowledged in the text and a list of references provided. No part of this project dissertation was previously presented for another degree or diploma at any university.

Abdullahi Yusuf Yusuf Name of student

Signature

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Date

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CERTIFICATION

This project dissertation entitled “CRITICAL REGIONALISM FEATURES IN ORPHANAGE DESIGN FOR INTERNALLY DISPLACED ORPHANS, GOMBE; NORTH EAST NIGERIA." By ABDULLAHI YUSUF YUSUF meets the regulations governing the award of the degree of Master of Science of the Ahmadu Bello University, and is approved for its contribution to knowledge and literary presentation.

Dr. Mas’ud Abdulkarim

Date

Chairman, Supervisory Committee

Dr. R.B TUKUR

Date

Member, Supervisory Committee

Dr. M. D. Ahmad

Date

Head of Department

Prof. K. Bala

Date

Dean, School of Postgraduate Studies

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Table of Contents DECLARATION .......................................................................................................................... 2 CERTIFICATION ......................................................................................................................... 3 CHAPTER ONE: INTRODUCTION ..................................................................................................... 8 1.1

Background of Study ...................................................................................................... 8

1.2

Statement of Problem.................................................................................................. 10

1.3

Aim and objectives....................................................................................................... 11

1.4

Justification .................................................................................................................. 11

1.5

Research Questions ..................................................................................................... 11

1.6

Scope and De-Limitation .............................................................................................. 12

CHAPTER TWO: LITERATURE REVIEW ..........................................................................................13 2.1

Preamble ...................................................................................................................... 13

2.2

Emergence of orphanages and it global challenges .................................................... 13

2.2.1 De-Institutionalization of Orphanages......................................................................... 14 2.3

Region .......................................................................................................................... 15

2.3

Regionalism in Architecture ......................................................................................... 16

2.3.1 Types of Regionalism ................................................................................................... 16 2.3.2 Vernacular Architecture............................................................................................... 17 2.3.3

Modern Architecture ............................................................................................... 18

ii. Abstract modernism- Latent reinterpretation ..................................................................... 19 2.4

Critical Regionalism...................................................................................................... 20

2.4.1 Critical regionalism versus regionalism ....................................................................... 22 2.5

Features of Critical Regionalism .................................................................................. 22

2.5

Proponent of Critical Regionalism .............................................................................. 24

2.5.1 Kenneth Frampton ....................................................................................................... 24 2.6

Principles of Critical Regionalism ................................................................................. 29

2.5.2 Tzonis and Lefaivre ...................................................................................................... 29 4.3

Case Study One: Safe Our Soul Children Village Orphanage Agaban Jordan ............ 32

4.3.1 Brief Description .......................................................................................................... 32 4

` 4.3.2 Major Facilities ............................................................................................................. 34 4.3.3 Topography and vegetation of the orphanage site ..................................................... 35 4.3.4 Dominant building material ......................................................................................... 36 4.3.5 Architectural Expression .............................................................................................. 36 4.3.6 Form Composition ....................................................................................................... 36 4.3.7 Siting and Orientation .................................................................................................. 38 4.3.8 Spatial Organization ..................................................................................................... 38 4.4

Case Study Two: Pondicherry Sos Children Village India ............................................. 40

4.4.1 Background Information .............................................................................................. 40 4.4.1 Brief description........................................................................................................... 40 4.4.2 Major Facilities ............................................................................................................. 42 4.4.4 Topography and Vegetation. ....................................................................................... 42 4.4.5 Dominant building material ......................................................................................... 43 4.4.6 Architectural Expression .............................................................................................. 43 4.4.7 Form Composition ....................................................................................................... 43 4.4.8 Siting and Orientation .................................................................................................. 43 2.8

Nigerian Architecture................................................................................................... 46

2.8.1 Architecture in Northern Nigeria ................................................................................. 46 3.9

GOMBE ........................................................................................................................ 50

3.9.1

Defining the Region of Gombe.................................................................................... 50

3.9.2

Geographical Location of Gombe ............................................................................... 50

3.9.3 Geology of Gombe ....................................................................................................... 51 3.9.5 Climate of Gombe ........................................................................................................ 52 CHAPTER THREE: METHODOLOGY ...............................................................................................53 3.1

Introductions................................................................................................................ 53

3.2

Research Design ........................................................................................................... 53

3.2.1 Case Study .................................................................................................................... 53 3.2.2 Case Study Selection Criteria ....................................................................................... 54 5

` 3.2.3 Population’s size .......................................................................................................... 55 3.3

Instrument of data collections ..................................................................................... 55

3.3.1 Visual survey ................................................................................................................ 55 3.3.2 Interview ...................................................................................................................... 56 3.3.3 Observations ................................................................................................................ 56 3.4

Data analysis ................................................................................................................ 56

3.4.1 Diagrammatic representation...................................................................................... 56 3.4.2 Figures .......................................................................................................................... 56 3.4.3 Photographs ................................................................................................................. 57 3.4.4 Tables ........................................................................................................................... 57 Conclusion: .............................................................................................................................. 57 CHAPTER FOUR: CASE STUDIES ....................................................................................................58 4.1

Selection Criteria.......................................................................................................... 58

4.2

Variables for Analytical and Comparative Study ......................................................... 58

4.5

Case Study Three: Sos Orphans Children Village Jos ................................................... 60

4.5.2 Brief description........................................................................................................... 60 4.5.3 Major Facilities ............................................................................................................. 62 4.5.4 Topography and vegetation of the orphanage site ..................................................... 63 4.5.5 Dominant building material ......................................................................................... 63 4.5.6 Architectural expression .............................................................................................. 64 4.5.7 Form composition ........................................................................................................ 64 4.5.8 Siting and Orientation .................................................................................................. 64 4.5.9 Spatial organization ..................................................................................................... 65 4.6

Case Study Four: Safe Our Soul Children Village Orphanage Gwagwalada .............. 67

4.6.1 Background Information .............................................................................................. 67 4.6.2 Brief description........................................................................................................... 67 4.6.3 Major Facilities ............................................................................................................. 69 4.6.4 Topography and Vegetation of the Orphanage site .................................................... 70 6

` 4.6.5 Dominant Building Material......................................................................................... 70 4.6.6 Architectural Expression .............................................................................................. 70 4.6.7 Form Composition ....................................................................................................... 70 4.6.8 Siting and orientation .................................................................................................. 71 4.6.9 Spatial organization ..................................................................................................... 71 CHAPTER FIVE...............................................................................................................................74 5.3

Critical Regionalism Features Analysis ......................................................................... 82

5.3.1 Summary of the analysis .............................................................................................. 83 5.4

DISCUSSION OF FINDINGS........................................................................................... 84

5.5

Summary of Findings ..................................................................................................... 0

References: .................................................................................................................................... 1

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CHAPTER ONE: INTRODUCTION

1.1

Background of Study

Modern architectural discourse has minimized regional influence in our designs (Heath, 2009). Traditional buildings across Nigeria’s geographical zones are known to have demonstrated a thorough response to the climate, local technology and socio-economic setting in which they evolved (Agboola & Zango , 2014). 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 which creates a weak connection between traditional architecture and contemporary architecture in Nigeria. Most recent buildings design across Hausa regions in Nigeria have been built with imported materials and the construction techniques tailored to satisfy the modernity self-ego and aspirations. (Agboola & Zango , 2014) These result in losing the architectural identity in the region. (Frampton, 1996) , argues that, architects should seek regional variations in their buildings instead of continuing to design in a style of global uniformity using consumerist iconography masquerading as culture, and should mediate the impact of universal civilization with themes drawn indirectly from the individual peculiarities of a particular place (i.e. critical regionalism.) The most important question in the contemporary architectural development of Nigeria is, therefore, to see how modern innovations could be embedded in the regional heritage so as to achieve a new architecture within the parameters of modern referents while maintaining a quality relying on nourishment from regional traditions.

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Critical Regionalism is a concept as well as an approach that attempts to evoke a condition of authenticity in which a new architecture can be consciously originated out of the traditional architectural characteristics of a particular region in order to withstand the domination of Modernism (Tell, 2011). The architectural environments are read by their users, and supportive environment is critical to the realization of the full potential of any child, not excluding orphans therefore orphanage need to reflect the identity of it inhabitant (Alqhtani, 2015). More also the high increase in number of orphans becomes an issue of concern. According to (Hancock, 2012 ) every 15 seconds, a child becomes an orphan in Africa. Every day 5,760 more children become orphans. Every year 2,102,400 more children become orphans (in Africa alone). Among 143, 000,000 Orphans in the world today 32, 000, 000 spend an average of 10 years in an orphanage or foster home. Every year 4,050,000 children still grow up as orphans and age out of the system and have no family to belong to and no place to call home. In 2003, Nigeria had approximately 8.2 million orphans, and by 2008 the figure went up to about 9.6 million. By 2016, it’s expected to reach 12.0million (FDMW&SD, 2008). Insurgency and HIV/AIDS pandemic have made the problem even worse producing millions of orphans and vulnerable children. Many orphanages are in a poor and dilapidated state and are design to provide shelter for orphans in an institutionalize form, this have a tremendous influence on child development due to the lack of good environment and ill-management of under staffing which causes lack of attention, care and individuality (Elegbeleye, 2013). Recent Study on state of orphanage in Nigeria shows that a lot of orphanages were not specifically design to house orphan but rather they were converted to be orphanage after their construction (Nazanin, 2013). (Fada, 2015), in his thesis “Assessment of Spatial 9

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Organization and Architectural Design Elements for Orphanages in Abuja, North-Central Nigeria” uses space syntax to develop architectural design guide (framework) needed in orphanages design. But in his research culture and regional identity as well as the influence of regional materials in the design and construction of orphanages were not considered. For these reasons this research is aiming to integrate features of critical regionalism in orphanage design. 1.2

Statement of Problem

Insurgency in north eastern Nigeria has produced hundreds of thousands of orphans who have no place to call home. Few numbers of orphanages exist in the region which have been built in institutionalize form and are not enough to cater for the needs of those orphans. The orphanage a home for the orphans that is supposed to reflect the tradition and cultural identity of its inhabitants but this is not incorporate in the design of the facility (Alqhtani, 2015). Generally, buildings designs are no longer inspired by culture and tradition of the inhabitants, or by nature and topography of the site but by the universal language that architects created during the arrival of modernism (Alofsin, 2006), this make regions to lose their individual cultural/traditional identities as a result of the globalization trend that is sweeping across all aspects of life, including architecture (Veidy, 2011). More For these reasons, there is a need for architects to come with a design of orphanages that will be contemporary and sustainable without neglecting the culture and tradition of it inhabitant and provide home base care for orphans in north eastern part of Nigeria where there is a high increase in the number of orphans due to the insurgency in the region.

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1.3

Aim and objectives

This study aimed to integrate the features critical regionalism in orphanage design and provide a home base orphanage for the teaming insurgency orphans in Gombe. The objectives are: i.

To study critical regionalism, its concept, principles and features.

ii.

To review ways in which critical regionalism have been applied in orphanage designs through selected case study.

iii.

To demonstrate through design how features of critical regionalism can be integrated in a design of orphanage in Gombe.

1.4

Justification

The increase in number of orphans in north eastern Nigeria, as a result of the insurgency and the recent dilapidated state of orphanages in the region, has necessitated the need for architect to come with orphanage that will not only carter for the need of orphans for their wellbeing but also provide them with familiar cultural and traditional family setting with more contact to natural environments and features which can aid their psychological development. 1.5

Research Questions

i.

What is critical regionalism and what are its features?

ii.

How can critical regionalism affect the design of orphanages?

iii.

How can architect create environment for children that reinforced their cultural identity?

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1.6

Scope and De-Limitation

The research hinges on the aspect of critical regionalism and it’s restricted to Gombe state which is a region in north eastern Nigeria. Hence, making it emphasis mainly on Hausa and Fulani cultural group, which are dominant in the region and share the same climate, history, socio cultural setup and politic with other surrounding cultural groups. And the design will provide the inhabitant with familiar cultural and traditional family setting with more contact to natural environments and features which can aid their psychological development. The orphanage will cater for both the male and female genders of 0year-17years age range as such; all design considerations and elements will be focused on the needs for these group. Also a halfway home will be provided for children above 17years However, the research works did not propose deep details in the psychology and social behaviours of orphans but provide family oriented orphanages for insurgency orphans. The orphanages been a melting point of children from different background will implore sense of place, cover knowledge of identity and heritage of the place and blend traditional family setting and historical architecture of the region together.

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CHAPTER TWO: LITERATURE REVIEW

2.1

Preamble

This chapter presents the relevant literature, citations, comments and opinions of other scholars on the subject matter. The chapter discusses: The emergence of orphanage, problem of institutionalization of orphanage. De-institutionalization of orphanages. It also discusses Regionalism in architecture types of regionalism, critical regionalism, its concept, roots, and it principles, the proponent of critical regionalism, important of critical regionalism in orphanage design and how critical regionalism have been applied in the design of orphanages. It further Analyse Nigerian architecture, evolution of architecture in northern Nigeria, factors that are responsible for the building forms in northern region. Finally it discusses Gombe region and it of element of critical regionalism. 2.2

Emergence of orphanages and it global challenges

According to (Madelyn , Leslee , & Emily , 2004) orphanage is defined as a residential childcare facility that is intended to care for children from the time of their admission until their maturity or emancipation, and which holds itself out as an acceptable or superior substitute for the children’s families. The first orphanage was established in the United States in 1729 to care for White children, orphaned by a conflict between Indians and Whites at Natchez, Mississippi. Orphanages grew and between 1830 and 1850 alone, private charitable groups established 56 children's institutions in the United States (Bremner, 1970). Some theorize these orphanages were established in response to health epidemics (cholera, tuberculosis and influenza), wars, and influx of immigrants into a particular geographical area, growing urbanization, and poor economic times. Orphanages hold a well-recognized place in the history of caring for children. 13

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In the mid- to late 19th century, orphanages housed children who were orphaned or abandoned or whose parents were temporarily unable to care for them because of illness Or poverty. At the time, few other options were available for dependent children. Orphanages provide homes for population anywhere from 100 to 500 children. Traditionally, orphanage provided a home base (shelter), food, safety, stability and other personal self-worth for many of the children under its care. During the early 19th century, orphanages instilled work ethic and education as a primary discourse of taught. The orphans were sent to school or stay within the orphanage and taught trades so as to teach them how to make a living when they transit to independence (McKenna, C. Undated). 2.2.1 De-Institutionalization of Orphanages De-institutionalization is the process of reforming child care systems and closing down institutional form orphanages and children care, finding new placements for children currently resident and setting up replacement services to support orphans in noninstitutional ways. It became common place in many developed countries in the post war period. It has been taking place in Eastern Europe since the fall of communism and is now encouraged by the EU for new entrants. It is also starting to take hold in Africa and Asia although often at individual institutions rather than state wide. New systems generally cost less than those they replace as many more children are kept family. De-institutionalization is not only about closing institution, first and foremost it requires a parading shifts and a change in mentalities, with an emphasis on child right and quality of care. The process entails a comprehensive transformation of a child protection systems that starts with reinforcing all kinds of family and parent support services, to ensure that separation of child from his/her family is a last resort. When separation is clearly in the best interest of the child, different options should be available depending on the child situation and needs. These can include kinship care 14

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(family-based care within the child extended family or with close friends), foster care, family-like placement, small group homes, supervised independent living, national adoption, etc. before closing institutions a high quality alternatives need to be in place following a step by step process. 2.3

Region

A region is not that at which something stops, but as the Greeks recognized, the Boundary is that, from which something begins its presencing. The concepts of regions help describe and to understand place to place differences. Regions involve diversity confined to a particular area at the areal level, hence distinguishing one area from another. A region is an area reasonably lacking in internal differences with limits/boundaries that are recognizable and able to be mapped differing significantly from other adjacent cultural regions. When crossing regional boundaries one experiences a distinct change in personality, character and ambience in the new region According to the Encyclopedia Britannica, "regions may be defined in terms of single or multiple features or in terms that approach the total content of human occupancy of an area." The most common features can be classified as ethnic, cultural, or linguistic features, climatic or topographical areas (e.g., the tropics), industrial or urban areas, economic, administrative units, and international political areas (Valverde, 2004). Practically all regions can be mapped, depending on the characteristics used. The revival of cultural regionalism was useful in defining and mapping out regions and sub regions into attributes of settlement forms and patterns, house styles, barns and other structures, ruins, land subdivision, place names etc, neglecting crucial attributes such as, spatial character of Cities, urban planting, and vegetation (Tell, 2011). Also according to Tell it is possible to have total regions, where all attributes are fully congruent, but genuine

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cultural regions exist where a number of these attributes coincide, for example dialects, place names, religion, ethnicity, architecture, diet and Political behaviour. 2.3

Regionalism in Architecture

In this rapidly globalizing world, any investigation of architecture inevitably leads to considerations of regionalism. But despite its omnipresence in contemporary practice and theory, architectural regionalism remains a fluid concept, its historical development remains undocumented until recently, (Canizaro, 2010). When the term “regionalism” is used for architecture; it typically denotes an architecture that is derived from its local setting. An architecture derived from a regionalism concept becomes inherently site specific, responding to the local climate and culture. Valverde (2004) citing Chris Abel (1986), express concern on how universal patterns are dominating the built environment of cities whose historical and traditional backgrounds can be strong culturally, but are relatively weak in architectural expression. Abel's description identifies a sense of permeability that societies demonstrate toward accepting the ideology of "progress," which affects not only their building environments and images, but also, in essence, their culture and traditions. On the other hand, regionalism seeks meaning and content to build structures under specific local conditions based on the cultural and environmental features of a particular geographical location. Regionalism is by no means an attempt at a stylistic movement; rather it should be considered an attitude against internationalist and globalized architectural premises. 2.3.1

Types of Regionalism

There are three main categories of Architectural Regionalism within which one can outline numerous examples and discussions. These are: 1.

Vernacular regionalism 16

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Modern regionalism

3.

Critical regionalism

2.3.2

Vernacular Architecture

(Arboleda, 2003). Define vernacular architecture as an area of architectural theory that studies the structures made by empirical builders without the intervention of professional architects. There exist many areas of non-professional architectural practice, from primitive shelter in distant communities to urban adaptations of building types that are imported from one country to another. Because of that, vernacular architecture is a very open, comprehensive concept. Vernacular architecture tends to evolve over time to reflect the environmental, cultural, technological, and historical context in which it exists. It has often been dismissed as crude and unrefined, but also has proponents who highlight its importance in current design. They are influenced by their location in time and in space. In a very broad classification there are two approaches to vernacularism. These are: 2.3.2.1

Conservatives Attitude

The architecture employed here is indifferent to the community; it has inherited traditional technology, local materials and the natural environment. The idea is to bring back to the vernacular mode, danger of extinction. Plate 2.1 shows how traditional building form and material is being conserve in a modern style at kurmi market kano. It should be noted that use of durable materials increase the acceptability of conservative vernacularism. The most important contributor to conservative vernacularism was the late Hassan Fathy who devoted more than half a century of his professional life on his endeavor. This kind of vernacularism has some shortcomings i.e.: 17

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i. It has mostly been applied to residential houses. Hence, its application in other areas needs further development. ii. It needs special skills in the choice and use of materials.

Plate 2.1: modern rectangular Hausa building and thatch roof Source: http://logbaby.com/travel/kano-state 2.3.2.2

Interpretative Attitude

This may be referred to as Neo-Vernacularism. It is an approach that has emerged to bring new life to vernacular heritage for new and contemporary functions. Its widest area of application being the architecture for tourism and culture, where technology which has nothing to do with those which existed regionally is utilized in order to bring about: i. Modern comfort. ii. Ease of construction and maintenance and iii. Modern infrastructure, heating, cooling and technical services. In these efforts more of a lip-service has been given to the regional components and therefore architecture has become more of an expression of local shapes and forms where culture is reduced to souvenir and folklore. 2.3.3

Modern Architecture

Regionalism was a move in architecture rejecting sameness of internationalism but not modernism. This is true because modernism demands a respect for:

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i. Inherent qualities of building materials- purity ii. Expressiveness of structure and - structuralism iii. Functional justifications of forms that constitute buildings- Functional formalism There are two categories of modern regionalism i. Concrete modernism- Literal application of modern architecture ii. Abstract modernism- Latent reinterpretation 2.3.3.1

Concrete Modernism

This accommodates all approaches to regional expression which directly replicates features, fragments or entire buildings in the region combined with modern elements. These buildings when loaded with values of symbolic relevance become much more acceptable in their new form which is due to the values attached to the original built forms. This type of regionalism is acknowledged by use of: i. Contemporary materials and construction techniques. ii. Building qualities of the old which backs the new. 2.3.3.2

Abstract Modernism

This involves abstracting elements from the past in order to derive building forms. It mainly incorporates the abstract qualities of a building, for example massing, solids and voids proportions, sense of place, and use of light and structural principles in their reinterpreted form. Abstraction also endeavours to bring back to existence the cultural issues by defining in terms of design elements the prevalent culture of the region concerned.

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2.4

Critical Regionalism

(Elliott, 2006), defined Critical Regionalism as a strategy for achieving a more humane architecture in the face of universally held abstractions and international clichés. In the 1980s a few architects and theorists were disappointed with the direction that architecture was taking under the influence of postmodernism. The term critical regionalism was first used by Alexander Tzonis and Liane Lefaivre and later more famously and by Kenneth Frampton in Towards a Critical Regionalism: Six points of architecture of resistance. (Frampton, 1983). According to (Frampton, 1983) critical regionalism should adopt modern architecture critically for its universal progressive qualities but at the same time should value responses particular to the context. Emphasis should be on: I. II.

Topography Climate

III.

Light

IV.

Tectonic form rather than iconography

V.

Tactile sense rather than the visual.

In essence, he sought the deconstruction of global Modernism, criticized post-Modernism for reducing architecture to a mere ‘communicative or instrumental sign’, and proposed the introduction of alien paradigms to the indigenous genius loci. Frampton cites the Säynatsalo Town Hall building (Plate: 2.2 and Plate 2.3) by Alvar Aalto as a typical Critical Regionalist building.

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Plate 2.2: Säynatsalo Town Hall building Source: www.worldarchitecturemap.org

Plate 2.3: Säynatsalo Town Hall building Source: www.worldarchitecturemap.org

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Also Tzonis and Lefaivre, started that critical regionalism need not directly draw from the context rather elements can be stripped of their context and used in strange rather than familiar ways. (Lefaivre & Tzonis, Critical Regionalism Architecture and Identity in a Globalized World, 2003). 2.4.1 Critical regionalism versus regionalism Critical regionalism is different from regionalism which tries to achieve a one-to-one correspondence with vernacular architecture in a conscious way without consciously partaking in the universal. It seeks architectural traditions that are deeply rooted in the local conditions. This results in a highly intelligent and appropriate architecture. In its broadest sense, then, the Critical Regionalist sensibility looks to the uniqueness of site and location when deriving the formal aspects of any given project. All point to a design method that is assuredly modern but relies on the organic unity of local material, climatic, and cultural characteristics to lend coherence to the finished work. The result is an architecture suited to region. 2.5

Features of Critical Regionalism

2.5.1 A Preference for Regional Intentions over Normative Optimization Normative optimization seeks to maximize building performance with respect to some standards or norms. Typical standards used for optimization are efficiency and utility in building construction and performance. Frampton argues, “Modern building is now so universally conditioned by optimized technology that the possibility of creating significant urban form has become extremely limited”. Critical regionalism, rather than being dominate by the needs of optimization, is free to use desirable tools to serve its specific ends. What Frampton has in mind here is that critical regionalism is less a

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response to normative optimization and more concerned with the associative attributes of a specific region such as local architectural fabric and cultural values. 2.5.2 A Consciously Bounded Architecture This point refers to a desire to creating a place rather than an object in a place. Frampton writes that “Critical Regionalism manifests itself as a consciously bounded architecture, one which rather than emphasizing the building as a free-standing object, places the stress on the territory to be established by the structure” (Frampton, 2007). Frampton writes that First, a bounded architecture should have a capability to create a spatial boundary, a territory defined by the structure. Second, more than the physical boundary, a bounded architecture seeks the integration between built form and cultural values (Hu, 2009). A bounded architecture has physical and cultural meanings. Boundedness in architecture can be achieve with courtyard system and gardens. Physically the boundary helps to create an intimate relationship between architecture and the built site. Culturally a bounded architecture in Hausa traditional architecture Emphasizes the continuity and authenticity of living tradition. The design of interior spaces, integrating buildings into the built environment with courtyard system and the Zaure tradition fit well with this awareness about bounded architecture. 2.5.3 More than Scenography Episodes or Sentimental Historicism In his third point, Frampton sees the need for architecture that is understood as a “tectonic fact” rather than simply a series of scenography episodes. These two points are the aspects of critical regionalism concerned with forms and aesthetic. Through its tectonic form, adaptability to location, social relevance, and architectural vocabulary, a building may reinterpret old traditions in a modern setting (Frampton, 1992).

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2.5.4 A Responsiveness to Local Conditions and Climate (Sustainability) Architecture should make dialogue with the place and respond to the physical features of a region, the site specific factors, ranging from the topography to the varying play of local light (Frampton, 2007). The architect should enter a dialectical relation with nature, taking clues from the topography and avoiding bulldozing and flatting site with climactic issues. 2.5.5 An Emphasis on the Tactile and Human Experience (The Visual versus the Tactile) This points refers to other forms by which the built environment can be experienced other than the visual. Frampton claims other experiences, like heat and cold, humidity, air movement, aromas and sounds are important aspects of the environment that can be experienced. Critical regionalism recognizes that these other sense perceptions need to be recognized alongside the visual. Frampton refers to these other aspects by which the built environment can be perceived as the tactile 2.6 2.6.1

Proponent of Critical Regionalism

Kenneth Frampton

Frampton born in 1930 is a British Architect but a permanent resident in the US and a Historian, a critic and a professor. Orozco (2011) believes that Frampton ideas create an opportunity for harmonizing culture and globalized architecture without a loss of identity and cultural heritage. Hu, (2004) siting Frampton argues the use of sentimental imitations of local vernacular, seeking instead a reinterpretation of those forms and a blending of those forms with outside influences. Frampton’s “Ten Points” is the work that is most influential work on studying critical regionalism. Frampton gives an itemized list of issues that architects must consider when designing, and for each, of the points in the direction of a “resistant” path- architectural practice that resists universalization, and strives to hold on to local culture (Frampton, 24

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1987). Thus, the intention is to establish a clear definition of critical regionalism, using the methodology of categorization and identification often architectural attributes that allows regional characteristics to flourish and be expressed architecturally. Although his list is not exhaustive, all of his points are valid and can be used in integrating critical regionalism of a particular region in this case Gombe. I.

Critical Regionalism and Vernacular Form

Frampton’s first point shows the difference between Critical Regionalism and new vernacular. Critical Regionalism should not be mistaken with sentimentality or a romanticizing of the past. To cite the vernacular as architecture that responds to its local climate, culture, and region is accurate, but the vernacular is not critical. Critically, we should question all aspects of materials, construction, and design to completely understand them and use them in the most effective manner. This process of questioning materials, processes, and relationships does not occur in the vernacular, and it is what distinguishes Critical Regionalism from simple reproduction of vernacular. II.

The Modern Movement

Another distinction must be made to properly locate critical regionalism as a mode of thought. There is a wealth of inspiring architects whose work could be categorized as part of the Modern Movement. The work of architects like Frank Lloyd Wright adheres to the modernist functional ideal, but was also rooted in specific ways to the landscape of the region. Frampton reminds us that we must not discount many of these architects simply because of their design language.

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Plate 2.4: falling water house Source: http://www.fallingwater.org/

III.

The Myth and the Reality of the Region

Frampton brings up a very important aspect of Critical Regionalism he writes that it is necessary to begin to think of regions in institutional terms. This is the myth of the region, and the reality, according to Frampton, lies in the fact that “a culturally significant work can hardly be achieved without a committed client.” (Frampton, 1987) IV.

Information and Experience

Frampton says that “we have begun to lose our capacity for distinguishing between Information and experience.” (Frampton, 1987). Critical architecture must re-establish itself as a tactile, experiential phenomenon, rather than allow itself to descend to the level of mere styling and visual information. The project should speak to people though materiality, construction, and site response. This can be seen in the works of Francis Kere. (Plate 2.4)

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Plate 2.5: Centre for Earth Architecture Source: www.kere-architecture.com/projects/

V.

Space/Place

This point deals mainly with urban space, but the philosophy behind the point is still applicable. The theory deals with the Heideggerian idea of bounded places, thinking of boundaries as where things begin their “presencing”, not where they end. VI.

Typology/Topography

Typology, in the sense that Frampton uses it, is meant to represent a universal approach to design problems. Frampton uses Enlightenment period buildings to demonstrate this. They were gridded, rational matrices, capable of admitting a wide range of institutional programs and were applicable to almost any regular site. In contrast to this and similar design methods of bulldozing site and applying design, Frampton writes about the work of Mario Botta. Botta refers to topography as a way to “build the site.” (Frampton, 1996) By tracing contours of a site, terracing, and stepping a building into the topography, the architecture becomes part of the site- inherently place-specific- in what Frampton refers to as the “place-form”. (Frampton, 1996) VII.

Architectonic/Scenographic

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This point is closely related to point IV, Information and Experience. The architectonic refers to the physical way that the building resists gravity, aging, and weather, and to the roots of the term architect, or master builder. The term scenographic relates to the Renaissance, and to the representation of things. Thus, by reducing a building to scenography, one reinforces the media driven conditioning to visually assess buildings rather than experience them with the entire body. One may begin to resist this tendency by critically constructing buildings. Constructing buildings not just with attention to detail, but adoration of the joint, allows meaning in the architecture to be construed. Through careful attention to where water will run, how materials will weather, and how joints are detailed express meaning in the buildings in architectectonic terms. This meaning can then become part of the critical discourse within the building, the design, and between designers. VIII.

Visual/Tactile

As already discussed, one part of architecture’s resistance to universalization, avoiding visual representation, is an important one. The tactile is an important part of experiencing architecture, through senses other than sight, like sound, smell, and texture. This materiality can be used to critique the visual in terms of the tactile, substituting something that is heavy for elements that are expected to be light. In this manner, the tactile experience can bring attention directly to the material experience of architecture, in the choice of materials, and the region it is in, not just a perception of style or form. IX.

Post-modernism and Regionalism.

Again, the distinction between neo-historicists, neo-avantgardists, and critical regionalists are being made. The resistant path is the moderate one, critical of both strict historicism, and the pressing force from popular society for the avant-garde. It is a culture of dissent free from fashionable stylistic conventions, architecture of place rather than 28

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space, and a way of building sensitive to the vicissitudes of time and climate. Above all, it is a concept of the environment where the body as a whole is seen as being essential to the manner in which it is experienced. 2.6.1.1 Six Principles of Critical Regionalism Kenneth Frampton “Six Points of Architecture resistance” explain those principles. Each of these points addresses specific issues that may evolve creating architecture with a sense of place under contemporary circumstances. 1. A critical but open approach to Modernist attitudes and technologies where technical and technological aims like normative optimization. 2. A consciously bounded architecture concerned with the territory to be established by the building. 3. An interest in creating an integrated whole, what Frampton calls a ‘tectonic fact’—rather than a series of scenographic episodes. 4. A stress on local conditions and responsiveness to local climate. 5. An emphasis on the tactile as well as the visual—architecture that is not only for the sight but for a complete human experience. 6. An opposition to sentimental simulation of the local vernacular combined with a willingness to re-interpret and use these local formal motifs and a willingness to also introduce foreign sources as well. 2.6.2

Tzonis and Lefaivre

Tzonis and Lefaivre coined the term “Critical Regionalism.” The practice of critically regional architecture to them in broad terms means an architecture that “selects regional elements for their potential to act as support, physical or conceptual, of human contact and community, what we may call ‘place-defining’ elements, and incorporates them 29

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‘strangely’ rather than ‘familiarly.’ After acknowledging this ideology as being susceptible to several criticisms, they produced “Why Critical Regionalism Today? In which they began to address some of these issues. The first criticism relates to the idea of region. Questions regarding 1. How a region can be defined? 2. What elements are used to describe the region? 3.

What elements constitute “authentic” or the true regional culture?

A second criticism relates to 1. How these ideas are represented in the architecture? 2. What makes Critical Regionalism different from other Regionalist movements of the past? 3. How is it represented in the architecture without being reduced to simple reproduction of vernacular forms? Tzonis and Lefaivre counter that “Critical Regionalism is a more original movement which has come about as a response to new problems posed by contemporary global development of which it is strongly critical, and that the poetics of this new movement are to a great extent different from, if not antithetical to, other architectural regionalist techniques of the past. Their response focuses on their definition of the term ‘critical’involving ‘met statements,’ and the term ‘de-familiarization.’ The first topic they cover is the two-fold definition of the term ‘critical.’ To them the term implies not only a confrontational attitude for the globalizing patterns of today’s world, but also an attitude critical of the existing value found in the region. The term critical then has an “antinomy in the thinking, partly an attachment, partly a rejection of regional elements,” and results in “a regionalism that is self-examining, self-questioning, and self-evaluating.” (Lefaivre & Tzonis , 2003). This is an important defence against the argument that one cannot be

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both “critical” and “regionalist”, as well as for addressing the concern that regions are less and less culturally pure. By practicing a truly critical regionalism, one also questions the very culture and region you are defending, which they argue “realizes the obsolescence of traditional concepts of region.” (Lefaivre & Tzonis , 2003) They are advocating selective response to regional elements. In order to accomplish this, Tzonis and Lefaivre claim that a building must contain ‘met statements.’ ‘Met statements’ are implicit images, elements, and moments of the architecture that are self-referencing, in addition to the explicit statements which address the globalizing “anomic, atopic, misanthropic ways of a large number of current mainstream projects.” (Lefaivre & Tzonis, Critical Regionalism Architecture and Identity in a Globalized World, 2003). These implicit moves in the design are intended to make persons in the place begin to question the region and its global relation on their own terms, and to “be aware of the artificiality of her or his way of looking at the world.” The second term that they use in the defence of Critical Regionalism is ‘defamiliarization.’ This is a term which they use to differentiate Critical Regionalism from older forms of Regionalism. They distance themselves from the “sympathy, affinity, memory, and familiarity” (Frampton, 1987) associated with Romantic Regionalism- one root of the criticism that regionalism is merely a reproduction and reduction to vernacular language. This term ‘de-familiarization’ is actually a description of a design process. The process is one which they claim “can be carried out by any knowledgeable, responsible, competent architect committed to the understanding of local constraints (Lefaivre & Tzonis, Critical Regionalism Architecture and Identity in a Globalized World, 2003). It is the process of identifying, decomposing, and recomposing those elements of the existing region that are defining and “makes them appear distant, hard to grasp, difficult,

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even disturbing. It disrupts the sentimental ‘embrace’ between buildings and their consumers, ‘de-automatizing’ perception and thus ‘pricking the conscious’. . This is the process that Fathy refers to when he says that the “formerly ignored or even despised becomes suddenly something to boast about.” (Fathy, 1990 p56) It is the moment in the architecture which speaks to the local people, and validates, or calls to question their current location in the world. Tzonis and Lefaivre are striving for Critical Regionalism to be seen not “as contradictory to trends towards higher technology and a more global economy and culture. It merely opposes their undesirable contingent by-products borne of private interests and public mindlessness. They have concerned themselves ultimately in the problem of creating community in a world of global mobility and integration.

2.7

International Case Studies on Orphanage Designs

2.7.1 Case Study One: Safe Our Soul Children Village

Orphanage Agaban Jordan

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Client: SOS Villages International

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Location: al-alameya district Agaba Jordan

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Architect: Jaafar Tukan &Partners

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Contractor: Ammoun maintenance and contracting co.

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Construction date: 1989-1991

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Regional climate: desert climate with a warm winter and a hot dry summer.

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Function : Orphanage

2.7.1.1 Brief Description SOS Kinderdorf International is an international society for orphans’ its main difference from other traditional orphanages is that it accommodates orphans in small houses within

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specially designed village in an attempt to simulate normal family life for these orphans. (Jafar & Partners, 2011). SOS Children’s Village in Aqaba the home for ultimately about a hundred orphaned children cared for in homes of nine children each by a dedicated mother in an environment as close as possible to the natural family. This SOS complex for orphaned children is located in the residential outskirts of the city of Aqaba, on the Red Sea it was built in 1991. A prerequisite of SOS Villages International is that they should be built within an existing social environment, so that they are not isolated from the urban context of the town or city they are in. this architecture is attractive, well designed and represents a modern interpretation of the local vernacular stone building. The scale of the village is dictated by its environmentally friendly design, and is also related to the scale of the children themselves within a contained and intimate urban setting. (Jafar & Partners, 2011)

Plate: 4.1 SOS children village Agaba Jordan Sources: (Jafar & Partners, 2011)

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Plate: 4.2: The interior living room Source: (Jafar & Partners, 2011) 2.7.1.2

Plate: 4.3: interior bedroom Source: (Jafar & Partners, 2011)

Major Facilities

Major Facilities are shown in table 4.1 Table 4.1 Facilities in SOS children village, Jordan. S/N

FACILITIES

Spaces

1

Eight number of Typical family houses

three bedrooms, 3 children each, mothers bedroom, two bathrooms, living-dining room, kitchen with store and a guest toilet

2

One director’s house

Three bedrooms, two bathrooms, living-dining room, kitchen, Store and a guest toilet.

3

One aunts’ house

Four bedrooms, two bathrooms, living-dining room, kitchen with store and a guest toilet..

4

Two staff houses

three bedrooms, two bathrooms, living-dining, and kitchen with store

5

One guest quarters

Two bedrooms, one bathroom, living-dining room, and kitchenette.

6

One administration building

containing reception and waiting space, two offices, meeting room, toilet, kitchenette, clinic and a store

7

.One kindergarten

Containing four classrooms, each two sharing toilets and toy store. Principal’s office, two stores, staff room, toilets (male and female), and a small outdoor play space theatres

8

Service facilities

Comprising a gate house, an electrical room, toilet facilities, several shops for rent, and two maintenance workshops.

9

Outdoor

Playgrounds, water storage, adequate parking, landscaped areas, and possible future expansion for more family houses.

Source: (Jafar & Partners, 2011)

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Plate 4.4: Site aerial view of SOS village in relation to the surrounding Source: (Jafar & Partners, 2011) 2.7.1.3 Topography and vegetation of the orphanage site Although the topography of the area is generally arid the vegetation in the project site is quite lush. The Aqaba area has the potential to develop a greener environment. Hafayir, on the coast, is an agricultural area where Greenleaf vegetables are grown; it also has a number of palm groves, Bougainvillea, Asparagus. ‘Fire trees’ (a local variety) and other flowers grow around the square and hedges of the new residential areas and around individual houses. Agaba is at the limit of this ecosystem with it flora, fauna and geology being close to that of Africa. (Jafar & Partners, 2011)

Plate 4.5: soft landscape around the village house

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Source: (Jafar & Partners, 2011) 2.7.1.4 Dominant building material Dominate building material was locally available granite stone boulders with precast concrete beams column and slabs. The windows and open kindergarten shade courtyard are made from locally available wood.

Plate 4.6: Stone walling and concrete lintel Sources: (Jafar & Partners, 2011)

Plate 4.7: wooding shading devices Sources: (Jafar & Partners, 2011)

2.7.1.5 Architectural Expression Modern architecture was blended with traditional architecture of Agaba using locally available stone and wood materials and construction techniques. It also reintroduces the awareness in the uniqueness of place as a driving force for expressing architecture. 2.7.1.6 Form Composition The buildings compose of a mass combination of square and rectangular plan box form with flat roofs and a series of open spaces. The massing of the project resulting in cluster of houses and buildings around a courtyard and a main village plaza which is the

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traditional response to climate providing shaded and breezy outdoor spaces for living and play, animated by lush vegetation and shading trees and allowing the buildings to shade one another.

Figure 4.1: Ground floor and first floor plan Source: (Jafar & Partners, 2011)

Figure 4.2: A family house. Sources (Jafar & Partners, 2011) 37

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2.7.1.7 Siting and Orientation This SOS complex for orphaned children is located in the residential outskirts of the city of Aqaba, on the Red Sea. It was zone base on privacy and security of the orphans, the facilities that are shared with the local community are found close to the main entrance of the village this include kindergarten, super market, pharmacy. The semi-public space contains the administrative building, guest house, aunt house while the typical family house is found at the private area. The building follows a natural orientation in which the longer side is facing north-south direction and the shorter side facing east-west direction as shown in Plate 4.5 below.

Figure 4.3: Site layout orphans village, Jordan. Source: (Jafar & Partners, 2011) 2.7.1.8 Spatial Organization The eight family houses, a staff house, an administration building, a guest house and the village director’s residence all are planned around a village square and connected via pedestrian paths, gardens and alleyways. Vaulted archways lead to shaded courts, while gardens surround the buildings both within and on the edge of the village. On the southern border of the site, close to the main road, are located facilities that are shared with the local Community, namely a kindergarten, a supermarket, a pharmacy and a sports hall. This all can be seen in plate: Plate 4.4 above. 38

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2.7.1.9 Features of Critical Regionalism in SOS Jordan The table below shows the features of critical regionalism at SOS Jordan.

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2.7.2 Case Study Two: Pondicherry Sos Children Village India 2.7.2.1 Background Information 

Project: Orphans Children Village Pondicherry

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Client: Sos Kinderdorf International

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Location: Pondicherry, India

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Architect: Ar. Sharukh Mistry

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Contractor: Ar. Sharukh Mistry

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Construction Date: 2007-2008

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Regional Climate: Tropical Wet And Dry Climate



Function : Orphanage

2.7.2.2 Brief description Pondicherry suffered heavily due to the tsunami in the year 2004. The large number of people lost their lives in this calamity and many people lost their properties and livelihood. The SOS children village was built in 2005 to house the orphans of this calamity. The Pondicherry orphan village complex has houses design for 8 children minded by a dedicated woman who become surrogate mother figure. The children are provided with private meals and tutoring and have a sibling like relationship with other children in the unit. Father figure includes the village director (who lives on the village with his real family. The SOS complex comprises of 12 family houses, 3staff houses administration building, village director’s residence, outdoor auditorium, primary school, tot play area, computer lab, library, conference room, guest house, outdoor play area and multi-purpose hall.

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Figure 4.4: Typical family house floor plan Source: www.archdaily.com/sospondecherry

Plate 4.9: Interior of a family house Source: www.archdaily.com/sospondecherry

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2.7.2.3 Major Facilities

Figure 4.5: Major facilities at Pondicherry orphanage. Sources: www.archdaily.com/sospondecherry

2.7.2.4 Topography and Vegetation. The topography of the site is relatively flat surface with natural growing grasses and trees that provide shade to the building, this tress also serve as barrier between public, semi-public and private spaces. (Plate 4.21)

Plate 4.10: relatively flat topography with natural growing vegetation Source: www.ankurconstructions.com 42

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2.7.2.5 Dominant building material The building materials used is stone for the buildings wall, mosaic floors, concrete and stone paving. The material are eco-friendly materials and the do not affect the surrounding environment. The pitched roofs are constructed by structural frame work and materials used for tiles roofing, asbestos sheets for ceiling and wooden rafters.

Plate 4.11 Stone wall and mosaic floor Source: www.ankurconstructions.com

Plate 4.12 asbestos roofing sheet Source: www.ankurconstructions.com

2.7.2.6 Architectural Expression Pondicherry traditional stone buildings was reinvented with the used of modern construction system. The buildings are surrounded by landscaping which is also inspired by the 2.7.2.7 Form Composition The form of the buildings is simple geometric shapes with pitched roof and contains large opening in order to regulate the environmental condition. 2.7.2.8 Siting and Orientation The sitting of the builds is done base on the hierarchy of zoning in such a way that the private spaces are separated from the public space and semi-public spaces. The private spaces are given enough privacy. There is a visual barrier from the public and semi-public

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space over private space. The administrative block and the village director’s residence are right next to the main entrance. The primary schools and auditorium sits behind the public space giving privacy to the children. All the three spaces are connected through a single pathway which runs around the site (see plate 4.21. above).The orientation was done in such a way to provide maximum ventilations and lighting of the building interior.

Plate 4.13: Large size windows and open kindergarten Source: www.ankurconstructions.com

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2.7.2.9 Features of Critical Regionalism in Pondicherry orphanage The table below shows the features of critical regionalism Pondicherry orphanage

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2.8

Nigerian Architecture

Architectural historians divided architecture of Nigeria in to two basic distinctions these are Northern Architecture and Southern Architecture Regions. In the North, the strongest influence came from Islam whilst in the South influence came from the return of ex-slaves (mainly from Brazil) and colonization. However both styles of Traditional Architecture used local materials such as earth, wood, stone and thatch. The climate, human physiology and geography led to the development of curvilinear conical and mud roof structure in the North (Plate 2.5), and rectilinear thatch roof mud houses in the South.

Plate 2.6: curvilinear conical and mud roof structure in wuro-ardo Gombe Source: (Ministry of Land and Survey, Gombe Master Plan,2030, 2013) 2.8.1

Architecture in Northern Nigeria

In Northern Nigeria, two styles of architecture have been identified in the area of housing in the traditional setting. The first is the Hausa homestead, which is the dominant and more stable architecture, the second is the Fulani nomadic shelter, which at best can be

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referred to as tents (Rikko & Gwautau, 2011) due to frequency of mobility with change in seasons. Hausa architecture has dominated the region in both spatial organization and architectural significance of the traditional dwellings (Dmochowski, 1990).This architecture has also dominated north eastern Nigeria. It features have been developed to go in line with the features of critical regionalism (Table 2.1) using Frampton idea by (Staley 2015) Table 2.1: features of Hausa critical regionalism Traditional Architecture A preference for regional intentions over normative optimization Construction System The azara roofing system building materials of a typical traditional building is very sustainable because it uses materials that are close to nature. Scale Amplification of forms is very significant in palaces- it depicts power. A consciously bounded architecture Courtyard system A courtyard system evident in Hausa architecture creates this awareness of cultural bondness. Vernacular elements The zanko, motif decorations also instigate the feeling of physical boundness More than scenography episodes or sentimental historicism Composition of forms Hausa architecture is beyond decorative paintings, forms are important. Design (aesthetics) The use of archways in mosque designs, palaces, and courts houses is a deliberate act to showcase imagery. Response to local conditions and climate Adaptation to environment To reduce the amount of heat generated internally during summer buildings are orientated towards the sun with living rooms and bedrooms organize in areas compatible to the sun’s movement and wind direction. Tactility Materials Highly textured material finishing is an identifiable feature in Hausa architecture. headroom Buildings are mostly bungalows and single storeys in rear occasions to avoid direct view into neighbouring compounds. Source: (Stanley, 2015) 47

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2.8.2

Evolution of Hausa Architecture

Two main factors are behind the evolution of Hausa architecture of northern Nigeria according to (Oluwagbemiga & Zango, 2014) these are: 2.8.2.1 Determinant factors: Culture 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 organizing themselves into complex groups focusing 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 behavioral contents of the society described an organized group interacting in a structural system by initiating activities necessary to produce and sustain life. 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.

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2.8.2.2

Moderating factors:

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. Material: Evolution of Hausa house form is 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 molded 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.

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3.9 3.9.1

GOMBE

Defining the Region of Gombe

The outline of Gombe region is established and re-defined by the interaction between Gombe and other settlements, as it provides and receives services. The macro region covers the major towns within the northern parts of Nigeria, (figure 2.1).

Figure 2.1: Position of Gombe in Nigerian map Sources: Gombe State master plan, 2012 Gombe is among the first order towns in the system of settlements at the northeast part of Nigeria. In the settlement system, the primary force of interaction is commercial, social and administrative transaction. The changing fortunes of Gombe in regards to those services spell out the structures of dependence between the regional centers and Gombe and consequently the pattern of interaction. 3.9.2

Geographical Location of Gombe

Gombe is at a central geographical location within the state and is on latitude 100 16’ N and longitude 110 11’ E (figure 2.9). Gombe metropolis is well linked by road to other regional centres like biu/Maiduguri, Potiskum/Damaturu, Bauchi/jos, Kari/Kano and Kumo/yola. Single gauge railway on the Bauchi –Maiduguri route are also another 50

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transport link, albeit a rail system that is at a low utilization rate owing to poor maintenance and management. A large part of existing town is at the foot of the Akko escarpment and on a shallow dish –like site. However, there is a westward expansion of the town, on to the escarpment, and engulfing tumfure, shongo idirisa and wuro male village. 3.9.3 Geology of Gombe Gombe State is located in the North-eastern part of Nigeria, in the Benue Trough. Two sedimentary basins exist within this region: the northern portion called the Gongola arm, and the southern, called the Yola arm. Gombe state lies mostly on Gongola arm of the sedimentary basins. 3.9.4 Topography of Gombe The crest line between Gombe-kumo roads is aligned. The Akko escarpment lying few meters east of the crest line, liji hill and widely scattered low sandstone hills are dominate topographical features of the Gombe micro region. (Figure 2.10) The high grounds, which are associated with the Keri-Keri formation

Figure 2.10: topography of Gombe Sources: (Ministry of Land and Survey, Gombe Master Plan,2030, 2013) 51

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3.9.5 Climate of Gombe Gombe is located within sub-Sudan climatic zone. Its characterised by two distinct seasons, that is dry season (November to March) and wet season (April to October). The dry season become sever when the north-east trade wind over the region becomes established.

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CHAPTER THREE: METHODOLOGY

3.1

Introductions

A research method is the plan or conceptual structure of the research and type of approach adopted in the study. It serves as a blue print for the measurement of variables, collection and analysis of data (olaofe, 2010). This chapter outlines the research design, the population of study, sample and sampling procedure, instrument of data collection, administration and data analysis. 3.2

Research Design

The purpose of this research design is to indicate what observation to make, how to make them and how to analyse the qualitative aspect of the observations. This research study has been in line with the case study research method. 3.2.1 Case Study A case study may refer to both research method and unit of analysis, which involves the study of examples as case of being researched (Oluigbo, 2010). A case study may show a correlation between two factors, whether or not a causal relationship can also be proven. It may sound complicated, but it's really quite simple. It’s designed to ask the questions "how" and "why" of an event, procedure or phenomena, case studies are qualitative researches. Case study in architecture begins with a documentation of the physical characteristics of the case (Oluigbo, 2010). The essence of case study methodology is triangulation, the combination on different levels of techniques, methods, strategies, or theories. (i.e., visual surveys, interviews, document review, and observation) This documentation will be based on the exploring critical regionalism in orphanages.

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3.2.2 Case Study Selection Criteria A sample is a fraction of a population from which it is obtained. Case study selection is comparable to sampling in a quantitative research and for that reasons those cases are usually purposively selected (Veal, 2006 in Oluigbo, 2010). This suggested that cases are identified for study due to their inherent qualities which were in consonance with the phenomenon under investigation (Oluigbo, 2010). The case studies selected for this study would be sampled purposely on two bases. i.

As orphanage which was specifically design for the purpose of housing orphans.

ii.

As orphanages that possesses some elements of regional identity in it design.

3.2.3 Case study assessment criteria The following variables will be used to assess the level of application of critical regionalism in the selected case. 1. A preference for regional intentions over normative optimization I. Construction system (Jafar & Partners, 2011) II. Scale and Style 2. A consciously bounded architecture I. Use of courtyards and landscape II. Vernacular elements 3. More than scenographic episodes or scentimental historicism I. Composition of Form II. Design/aesthetics 4. A response to local conditions and climate I. Terracing

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II. Adaptation to environment III. Fenestration 5. Tactility I. Texture of materials II. Colour 3.2.3 Population’s size Population is the aggregate of all the elements that share some common set of characteristics and that comprise the universe of the purpose of the research problem. Population in this study will include orphanage in north eastern Nigeria and any other part that are design specifically for the purpose of housing orphans. This includes 1) SOS children Village Agaba Jordan. 2) Pondicherry orphanage India 3) Safe our soul orphans children village Jos 4) SOS orphans children village Gwagwalada Abuja 3.3 Instrument of data collections The instruments of data collection used in this research are; literature review, Visual survey Interview, and Observations. 3.3.1

Visual survey

Visual survey of the existing orphanages was carried y visiting and identifying what has been achieved in the present orphanages and to determine the level of application of critical regionalism, based on the research variables and their spatial organization. This will be validate from the pictures or photographs

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3.3.2

Interview

In- depth interview was conducted on the selected orphanages to get information from the directors, managers, surrogate mothers, aunties and matrons on the existing facilities. 3.3.3

Observations

Field form with different cultural characteristics of the place was used to document on each of the selected case study outlining variables as it applies to critical regionalism and orphanages. 3.4

Data analysis

Analysis of data collected on the interview, visual survey and observation is based on the descriptive accounts as observed, and noted via the instruments of data collection (Veal, 2006). Brief introduction, account of independent variables, and checklist on critical regionalism design was used to capture a better perspective of the facilities for more effective evaluation. The case study analysis will focus on an illustrative qualitative method. The illustrative method will be used because it is descriptive and adds detailed examples to the study. Data collected on each case study will be carefully analysed and represented in different forms which include:3.4.1 Diagrammatic representation Proper representation of data will be made by the use of sketches and also where drawings/ sketches will not do or are not available will be supported with pictures. 3.4.2 Figures Data collected from the case studies will also be demonstrated in the form of drawings and figures.

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3.4.3 Photographs Pictures of the existing cases (orphanages and other relevant buildings) will be taken and documented showing their facilities and the application of the features of critical regionalism in the design (if applied). 3.4.4

Tables

Data collected on this research from the case studies will be documented and represented on assessment tables. Conclusion: In conclusion, this chapter aims at apparently explaining the process of carrying out the research (methodology) by putting together all data collected Site survey, observations, visual survey into a careful analysis. Case study method is to use in carrying out the study due to its advantages and it being the most efficient method for carrying out such study. Its findings will be presented in the next chapter accordingly

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CHAPTER FOUR: CASE STUDIES

4.1

Selection Criteria

The case studies selected for this study was sampled purposely on two bases. i.

As orphanage which was specifically design for the purpose of housing orphans.

ii.

As orphanages that possesses features of critical regionalism 4.2

Variables for Analytical and Comparative Study

Background information: 

Client:

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Location:

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Architect:

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Contractor:



Construction date:



Architectural style:



Regional climate:

The variables that will be use to document on the case studies are: 

Major Facilities



Topography and vegetation



Dominant building material



Architectural expression



Form composition



Siting and orientation



Spatial organization

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The following variables were used for analytical and comparative study to assess the level of application of critical regionalism features in the selected case. 1. A preference for regional intentions over normative optimization I. Construction system II. Scale and Style 2. A consciously bounded architecture I. Use of courtyards and landscape II. Vernacular elements 3. More than scenographic episodes or scentimental historicism I. Composition of Form II. Design/aesthetics 4. A response to local conditions and climate I. Terracing II. Adaptation to environment III. Fenestration 5. Tactility I. Texture of materials II. Colour

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4.5

Case Study Three: Sos Orphans Children Village Jos

4.5.1 Background information 

Project: SOS children Village Jos



Client: SOS Kinderdorf international



Location: kwatan zawan Jos



Architect: -----



Contractor: Telisol Limited



Construction date: 2008-2010



Regional climate: semi-temperate climate



Function : Orphanage

4.5.2 Brief description The SOS orphanage Jos is located at Kwatan Zawan Jos Plateau state. It was built on 4hectares of land between 2008-2009 but state operating in 2010 for the purpose of housing orphans who lost their parent as the result of the inter religious conflict that occurred in the region between 2001-2010. It was designed in a village like setting to provide environment as close as possible to that normal children at home. The SOS village consist of a 12 number of a family houses each house contain 10number of children who are been taking care by a dedicated mother or aunt (who take care of the orphans when mothers are absent). Table 4.1 shows the age distribution of children in the orphanage. The children attend the SOS Kindergarten within the village together with local children from the neighbouring community. The kindergarten also has one class for children with learning disabilities, the children then go on to complete their primary education at the SOS Hermann Gmeiner School. Around 210 pupils from the children’s village and the

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neighbourhood attend the school. This way, children who grow up in SOS family are integrated into the local community from young age. The village comprises 12 family houses, clinic, administrative building, conference hall, father’s house, aunt house and guest house. Table 4.2: Age Distribution of Children in the Orphanage Age

N0. of male orphans

No. of female orphans

0-4

23

10

5-8

30

16

9-13

10

15

14-17

0

0

18 and above

0

0

Source: researcher, 2015

Plate 4.14: A Front view family house Source: Researcher, 2015

Plate 4.15: A Rear view family house Source: Researcher, 2015

Plate4.16: Hermann Gmeiner primary School Source: Researcher, 2015

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Plate 4.17: Hermann Gmeiner kindergarten Source: Researcher, 2015 4.5.3 Major Facilities The major facilities found at the SOS orphanage Jos is shown in the table below Table: 4.3 major facilities at SOS Jos S/N

FACILITIES

Spaces

1

Six block (semi-detach bungalow) of twelve unit of Typical family houses

three bedrooms, 3 children each, mothers bedroom, two bathrooms, living-dining room, kitchen with store

2

Director’s house

Three bedrooms, two bathrooms, living-dining room, kitchen, Store and a guest toilet.

3

two aunts’ house (semi-detach)

Two bedrooms, two bathrooms, living-dining room, kitchen with store and a guest toilet..

4

Staff house

Three bedrooms, two bathrooms, living-dining, and kitchen with store

5

One guest quarters

Two bedrooms, one bathroom, living-dining room, and kitchenette.

6

Administration building

Waiting space, three offices, meeting room and toilet,

7

kindergarten

Three classrooms, each two sharing toilets and toy store. Principal’s office, two stores, staff room, toilets (male and female)

8

Social center/clinic

Three offices, male and female toilet. Waiting room and admitting room

8

Hermann Gmeiner Primary school

Six classrooms, classrooms for special and practical education, an administration office, a computer-room, and a canteen.

9

Service facilities

Comprising a gate house, an electrical room, toilet facilities, two maintenance workshops and store

10

Outdoor

Playgrounds, water storage, adequate parking, landscaped areas, and possible future expansion for more family houses.

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Sources: Researcher, 2015 4.5.4 Topography and vegetation of the orphanage site The topography of the site is relatively flat, and the buildings were designed to adopt with the changes in levels. Landscape of the site was predominantly natural with few artificial growing grasses and abundant trees that shade the buildings.

Plate4.18: natural and artificial growing grasses and trees Source: Researcher, 2015 4.5.5

Dominant building material

Three types of local walling materials have been identified in Jos region this are: local stone, burn bricks and sand Crete block. But the Dominant building material used is sand Crete block and reinforced concrete beams column and slabs. The windows are made up of sliding glass panel with no shading devices. Aluminium roofing sheets was used for the roofing of the structures.

Plate 4.19: sacred block wall with sliding glass windows Source: Researcher, 2015 63

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4.5.6 Architectural expression The building represents modern architectural expression due the Inherent qualities of building materials, functionality of building form and structuralism. 4.5.7 Form composition The form of the buildings comprises of a combination of rectangle and square.

Figure 4.6: Plan of Family house SOS Jos Source: Researcher, 2015 4.5.8 Siting and Orientation The buildings are arranged with emphases on privacy and security. The public facilities are found at the main entrance to the site, this include Gmeiner primary school, social centre/clinic, administrative building and conference hall. These facilities are shared with the neighbouring community. The kindergarten, aunt house, father’s house, guest house and personnel house are found at the semi-public area while family houses were orphans reside are at the private area. Buildings are orientated in such a way to reduce the amount of heat entering into it and provide thermal comfort to the interior. To minimize amount of heat gain in the building, the longer part of the rectangular form are facing east-west direction and the shorter side are at the south-north direction (figure 4.1). This reduces the number of openings in the direction thereby reducing the heat penetration. 64

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4.5.9

Spatial organization

The village consist of six semi-detach houses arranged in grid pattern that are linked through pedestrian paths. The houses are integrated with the nature of the site and network of paved walkways. Building setback of 12meters was used to provide enough ventilation and lighting into the structures. The administrative block, guest house, aunt house, personnel house are aligned with each other while the kindergarten and Hermann Gmeiner primary school are arrange in cluster form to provide maximum security to the children as shown in figure 4.1 below.

Figure 4.7: Spatial organization of SOS Village Jos Source: Researcher, 2015

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Features of Critical Regionalism in SOS orphanage Jos. The table below shows the features of critical regionalism at SOS orphanage Jos.

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4.6

Case Study Two: Safe Our Soul Children Village Orphanage Gwagwalada

4.6.1

Background Information



Project: SOS children Village



Client: SOS Kinderdorf international



Location: opposite sharia court Dukwa road Gwagwalada Abuja Nigeria.



Architect: -----



Contractor: WOEF and associates



Construction date: 2005-2007



Regional climate: Tropical wet and dry climate,



Function : Orphanage

4.6.2

Brief description

The SOS orphanage Gwagwalada Abuja is located at dukwa road opposite sharia court. The village was built on 4.6hecters of land between 2005-2007 by SOS Kinderdorf international for the purpose of housing orphans in the capital territory and it neighbouring villages. It was design in a village like setting to provide environment as close as possible to that normal family. The SOS Children's Village Gwagwalada comprises a total of 12 family houses, a Village Director's house, accommodation for SOS aunts (SOS aunts take care of the children when SOS mothers are on leave), a guest house, a multi-purpose hall, a service- and administration area and sports grounds. The children attend the SOS Kindergarten, primary and junior secondary school within the village together with local children from the neighbouring community.

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Plate 4.20: Primary School interior Source: Researcher, 2015

Plate 4.21: Primary School exterior Source: Researcher, 2015

Plate 4.22: exterior view of kindergarten Source: Researcher, 2015

Plate 4.23: interior view kindergarten Source: Researcher, 2015

Plate 4.24: Family house

Plate 4.25: Conference Hall

Source: Researcher, 2015

Source: Researcher, 2015

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4.6.3 Major Facilities The major facilities found at SOS orphanage Gwagwalada is shown in the Table 4.3 below Table 4.4: major facilities found at SOS orphanage Gwagwalada S/N

FACILITIES

Spaces

1

Twelve unit of Typical family houses (semi-detach bungalow)

Four bedrooms apartment.1room for male 1 room for female. Four children per room. mothers bedroom, aunt room two bathrooms, living-dining room, kitchen with store

2

Director’s house

Three bedrooms, two bathrooms, living-dining room, kitchen, Store and a guest toilet.

3

two aunts’ house (semi-detach)

Two bedroom, two bathrooms, living-dining room, kitchen with store and a guest toilet..

4

Staff house

Three bedrooms, two bathrooms, living-dining, and kitchen with store

5

One guest quarters

Two bedrooms, one bathroom, living-dining room, and kitchenette.

6

Administration building

Waiting space, three offices, meeting room and toilet,

7

kindergarten

Three classrooms, each two sharing toilets and toy store. Principal’s office, two stores, staff room, toilets (male and female)

8

Social center/clinic

Three offices, male and female toilet. Waiting room and admitting room

8

Hermann Gmeiner Primary school

Six classrooms, classrooms for special and practical education, an administration office, a computer-room, and a canteen.

Hermann Gmeiner secondary school

Six classrooms, classrooms for special and practical education, an administration office, a computer-room, and a canteen

Junior

Multi-purpose hall

Exhibition spaces, conference hall, two changing room, two male and female toilets

9

Service facilities

Comprising a gate house, an electrical room, toilet facilities, two maintenance workshops and store

10

Outdoor

Playgrounds, water storage, adequate parking, landscaped areas, and possible future expansion for more family houses.

Source: Researcher, 2015

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4.6.4

Topography and Vegetation of the Orphanage site

The topography of the site is relatively flat, and the buildings were designed to adopt with the little changes in levels. Landscape of the site was predominantly naturally growing trees and grasses with few with few artificial growing grasses and abundant trees that shade the buildings. As shown in Plate 4.2

Plate 4.26 Children play area

Plate 4.27: open green space for relaxation

Source: Researcher, 2015

4.6.5

Source: Researcher, 2015

Dominant Building Material

The Dominant building material used is sand Crete block and reinforced concrete beams column and slabs. The windows are made up of sliding glass panel with no shading devices. Aluminium roofing sheets was used for the roofing. 4.6.6

Architectural Expression

The building represents modern architectural expression due the Inherent qualities of building materials, functionality of building form and structuralism. But there is no consideration for traditional architecture of the region in the design. 4.6.7

Form Composition

The entire buildings composition at the site is made up of a rectangular and a square box plan form.

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Figure 4.8: Typical apartment SOS Gwagwalada Source: Researcher, 2015 4.6.8

Siting and orientation

The village consist of 12 houses arranged in grid pattern that are linked through pedestrian paths. The houses are integrated with the nature of the site and network of paved walkways. Building setback of 8meters was used to provide enough space for ventilation and lighting. The administrative block, guest house, aunt house, personnel house are aligned with each other while the kindergarten and Hermann Gmeiner primary school are arrange in cluster form to provide maximum security to the children as shown in figure 4.6.9

Spatial organization

The twelve family houses, a staff house, an administration building, a guest house and the village director’s residence all are planned in grid pattern within the a village square and are connected via pedestrian paths. Gardens surround the buildings both within and on the edge of the village. On the southern border of the site, close to the main road, are located facilities that are shared with the local Community, namely, Hermann Gmeiner

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primary and secondary school while the kindergarten is at the eastern part close to the administrative building. This all can be seen in fig

Figure 4.9: Major facilities at SOS Gwagwalada Source: Researcher, 2015

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Features of Critical Regionalism in SOS orphanage Gwagwalada, Abuja The table below shows the features of critical regionalism at SOS orphanage Gwagwalada, Abuja

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CHAPTER FIVE

RESULTS AND DISCUSSION OF FINDINGS 5.1 ASSESSEMENT TABLES FOR THE LEVEL OF APPLICATION OF CRITICAL REGIONALISM IN THE CASES STUDIES Table 5.1: Case study Analysis –: Safe Our Soul Children Village Orphanage Agaba Jordan Source: Researcher, 2015

A PREFERENCE FOR REGIONAL INTENTIONS OVER NORMATIVE OPTIMIZATION Variables

Description

Level of reflection 1

2

3

4

5

Construction system

The principle structural members consist of a reinforced in situ concrete columns beams and local granite stone wall. The roof is made up of thermal insulations screed and water proofing sheet on reinforced concrete slab.

X

Scale and style

The style represents modern interpretation of the local vernacular stone building. The scale of the village is dictated by its environmentally friendly design, and is also related to the scale of the children

X

CONSCIOUS BONDED ARCHITECTURE Variables

Description

Level of reflection

1

Use of courtyard and

2

3

4

5

The courtyard was integrated inbetween the houses for social interaction. Landscape of the site was predominantly naturally growing grasses and abundant trees for shading and relaxation.

X

Vernacular element

Present of pinnacles and vaulted arches in the interior and exterior part of the building.

X

Building materials

There is evident in the used of local building materials on the facility such as stone and woods while building skeleton was made-up of heavily reinforced concrete beams columns and slab.

X

landscapes

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MORE THAN SENOGRAPHIC EPISODES OR SCENTIMENTAL HISTORICISM Variables

Description

Level of reflection

1

Composition

of

2

3

The form of the building is compose of a rectangular and square simple forms

4

5

X

building form

Design/aesthetics

No evidence of decoration on the exterior or interior of the building.

RESPONSE TO LOCAL CONDITION AND CLIMATE

Variables

Description

Level of reflection 1

Terracing

There is a high change in level due to site irregularity with the aim not to interrupt the nature of the site.

Orientations

The building is well oriented on the site to provide maximum ventilation and thermal comfort to the interior

Fenestration

Full length windows provide enough natural light into to the building but it was hindered by the use of wood shading devices which result in reducing the amount of light going into the interior of the buildings

2

3

4

X

X

TACTILITY Texture of material

The texture of stone at the exterior is coarse while the interior plaster is smooth

X

Colour

The warm brownish colour of the overall composition highlighted by bright colour door frame and lush green shading trees create cheerful cool spaces for the orphans. While the light colour at the interior is use to give sense of place for relaxation to the children

X

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5 X

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Table 5.2: Case study Analysis –: Pondicherry SOS Children Village India Source: Researcher, 2015

A PREFERENCE FOR REGIONAL INTENTIONS OVER NORMATIVE OPTIMIZATION Variables

Description

Level of reflection

1

Construction system

Local stone construction technology was use for the entire building compositions. The reinforced concrete columns and beams provide support to the entire structure. The roof trusses made from locally wood support the roof.

Scale and style

The style in the use of traditional stone buildings was reinvented with the used of combination of modern and local construction technology. The scale is not in relation to the children in the village.

2

3

4

5

X

X

CONSCIOUS BONDED ARCHITECTURE

Variables

Description

Level of reflection

1

Use of courtyard and landscapes

The courtyard was integrated inbetween the houses for social interaction. Landscapes consist of naturally growing grasses with few tress. Series of open garden in-between the houses provide enough space for children relaxation.

Vernacular element

Absence of vernacular element in both the interior and exterior part of the buildings.

Building materials

Local granite stone is used for walling and reinforced concrete columns and beams was for the building skeletal. The local available wood was also use for roof trusses, doors and window frames.

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2

3

4

5

X

X

X

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MORE THAN SENOGRAPHIC EPISODES SENTIMENTAL HISTORISM Variables

Description

Level of reflection

1

Composition

of

building form

Design/aesthetics

2

3

The building forms compose of combination of rectangular and square geometrical shape.

4

5

X

Use of Mosaic floor but no decoration on the exterior or interior walls.

X

RESPONSE TO LOCAL CONDITION AND CLIMATE

Variables

Description

Level of reflection

1

2

3

4

Terracing

High change in level due to site irregularity but the nature of the site was preserved the buildings follow the natural terrain..

Orientations

The building is orientation in such to provide maximum ventilation and thermal comfort to the interior

Fenestration

Large size projected windows provide enough space for penetration of natural light into to the building it also aid ventilation thus provide thermal comfort.

X

Texture of material

The coarse texture of stone provides a durable exterior finishes while the interior made of smooth plaster.

X

Colour

The dark-brown colour of the entire stone building composition, green spaces and bright colour of the interior provide good visual spaces for children relaxation.

X

X

X

TACTILITY

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5

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Table 5.3: Case study Analysis –: SOS Jos Plateau Nigeria Source: Researcher, 2015

A PREFERENCE FOR REGIONAL INTENTIONS OVER NORMATIVE OPTIMIZATION Variables

Description

Level of reflection

1

Construction system

The construction system consist of reinforced concrete columns, beams, and sand Crete block wall. The low pitch hip roof was made from angle iron trusses.

Scale and style

The headroom of the buildings are all the same, 3meters is use throughout the site. The style represents modern architecture due to the inherent quality of materials, functionality of form and structuralism.

2

3

4

5

4

5

X

X

CONSCIOUS BONDED ARCHITECTURE

Variables

Description

Level of reflection

1

Use of courtyard and landscapes

2

The courtyard was integrated inbetween the houses and serves as the play area for children. Landscape of the site was predominantly natural growing grasses and few trees.

Vernacular element

No evident in the use of vernacular element such as arches, pinnacles etc. at the exterior or interior part of the building.

Building materials

The dominant building materials are sand Crete block for the wall, reinforced concrete beams columns, and slabs and the windows are made from aluminium and glass.

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3

X

X

X

` MORE THAN SENOGRAPHIC EPISODES SENTIMENTAL HISTORISM Variables

Description

Level of reflection

1

Composition

of

2

3

The form of the building is composed of a rectangular and square simple forms

4

5

X

building form

Design/aesthetics

No any form of decorations on the exterior or interior of the buildings.

X

RESPONSE TO LOCAL CONDITION AND CLIMATE

Variables

Description

Level of reflection

1

Terracing

The site is relatively flat but at the western part of the site there is high change in level, this was integrated with the surrounding features so as not to interrupt the nature of the site

Orientations

The building is well oriented on the site the longer side of the rectangular form is facing east-west direction while the shorter side is facing south-north direction to provide maximum ventilation and thermal comfort to the interior

Fenestration

The windows provide enough natural lighting into to the building but lack of shading devices result in penetration of solar heat into the building thus reduced thermal comfort.

2

3

4

X

X

X

TACTILITY Texture of material

The texture of text-coat paint at the exterior is coarse while the interior plaster is smooth

Colour

The warm reddish brown color of the overall composition highlighted by bright colour doorframe and lush green shading trees create cheerful cool spaces for the orphans. While the light colour at the interior is use to give sense of place for relaxation to the children

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5

X

X

`

Table 5.4: Case study Analysis –: Sos Children Village Gwagwalada Abuja Nigeria Source: Researcher, 2015

A PREFERENCE FOR REGIONAL INTENTIONS OVER NORMATIVE OPTIMIZATION Variables

Description

Level of reflection

1

Construction system

The structural members consist of reinforced concrete columns, beams, and sand Crete block wall. The roof is low pitch hip roof made from aluminum truss.

Scale and style

There is no amplification of form in the entire building within the village; the headroom of 3meters is use throughout the site. The style represents modern architecture due to the inherent quality of materials, functionality of form and structuralism.

2

3

4

5

4

5

X

X

CONSCIOUS BONDED ARCHITECTURE

Variables

Description

Level of reflection

1

Use of courtyard and landscapes

2

3

The courtyard was integrated inbetween the houses and serves as the play area for children. Well-designed landscape of the site was predominantly natural growing grasses and few trees.

Vernacular element

No evident in the use of vernacular element such as arches, pinnacles etc. at the exterior or interior part of the building.

Building materials

The dominant building materials are sand Crete block for the wall; reinforced concrete beams columns, and slabs and the windows from aluminum and glass.

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X

X

X

`

MORE THAN SENOGRAPHIC EPISODES SENTIMENTAL HISTORISM Variables

Description

Level of reflection

1

Composition

of

2

The building is composed of a series of square box form plan.

3

4

5

4

5

X

building form

Design/aesthetics

No any form of decorations on the exterior or interior of the buildings.

X

RESPONSE TO LOCAL CONDITION AND CLIMATE

Variables

Description

Level of reflection

1

Terracing

The site is relatively flat response to terracing is minimal since there is no changes in level

Orientations

The building follows natural orientation of the solar path. The use of opening at the east and west is less than the amount of open at the south and north direction due to sun exposure, this increase thermal comfort

Fenestration

The use of large windows provide enough natural lighting and ventilation into the building but lack of shading devices reduce thermal comfort due to sun heat penetration.

2

3

X

X

X

TACTILITY Texture of material

The texture of text-coat paint at the exterior is coarse while the interior plaster is smooth

X

Colour

The bright colour of the exterior interior surfaces conform with natural green vegetation of the make the environment cheerful children relaxation

X

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and the site for

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5.3

Critical Regionalism Features Analysis

A Preference for Regional Intentions over Normative Optimization

19% 33% 30% 18%

CASE STUDY 1

CASE STUDY 2

CASE STUD 3Y

CASE STUDY 4

Conscious Bonded Architecture

21% 35% 19% 25% CASE STUDY 1

CASE STUDY 2

CASE STUD 3Y

CASE STUDY 4

More than Senographic Episodes Sentimental Historism

20% 36% 24% 20%

CASE STUDY 1

CASE STUDY 2

CASE STUD 3Y

CASE STUDY 4

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Response to Local Condition and Climate

10% 32% 28%

30% CASE STUDY 1

CASE STUDY 2

CASE STUD 3Y

CASE STUDY 4

Tactility

17% 33% 17%

33% CASE STUDY 1

CASE STUDY 2

CASE STUD 3Y

CASE STUDY 4

5.3.1 Summary of the analysis The pie chart below shows the summary of analysis of critical regionalism features as it reflect on the selected case studies

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CASE STUDY 1

Preference of regional intention over nomative optimization

Concious bonded architecture

CASE STUDY 2

CASE STUDY 3

More than A response to scenographic local episodes or conditions and scentimental climate historicism

CASE STUDY 4

Tactility

KEY. Case Study 1= Agaba Orphanage Jordan Case Study 2=Pondicherry Orphanage India Case Study 3= SOS Children Village Jos Plateau Case Study 4= SOS Orphanages Gwagwalada Abuja

5.4

DISCUSSION OF FINDINGS

Base on the preference for regional intention over normative optimization Agaba orphanage has the highest level of reflection followed by Pondicherry orphanage while SOS Gwagwalada and JOS show the least reflection level. This is because Agaba orphanage has demonstrated the use of both local and modern construction systems, its style represent the modern interpretation of vernacular stone building. It also laid an emphasis on the use of scale as it relates to construction of space for children. Pondicherry in the other hand also demonstrates the combination of modern and traditional construction systems and the interpretation of vernacular architecture, but shows no consideration on the use of scale in the entire building composition.

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More also, in the use of consciously bonded architecture Agaba orphanage has the highest level of reflection followed by Pondicherry orphanage, then SOS Gwagwalada, while SOS Jos shows the least reflection level. The highest reflection level showed by Agaba orphanage is due to the fact that it uses locally available building materials, proper use of landscape and integration of courtyard within the buildings composition. It also has a lot of vernacular elements such as vaulted arches and pinnacle. In more than scenographic episodes or scentimental historicism, Pondicherry orphanage has the highest level of reflection followed by Agaba orphanage and SOS Jos, while the SOS Gwagwalada has the least reflection level. The highest reflection level in Pondicherry orphanage is as the result of the use of mosaic floor and interweaving geometrical shape plan. Furthermore, in response to local condition and climate, Agaba orphanage has the highest reflection level followed by Pondicherry orphanage then SOS Jos, while SOS Gwagwalada has the least reflection level. The highest level recorded by Agaba orphanage is as a result of its response to the site terrain, good orientation and use of shading devices. It also incorporates the use of sustainable building material and technology. In Tactility, both Agaba orphanage and Pondicherry orphanage have the same level of reflection followed by SOS Gwagwalada while SOS Jos has the least. The highest level recorded by Agaba and Pondicherry orphanage is because there is presence of variety of colours on the buildings which blends them with their immediate environment.

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5.5

Summary of Findings

The table below shows the summary of findings in the selected cases. Table 5.5: summary of findings in the selected case studies Features of Critical Regionalism

SOS children village Aqaba

Pondicherry Orphanage

A Preference For Regional Intentions over normative optimization • Construction system • Scale and Style A Consciously Bounded Architecture • Use of courtyards and landscape • Vernacular elements More Than Scenographic Episodes Or Scentimental Historicism • Composition of Form • Design/aesthetics A Response To Local Conditions And Climate • Terracing • Adaptation to environment • Fenestration Tactility • Texture of materials • Colour

High use of local and modern construction system with amplification of form

High use of local and modern system with no amplification of form

Present of courtyard, well landscaping, pinnacles and vaulted arches

SOS orphanage Jos

SOS orphanage Gwagwalada

SOS orphanage Gwagwalada

use of modern system with no amplification of form

use of modern system with no amplification of form

use of modern system with no amplification of form

Present of courtyard, well landscaping, with no vernacular element

Present of courtyard, well landscaping, with no vernacular element

Present of courtyard, well landscaping, with no vernacular element

Present of courtyard, well landscaping, with no vernacular element

simple rectangular and square box plan with no decoration

Complex geometrical plan with mosaic decoration on floor

simple rectangular and square box plan with no decoration

simple rectangular and square box plan with no decoration

simple rectangular and square box plan with no decoration

Proper utilization of changing in level. use of wooding shading devices on large windows

Relatively flat surfaces with Proper utilization of changing in level. use of precast concrete shading devices on large windows

Relatively flat surfaces with no changing in level. use of large windows with no shading devices

Relatively flat surfaces with no changing in level. use of large windows with no shading devices

Relatively flat surfaces with no changing in level. use of large windows with no shading devices

coarse texture of stone and smooth plaster in the exterior and interior respectively. Dark brown and green exterior. bright colours interior

Coarse texture of stone and smooth plaster in the exterior. Dark brown exterior and bright colours in the interior.

Coarse texture of text-coat paint and smooth plaster in the exterior . Reddishbrown and green exterior and bright colours in the interior.

coarse texture of text-coat paint and smooth plaster in the exterior . Off-white and green exterior, bright colours in the interior.

coarse texture of text-coat paint and smooth plaster in the exterior . Off-white and green exterior, bright colours in the interior.

0

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5.6

Conclusion

From the above cases studied it can be deduce that there is certain level of reflection of critical regionalism features in all the selected cases, but the level of reflection is depend on the location of the facility, While SOS aqaba and Pondicherry orphanage shows highest level of reflection of critical regionalism features in their design, SOS orphans children village Gwagwalada and Jos shows level least reflection. For these reasons there is need for architects to come with a design of orphanage that will implore sense of place, cover knowledge of identity and heritage of the place and blend traditional and modern architecture of the region together through the use of critical regionalism features.

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