A FESTIVAL CENTRE FOR AFRICAN CULTURES

BY

Oluseun A. Akinwunmi

A THESIS

IN

ARCHITECTURE

Submitted to the Architecture Faculty of the College of Architecture of Texas Tech University in Partial Fulfillment for

the Degree of

BACHELOR OF ARCHITECTURE

' ^ Chairman of th/a Committee

( DK. Jilsuck Koh. Advisor

/ Assistant Professor James Watkins, Advisor

Lecturer William J. Nowak, Advisor

Programming Instructor: Asst. Prof. James Postell Design Critic: Asst. Prof. Robert T. Ritter

Accepted

^ Dean,^bllege of Architecture

December 1987

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,t N DEDICATION

This program is dedicated to my parents: Chief & Chief

(Mrs.) 0. 0. Akinwunmi, for their love, care, and support

they have shown me throughout my education career and stay

In the United States.

To my sisters Toyln and Ibukun for their love and

patience.

To a special person. Dupe, for her love and confidence

In me, and to all my friends.

To my advisor, Mr. Jim Postell, whose help, ideas, and

encouragement are very well appreciated.

Thanks.

Oluseun^ Akinwunmi

TABLE OF CONTENTS

page

List of Illustrations iv

INTRODUCTION 1

BLACK CULTURE 1

GOALS 4

OBJECTIVES 4

GEOGRAPHY OF AFRICA 6

HISTORY OF AFRICA 11

The Races of Africa 14 The People of Africa 17 African Architecture 27 African Aesthetics and Recreation 34

LOCATION - LAGOS STATE (NIGERIA) 3 7

History of Nigeria 38 Climate 39 Cultural Activity 39 Recreation 40 Business and Industry 41 Transportation 42

PURPOSE OF THE AFRICAN FESTIVAL 46

CASE STUDIES 48

ENVIRONMENTAL ANALYSIS 68

The Natural Environment 68 Topography 68 Climate 68

Rainfall and Wind 68 Vegetation 69 Wind Direction & Speed 70 Monthly Average Temperature 71 Rainfall (Inches) 72 Relative Humidity 73 Soil 74

Surface Drainage 75

11

page

Temperature and Relative Humidity ^

The Built Environment 75

SITE CRITERIA 77

ACTIVITY ANALYSIS 90

SPACE SUMMARY AND DETAILED SPACE LIST 108

SYSTEMS PERFORMANCE CRITERIA 153

Lighting 153 Acoustics 154 Ventilation 158 Exits 158 Utilities 159

Plumbing 159 Mechanical 159 Communications 159 Structure 159 Theatre 160

COST ANALYSIS 161

FOOTNOTES 163

BIBLIOGRAPHY 164

APPENDIX 165

111

LIST OF ILLUSTRATIONS

page

Map of Africa Showing Geographic Characteristics . . . 8

Map of Africa Showing Races of Africa 15

Table - Descriptive Characteristics of African Races . 16

Map of Africa 37

Transportation Map 44

Nigeria Political Map Showing Lagos City 45

Guggenheim Museum 50

Atheneum 56

The Multibuilding Cultural Center 61

Acapulco Convention Center 65

Wind Direction & Speed 70

Monthly Average Air Temperature 71

Rainfall 72

Relative Humidity 73

Soil Condition Map 74

Site Plan 78

Site Analysis: Dimensions 79 Vehicular Circulation . 80 Land Use 81 vegetation 82 winds 83 Noise 84 Views From site 85 Views Into Site 86 Airborne Pollutants 87 Sun Path 88 Land Forms 89

IV

Pag<

Map of African Society 5

Systemic Relationship 9'

Cultural Component Diagram IOC

Art Center Component Diagram 105

To design requires talent

but

to program requires genius

"Le corbusier"

•Somewhere above the level of brute survival, man begins to cultivate the search for pleasure in the things that make survival possible. One of these is shelter. Man builds first of all for protection; but as he extends his skill in building he begins to create a language of form which, as he develops it, becomes capable of touching the emotions, producing delight, surprise, wonder or horror. At this level a building not only fulfills a practical purpose but commands an audience: in a word, it communicates. The ability to attend knowledgeably to such communications enhances life just as life is enhanced by the ability to relish those other pleasures, such as the enjoyment of good food, good drink, and good company, which are likewise built upon basic necessities of survival."

Sinclair Gauldie

*.-

• ' - > w t t - y f T y - y f ' . j « n w »

o o

o

INTRODUCTION

Black Culture

"Culture." To define it, it will be necessary to

compare it with civilization in general. "Civilization," on

the other hand, is the combination of facts and social

phenomena, structures and values which make up any given

society. "Culture" is, within the scope of this

civilization, the combination of its values; in one word,

its "Spirit." From this we can say that each race, each

ethnic group, each nation, indeed, each society, has its own

values. Because there is a black race, and a black ethnic

group, there is, similarly, a black civilization and a black

culture. Black culture is a set of values originating from,

and original to, blacks as is expressed in their different

national societies.

Today, blacks are found within our political

institutions, our ancient traditions, and our moral values,

and especially in our literature. Whether they are ancient

or contemporary, we find them in black African languages.

But above all, in our arts, theatre, music, dance,

sculpture, painting, and tapestry. Black culture is said

to be so strong that it is expressed even in the way we

walk, laugh, or cry.

According to Hermann von Keyserling, a German

philosopher, "The Americans dance, walk, and laugh like the

blacks."^ To expand on this observation by Keyserling,

since the end of the nineteenth century the European arts,

and through it, the art of the world, have been influenced

by black arts.

There are original values that make up the black

culture. They are, fundamentally, the sense of communion

between the visible and the invisible, man, nature, and God;

the sense of analogical images which express this communion;

and, finally, the sense of rhythm. A rhythm that is neither

simple repetition nor mechanical discourse as is most often

European rhythm, but a living rhythm that results from

asymmetric parallelism: of a rhythm characterized by unity

in diversity; in one word, by the swing which comes at a

time when, or a place where, it is not expected.

Culture and its problem is a common factor that results

from Africa to the Third World, and to universal

civilization, I would say that the problem is that which

dominates all others, because it conditions them. Today,

economists affirm their concern for man and the necessity to

study and take into account the cultural aspects of problems,

especially economic problems. According to Messrs.

Mesarovitch and Pestel of M.I.T., "All nations, developed or

developing now agree that their essential problem is to

ensure their development through a national, coherent and

3

effective plan."^ Any development plan from start to

finish, there is man himself, with his values, and his

culture. It is man, supported by his values, who produces

the plan and this plan has as its objectives the development

of man. That is to say, development of all his facilities

in life in relation to the values of national culture.

In conclusion, black culture has been divided on

practically every issue. This has destroyed the structure,

and strength, and caused man to lose faith in his culture.

Today the African Colloquium has become the most important

point which defines, defends, and illustrates black

civilization, and above all, its spirit; that is, its

culture, which is today the most powerful force in the

universal civilization—in terms of spiritual values and not

material values.

Goals

* To provide a symbolic focal point for cultural

exchange, in order to bridge the gap which has developed

through the centuries, and to symbolically link the African

people of various countries together in common bonds of

mutual respect and understanding.

* To encourage people and community activity in relation

to their world and others who coinhabit it, because people

and culture are inseparable. For culture is the aggregate

of concepts and values which characterize a community. It

then follows that a persons without culture are, in

themselves, not in full existence.

* TO recognize an existing sociological problem: the

civil wars existing within the African communities, the lack

of communication due to different social and cultural

beliefs. These problems are analyzed and addressed in a

successful manner, using African architectural vernacular.

* To eliminate the governmental differences between

countries, so as to strengthen their ties both economically

and socially.

* To teach the citizens of different nationality of the

cultural education, and to be recreationally aware of the

various African activities such as cultural festivals,

sports festivals, lectures, etc.

* To unite the African people under their cultural

heritage as one big family. This helps give the African

people a single unique identity as an African continent.

Objectives

* To create a place that the African people can

celebrate: to reflect an act of jubilation, such as drama,

experiencing the African architecture, art exhibits, and

conventions.

* To program and create a multi-functional place for the

purpose of the African cultural exchange, that it be of

sufficient scope to exhibit the essence of the African

societies in question, be it visual or performing arts,

science or technology, or the combination of both.

* Utilize outdoor spaces as a sculpture garden,

observation decks, to relate the indoor and outdoor space.

* To utilize natural daylight for art displays and

wherever needed.

* To create a place that would reflect the people of

Africa as a symbolic unity.

* To communicate a design that will reflect its function,

pleasures, and purpose to the African societies.

0)

a 3 O

GEOGRAPHY

The African continent covers an area of about

11,700,000 square miles, which is about 40 percent greater

than that of the Soviet Union and more than three times that

of the United States. The continent lies beside the equator

37° N and 35° S with about 80 percent of its surface within

the tropics. The African population is about 240 million

and has more distinct peoples and cultures than any other

continent. Africa has a few small mountain chains, but

cannot be compared to the Alps, Andes, Himalayas, and

Rockies of other continents. The Relief Map 1 of Africa

shows a series of plateaus, generally higher in the south

and east than in the north and west, and falling sharply to

an extraordinarily narrow coastal plain. In the East of

Africa lies the great extinct volcanoes and spectacular

rifts valleys. Among the great are the Mounts Elgon, Kenya,

and Ruwerzovi, which average about 17,000 feet in elevation

and Mount Kilimanjaro of 19,400 feet above sea level.

The geological history of Africa accounts for some of

the peculiarities of its drainage system. Showing in the

Drainage Map 2, are the great rivers of Africa, like the

Congo, Niger, Nile, and Zambesi. These rivers are navigable

for great distances on the interior plateaus, but invariably

develop impassible rapids as they approach the coastal

plain. The irregular elevations of the continental mass

also isolated a series of interior drainage basins. The

tropical location of the African continent causes the

continent to experience relatively high temperatures which

extends from the East to the West and to the South. Frosts

occur only in the existence north and south of the continent

and on the higher mountains and, consequently, do not exert

a limiting influence on either agriculture or the natural

vegetation. The chief controlling factor is drought, for in

Africa, rainfall is vastly more critical than temperature.

Various parts of the continent show wide differences in

mean annual precipitation which can be seen in Map 3,

showing the annual rainfall. The intertropical weather

front, which regulates the climate over much of the

interior, fluctuates widely because of the lack of mountain

barriers, so that regions which receive plenty of rain in

one year may suffer severe drought the next.

8

Coostol p/oin — e/tituaes under ZOO mattn {6S6/ear)

Lett pioteous — altitudes from ZOO te IOOO meters

High plateaus — altitudes oter IOOO meters (3281 feet\

\Amp I. R«li«< W A M M

I IMdertOO mm {er 4 ineties)

I frgm too to 500 mm. \a to 20 iiKties\

from 500 to 1500 mm. [20 to dOincDesi

Orer 1500 mm. {or 60 i/ieHeti

Desert ond drf stepae

Senerme igratslotid tmttt trees)

I I Uplot<d grassland {mth I I occasional forest \ fTTTT] Dry forest {gross ond mill deciduous trees)

Uediterrgneen forest ond brusit

Tropical ond suttropicol rainforest

M«p J. M»aii A M M M I Raiiitall ia Airico M a * 4. V*«*t««ioa ZaaM •< Airica

Source: Afr ica , I t s Peoples and Their Cul ture H i s to ry , by George Murdock.

Africa has three areas of desert—the Sahara in the

North; the margins of the Horn in the East; and the coast

and some hinterland in the Southwest. The desert

characterizes less than eight percent of the area of the

continent. Most of the desert surface supports scattered

scrub and even grass which provides excellent pasturage.

Moreover, the Sahara, in particular, is dotted with oases

which support intensive irrigated agriculture.

The vegetation type that covers Africa is the savara,

or grassland, with scattered trees; the vegetation is

divided up into zones which can be seen in Map 4.

1 0

% ^ •• -

h/K^X) OF T^G BbACK /ytAj -By ALLISTER MACMILLAN. F.R.G.S.

• <

AFRICA, great land of empires vanished in remotest years ; Throughout all its vast dominions are the tales of blood and tears ; Birthplace of unnumbered races lost in life's experiment; Medley of divergent forces, dark, mysterious continent.

Flora of exquisite beauty, fauna "red in tooth and daw," Fetish, legend, ancient learning, warp and woof of modern law. Villages of mud and watde. busy cities of romance. Past and present represented in opposing circumstance.

Highways trodden through the ages, bjrways of infinity. Mountains unsurpassed in grandeur, vistas of sublimity ; Rivers, lakes, and fertile valleys, forests where the pigmies dwell. Plateaux with the health 'of Heaven, miasmatic plains of Hell.

Deserts where the winds uncover gruesome relics biu'e and white. Changing in the morning glory into visions of delight; Where the wonder of the mirage with its fatal lure deceives. And the living green oasis in the wastes of death relieves.

Not the northern classic seaboard with its monuments of old. Nor the distant southern regions with their diamonds and gold; Not the east with all its glamour forms the picture we would show. But the western territories where the British traders go.

Coast of woeful retrospection, as " The White Man's Grave" renowned— So its evil reputation throughout all the world is found. Of the men who ventured thither, risking life in coundess ways. Few returned with health uninjured in the former tragic days.

Death I—it lurked around the white men, daily hovered overhead. Frolicked in their food and water, menaced them asleep in bed. Laid in wait on each occasion when all thought of it had fled ; Many who at davm were robust in the evening time were dead.

HISTORY OF AFRICA

The history of Africa begins in the Nile valley and the

adjacent Sahara. This arid region of the continent was

green and inhabited by people at one time who laid the

foundations for the civilization of the Nile. "Their

culture was advanced. They manufactured pots even before

Jericho, earliest of the world's known cities, and used

barbed spearheads of bone and beautiful, precise harpoons

with barbs and perforations through the butt."^ Anyone who

has travelled the desert will see signs of the Sahara's days

of plenty, but no one knows for sure why the Sahara lost its

green fertility.

"Around 5000 B.C., the desert set up an almost

impenetrable barrier to movement from the Mediterranean.

North of the Sahara there was uninterrupted contact between

all the developing societies. South of the Sahara the

peoples were isolated from the growth of civilization."^

Thus, today the people of Africa north of the Sahara are

hardly considered part of the real Africa—the Africa of

legend. It is possible that had the Sahara remained a

productive area, the course of history would have been

changed. In any case, Africa has many more barriers than

the Sahara which influenced an irregular, unequal pattern of

growth. Its forests, its plains, its healthy uplands and

^ 5 ^ ^

12

diseased swamps, its abundance of some forms of vegetation,

and scarcity of others would always have hindered contact,

retarded development, and cut off communication. Thus,

while the people of the north developed their civilization,

those in the south remained virtually untouched by this

explosion of thought, ferment of invention, and epidemic of

learning.

In the north people settled around the fertile crescent

formed by the rich, productive river valley of the Tigris,

Euphrates, and Nile, cities were built, agriculture

perfected, transportation developed, and commerce founded.

From there development allowed people the opportunity for

thought. Religion prospered, the Bronze Age dawned and

evolved, writing became essential, science was born, and

politics matured.

In the south, things were different. River valley

settlement never seemed to succeed, so vast was the land

that, when the food ran out in a particular area, the people

moved to a new region and started all over again. This was

the pattern of life in Africa south of the Sahara, and in

few areas it is a pattern which still exists.

In the south of the Sahara, slavery became the dominant

factor for the exploration of Africa. Slavery is as old as

the pyramids built in Egypt under the reign of the pharoahs.

From this period slave trade has persisted down the years

and, in part, even up to the twentieth century.

13

Written history in sub-Saharan Africa began in A.D.

639—the year the first Muslim Arabs entered Egypt. For the

Muslims, Muhammed's preaching message became their creed.

This was the start of one of the world's great religions.

Shortly after the death of the Prophet in 632, the Arabs

began their invasion of Africa. Led by Amr Von al-As, the

Arabs overran Egypt, conquered Alexandria, and built a new

capital.5 During the years that followed, the Arab

influence swept South and North. Islam offered the Negro

states of West Africa an assured status with the governments

and merchants of North Africa—a status which proved vital

to trade. Between the years 973 and A.D. 1350, West Africa

saw the rise of various empires founded mainly on trade,

bolstered by Arab merchants trained in the Muslim schools

and colleges of the Sudan. The Muslim's creed, dominated in

the North because the Arabs concluded a treaty with some

countries which agreed to send slaves to them and guaranteed

freedom of access and worship to Arab traders.

so much for West Africa. Holding back the tide of-

Islam for a while in the east of the continent was

Christianity, founded in ancient Galilee by Jesus. The

spread of Christianity was greatly facilitated by the Roman

Empire. Christian influence spread in all directions,

penetrating to Ethiopia in the fourth century A.D. Although

the conquests of the Arabs in the seventh century cut the

Ethiopian Christians off from the rest of their co-

14

religionists for many centuries, Christianity never died out

in Ethiopia.

Islam penetrated Ethiopia spreading its creed to the

East Coast ports from where a slave trade was established

with Persia, India, Arabia, Iraq, Indonesia, and wherever

Muslims sailed.

From the middle of the thirteenth century, therefore,

the East coast of Africa enjoyed a period of remarkable

prosperity. All the way down the coastline to Kenya and

Tanganijka there were Islamic communities building in stone

or coral. Melindi and Mombasa were known for mines of

highly concentrated iron ore. Mogadishu, for its weaving

industry. The smaller settlements specialized in slaves and

ivory. It was during the thirteenth century that Islam

spread, in East Africa from this time onwards, religious

monuments such as mosques and tombs were established along

the coast and the Swahili language and culture began to take

shape.

The Races of Africa

Africa has been inhabited by representatives of only

five races: the Bushmanoid, caucasoid. Mongoloid, Negroid,

and Pygmoid.

The Bushmanoid are mainly descendents of Southern

Africans; example: Xam. The Caucasoid are mainly

represented by the Europeans. There are two distinct types:

the Kabyle and Galla. The Mongoloid form the great bulk of

15

the Eastern Asian population; example: the Merina.. The

Negroid make up the great bulk of Africa. Examples are the

Mande and Dinka. The Pygmoid mainly make up the Central

African; example: the Mbuiti.

- 0 *

Mop 5. Diitributien of Rae«< in Africa (f-Bu«kmaneid, C-Coueasoid. M-Mengeleid. •M^cgreid. f - ^ g m e i d . -»Diiplae*d by)

Source: Africa, Its Peoples and Their Culture History, by George Murdock.

.J_I.Ji

,..: .

Race and people

Table I: DetcripHve ChoracterisHcs of African Races

Stature Skin color

Head fomi

Nose form

Hair form Lips

Special features

Pygtnoid Mbuti

Bushmanoid Xam

_ Negroid Mande

Dinka

Caucasoid Kabyle

Galla

Mongoloid Merina

Very short

Short

Tall

\'cry tall

Medium

Tall

Short

Light yellowish brown

Light yellowish brown

Dark brown

Dark brown

Light brown

Medium brown

Yellowish brown

Narrow to medium

Narrow to medium

Narrow

Narrow

Medium

Medium

Medium to broad

Broad

Very broad

Broad

Broad

Narrow to medium

Narrow

Broad

Kinky

Pepper­corn

Kinky

Kinky

Straight or wavy

Curly to kinky

Straight

Medium but not everted

Thin, slightly evened

Thick, evened

Medium, evened

Medium to thin

Medium to thick

Medium

Protruding eyes Downy body hair Delicate frame

Wrinkled face High cheekbones Steatopygia

Prognathism

Very slender Long limbs

Some hair and eye blondism

Prominent nose

Mongolian spots Epicanthic fold

11

The Peoples of Africa

This section covers the Africans' way of life, their

cultures, their music, and their religions. This survey

begins in the South, up to Central Africa, West Africa, East

Africa, and North East Africa,

Southern Africa

In Southern Africa the Bantu-speaking peoples can be

divided into various groups by their languages. There are

the South-eastern group, who live in South Africa, and

Pdrtuguese East Africa. They include the Nguni groups. The

western group of southern Bantu spread North and South of

the Okavarpo River and include the Ambo, Herero, and Mpondo

peoples. The Bantu-speaking Africans today comprise rural

and urban elements.

The most important characteristic feature of all Bantu-

speaking peoples is the tribe or chieftain. "The authority

of the chief is tremendous, although his powers are checked,

to a certain extent, by a council of advisers who, in the

main, are drawn from head of influential groups and senior

relatives."^

polygamy is widely practiced and a number of elderly

men, still today, have several wives, each with their own

hut. The main requirement for marriage is lobolo, which

involves the transfer of cattle from the groom's kraal to

the family of the bride.

]

18

All Bantu-speaking people, except for the Herero,

practice both hoe-culture and pastoralism. Food consists

chiefly of sorghum and maize, meat coming from animals

hunted by the men. The eastern and western groups live in

beehive huts of thatch; the south central groups in circular

huts with conical roofs. Clay pots, baskets, wooden

utensils, and skin-cloaks are manufactured to meet the

demands of the tribe and specialists devote their time in

making metal goods.

The dominant form of religion among the Bantu-speaking

peoples is ancestor worship. Besides this, most tribes

believe in some vague power which is believed to be the

creator of all things and the moulder of destiny.

Music is an important part of the Bantu-speaking people

as a whole. The dancing rattle is an instrument common to

all tribes. The rattle is worn on the ankle or shaken in

the hand. Eight types of stringed instruments are found in

this part of the continent and all have evolved from the

shooting bow.

Bushmen and Hottentots

The Bushmen have very simple forms of social structure,

the main political unit being the bard, which seldom

contains more than 30 or 40 people and consists of one or

more family groups. Naturally they are hunters and

collectors and live a precarious life in the Kalahari

Desert, moving from area to area. The bow and arrow with a

19

detachable poisoned tip is their basic weapon for hunting.

Their camps are always temporary and their dwellings crude

shelters of bush.

The culture of the Bushmen is noted for the highly

artistic paintings and engravings which are found in many

parts of the country in caves and rock shelters. The

Bushmen had very few musical instruments until the twentieth

century. They acquired the drums, the guitar, and reed

flutes from the Hottentots.

The Hottentots were divided politically into many

tribes around the Cape Colony, each one with its own name

and chief. They are mainly pastoral people. Their staple

diet is sour milk, but also hunt animals like the Bushmen.

Their religion involves the worship of mythical heroes.

"The Hottentots were more advanced musically. They played

the drum and reed flutes varying from-a simple-stopped pipe

of bone to an elaborate ensemble of flutes, varying in

length and tune by means of moveable plugs of fibre. This

is the oldest known South African native instrument and can

be traced back to the landing of Vasco da Gama in 1497."^

The People of Zimbabwe

The Great Zimbabwe, one of the major mysteries of

Southern Africa. The ruins of Zimbabwe lies some miles off

the main road which connects Johannesburg with Salisbury,

about 17 miles south east of Fort Victoria in Southern

Rhodesia. The fortification around this ancient city

"* -,

20

suggests power and unity and ordered settlements. The

structures are made of local granite and flat brick-like

stones chopped from naturally split stone.

Zimbabwe is known to be the distributing center for

gold traffic carried on in the Middle Ages between these

people and the Muhammadans of the coast.

There are three distinct, though connected, groups of

ruins of Zimbabwe. They are called the 'elliptical

temple,' the 'acropolis,' and the 'valley ruins.' The

'elliptical temple' is an irregular enclosure about 800

feet in circumference, 292 feet long, and 220 feet

wide. Surrounded by high walls rising in places to 30

feet or more and about 14 feet wide. The 'acropolis'

is on a hill about 200 feet high, fortified with the

minutest care. Aside from the 'acropolis' and the

'temple' are the 'valley ruins' consisting of smaller

buildings.°

The name Zimbabwe comes from the Bantu words, zimba

(houses) and mabgi (stones).

Central Africa

One of the most interesting peoples of Central Africa

are the Pygmies who are hunters, trappers, and collectors.

The pygmies have always been found in the remote, forested

interiors to which they have apparently been driven by the

more powerful Negro and other people that have supplanted

21

them on the coasts. They live in small communities and hunt

with bows and arrows.

Their religion consists of a belief in the existence of

a power associated with the firmament—sometimes regarded as

the creator god. He is the lord of the hurricane,

lightning, and rainbow. The pygmies make offerings to him

such as the heart of a slain animal or portions of a

honeycomb. Today the Pygmies bury their dead in a grave

with a side chamber but in earlier times the body was left

in the hut of a near relative and the group moved to another

site.

The Negroids of the Congo form two groups, a western

and a southern. The peoples of the Lower Congo and the

Lower Kasai constitute the first group, while those of the

Upper Kasai and Sankuni belong to the second. Their

government is made up of a hierarchy of ministers presided

over by a king. The king is not only their temporal but

also their spiritual chief. As such he is god on earth.

The most important people of Gabon are the Fang. They

have become notorious as cannibals. A Fang man is easily

recognized by his teeth: the incisors are filed to a point.

West Africa

West Africa is known to be the true home of the

Negroes. These Negroes of West Africa have developed their

culture on a tribal basis. All West Africans were

originally pagans, that is, neither Christian nor Moslem.

22

The most common practice in West Africa is the cult of

ancestors. Most of their religion acknowledges an original

creator-god.

West Africa is perhaps best known for its art, and,

particularly, its sculpture which consists of carved

ivories, wooden and ivory masks, and bronzes. The art

covers a wide field from complete naturalism to abstraction.

Carved masks, associated with the secret societies, are used

in ritual dances.

The political structure of the various tribes differs

considerably. In some parts are little governmental

structures above the family compound; in others an

hereditary king rules over an hereditary kingdom which may

be large or small. The most important element in West

African politics is the secret society, one of which the

Leopard Society can be found in Sierra Leone and Southern

Nigeria,

The Negroes in West Africa build gable-roofed huts and

their weapons include bows, with bow-strings of vegetable

products, swords and plaited shields. Musical instruments

include wooden drums and a peculiar form of guitar—the so-

called West African harp. Domestic animals are dogs, goats,

pigs, and hens. The plants cultivated are beans, gourds,

and bananas.

The Bambara are agriculturalists, living in small

villages where they build cylindrical huts with conical

23

straw roofs. In each community the religion and civil power

is usually combined in one individual, the "dugutigi." He

is the High Priest of the village.

The Mossi comprise a large portion of the population of

the former French Africa. They are mainly agriculturalists.

They are pagan, and ancestor worship plays a large part in

their religion.

The Kru are scattered along the coast of Liberia from

Monrovia to Cape Palmas. They are brave and skillful

fishermen and seamen.

The Ashanti, an interesting feature is their women

soldiers. Armed with blunderbusses, musket, and long

razor-sharp knives, they formed the king's bodyguard. An

essential part of their religion is a cult of the dead.

Another famous tribe is the Hausa in Northern Nigeria.

They are excellent farmers and rearers of stock,

enterprising traders, and skillful artisans who specialize

in leather work and cloth mats. They have proved fearless

fighters. Islam is the nominal religion of these people.

East Africa

The main tribes of East Africa include the Pokomo of

Tana River Valley, the Nyika, the Kamba between the Tana

River and Mount Kilimanjaro, the Kikuyu around Mount Kenya,

the Taita in the Taita Hills, and the Chagga on the southern

slopes of Kilimanjaro.

24

The Nyika share a general veneration for the hyena.

They are mainly agriculturalists with sheep and goats. They

worship a god called "Mulungu," who is the dispenser and

creator of all things.

The Kamba do not have chiefs, their government is in

the hands of a council of elders. They have medicine men

whose functions include prophecy, divination and the curing

of sickness. They believe in Mulungu, who is believed to

live in the sky, but offerings are made to the ancestral

spirits at every meal.

The Kikuyu are agriculturalists and cattle are regarded

as the embodiment of wealth. The goats are taken as the

unit of value. They worship N'gai (God) who lives on Mount

Kenya and in sacred trees and hears and answers prayers.

The medicine men play an important part in society, their

services being necessary for purification after ceremonial

defilement. "One of the most mysterious of Kikuyu rites is

the symbolical second birth, undergone by both sexes at the

age of about 10, and consisting of a dramatization of the

birth of the child."^ The Kikuyu are well known to day for

their secret society, the Mau Mau, which was responsible for

the proclamation of a state of emergency in Kenya in October

1952.

One of the most interesting peoples in East Africa are

the half-Hamites, who occupy the greater part of Kenya and

that part of Uganda which runs northwards to the Sudan

25 25

boundary. The Masai, Nandi, and Suk are the main tribes of

the half-Hamites. Half-Hamites implies a mixture between

Negroids and Hamitic-speaking Caucasoids.

The Masai dwelling place is called "tembe" and is of a

peculiar type, rather like a long flat-roofed tunnel of

brushwood and mud divided into family compartments, each

with its own door. The hut is surrounded by a thorn fence

and the cattle are herded within this at night. The Nandi

and the Suk live in garden settlements, each man having his

own homestead in or near his fields of grain. The most

important man in these tribes is the medicine man. He is a

diviner and foretells the future, interprets dreams, and is

skilled in the interpretation of omens and the averting of

all luck. The Masai call God "Naitesu-kop," the Beginner of

Things, the Creator of the present order. The Nandi call

the Supreme Deity, Asista (the Sun) who dwells in the sky,

created man and beast, and is acknowledged a benefactor.

The Suk acknowledge Tororut, the Sky!

North East Africa

Ethiopia is a country with a mixture of peoples—the

Hamites, half-Hamites, Semites, and Negroes. Also, there is

a mixture of religions—Christianity, Islam, Judaism, and a

certain amount of Paganism. Halle Selassie, the Emperor of

Ethiopia, claims direct descent from the Queen of Sheeba.

The important peoples of Ethiopia are the Black Jews,

the Falasher, they are an industrious people, skilled in

i-sBBJ^. xJ|

26

agriculture and the manufacture of pottery, ironware and

cloth and are good masons. Their ritual, however, contains

various pagan elements such as no newly built house is

considered habitable until the blood of a sheep or fowl has

been spilt on it.

The Galla of Ethiopia are also very interesting people.

Cattle are their most valued form of wealth and the

attainment of a thousand head of stock is marked by a

special ceremony. They are the only surviving group of the

Hamites who are pagans. The worshipping of ancestor plays a

great part in their religion. At every new moon it is known

that the head of the household sacrifices to the unseen

moon, asking her to protect his cattle.

The Gallas use weapons such as light javelins, a heavy

spear, and a small round shield. Their huts are circular

with a vertical wall of clay or rough stone and a conical

stone roof. Cotton weaving was once a notable industry and

today good metal and leather work is produced.

The Somali are a people not unlike the Galla. They are

nomadic desert men and have led a rigorous life. It is said

that they can subsist for a considerable time upon a minimum

of food and water. Each tribe has a chief, this chieftain­

ship being confined to a single family. But the power of

the chief is generally small and the office entails only a

few troublesome duties and not many privileges.

27

It is known that the customs and cultures of the people

of Africa is changing through the years. Many of the

traditions are dying out and being replaced with more

sophisticated ways of life, but still retain their basic way

of tradition with more and more people attaining

independence. The era of Colonialism is drawing to a close

and an important chapter in the history of the continent is

ending.

African Architecture

The concept "architecture" in Africa is mainly a simple

hut made of durable materials. This constitutes the models

of architecture which every culture has used, without the

conscious knowledge of the builders, reveals in its form

aspects of their feeling for beauty. The indigenous

architecture is an element of culture, with all possible

variations, but remains basically similar in all its forms.

As far as African building techniques are concerned,

one can say that man is the measure of all things. African

architecture reveals a certain amount of diversity in floor

plans and roof forms that can be classified in terms of an

historical process:

1. The dome-shaped food-gatherer's hut, built on a

circular floor plan.

2. The conical-roofed cultivator's hut, built on a

circular floor plan.

^**^ N^

28

3. The West African gable-roofed hut, built on a

rectangular floor plan.

4. The rectangular pile-built house.

5. The pyramidal-roofed hut, built on a square floor

plan.^0

These five types can be considered to have been

intended by Pygmies and Negroes. The following forms

reveal ancient influences from other cultures:

6. The flat-roofed adobe cubicle, built on a

rectangular floor plan.

7. The 'castles' and Musgu adobe cones.

8. The French dwellings.

9. The impluvium.

10. The dome-shaped shepherd's hut.

11. The characteristic East African hut types.

12. The Rhodesian stone structures.^^

1. The pygmy's hut bears the fact that man built his

dwellings on a circular floor plan at the beginning, which

suited his habit and his experience. They used sticks and

leaves, materials which are blendable and also naturally

lend themselves to curved shapes. Building this hut is

exclusively the women's task. Its average height is 1.5

meters with a diameter of 2 to 4 meters, the total area

being 12.5 square meters. This hut is a slight, not very

durable structure, large enough for only one family:

parents and children. The hut varies depending on the size

29

of the family. The expedient architecture—a hut can be

erected in one or two d a y s — c o n f o r m s to a way of life of the

pygmies. They are always on the move from one place too

another for a better hunting ground. The pygmies' conical

hut is the origin of architecture—and this not only in

Africa.

2. In contrast to the pygmies, the Nomadic early man

(the Negroes) retained the circular floor plan and built on

it a cylyndrical structure with walls made of a stick-frame,

covered with mats or clay. The roof is conical, its

diameter 3 to 5 meters, creating an area of 7 to 20 square

meters. The peak of the roof rises up to a height of 4 to 5

meters above the ground. These types of huts cannot be

built by women only, or one single nuclear family. They

depend upon the help of men and women of the entire co­

resident group. This close connection between architecture

and society is already evident even on such a simple level.

The concept of the conical roof in construction reached its

climax in the more complex cultures of Zimbabwe. They kept

to the horizontal level and, in terms of their needs as a

cultivator, found an adequate solution—the compound. Huts

are placed irregularly at close intervals with the area

closed off with a fence, a stone wall, or a live hedge. The

number of huts in the compound is determined by the wealth

of the lineage as well as the number of people who are

members of it.

• ' " ^ • ^ •A^SJ^m

30

3. Typically, the rectangular gable-roofed hut is not

longer than the round hut: four to five inches in diameter

with a total area of 20 square meters. The basic difference

between the conical and gable-roofed hut is, of course, the

system of pillars which they have to support the beams.

These types of huts are found in the coastal areas of upper

and lower Guinea through Nigeria down to the Congo estuary.

4. The pile-built huts, found in swampy areas or in

areas prone to flooding, proved that this type of pile-built

structure with a platform is a local variation—conditioned

by environment—of the rectangular gable-roofed house.

5. An important expression of African architecture is

the square hut with the pyramid roof. It is found in

Angola, Congo, and in Cameroon with different variations.

The Cameroon Grasslands is a notable form. The facade is

aesthetically pleasing due to the use of vertical surface as

architectural components. The total area is 20 square

meters with sides measuring 3 x 3 to 4 x 4 meters. The peak

of the roof rises up to 8 to 20 meters above the ground.

The houses of the chiefs and the secret societies are even

more impressive. Inside are lateral separations, a kind of

ceiling resting on top of the walls. Also, pillars are used

for support in which figures are carved on. The particulars

of the structures built by the Grassland peoples can be

summed up as follows:

a. They make use of the vertical dimensions.

31

b. Sculpture is a functional part of their

architecture.

c. the living areas can be greater than fifty square

meters.

d. The true pyramid-roof structure is covered and

enlarged by a false roof.

6. The development of the flat-roofed adobe-brick

square or rectangular house attained its peak in the cities

of Sudan, in Zinder, Sokoto, Kano, Bida, etc. The size

still remained the customary 20 square meters. This adobe-

brick architecture underwent a very interesting development.

During the Islamic invasion of Africa, the Moslem built

mosques on the principle of the adobe-brick square house,

but enlarged it in all directions. They added conical-

shaped columns at regular intervals along the outside, thus

subdividing the surface and giving it a third dimension not

unlike what has been done through our Gothic use of

buttresses.

7. The flat-roofed adobe house which was influenced by

the older African conical-roofed hut, particularly in the

Sudan, brought interesting results. The conical-roofed hut

compound became linked adobe-brick forts with flat roofs

through the replacement of the original stone wall with

adobe-brick walls supporting protruding half cylinders.

These settings look like medieval castles in miniature.

32

Another interesting result of the combined

architectural styles of the square house and the conical-

roofed hut is the adobe conical houses of the Musgu. The

circular floor plan of the conical-roofed hut was used, but

the conical-roof form and not the cylindrical wall that

dictated the shape of the entire structure. It is 5 meters

in height, dome shaped, and covered with arrow-like

reinforcements, which resulted into one of the most

aesthetically pleasing achievements of African architecture.

8. Another great form of housing was the subterranean

pit dwelling or "curciform cellar-vault." It had similar

features with the adobe-brick square house. Its dimensions

are the same as those of the smaller huts. Some are built

on the square and others on the circular floor plan.

9. A house built around a four-cornered inner court

with the roof built to incline inward and a pit to catch

rain water. Its form reflects the adobe square house,

although it has a veranda. It is found among the Yorubas

and in Benin, where the palaces of the rulers and

aristocrats were built in this form.

This method of building is pure adobe architecture.

The inclined roof of the impluvium forms a gallery around

the courtyard and is subdivided by partitions. Decorations

of pillars and walls were introduced. Since the destruction

of Benin in 1897, the impluvium has disappeared, giving way

to the so-called colonial or Brazilian form, a classic

33

European s t y l e with numerous windows and elaborate stucco

work.

10. Another type of the conical-roof hut which has no

historical link with the pygmy hut serves as the overnight

shelter of the nomadic herders. The total area is 20 square

meters. Typically, materials used are sticks for the

framework, covered with hides.

11. East Africa has only two historically independent

architectural styles: the free-standing gable-roofed hut of

the Swahili on the coast, and the original Tembe, the gable-

roofed hut, which is similar to that of the West African

hut. The Tembe defines a compound where two, three, or four

tembes are grouped into a right-angle pattern to enclose a

courtyard. Typically, it is 2 meters high and 3 meters

wide, but its length can be as much as 20 to 100 hundred

meters. The tembe is always partially or completely

underground; the reason for this is for defense against

armed attackers.

12. The dry-stone masonry does not reflect high

developed culture because of the different variations of

stonework associated with different huts. The ruin of

Zimbabwe illustrates the great use of stone masonry. One

fact is that the stone structure of Zimbabwe are roofless.

They are huge ellipsoidal circumvallations with 50 to 80

meter diameters and a height of 11 meters. The base of the

wall is about 5 meters wide with top 3 meters. The

T,/^^-^%^

34

materials used are blocks of broken granite in the shape of

large bricks. The walls have 3 openings to the interior

with a main entrance. An interior wall runs parallel

creating a l-5-to-3-meter-wide corridor which at one point

expands into a kind of pouch containing a conical 11-meter

high structure. In Zimbabwe, the appearance of this type of

structure can be explained by its function as a place for

ritual sacrifice to the rain gods.

African Aesthetics and Recreation

African aesthetics and recreational activities are very

important to the African culture. These activities make and

have structured the African community societies. The most

important of these activities are Proverbs, known as verbal

art, poetry, praise-singing, African music, dance forms, and

plays.

The most important characteristic of African aesthetics

and recreational activities is their multi-functionality.

The African Proverbs, well known within the Fante of

Ghana, reveal the society's behavioral norms and ideals as

much as they give free rein to their narrator's skill,

ingenuity, and knowledge of the ways of his people.

poetry in Africa, as in Europe, owes a great deal to

the Arabs and Arabic aesthetic elements in Swahili poetry

are quite easily demonstrable. Moreover, there is evidence

that swahili poets are very concerned with local affairs in

contrast to those of the Orient.

35

Praise-singing, really a form of prose poetry, is found

in many parts of Africa, but is especially well developed

in the Western Sudan. The praise-singer (known as the

Griot) is not only a flatterer who "fills the heart" of his

auditor, but functions as historian and musician at many

ceremonies and rituals. These praise-singers are known to

perform at religious ceremonies, wedding celebrations,

meetings of age-grade organizations, work parties, the homes

of wealthy individuals, and the salons of courtesans.

African music, whether in the form of praise-singing or

instrumental, normally emphasizes dynamic rhythmic

framework. The most important characteristic of African

music is the interaction between musical structure and social

use. African music tends to be very flexible, permitting

creation, recreation, borrowing, and adaptations. To

Africans, music is an event whether involved with praising

kings, or linked to children's games, ceremonies of life

cycles, or various types of festivals.

Another African activity is the African theatre which

normally implied masquerades. This is one of the most

complex art forms in African societies. It involves music,

poetry, dancing, praise, and exhortation, singing, ritual,

social, political, and religious commentary, and also the

plastic art. Masked figures and dancers, whether

representing the ancestors or other supernatural or cosmic

. .-&

36

personages, always add drama to aspects of social life, be

they court cases, ceremonies, or other activities.

All these aesthetic and recreational activities show an

intimate association of both art and life in the African

societies.

37

Location of country (Nigeria)

m i l t s

500 IOOO _ I

1500

'4

MODERN AFRICA - » V V - « . i •_ I '

source: The Building of Mo.dernJ^frjca by D. D. Rooney and E. Halladay.

38

History of Nigeria

The existence of people living within the confines of

what we now describe as Nigeria can be traced to as far back

as 5000 B.C.

Nigeria, one of the leading countries in Africa, has

emerged as a major political force in Africa. It is the

most populous country in Africa, having one of the largest

economies of any black African country. Nigeria is an

English-speaking West African country, colonized by the

British. The country gained its independence from Britain

on October 1, 1960, with Lagos, the Capital.

Nigeria is a country of great variety of cultural

background with more than 250 different ethnic groups.

There are 248 different languages in Nigeria, many of these

languages have only a small number of speakers. There are

three dominant languages: Hausa, an Afro-Asiatic language

spoken across much of northern part of Nigeria; Yoruba, in

the southwest; and Ibo, in the southeast. These three

languages mentioned are the three main cultural societies

that structure Nigeria, politically and economically.

Nigeria has a growing population of 80 million with

about 70 percent of the estimated population living in rural

areas and 30 percent in the urban areas. The land area is

approximately 923,773 square kilometers. The British

government set up a unitary administration in Nigeria in

1914 and in 1939 created the three regions which survived

39

independence. The nation was later divided into twelve

states on May 27, 1967, under the regime of General Gowon,

and then increased to nineteen states in 1976. Abuja became

the symbol of unity within the country, located at the heart

of the country. Abuja was proposed as the new capital city,

and in 1982 the capital was formally opened.

Nigerian oil resources are vast, with oil production on

a commercial scale begun in 1958. Nigeria is the largest

oil producer in Africa and ninth largest in the world. The

oil fields are in the Niger delta, both on-shore and off­

shore. Oil became and still is today Nigeria's leading

export and the country's major resource.

climate

Varying between the north and south, but mostly

tropical throughout the year. Temperatures are hotter in

the north, which borders the Sahara. Temperatures there

rise to over 40oC much of the year. Humidity is higher in

the south, where temperatures average 2 9 Q C . A cooling

Hamattan season keeps temperatures and humidity down between

December and February. The north receives about 25-40" of

rainfall annually, while the south receives twice as much a

year.

cultural Activity

Nigeria has many distinguished traditional background,

based on art with a tremendous influence in sculptures,

ornamental works, graphic arts, painting, and other crafts.

40

In the north, the influence has been Muslim Arabs,

while in the south it has been European and Christian.

Recreation

Recreation in Lagos state includes a number of

different facilities from parks to athletic sites to open

beaches.

Presently there are several acres of city parks

including neighborhood parks, such as Ikoyi Park; these

parks feature facilities such as covered pavilions due to

hot and rainy weather, playgrounds for kids, and athletic

fields.

In Lagos it is known for all junior high and high

schools to have a recreation center open everyday after

school. Also, cultural activities play a great part in the

city's recreation. Art festivities, and sport contests, are

held at various states on competitive basis. Traditional

songs, dances, and plays are also held which attract large

formidable audiences.

These recreation centers, whether on a national level,

city level, or school level, bring people of different

cultural backgrounds together to exchange cultural values.

Some of the recreational events that have occurred in

Nigeria are the 2nd All African Games, the African Cup of

Nations (soccer competition), the Ecowas Games, and many

others.

41

Business and Industry I • • •

Lagos state, known as the capital of Nigeria, has

attracted various types of commercial business and

industrial activities. This has helped create new

employment opportunities which has been the most important

factor in the growth of Lagos. The city's location on the

west coast of Nigeria has encouraged industries such as oil

industries to establish its base in Lagos because the

importation and exportation of goods becomes easier through

the waterways (shipping).

Construction is a very large industry, accompanied with

trading businesses like goods and merchandise. It is only

logical that with the continued growth of Lagos that

construction in different categories is a very long

industry. At present, within the years 1985 to 1987, the

construction business has dropped considerably due to the

nation's economic crisis.

Lagos forms a good part of the Nigerian industrial

complex with its major industries like the oil industry

mentioned above, the Nigerian steel industry, Niger Portland

Cement Factory, Lever Brothers Nigerian Limited, Leventis

Motors, and so on. it is estimated that manufacturing

activities employ over 15 percent of the city's labor force,

while commerce employs more than 25 percent, commerce

activities such as banking, finance, wholesale

distribution, transportation, and utilities, retail, and

. -« .l

42

service employment (hotels, restaurants, etc.), are

dominating the city's scope because every public or private

business establishes its business in Lagos to encourage

growth and expansion of the business.

Transportation

Lagos is served by railways, airports, roads, and major

sea ports.

The Nigerian Railway Corporation (NRC), from Lagos, via

other cities, was built in the early 1900s. This helped

stimulate industries and boosted the city's trading

economics. The expansion of the railroads helped establish

other settlements and built major cities within the western

region of Nigeria.

The city is served also by two major airports. The

Muritala Muhammed International Airport Lagos, which is

mainly international services, specializes principally as

passenger carriers to various countries within Africa and

other continents. The Ikeja International Airport, which is

basically domestic, serves as passenger carriers and has

captured an increasing proportion of the road and rail

passenger traffic. passenger air traffic accounts for 85

percent of domestic air traffic by revenue, while the rest

is made up of freight.

Lagos City is accessed primarily by Trans-African

Highway that connects with other trunk roads crossing

Nigeria's national boundaries which will promote trade and

43 13 13 3

transport interactions between Nigeria and neighboring

countries. Also, major highways, linking principal towns

such as Ibadan, Kano, Abeokuta, Enugu, Kaduna, portharcourt,

Onitsha, and llorin has helped transportation of industrial

goods from one city to another; these roads are the key to

interstate commerce. The roads cover over 105,000 km. Main

routes are tarred and a motorway opened in 1978, linking

Lagos with Ibadan.

The main seaports are Lagos-Apapa, Lagos-Tin Can

Island, Port Harcourt, Warri, and Calabar. The main

shipping fleet is the Nigerian National Shipping Line

Limited, these shipping lines serve around the coast of

Nigeria and to other foreign countries for commerce.

j"«iii'i{iifei'?«ifc.

••J 5..

-;(;

*- li;, s

•<i

Transportation Map

44

•J

• * • vH 4

Source: New African Yearbook, 1980

45

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46

Purpose of the African Festival

.\ ' 1» The Festival will provide an unusual forum to bring

to light the diverse contributions of African

peoples to the universal currents of thought and

arts. It will also provide an opportunity for

recounting the achievements of our ancestors and

contemporaries and their invaluable contributions

to the enrichment of world thought and ideas.

2. The Festival will help obliterate erroneous ideas

\» regarding the cultural values of the African race.

The occasion will surely lead to the abandonment of

the "museum approach" to our culture by which men

of other cultures consider our culture only in

terms of pre-historic objects to be occasionally

dusted, displayed, and studied instead of a living

thing, containing and portraying the ethos of our

peoples.

3. The purpose of the Festival is not to underrate or

debase the cultural values of other races, but to

exert our values in a world which is highly

competitive so that the African cultural heritage

can co-exist with the cultural values of other

peoples from other lands without much conflict. In

other words we seek cultural harmony based on human

dignity and mutual respect.

t4 t«5 J

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i l : ,.

4

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47

4. In a world that gravitates every day to violence,

culture remains one of the most important resources

to sanity and meaningful national development. It

has proved itself a satisfying mode of promoting

international friendship and understanding.

Nigeria believes very strongly in the moderating

and salvaging qualities of culture in easing world

tensions through cultural exchanges.

5. TO present the African culture in its highest and

widest conception through African artists,

performers, and writers, and facilitate their world

acceptance and their access to world outlets.

Source: Souvenir Book of the Second World Black and African Festival of Arts and culture: Festac ^TT.

48

CASE STUDIES

The following case studies are important in relation to

the proposed project.

* The Guggenheim Museum: A great composition of

different forms, reflecting beauty [an exciting aesthetic

pleasure]. This gives a total design.

* The Atheneum: Was based on a circulation concept. A

design that inflects one's circulation path towards another.

The relationship of the indoor spaces to the outdoor spaces.

* The Multibuilding Cultural Center: Reflects an overall

external dignity through use of rigorous geometries relieved

by unexpected shapes, angles, and textured surface

treatment, the Center also illustrates the types of

activities that exists in a cultural center.

* Acapulco Convention Center: The facility expresses a

multi-use center for public gatherings and exhibitions as

well as to provide a symbolic center for the city.

\ l J

49

Project

Guggenheim Museum, 1959

Location

Manhattan, New York

Architect

Frank Lloyd Wright

Program

To design a museum of non-objective art in new York

City, and to plan the museum to exclude the crowding and

noise of the city.

Description

The museum complex is made up of a gallery space,

auditorium, administration offices, lecture rooms, and cafe.

The design is like a landmark within the city of New

York due to the clean detail composition of the different

form, the dominating circular form gives the design a focus

and an overpowering effect around its environment.

Its interior ascends with flowing continuity some

ninety feet upward in an expanding spiral. Each floor

ceases to exist as a separate level and the entire building,

devoted to one purpose as a gallery, becomes one room. But

there are variations and subtle harmonies emerging from the

spiral theme. The visitor may have an uninterrupted view of

the exhibition by taking an elevator to the top level and

descending a ramp on which paintings project from the plain

walls. This results in an atmosphere of flowing surfaces in

50

51 51 51

which these paintings become part of, rather than apart

from, the art of architecture.

Wright used both natural and artificial light to

accentuate the various arts and the spaces within the

museum. A huge skylight in form of a dome introduces light

into the overpowering space below it and also gives the form

a crowning effect, signifying the most important space.

Design Features/Materials

Totally organic architecture: a spontaneous reaction

of the creative mind to this specific problem in the nature

of materials. A modern creation which simply means that all

materials were used honestly for the sake of their own

qualities, and that the materials modify the design of the

building. Frank Lloyd Wright brought a new sense of

horizontal plasticity to architecture. This building made

of reinforced and sprayed concrete brings out the massive

beauty of masonry which serves architecture.

Conclusion

Wright's Guggenheim Museum, though a controversy from

its conception, it is a building with a sustaining quality

that has brought sure enjoyment to future generations and

generations to come. As one visitor remarked, "It's

something you won't forget," which is a great characteristic

for any building. An architectural masterpiece, ahead of

its time, this is one of Frank Lloyd Wright's best works and

evidence that he was a truly great artistic innovator.

r iPTH AVKNUC 90 F t t T

Solomon R. Guggenheim Museum. New York, 1946-1959. Plan and section.

me brjpi

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52

icfci*

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.a 411

SECTION o o . , . 1 !

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53

54

\^

Project

The Atheneum

Location

New Harmony, Indiana

Architect

Richard Meier

Program

The Atheneum is a visitor's orientation center.

Description

The Atheneum is 15,000 square feet that called for a

18-seat auditorium, four exhibition galleries for permanent

and changing exhibits, observation terraces, visitor

facilities, and centralized computer ticket line deck. The

architect emphasized the circulation component of that

program by designing a building that exploits the fullest

opportunities for promenade and procession. The exterior

and interior ramps for both handicapped and others to walk

on and stairs twisting up to the observation decks, and the

roof form that shows essential organizing element to the

spatial development.

Design Features

The Atheneum was built on a 7-8 acre grassy mound

surrounded by forests at northwest border of the town. The

steel-framed porcelain-paneled visitor orientation,

conference, and exhibit center contrasts dramatically with

the log cabins and brick structures of historic community.

55

Spaces

Lobby/Exhibit

Orientation Desk

Gallery Space

Model Display

court

Auditorium

Conference Room

Terrace

Roof Terrace

Materials

The building materials are comprised of steel-framed

white porcelain-panel, concrete, brick, white painted gypsum

board, charcoal gray carpet on the floor, and pew-like

seats.

conclusion

The Atheneum was based on a "circulation concept." A

center that inflects one circulation path towards another.

The architect refers to the building as a place of

"arrival," a "threshold" that begins the route for the tour |

through the town of New Harmony. The real point of

arrival—the main entrance—is emphasized by a plane (as

shown on following page). This forces the visitor's

perception of spaces narrowing, another opening up into

various spaces. Routes of egress from the roof-top and

upper-level terraces take visitors through punctured plane.

'I

56

~a'0 ^

: . - t : : i '

57

The style of architecture and the materials used shows an

open circulation from one point to another, making the

design a success.

Sources

"A Vision Continued," Richard Meier's Atheneum,

AIA Journal, Mid-May 1980, 126-130.

"Emblematic Edifice," The Atheneum, progressive

Architecture, February 1980, 67-70.

.•*.jr' '*','v-"«»»^^ir>^. -r aft-.-.• •.••• -•a

-:^-^i->.

' •«*

L0g«nd 1 Entry 2 Lobby/exhibit 3 Orientation desk 4 Gallery space 5 Model display

6 Exhibit 7 Court 8 Auditorium • Conference room

10 Terrace 11 Roof terrace

59

Project

Multibuilding Cultural Center

Location

south of Mexico city

Architects

Orso Nunez Ruiz and Arcadio Artis

Program

TO design a multi-functional cultural center that

embodies a "new style" at University City. The complex is

made up of a concert hall, two theaters, a library, two

cinemas, a ballet and opera hall, a small hall for chamber

music, a theater center, the outdoor sculptural space, and

offices.

Description

The center is located near two main thoroughfares that

allow easy access from almost any part of the city. Their

orientation is along a north-south axis over a field of

volcanic stone, and the complex is surrounded by the area's

unique vegetation.

Each in this series of buildings seeks a personality of

its own while responding to specific program requirements.

This is what has been called the "New University Style,"

contrasting with that used at University City in the 1950s.

The new style is characterized by clean, solid masses, some

diagonals, clear and well distributed opening, and use of

exposed, ribbed concrete. Exteriors are deliberately

... t ' I

:«':

60

asymmetric, and the buildings never present a static main

facade. They achieve an overall external dignity through

use of rigorous geometries relieved by unexpected shapes,

angles, and textured surface treatment.

Basically, this complex is a series of free-standing

buildings, similar in concept, but without any physical

link.

Design Features

The complex is based on six major units. The

Nezahualcoyotl Concert Hall accommodates 2,300 spectators

without resort to electronic sound systems. To bring

performers and the public closer together, the audience

surrounds the stage. The floor plan was derived from a

series of solutions for improved acoustic and visual

conditions, including an auditorium floor on several levels

and a series of acoustically determined wall surfaces.

The architectural idiom of the Juan Ruize de Alarcon

and the Sor Juana Ines de La Cruz Theaters is similar to

that of the concert hall, both in the handling of volumes

and use of materials. The theaters seat 430 and 250

persons, respectively- The stage has a reasonable floor and

a 74-foot proscenium. The lighting was designed to be

totally flexible, with the interior planned on a modular

basis with great flexibility for changing installations.

There are four other theaters (two for movies) grouped

together that house an exhibition gallery, a cafeteria, and

'•^l'^."V,.'r''-

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62

"-C^

t ^ y *

^ 1 ^H

o f f i c e s . The l i t t l e University Theater Center completes the

ensemble.

Conclusion

Overall, however, the center is a success for being a

well-reasoned complex, respectful of its site that has been

designed into a. monumental outdoor sculptural space which

becomes the climax of the whole complex. The center is also

very functional because the complex was planned for the

public use.

-. -3

'\'

63

Project

Acapulco Convention Center

Location

Acapulco, Mexico

Architect.

Pedro Moctezuma

Program

The Acapulco Convention Center was planned to

capitalize on the new influx of tourism by providing

entertainment and exhibition space for large groups such as

those from cruise ships. It was also intended to provide

facilities for local social, cultural, and sporting events

for the surrounding residents. The Convention Center is

part of a master plan for Acapulco to switch its emphasis

from the individual tourist to package group tourists.

Description

The Convention Center consists of three main buildings

joined by a roofed circulation terrace system. The largest

building is the main hall (Teotihaucan) that can hold an

audience of 7,500 people. Underneath the main hall is a

parking garage and a small exhibition hall (Cholula), below

grade. The middle structure contains the main entrance to

the complex along with meeting rooms, restaurants, and the

service areas. Next is the main theatre that can seat 1,000

people. Behind the central building is a 2,400 seat

amphitheatre set into the base of a small hill. A former

64

golf course for pre-Columbian sculpture.

Design Features

The main hall is a large open convention space that can

seat an audience of 7,500 or arranged with tables for 3,500

banqueters. It can also be set up to contain over 250

commercial exhibition booths. The main entrance in the

central building opens into a small exhibition space that

resembles a museum but is actually a gift shop filled with

Mexican sculpture and artifacts.

The entire complex rests on an old 35-acre golf course

and makes use of the existing terrain as well as possible.

The amphitheatre is built into an existing hill and the

portion of the gold course is used cleverly as an outdoor

museum and plaza for Mexican relics.

Although the form of the building is relatively modern,

the finishes and details reflect Mexican culture. For

example, the ceiling in the exhibition hall is covered with

painted huichol boards and the floors are gray and red

marble, both of which are popular details in Acapulco.

Spaces

Teotihaucan—large convention hall, 7,500 persons

,:;-•' capacity.

.: r.r: Cholula—small underground exhibition space.

...;;;? Indoor theatre—1,000 person capacity.

^ .,> Outdoor amphitheatre—2,400 person capacity. a •

Administrative offices.

•J* ";!

.. .: 5

ACAPULCO CONVENTION CENTER

1 administration 2 sheet music stora 3 light and sound control,

interpreter's rooms 4 concert hall balcony 5 balcony foyer

Audilorhim level 1 restaurant kitchen 2 restaurant 3 chamber music hall foyer 4 chamber music hall 5 offices • conductor's and soloists' rooms 7 artists'cafeteria • orchestra foyer f ladies'foyer

10 radio and IV studios 11 radio and TV commentators 12 concert hall 19 concert hall foyer 14 VIP foyer

Efitranee level restaurant entrance lobby committee rooms chamber music hall entrance lobby information center box offices concert hail entrance lobby conference hell orchestra changing rooms instrument store —

65

rehearsal hell " staff entrance rehearsal rooms ' open-air terrace -

Dflve-ln level restaurant entrance chamber music hall entrance concert hall entrance unloading bay area parking lot mechanical

S i n AT HitSlHl

66

«i Meeting rooms.

I Audio-visual facilities.

Restaurants.

Infirmary.

Museum shop.

Underground parking.

Archeological garden.

Total floor area: 600,000 sq. ft.

Materials

The exterior walls are primarily precast concrete

panels. Some of the interior walls have stone sheathing and

the floors are red and white marble with alternating bonds

of polished and hammered finishes. All of these materials

are extremely durable for the Acapulco climate.

Conclusion

The Mexican government made a smart move by making sure

that locals as well as tourists were considered to use the

new complex. Its monumental design helps the convention

center express its importance in the community, yet it

doesn't appear to be too outlandish or overpowering for the

,, area. The overhangs of the large buildings signify its

f\ sheltering effect from raid and sun. The entire complex is

set off center from true compass points so the main

entrance faces southwest. This convention center is well

organized so that access to all areas is easily attainable

from the main entrance. The amphitheatre is well shaded

» . » . » . \ \ \ "'«

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61\1\1\1\1

from direct late afternoon sunlight for more pleasant

performances at the outdoor theatre. Acapulco Convention

Center is a nice alternative for an old gold course that was

otherwise going to be revised with high rise offices.

Source: "Convention Center in Acapulco," Architectural

Record, February 1975, 93-98.

ENVIRONMENTAL ANALYSIS

The Natural Environment

The main climate of this area can be characterized in

the following general terms: high/even temperatures for

most of the year; constant vapor pressure; high humidity

during the rainy season (April to October); fairly high

humidity during the dry season (40% - 50%); varying wind

directions and velocities with gusts of up to 100 mph on

occasional thunderstorms (which signals the beginning and

end of rainy seasons).

Topography

Lagos City is approximately on a latitude of 6'N of the

equator. The city lies on a coastal plain, about 200'0"

above sea level. The city is a very flat plain surrounded

by sea water which also has inlets within the city.

The site lies on an isolated plain on the southwestern

part of Lagos, surrounded by water, vegetation, and a high

income neighborhood.

Climate

Rainfall and wind. The total annual rainfall as well

as the length of the rainy season decreases towards the

north and northeast. The rains begin in April and end in

November, the rainiest month being September; August break

may last for two weeks.

69

The city has a high rainfall sometimes accompanied by

severe winds. The maximum monthly rainfall is about 140"-

160" and about ninety percent of the rain falls between

April and October. The rain falls in sharp thunderstorms

and is of great significance to the development of sheet and

gully erosion.

Mean annual temperatures rarely fall below 80*^F

although it is generally cooler between June and November.

The hottest months are February and March, and two preceding

months being kept cooler by the Harmattan (dry season). The

wind velocity ranges from 55 to 80 mph. The two main

prevailing winds are the southwest rain bearing winds and

the northeast trade wind (dry).

Vegetation. Mangrove forest and coastal vegetation is

the vegetation pattern characteristics of the derived salt

water swamp with mangrove forest and rain forest. Differing

levels of rainfall and soil types found in this part of the

region give rise to important variations in cropping

patterns and farming methods.

J «

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''' ^

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* ' • »

mm DIRECTION ft SPFFTl

MONTH! Y AVERAGF AIR TFMPKRATIiRE

70

I

; 5 . .

""'••••.: lONTHS

• •••• : JANUARY

^ •*: •:••• FFT^TJTTARY • 1

APRIL

' "MAY

^-JUNE

JULY

r: i'.t .-43 AUGUST

SEPTEMBER

OCTOBER

NOVEMBER

DECEMBER

N

1

^

10

3

1

1

0

2

5

5

10

6

WDID .

NE

24

?fi

39

8

11

12

Q

2

11

15

30

DIRECTION & SPEED CMPH)

E

23

22 20

2

6

4

1

1

24

13

32

35

SE

44

42

29

14

20

19

11

2

21

18

19

25

S

21

28

25

55

77

70

55

49

4Q

35

5

8

SW

34

38

54

22

76

87

93

99

57

47

16

15

W

48

29

40

38

27

37

63

72

44

54

52

53

SW

34

23

24

22

17

12

5

6

6

15

15

' '

MONTH '

JAN FEB

- MAR APR MAY

JUN JUL AUG

SEP OCT

NOV DEC

•c 27 29

29 29 28

- 27 26 27

27 27

27 27

7J

MONTHLY AVERAGI^ AIR TBIPERATURE

M M N

Source: The economic development of Nigeria, pub­lished for International Bank, for reconstruction and development. By the Johns Hopkins Press, Baltimore, p. 195-197.

MONTH (1962)

RAINFAI I (INCHES)

FOR IQR? - 1966

AVERAGE RAIN CINCHES) TOTAL

72

January 1.16 4.57

I February 1.87 2.70

March 10.11 25.9

April 4.69 35.8

M22L

June

July

9.09

13.4

14.2

46.0

59.3

39.8

August 6.57 45.2

September

October

November

7.60

6.02

0.37

46.2

34.6

9.7

December 0.45 1.28

. -

15

13

11

9 7 5 3 1

^ ^ Z M A M J J A , S 0

Mean Monthly (1962-1966)

N

RELATIVE KliMinITY

YEAR

1962

1963

1964

1965

1966

TOTAL

MEAN

J

59

73

66.5

75

65

338

67

F

47

76

59

70

47

244

59

M

70

72

59

71

67

356

77.7

A

79

77 78

75

76

410

72.7

M

80

82

83

80

83

429

82

J

84"'

87 84

87

84

433

81.8

J

85

88

72

88

55

430

84

A

87

8S

86

88

86

426

80 1

S

84

RA

85

84

8^

433

81

0

85

81

79

88

8q

429

80

N

85

8A

84

77

fi'i

331

79

.

84

7fi

74

71

fi8

371

74

90

85

80

75

70

65

60

55

M A M J J A S O N D

SML:

^ The soils are ferral soils which are usually

deep, red and with a clay enriched subsoil. Erosion

may be a problem if the water run off is not chan­

nelled in an organized fashion away from the site.

^ The soil type for the site sandy loam formations with

;^i: good absorbent qualities, since the water table is

J<^ very low in this area due to the nature of the soils.

^ underground structures could be possible, if well

I A- ventilated and air conditioned.

74

SOIL CONDITION MAP

75

Surface Drainage

There are no underground drainage systems on the site

but exist adjacent to the site. But the site has natural

drainage to the north, south, and west due to the location

of the sea water around the plain. The roads around the

site have gutters built around for drainage of rainfall.

Temperature and Relative Humidity

Maximum daily temperatures are highest from February to

April. The main daily maximum and minimum temperatures over

the year are 87°F and 72°F, such temperatures are very

favorable for plant growth.

The relative humidity of the atmosphere near the coast

is normally 95-100% at dawn, falling to 70-80% in the

afternoon. The skies are generally cloudy, except

successive days of unbroken cloud are common during July and

August.

The Built Environment

The location of the site is at Victoria Island in Lagos

City, with its surroundings partly developed. The site is

directly surrounded on the north, south, and west by the

"Kuramo Waters," on the east by a light forest.

There are two dual carriage ways leading directly to

the site. Also, one major road and several other minor

roads; these are circulation roads within the residential

area along the west side of the site. These minor roads

also are accessible to and from the site.

• \

• •' u

76

TO the west of the site are high income residential

homes, and a Five star "Eko Hotel." Also to the east are

middle income residential homes, there is also a minor road

from the middle income homes going through the site. The

status of the road should be reviewed for proper relocation.

The entire site is very bushy with no permanent structures

on them. Directly northeast of the site is a city bus stop;

this area is probably the only source of noise in exception

of the residential areas, and it needs landscaping to

minimize noise around the site.

Directly to the west of the site along the "Ahmadu

Bello Road and Ozumba Mbadiwe Avenue," the two dual carriage

ways, are important facilities which may be directly or

indirectly useful to the Festival Center proposed to be

built on the site. They are Lagos Library, Federal Palace

Hotel, Nigerian Television Service, City Bus Stop, Federal

School of Arts & Science, Nigerian Law School, and Nigerian

Institute of International Affairs.

The most important feature of the site is the water

surrounding the site which is a potential view from the

site.

<

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SITE CRITERIA

The site should be easily accessible from all areas of

the island: The two dual carriage ways link other islands to

Victoria Island, the environment of the site. Road signs

should be put up to give direction for those who are not

familiar with this area.

The site is located near service facilities: The

proposed site is very near two major hotels "Federal Palace"

and "Eko Hotel." these hotels will help accommodate

visitors during festivals and other important events. Also,

the lagos Library can be of great importance for obtaining

information.

Bus stops are located along the major roads leading to

the site. Also, a bus stop is located at the north side of

the site. This will enable easy transportation of cultural

travelers to the center.

Motor Boa^Ciuft'<>J i*i

P W. D. Laboratol

OD

SITE PLAN NORTH

0)

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SITE ANALYSIS DIMENSIONS

3t-

IScfurlgr f t lK iM | )U MliHlnc%/

(LAMP USE)

SITE ANALYSIS Undeveloped Land

/////// Low Class Residence • Important Facilities

Carriage Way

00

80

Road Dual Carraige Way

Minor Road

No Of Cars/Hour

100

25

SITE ANALYSIS VEHICULAR CIRCULATION

82

SITE ANALYSIS VEGETATION

Noise From Highway

84

Noise From Residence

SITE ANALYSIS NOISE

83

SITE ANALYSIS WINDS

N.E WIND

S.W WIND

85

SITE ANALYSIS VIEWS FROM SITE

VIEW .1

V 86

SITE ANALYSIS VIEWS INTO SITE

V I E W . 1

iTl-»-^r-'

^^-

•,-*-^-.— -W -^Jf-*^5^

^ftmfvrM k<'.«

T'^=^.i:...:

H

Occasional Smoke FroAi Cars On Highway

87

Possible Smell From Residential Area

SITE ANALYSIS AIR BORNE POLLUTANTS

/ ! . '

/

J

CO (0

<

^

<

> •

/

>

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IS

y'

88

AT NOON 40''

SITE ANALYSIS SUN PATH

90

ACTIVITY ANALYSIS

The Nature of the Facility

The proposed facility will be multi-functional in

purpose. The facility is based on an international scope.

The facility will consist of two major components that

will express the greatest areas of expertise characteristic

of the various nations.

Cultural Component (Museum)

The cultural component will exhibit the multi-cultural

heritage of various African cultures in such a manner to

give the visitor an overall view of the past and present

cultures.

Art Center Component

The art center will accommodate the performing arts and

a multi-media component of the composition.

Movement

The linking elements of the two areas will include the

visual arts areas. These are extensions of various

components that display current art objects and regional

arts in a symbolic manner.

The .visual arts area becomes the circulation path

within the entire facility.

Areas of Interest

The four regions of the African continent—the North,

East, South and West Africa.

91

cultures

Due to the vast cultural societies that exist in

Africa, only major important cultural societies of important

countries from each region in Africa will be considered for

this program.

Country

West Africa

Cultures

Nigeria Ghana Ivory Coast Cameroun Upper Volta

Country

Yoruba, Ibos, Hausa, Fulani Fanti Bete Dogon, Mande Mossi

East Africa

Cultures

Kenya Tanzania Ethiopia Uganda Sudan

Country

Egypt

Gikuyu, Pakot Swahili Sidamo, Galla Nyoro Zande, Kababish Arabs

North Africa

Cultures

Coptus

South Africa

Country

Lesotho Botswana Zambia Rhodesia Southwest Africa

Cultures

Zulu, Swazi Tswana Luvale Pygmies Kung Bushmen

^'% 92

MAP OF AFRICAN SOCIETY

GuuMaX /

SMrra L.«n* ) , V V , " ~ ' 7 « , j

AWcMi SeciMl«t 1 . Btt4 7. Bmheng 3. Coptt 4. Oogon 6. Fanii 6. Fulwil 7. Cikuyu 8 Hauu

. 9. Ibo 10. Kababith Aribl 11. KalMM'. 13. Kunf SushniMi 13. Lu««M 14. Mand*

• IS . Mowi 16. Nvore 17. Pakot 18. RMBndii 18. Sidamo X . Swiafiili JV T.y 2r Tonga 2J Ti!.n.hfty J» Tswj.-v;

• 2 : Yorufti ;C Z»ria» 27. Zulu

Source: Peoples and Cultures of Afr i ca , by Skinner.

93

cultural component

The cultural component (museum) would be coordinated

and supervised by the International Festival Committee.

This committee will be the representative of the African

interests. The various Festival events to be represented in

the cultural components are as follows:

A. Exhibitions

Each country/community is responsible for the selection

of art works and artifacts. In order to bring out the great

artistic tendencies of the African peoples of the world

today, the exhibition shall be displayed according to

category (regions). Given the number of cultures, each

country under the scope may provide two-dimensional works of

art, three-dimensional works of art, crafts, instruments,

and costumes.

The exhibitions displayed in the facility will be based

on the following categories: Africa and the History of Man;

Technology and Invention; Books; Costumes; Domestic Arts;

Handicrafts; Nigerian National Exhibition; Mounted Animals;

the Influence of African Art on European Art; Musical

Instruments; Black Contributions to Science.

B. Lectures

The lec tures are mainly on Black c i v i l i z a t i o n and

Education. This can be sub-divided: Black Civilization and

the Arts; Black C iv i l i za t ion and Philosophy; Black

Civi l iza t ion and L i t e r a tu r e ; African Languages; African

J«s;-

^ R

94

Religion; African Governments; Black Civilization and Mass

Media; and so on. these lectures may last up to 2-3 hours

and will mainly occur during the day time.

Art Center Component

The art center component will accommodate the

performing arts and the Media Center. A series of festival

events are organized within this component, which reflect

the various African cultures.

1. Performing Arts

A. Dances

categories of dances: Traditional African Dances;

African Dance Theatre; Modern Dance and Ballet.

The maximum duration of each dance event is about 2

hours 15 minutes. Participating countries/cultures can

offer one or several categories provided that the time limit

is not exceeded.

B. Drama Events

Categories: Tragedy; Comedy; Poetic Recitals; shows

revolving around Fables and Legends; Humoristic; children's

shows.

C. Music Events

Categories: Traditional African music; Modern African

music; Traditional African-American music; Traditional Afro-

Caribbean music.

The duration of each musical event is 2 hours 15

minutes at the maximum. Heavy instruments like piano and

95

organs w i l l be supplied by the Internat ional Secretariat.

2. Multi-Media Center

A. Films

categories of f i l m s : Feature f i l m s ; short length

f i lms; documentary f i lms; c h i l d r e n ' s f i lms ; cartoons.

These f i l m s w i l l l a s t up t o 2-3 hours , depending on the

type of f i lm. Most f i lms w i l l happen mainly at night

between 6-11 p.m. except the c h i l d r e n ' s fi lm and cartoons.

B. Literature

The l i t erary events planned for the f e s t i v a l are to

honor the black and Afr ican w r i t e r s as a l i v i n g

manifestation of centuries of l i t e r a r y crea t iv i ty to which

the African communities are h e i r s . The programme for

l i t erary events w i l l include presentat ions by the authors

themselves. These presentat ions are planned for the late

morning programmes running from 10:00 a.m. to lunch time.

Suggested categor ies for r e c i t a l s : Poetry; Fables and

Legends; Texts for Children; Novels; Short Stories .

3. Visual Arts

Conceptually, the v i sua l ar t s component offers a

t rans i t iona l space which, in f a c t , e x h i b i t s areas for a

progression of art from one cu l ture to another. Also,

rest points w i l l provide a congruent s e r i e s of phases for

the v i s i t o r to experience h i s own in tercu l tura l journey.

Physical ly , the component o f f e r s a passage to and

connection for the other major components in the

96

composition. The passage and connection should be

conceptually enhanced by exhibits and by the architectural

delineation of the structure.

The importance of the transitional visual arts spaces

is for the visitor to learn and accept these events. By

providing the visitors cultural reference points, the

facility enables the visitor to continuously relate to

events and exhibits which create a picture of cultural

relevance. Probably when combined with the cultural and Art

Center Components, the Visual Arts component will become a

vehicle for individual understanding of a diverse culture in

which individuals may arrive at a philosophical

comprehension of these cultures.

97

C u 1 ^ r a 1_C o m £ o n e n t

(Museum)

Enter Visual Arts

JLobby

Orientation

V i s u a l A r t s

Exhibits

ItL^LB-Ll.

Restaurants

Lobby

Orientation

Visual Arts

Component

Art Center Component

Exterior Exhibits

Lobby

Orientation

Performance Art

Visual Arts

Media Center

Restaurant

SYSTEMIC RELATIONSHIP

98

Interrelated Components Parts

The Cultural Component (Museum)

The basis for activity in the cultural component are,

of course, the exhibition and lecture events which are

organized in a method to give the visitor a relatively

complete history of the various cultures that have existed

and disappeared in Africa.

The exhibits should be grouped into African Regions

(the North, South, East, and West), to allow the visitor to

relate it to his times as well as activity. Spaces such as

lounges, lecture rooms, theatre halls, restaurants, and so

on, should be interspread at strategic points along the

route for contemplation.

The ability for visitors to exit or re-enter the flow

movement linking various events without disturbing others is

desirable but these access/express routes should be of a

closed loop.

This loop is the base of movement through the facility.

As the beginning of an historical experience of African

cultures and terminator at the Art Center with a series of

performance art events. Also the loop helps operations

conducted independently or in conjunction with other

components or groups of components. (Each element will have

this ability of independent or interrelated functions.

The cultural component basically functions as a museum

of African Arts, the display facilities will be modular

99 design and simple construction to allow for mobility and

ease of construction.

i;

100

Exhibits

Orientation

North

South

East

West

Exterior Exhibit

Enter Information

Visual Arts

Restaurant

Lecture

CULTURAL COMPONENT DIAGRAM

101

v isual Arts

conceptually, the Visual Arts Component serves as a

t rans i t i ona l link between the two major components of

culture and the Art Center.

The v isual arts component serves as an extension of the

exhibi t spaces, a melting of various cu l tures and an

atmosphere of interdependence in which peoples of different

nations can truly r e l a t e .

The visual arts component becomes an educational path

for v i s i t o r s which i s patterned a f t er the physical and

soc ia l changes e x i s t i n g within the African nations. As all

other components, t h i s component has the a b i l i t y to function

independently or in combination with the other units as a

whole complex.

The component phys ica l ly becomes a loop (circulation

path) l inking the two major components, the Cultural and Art

Center Component, pul l ing each f a c i l i t y into a major

composition.

The loop should be w e l l s ecured and provide easy exit

for those v i s i t o r s who wish to leave the exhibit sequence,

t h i s loop would a l s o be the path t h a t l i n k s the indoor

a c t i v i t i e s to the outdoor a c t i v i t i e s , phys ica l ly and

mentally.

Staffing of the v i sua l ar ts w i l l come from the two

major component, because the loop w i l l extend outward to the

102

point in the facility that contains the multi-functional art

center and media center.

Art Center Component

A major component located physically within the

cultural component and conceptually along the parth of the

Visual Arts elements. The Performing Art Center and the

Multi-Media Center makes up this component.

Performing Arts

The performing arts element will be multi-functional in

that it will accommodate various types of visiting artists

appropriate to the particular types of performance. Also,

the facility can be leased to various individuals or

organizations for performances to be viewed by local

audiences.

The importance of performing art in a universal

understanding is mainly music and dance, in many instances,

the concept of performance can be the purest form of

universal communication—the essence of the culture that

produces it.

In order to accommodate the various activities of a

multi-functional art center, the physical containments must

be adjustable.

In the manner of theatrical stage equipment that allows

rapid conversion of scenery or sets, the multi-functional

arts center should, in totality, represent an extension of

103

the conversion techniques which make modern theatrical

events possible."

In addition to interior volumetric changes, extensions

of these technologies could allow adjustments in seating

capacity and arrangements, converting from conditions

necessary for opera to symphony, to stage play, and from

group types of performances to those oriented to the

soloist.

Through the process of arrival, meetings, discussions,

human involvement will occur on different levels and scales

of formality depending on the nature of the events to be

performed. The performing arts will be a social magnet

which will bring together local and international cultures

of different backgrounds and encourage beneficial

interchange during extra-performance activities.

The spaces in which these interchanges occur take on

individual significance. The performances in the spaces

themselves act as a catalyst for favorable intercultural

exchanges. These spaces such as gathering spaces must

contribute to the total perception of the cultural movement

experience, which is very important.

The performing arts has a very close relationship with

the cultural component (museum). A continuous experience of

the various art exhibits of each culture and relating it

with each culture's performing arts events gives the visitor

a broad scope about a particular culture's background.

104

Mainly, both facilities will be used during festivals, and

these facilities are the main focus during the Cultural

Festivals.

Multi-Media

Within the Art Center component exists the balancing

elements that complete every culture's creative expression.

The documentaries of the culture (literature), its poetry,

short stories or films, and feature films, combined to

reveal the ingrained interests of the people that produce

and enjoy it. The multi-media center is meant to compliment

the multi-functional art component during its hours of

operations and to simulate visitors during periods of

inoperation.

The media center will provide T.V. rooms, slide

projection rooms for visitors to view information on

different cultures. This facility acts as a resource or

research center, becoming an educational element with the

cultural path movement. At this point the visitor could

rest, refresh, and obtain a more detailed description of

that which he has experienced or what lies ahead of him in

his cultural movement.

105

Enter

Performing Arts Center

Visual Arts

Multi-Media Center

Exterior Exhibits

ART CENTER COMPONENT

106

The Shared Service Component

This component explains the way and form in which the

facility would operate, due to the complexity and size of

the facility, the complex requires a shared services

component in order to avoid duplication of effort, equipment

and staff.

The component will be divided into five categories:

Communication Services; Security Services; climate control;

Maintenance; and Auxiliary Services. These categories

allow the Festival Center to operate and function.

Communication Service

This division will coordinate all internal and external

communications, with telephone communication links, and

other communication devices.

In close association with the security services and the

media center, the communication division will complete a

system of vital services that will make the operation of the

facility possible.

Security Services

This division is responsible for maintaining a security

envelope around the facility, with the use of a series of

closed circuit T.V. monitors. And through the help of the

communication division, the security division will monitor

various spaces through closed circuit T.V. monitors,

electronic alarm devices, and heat and smoke detection

107 7 7 7

devices to prevent undesired events such as theft, fire,

vandalism, and emergency situations.

Environmental Control

Environmental stability will be maintained by the use

of a conventional central air conditioning system monitored

at all times the levels of temperature, relative humidity,

and air cleanliness. In African architecture proper

ventilation is necessary due to the high temperatures, so

possible pools of water around the facility for natural

cooling of the spaces within the complex is necessary.

Maintenance Services

This division will be responsible for all repairs made,

system modifications, engineering, and system upkeep.

The mechanical system—maintenance will also handle

plumbing, waste water systems operation, and any other

modifications made to these items. Also, the electrical

systems will be operated by the maintenance division in a

manner similar to the mechanical system.

Auxiliary Services

This division will provide the janitorial services. A

centralized trash removal system will be provided in the

major components to simplify the movement required to

eliminate refuse from the mechanism.

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SPACE SUMMARY

The project is subdivided into four main components, which are

sub-divided into other components.

A. Cultural Component 37,980 s.f.

1. Museum

B. Visual Arts Component 1,000 s.f.

C. Art Center CompoRent 59,140 s.fo

1. Performing Art Center 2o Multi-Media Center

D. Shared Component 4,040 s.f.

Total 102,160 s.f.

Total Space Area 102,160 Sof. Mechanical Room at 7% 5,289 s<.fo

107,449 S.f.

Net Area 107o449 Sof. Gross Area 134,311 Sof. at (25%)

Parking: For ewery 200 s.f. of total space area equals one parking spaceo

Underground Public Parking 450 spaces Service Parking 10 spaces

I. Cultural Component Public Service

A-1. (Museum)

110

Space

Main Lobby

Lecture Room

Meeting Rooms

Chair Storage

Gift Shop

Restaurant

Serving Area/Kitchen

Lounge

Toilets (Men & Women)

Library

Outdoor Facility

Total

Number Area

1 2,000 s.f.

1 1,500 s.f.

3 X 500 s.f. 1,500 s.f.

1 200 s.f.

1 250 s.f.

1 1,500 s.f.

1 1,000 s.f.

1 1,000 s.f.

2 X 200 s.f. 400 s.f.

1 2,500 s.f.

as required

11,850 s.f

CULTURAL COMPONENT PUBLIC SERVICE

A-1 (Museum)

FACILITY

Main Lobby

Lecture Room

3 meeting rooms

AREA

2,000 sf

1,500 sf

500 sf each

DESCRIPTION

Generous and exciting. to impress occupants. Walls and floors should be of durable materials (marble) because of frequent use. Decorative light fixtures. producing medium light levels (30-70 fc) to create a formal atmosphere. 20' ceiling ht, and sound absorbant.

Accoustically quiet space for voice transmission, good viewing. Variable lighting. With fixed seats. 200 maximum at 7 sq.ft. each person.

Nice, semi-decorative materials, preferably na­tural lighting for day use, medium to high levels for night use (30-50 fc). An open floor space to allow free movement or a variety of furniture arrangements.

FUNCTION/USAGE

The main entrance to the facility. The lobby is the site where visitors emabrk on their voyage. Should accommodate at least 200 people.

Lecture Hall.

Area for meetings or small gatherings on a rental basis. Used day or night for any length of time. Occupies up to 90 people.

EQUIPMENT

Information

Counters, lobby chairs, benches, telephone, and 3 water fount­ains.

Sound systems, microphone jacks, audio-visual equipment.

Large meeting tables, chairs. chalkboards.

FACILITY

Chair Storage

Gift Shop

Restaurant

Serving Area & Kitchen

Lounges

AREA

200 sf

250 sf

1,600 sf

1,000 sf

1,000

DESCRIPTION

Bare space. Artificial lighting.

Ceiling at 8'6" with arti­ficial lighting.

Comfortable and relaxing with natural light if pos­sible. Ceiling ht. 9'. Walls and ceiling are dec­orative materials, to ex­press a theme. Floor should be of soft material and easy to clean. Acoustics should be semi-sound ab­sorbant. Good ventilation.

Direct and simple layout organized for efficient operation.

See Main Lobby

FUNCTION/USAGE

For storage of meeting room furniture.

For selling small local art work and other sou­venirs.

Place for eating, drink­ing, and socializing. Orientation - adjacent to maiun lobby and used any time. To accommodate an average of 70 diners.

Self Explanatory

Accommodate 10-60 people dispersed in various locations within facility for relaxing.

EQUIPMENT

Shelves as required. Back storage counter, register, cashier

Tables and chairs for 70. Intercom system for music and announcements

Kitchen equipment

Loung furniture.

K i

FACILITY

Lobby Toilets (Men & Women)

Outdoor facility

Library

1

AREA

200 sf each

as re­quired

2,500 sf

DESCRIPTION

8' ceiling ht. Walls and floor must be water and moisture resistant, must be also durable and easy to clean. Light colors and chrome express a sani­tary environment. Exhaust fans required to remove smells, air change 2 cfm/sq.ft.

Open spaces and semi-open spaces. Space such as ob­servation decks, courtyards, and landscape garden.

12' ceiling ht. Natural and artificial lighting. Finish materials accoustic­ally treated.

FUNCTION/USAGE

Self explanatory. Occupy up to 10 people each. Size governed by number of fixtures.

For socializing, relaxa­tion. Space is an exten­sion of indoor activities

For obtaining cultural literature on Africal cultures.

•

EQUIPMENT

(Men) 4 lavs, 5 uri­nals, 4 w.c. (Women) 4 w.c., 4 lav. Paper dispensers, mirrors, hand blow dryers.

Outdoor benches.

stacks, reading desk, chairs, private reading booth.

( A I

MAIN LOBBY 114

LECTURE ROOM MEETING ROOMS

STORAGE

GIFT SHOP RESTAURANT & KITCHEN

LOUNGE TOILETS

LIBRARY

VISUAL ARTS

EXHIBITION CULTURAL ADMINSTRATION

DIRECT SECONDARY

TERTIARY ^ '

SPACIAL RELATIONS A-1 CULTURAL COMPONENT PUBLIC SERVICE

115

SPACE SUMMARY

A-2 Museum (Cultural Museum)

Space Number Area

•Main Lobby 1 2,000

Main Display Gallery 1 12,000 s.f.

•Exhibit Halls (Loop) 1 as required

Exhibit Room 1 3,000 s.f.

Exterior Exhibit as required

Total 15,000 s.f.

Spaces with stars (*) are repeated so not added to total area for this section.

A-2 MUSEUM - CULTURAL EXHIBITION

FACILITY

Main Lobby

Main Display Gallery

Exhibit Halls

(1) Exhibit Room

Exterior Exhibit Space

AREA

2,000 sf

12,000sf

As re­quired

3,000 sf

as re­quired

DESCRIPTION

Same as main entrance lobby

High ceiling, open, con­trolled light, natural. Ability to close off sec­tions.

Exhibit halls are the visual arts components. A free walk ing area. Must be at least 15' wide. Ceiling ht. 8'-0".

See Main Display Gallery

Large outdoor space with provision for shelter.

FUNCTION/USAGE

Same as main entrance lobby.

A place for exhibiting art work from the North, South, East and WEst African cultures. 500 maximum people. Average 30/her hour.

To connect areas of a component with another.

A quiet room for observ­ing 30 art. A space that can be changed for various exhibits.

For displaying artifacts too large or inappropri­ate for interiors. Also serves as an outdoor facility.

EQUIPMENT

Lobby furniture.

Benches, pedis-tals, moveable equipment plat­form, risers, cases. Acoustical equipment.

Display cases on walls, special lighting.

Moveable parti­tions, benches, adjustable light, acoustical con­sideration.

Seating, tempor­ary shelter.

cr»

117

SPACIAL RELATIONS A-2 CULTURAL EXHIBITION

118

SPACE SUMMARY

A-3 CULTURAL ADMINISTRATION (MUSEUM)

Space plumber Area

Reception/Secretary 1 500 s.f.

Director 1 180 s.f.

Bookkeeping 1 220 s.f.

Security Office 1 120 s.f.

Collections Office 1 180 s.f.

Staff Lounge 1 150 s.f.

Board Room 1 340 s.f.

Toilet 1 120 s.f.

Total 1,810 s.f.

A-3 CULTURAL ADMINISTRATION (MUSEUM)

FACILITY

Reception/ Secretary Space

Director

Bookkeeping

Security Office

Collections Office

AREA

500 sf

180 sf

220 sf

120 sf

180 sf

DESCRIPTION

Compartable, attractive space for waiting visitors with the use of decorative materials. Ceiling ht. 8'6". With acoustical ceil­ing tiles. Decorative light fixtures providing medium light levels.

Comfortable with day light and exterior view. Walls and ceiling should be light­ed but matte finish to reduce relfection. Floors should be carpeted. Ceiling ht. 8'6". Central thermostat to control air conditioning in office area.

(See Director office.)

(See Director office.)

(See Director office.)

FUNCTION/USAGE

Room to accommodate 4 clerical staff. Room for 4-6 persons for waiting.

Office of the director of the museum facility.

Office of bookkeeper and one assistant.

For securint the safety of artifacts. For 2-3 persons.

EQUIPMENT

3 desks, 3 chairs. loung seating.

1 desk, 3 chairs. lounge seating.

2 desks, 4 chairs, and file cabinet.

2 desks, 4 chairs, and file cabinet.

1 desk, 2 chairs,j and file cabinet.1

VD

FACILITY

Staff Lounge

Board Room

Toilet

AREA

150 sf

340 sf

120 sf

DESCRIPTION

Pleasant day lit space, with kitchenette equipment. Average artificial lighting.

Simple room with adequate outlets to supply needs of small conferences. With overhead bright lighting with dimming switches. Ceiling 8'6" high and sound absorbant to reduce noise.

(See Main Lobby Restaurant)

FUNCTION/USAGE

Break time and lunchroom.

Room serves for small staff conference.

Self explanatory.

EQUIPMENT

Lounge chairs, 2 dining tables, chairs, kitchen equipment, 1 refrigerator.

1 conference table, 12 chairs

K) O

RECEPTION / SECRETARY V ^ DIRECTORS OFFICE ^ ^

BOOKKEEPING ^"^^A^L. SECURITY OFFICE > ^ < > ^ s .

COLLECTIONS OFF. X V \ X X y STAFF LOUNGE X X X ^ BOARD ROOM X V X X ^

TOILET X X X X^

PUBLIC SERV. X X X X ) EXHIBITION

CULTURAL SERV.

^ x T / x X X y\ / ^

.^y ^y \y ' " ,-

_x X >x y XxWsT' x!/'X>C

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121

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DIRECT SECONDARY ^

TERTIARY ^

SPACIAL RELATIONS A-3 CULTURAL ADMINISTRATION

122

Space

Curator Office

Curator Workroom *

Collections Storage '

Assistant Curator •

Security Monitor Room

Photo Lab

Loading Dock

Trash Room

Janitor's Room

Toilet

Workshop

Office workroom ^

Total

SPACE SUMMARY

A-4 CULTURAL SERVICE (MUSEUM)

Number

1

1

1

1

1

1

1

1

1

1

1

1

Area

200 s.f.

450 s.f.

5,000 s.f.

120 s.f.

350 s.f.

360 s.f.

900 s.f.

100 s.f.

100 s.f.

120 s.f.

1,500 s.f.

120 s.f.

9,320 s.f.

A-4 CULTURAL SERVICE (MUSEUM)

FACILITY

Curator's Office

Curator's Workroom

Collections Storage

Assistant Curator

Security Monitor Room

Photo Lab

-

AREA

200 sf

450 sf

5,000 sf

120 sf

200 sf

360 sf

DESCRIPTION

Ceiling ht. 8*6", space well lit with wall shelving on one wall.

Large room with wide doors, high level of artificial lighting. Access to collec­tion storage. Good ventila­tion for clean air.

Bare large room, 15' ceiling ht. with artificial light­ing.

(same as Curator's office)

Artificial lighting, T.V. monitors and alarm console on one wall. No daylight required; 8'6" ceiling ht.

15'0" ceiling ht. Provide backdrop in space. Electri­cal power for operation of photo lights and equip­ment. Film developing room within space.

FUNCTION/USAGE

Office of the facility curator.

Used by the curators.

To store exhibits when not in use, or exhibits that just arrived.

Offoce of the Asst. Cur­ator

Used by Security service to prevent theft / emer­gency and fire protection for the cultural compon­ent

Processing of photo-gra-hic film and prints occurs within area. Head by staff in charge of art exhibits.

EQUIPMENT

Desks, chairs, files (as re­quired.

As required -Working equipment.

Stoarge racks and the use of dust covers.

1 desk, 2 chairs, files as required

1 desk, 3 chairs, T.V. monitor, communication equipment

Studio equipment. Darkroom equip­ment for develop­ing and printing. Also sinks, Selves and counters. I

ro CO

FACILITY

Loading Dock

Trash Room

Janitors Room

Toilets

Workshop

AREA

900 sf

100 sf

100 sf

1,500 sf

DESCRIPTION

Ceiling ht 15', above dock. Loading docks must be enclosed from visitors and directly related to service road.

Bare room

Bare room, with utility sink, floor drain and medium level artificial lighting.

(See Main Lobby Restroom)

15' ceiling ht. with durable floor, good ventilation and good artificial lighting. Natural lighting if pos­sible. Accessible to ser­vice entrance and trash room.

FUNCTION/USAGE

For protected and secure unloading of exhibits. Also to provide overnight security for loading truck.

Used as collection point for trash by janitorial staff.

Used by janitors for storage of maintenance equipment.

Self explanatory.

For construction display props, platform and other exhibition displays.

EQUIPMENT

Studio equipment. Darkroom equip­ment for develop­ing and printing. Also sinks, shelves and count­ers .

Lift truck, dock bumpers, storage for hand tools.

Mops, buckets, polisher and vacuum cleaner.

Power tools, work table, benches.

FACILITY

O f f i c e workroom

AREA

120 sf

DESCRIPTION

T y p i c a l o f f i c e room. C e i l i n g h t . 8 ' 6 " . View i n t o work­shop a r e a .

FUNCTION/USAGE

Used by c a r p e n t e r s , and o t h e r c o n s t r u c t i o n w o r k e r s .

EQUIPMENT

1 d e s k , 3 c h a i r s , s h e l v e s on one w a l l .

en

DIRECT SECONDARY

TERTIARY '®

SPACIAL RELATIONS A-4 CULTURAL SERVICE (MUSEUM)

II VISUAL ARTS COMPONENT

B-1 PUBLIC SERVICES

FACILITY

Lobby Extensions

Lounges

Bypass Loop

AREA

As need­ed

fie need­ed 350 sf

As need­ed

DESCRIPTION

Extensions of Cultural and Art Center lobbies.

Comfortable and relaxing with exterior view and natural light. (See details in lounge space.)

Acoustically treated sur­faces. Good artificial lighting. Emergency exit lighting—at least 10'-15' wide, 12' high ceiling.

FUNCTION/USAGE

Used to align and facili­tate visitor movement to the visual arts component and to other components.

To be located in various locations to relieve facility fatigue.

Used by visitors to by­pass visual art com­ponent. A hooking element to connect each component together.

EQUIPMENT

As needed - louncp furniture.

-J

128 IB

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DIRECT SECONDARY ^

TERTIARY ^

SPACIAL RELATIONS B-1 Public Service

129

Space

Lobby

Coat Room

Box Office

Snack Bar/Lounge

First Aid Room

Toilets (Men & Women)

Stage Manager

Performance Hall

SPACE SUMMARY

III ART CENTER COMPONENT

C-1 PERFORMING ART FACILITY

Number

1

1

1

1

1

2 X 360 s.f.

1

1

- Seating

- Projection Room

- Stage

Green Room

Dressing Rooms

Storage

Shop

Loading/Unloading

Staff Lounge

Janitorial

Trash Room

8 s.f. per seat (700 seats) 5.y

1

1

50 s.f./occupant x (4)

1

1

1

1

1

Area

1,000 s.f.

200 s.f.

200 s.f.

500 s.f.

200 s.f.

720 s.f.

180 s.f.

5,600 s.f.

200 s.f.

2,400 s.f.

400 s.f.

200 s.f.

1,000 s.f.

3,000 s.f.

1,800 s.f.

200 s.f.

100 s.f.

100 s.f.

Total 18,000 s.f.

r-r- ^

III ART CENTER COMPONENT

C-1 PERFORMING ART FACILITY

FACILITY

Ticket Booth & Office

Lobbies

Lounge Area & & Snack Bar

Coat Room

First Aid Room

AREA

50 sf

1,000 sf

4,000 sf

250 sf

200 sf

DESCRIPTION

Located in lobby areas. Four ticket windows along lobby wall are plexiglass for security reasons. 8'6" ceiling ht. Interior ma­terials are soft, light surfaces. Fluorescent over­head lights.

Provide on levels as re­quired. Daylight and arti­ficial lighting. Spacious comfortable space. Acousti­cally treated.

Comfortable, spacious area. Used for cultural interface. Concession area and counter.

Artificial lighting

Located on main level. Artificial lighting. Ceiling ht. 8'6".

FUNCTION/USAGE

Enclosed area for selling tickets to performances. The office is for book­keeping records relating to ticket sales. Used by 2 employees.

Access to performance facilities and for cul­tural interface.

Used for intermission gathering for drinks, etc May facilitate catered meals between perform­ances

Storage fo coats

Storage area. Adminis­ters first aid when necessary.

EQUIPMENT

Ticket booth counter with tic­ket dispenser stools for both attendants, offiB desk, chair, filing cabinet, floor safe.

As needed -lounge type seat­ing. Water foun­tains .

5 telephones, 300 lounge seating and cocktail tables

Lockers.

1 cabinet, 1 desk 3 chairs. Exam table.

o

FACILITY

Toilets (Men & Women)

Stage Manager

Green Room

Performance Hall and Stage

AREA

360 sf

180 sf

400 sf

8,000 sf 8 sf/ seat

DESCRIPTION

(See Main Lobby Restroom)

Typical office space, good artificial light located backstage.

Ceiling ht. 10'. Comfort­able material surface but easy to clean. Walls insu­lated to prevent sound in­trusion.

Use current state of the art acoustical design to give hall superior acoustical quality when in use. Soft artificial lighting con­trolled by dimmers. Adapt­able form. 300-700 seats to permit performance configu­rations. The stage designed for multiple use. Easily adaptable to various types of oroductions occurrinq.

FUNCTION/USAGE

Self explanatory. Designed to handle peak loading.

To arrange events details and as general office area.

Used by actors for com­posure.

Plays/Operas/Symphonic concerts. Generally used by performing artists of all types.

EQUIPMENT

Men: 15 urinals 9 wash basins 6 toilets Women: 15 toilets 15 wash basins.

1 desk. 3 chairs. shelving.

Seats with arm rest. Seating con­figurations flexible. Stage -2400 sf adjust­able.

OJ

A o -^r-u ^ -nw^QV

FACILITY

Projection Room

Dressing Room (4)

4 rehearsal/ practice room

Storage area

AREA

200 sf

200 sf 50 sf/ occupant

100 sf/ each

1,000 sf

DESCRIPTION

Wide but narrow window area stretches across width of room facing stage. Surfaces sound absorbant. Ceiling ht. 8'6".

Light comfortable material but easy to clean. Walls insulated to prevent sound intrusion. Dressing rooms for men and women.

Bare room with acoustical isolation and treatments to all surfaces. Variable intensity artificial lighting. No windows.

Bare Room

1

FUNCTION/USAGE

Control room for equip­ment to spotlight per­formances, show motion pictures, VR control am­plified sound levels. Also for light effects. Located directly rehind back wall of hall. Occupies 2-3 persons.

Room for primary actors to dress and apply make­up before a performance and to clean up after.

Used by performers to rehearse and practice prior to the shows.

To store theatrical equipments, platforms, and other stage equip­ments .

EQUIPMENT

Projection equip­ment, audio equipment, film storage.

Two triple mirrors lavatory, water closet, small shower.

Chairs, tables.

ro

.FACILITY

Shop

Loading/ Unloading

Staff Lounge

Janitor

Trash Room

AREA

2,500 sf

1,800 sf

200 sf

100 sf

100 sf

DESCRIPTION

15' high ceiling, good ven­tilation and good artificial and natural lighting.

Large work space with 15' ceiling ht. High level arti­ficial lighting, located away from traffic.

(See Lounge space.)

Bare room, ceiling ht 8'6" with sink

Bare Room

FUNCTION/USAGE

Used for constructing theatrical props, for painting and other scenery design.

For loading and unloading of performance equip­ments.

Used for informal plan­ning sessions, and meet­ings. Also used for lunch time.

Cleaning of the facility

Garbage disposal

EQUIPMENT

Power tools, work work surface, hand tools.

Lift truck, dock bumpers.

Tables and chairs. Sink and refrigerator.

mops, cleaners, buckets, brooms

Disposal bins.

TIC K ET BOOTH & OFFIC LOBBIES

LOUNGE/BAR AREA PERFORMANCE HALL

FIRST AID ROOM TOILETS

STAGE MANAGER GREEN ROOM

STAFF LOUNGF PROJECTION IRi^om DRESSMG ROOM

REHEARSAL ROOM STORAGE AREA

3H0P LOADING / UNLOADING

JANITOR TRASH ROOM COAT ROOM

ADMINISTRATION

DIRECT SECONDARY

TERTIARY

SPACIAL RELATIONS ( 3 ) ART CENTER COMPONENT C-1 PERFORMING ART FACILITY

135

SPACE SUMMARY

C-2 PERFORMING ARTS (ADMINISTRATION)

Space Number Area

Reception/Secretary 1 500 s.f.

Director's Office 1 180 s.f.

Secretary to Director 1 120 s.f.

Board Room 1 340 s.f.

Events Coordinator 1 120 s.f.

Public Relations Office 1 120 s.f.

Advertising Office 1 200 s.f.

Assistant Director 1 180 s.f.

Toilet 1 120 s.f.

Total 1,880 s.f.

r-T— \ . / ^ rv4 I I ^RAH :'

c - 2 PERFORMING ARTS (ADMINISTRATION)

FACILITY

Reception/ Secretary

Performing Art Director Space

Secretary to Director

Board Room

Events Coordi­nator

Public Relations Office

AREA

500 sf

180 sf

120 sf

340 sf

120 sf

120 sf

DESCRIPTION

Good artificial lighting. Natural light and view out if possible. Acoustically treated surfaces. Task lighting optional. Ceiling Ht. 8'6".

Typical office space. Ceiling at 8'6". (See Museum directors office.)

Typical office space. Ceiling ht 8'6"

(See Museum Board Room)

Typical office space. " Ceiling ht. 8'6".

Simple space. Ceiling ht 8*6". Near advertising office.

FUNCTION/USAGE

Used by secretary to service administrative needs. Also guest waiting for board room admittance

Office of Performing Arts Director.

Office of Secretary to Director

For staff meetings and other gatherings

Office of Events Coordi­nator

Used by Public Relations director as office space.

EQUIPMENT

Desks, chairs, file cabinets, 6 lounge type seat-int and tables.

1 desk, 3 chairs lounge chair

1 desk, 2 chairs file cabinets.

1 table 12 chairs

1 desk, 2 chairs, file cabinet

1 desk, 2 chairs file cabinet

FACILITY

Advertising Office

Toilets

Assistant Director

AREA

200 sf

120 sf

180 sf

DESCRIPTION

Good artificial light and natural light if possible. Pleasant room with con­tinuous tack space on wall. Ciling ht 8'6".

See Main Lobby Restrooms.

See Director's Office

FUNCTION/USAGE

Used to assist in public relations and in boosting attendance at events. Art work copy and ads written and designed.

Self explanatory. Used by administration staffs.

For the Performing Arts Director

EQUIPMENT

Drafting table, desk, chairs, file cabinet.

1 desk, 3 chairs

11; I n i • t ' tmmk md^

DIRECTORS OFFICE SECRETARY TO DIRECTOR

BOARD RM.

EVENTS COORDINATOR

13737

DIRECT SECONDARY

TERTIARY ^

>

SPACIAL RELATIONS C-2 Performing Arts (Administration)

138

Space

Lobby

Ticket Booth

Coat Room

SPACE SUMMARY

III ART CENTER COMPONENT

D-1 MEDIA CENTER FACILITY

Number

1

1

Publication Storage

Shipping/Receiving

Mail Room

Reception/Secretary

seminar Room

Program Director Office

Resource Storage/Office

Dark Room

1

1

2 (300 s.f.)

1

Graphic Lab

Auditorium

- Stage

- Projection Room

- Green Room

8 s.f./seat (500 seat)

1

1

1

- Dressing Rooms 50 s.f./occupant

Cinema Hall 8 s.f./seats (200 seat)

- projection Room

Toilets (Men & Women)

Total

2 X 360

Area

1,000 s.f.

200 s.f.

200 s.f.

400 s.f.

200 s.f.

100 s.f.

300 s.f.

600 s.f.

180 s.f.

360 s.f.

150 s.f.

300 s.f.

4,000 s.f.

1,500 s.f.

200 s.f.

300 s.f.

150 s.f.

1,600 s.f.

200 s.f.

720 s.f.

12,660 s.f.

nnvAc? Tr ni-i I I

III ART CENTER

D-1 MEDIA CENTER FACILITY

FACILITY

Program Director's Office

Secretary/ Reception

Auditorium

Cinema Hall

Projection Booth (2)

Box Office

Coat Room

AREA

180 sf

120 sf

4,000 sf

1,600 sf 8 sf/ seat

300 sf each

200 sf

200 sf

DESCRIPTION

Typical office layout. (See Museum Director's Office.)

(See Museum Reception area)

(See Performance Hall.) Ceiling height 50'-60'. With stage very flexible.

(See Performance Hall, for details.) Ceiling ht 30'.

(See Performance Hall Pro­jection Booth.)

(Same as Main Box Office.)

Bare Room with lockers. Artificial lighting.

FUNCTION/USAGE

Office of Program Director.

Secretarial work and waiting for 2 visitors

For visitors to watch concerts, plays or musi­cal acts. Also for lec­tures. Activities are usually at night and last for 2-3 hours.

For film watching, short films, feature films and children's films.

For projection of films or multimedia presenta­tions. Provision for special effects.

For selling tickets.

For storing coats.

EQUIPMENT

1 desk, 2 chairs

1 desk, 1 chair. 2 lounge chairs, file cabinet

500 seats with arm rests. Also catwalks in ceil­ing for lighting.

200 seats with arm rests.

2 chairs, pro­jection equip­ment, light equipment.

Counters.

Lockers.

FACILITY

Seminar Room (3)

Resource Storage/Office

Janitor

Toilets Men & Women

Lobby

Green Room

Dressing Room

AREA

300 sf

360 sf

100 sf

360 sf

1,000 si

300 sf

150 sf

DESCRIPTION

Simple space. Dim lighting. Ceiling 8'6" high.

Simple Office layout and storage space. 8'6" ceiling height. High level artifi­cial light.

Bare space with sink servioe

(See Main Lobby Restroom)

(See Main Lobby space)

(See Performing Arts Dressing Room). 50 sf/occu­pant .

FUNCTION/USAGE

For viewing slides, video, and other pro­jections. Used as an educational room. (Resource Room)

Used for storage of films, slides, video cas­settes, and other re­sources .

For cleaning up facility

Self explanatory

For intermission and waiting.

For actors to dress.

EQUIPMENT

T.V., slide pro­jector, screen.

Storage racks, file cabinet.

Cleaning equip­ment.

Lounge furniture

o

Program Director Off ice

^ficretary / Reception

Auditorium :inema Hail

Seminar Room Projection BOS^

Resource StQraq<>/Qff

i4]]mi

DIRECT SECONDARY *

TERTIARY

SPACIAL RELATIONS ( 3 ) ART CENTER

D-1 MULTI IMEDIA CENTER

142

SPACE SUMMARY

IV SHARED COMPONENT

Space

Communications

Operators

Toilets (Men & Women)

Staff Lounge

Security Service

Number

1

2 X 120

1

Area

350 s.f.

240 s.f.

200 s.f.

•Main Security Room

Security Locker Room

•Staff Lounge

Storage

•Toilets

Climate Control

Operators

Storage & Work Space

Maintenance

Shop

Storage

•Toilets

Auxiliary Service

Central Supply Room

Central Trash collection

Total

1

1

1

1

1

1

1

1

1

350 s.f.

300 s.f.

100 s.f.

200 s.f.

500 s.f.

300 s.f.

500 s.f.

1

1

4,040 s.f.

500 s.f

500 s.f

Space s with stars (•) are repeated.

»-r~ "vy A ri= ;HLiB

IV SHARED COMPONENT

E-1 COMMUNICATIONS

FACILITY

Operator's office

Toilets

Staff Lounge

AREA

350 sf

120 sf

200 sf

DESCRIPTION

High level of artificial light. 8'6" ceiling ht. Acoustically treated sur­faces.

(See Main Lobby Restroom)

(See Main Lobby)

FUNCTION/USAGE

For telephone operators, for calling. And call switching for complex.

Self explanatory. Used by all the staff of the shared component.

Used by all the staff of the shared component. For lunch time.

EQUIPMENT

4 chairs, 3 telephone operat­ors, consoles storage space.

Furniture -lounge.

» % -v X X X X X X

^ f i • T i n . ! ! • . • ! • — • - . ^ . » « . - . - » - r | I l i p i l ^ H I I I I I I ! yn

Operator Officf>

Toi lets

Staff Lounge __

144

Auxi l iary Serv.

Securi ty Services

Climate QimlxeJ Maintenance

DIRECT SECONDARY ^

TERTIARY <

SPACIAL RELATIONS ( 4 ) SHARED COMPONENT

E -1 COMMUNICATIONS

r t ixAS THCH L I B R A R Y

E-2 SECURITY SERVICES

FACILITY

Main Security Room

Security -Patrol Locker Room

Lounge

Storage

Toilets

AREA

350 sf

300 sf

200 sf

100 sf

DESCRIPTION

Adjustable lighting. Ceiling ht. 8'6". Acousti­cal treated surfaces. Security access door. T.V. monitors and alarm devices. Communication radio equip­ment, with a direct commu­nication link to city police station.

Simple space, with built in wall lockers. Artificial lighting.

(See Performing Art Staff Lounge)

Bare room with storage shelves. Natural and arti­ficial lighting

See Main Lobby Restroom

FUNCTION/USAGE

For security and fire monitoring purposes. Open 24 hrs daily.

Locker rooms for uniform changes and clean-up.

For staff meetings, breaks and lunch periods.

Storage of documents

Self explanatory.

EQUIPMENT

4 chairs, security monitors 3 alarm devices, 1 communication device, tele­phones.

20 lockers, 5 showers, 2 toi­lets, 1 urinal, 3 wash basins, benches.

5 tables, 20 chairs, lounge chairs, 1 refri­gerator, sink ard counter, storage 6 shelving.

Storage shelves.

en

- '—•*—^r- ' - ITCt ' .

JAaio—S^urity Rofiin . Stal l Ljuiiig£

ocker Room Toilets

Storage

Communication Climate Control

Maintenance Auxiliary Serv,

146

DIRECT SECONDARY ^

TERTIARY <

SPACIAL RELATIONS E' 2 Secur i ty Service

_x ^rjU

luiiHiiiHiiiiniviiunimuiiNHiiill

J C i - - ^ AS TECH LiBRAnV

E-l CLIMATE CONTROL

FACILITY

Operator

Mechanical Space

Storage/work space

AREA

200 sf

500 sf

DESCRIPTION

Simple space. Artificial lighting. Ceiling ht. 8'6". Central control console.

2 story height. High level artificial lighting. Con­tains the central heating and cooling equipment.

Bare room with wall shelves for tools. Artificial lighting. Ceiling ht. 8'6".

FUNCTION/USAGE

Operators - monitors, temperature, R.H. and equipment function, within the entire fa­cility.

To accommodate chillders, boilers, air handlers, and generator located outside the entire com­plex.

Used by technicians to work on small parts of system. Storage space for old and new parts, also for mechanical tools

EQUIPMENT

2 chairs, 2 desks monitoring equip­ment as needed.

Mechanical equipment. 1 desk, 1 chair, stand-by-gener­ator.

Work table and bench, shelves.

42

I Mtl IMi I l i l l I I I I H I

Itfilis. storage/ Work Spa^.^

Toilets Mechanical Room

Exhibit Augmentation Security Serv.

Maintenance

iliacy Secso.

148

DIRECT SECONDARY ^

TERTIARY ^

SPACIAL RELATIONS E-3 Climate Control

j ^ . ._:J

mm

r p v / c Tf CH LiBRAFry \

E-4 MAINTENANCE

FACILITY

Shop

Storage

Toilets

AREA

300 sf

500 sf

DESCRIPTION

Simple room for work. Artificial light. 15' ceiling height.

Bare room with artificial lighting.

(See Main Lobby Restroom)

FUNCTION/USAGE

Used by technicians for repair and storage, also by plumbers, elec­tricians and others.

For storage of various parts of equipment within the complex.

Self explanatory.

EQUIPMENT

Counter, work benches, 1 table, 4 chairs.

Shelves.

vo

X X X X X X X

• • • • • - — - . ~ . . - | p . W T . — - ^ - ^ -

—Shaa storage

Toi lets

JLbihlt Augmentation Security Serv, limaie ContrQi

Auxiliarv Ser¥.

150

DIRECT SECONDARY ^

TERTIARY ^

SPACIAL RELATIONS E ' 4 Maintenance

r nmm^niMHmHlimi |Utl»MJJIIUHIl^lWHMIIH»UBWUMHWUM«IWHWMUiHIMtIMllW7f

rnxAs TECH L IBRARY

E-5 AUXILIARY SERVICES

FACILITY

Central Supply Room

Central Trash Collection

Trans Compact­or space.

AREA

500 sf

500 sf

500 sf

DESCRIPTION

Bare room with shelves on wall. Space for attend­ant. Ceiling ht. 12* with artificial lighting.

Bare room. Artificial light with 12' ceiling ht. Easy access to garbage truck Adjacent to compactor space.

Adjacent to exterior.

FUNCTION/USAGE

Central storage and is­sue of supplies/equip­ment.

Trash collection.

For compacting trash.

EQUIPMENT

1 desk, 1 chair, file cabinet, shelves.

Storage barrels. Lift truck.

Trash Compactor.

O l

CENTRAL SUPPLY

CENTRAL TR

TRASH COMPACtgp

EXHIB IT AUGMgNTATIQ

SECURITY SERV.

CLIMATE CQNTRQI

M A I N T E N A N C E

152

DIRECT SECONDARY ^

TERTIARY ^

SPACIAL RELATIONS E - 5 A U X I L I A R Y S E R V I C E

Jv

T r r f i i i i • • ^ ^ ' i ^ ^ ^

< s UJ

cc o

u <

UI Q.

153

SYSTEMS PERFORMANCE CRITERIA

Lighting

The following are lighting recommendations from

Mechanical and Electrical Equipment for Buildings:

Spaces Min. Footcandles

Exhibition Spaces 30 Entrance Foyers 30 Restrooms 30 Meeting/Conference Rooms 30 Offices 50-70 Storage (active) 20 Storage (inactive) 1 Auditoriums (during performance) 1 Auditoriums (during intermissions) 5 Cinema Hall (during show) 1 Cinema Hall (after show) 5 Lobbies 20 Delivery/Service Areas 20 Restaurant 10 Kitchen 50-70 Stairs, Hallways 20 Outdoor Exhibition 5 Outside Pedestrian Areas 5 parking (underground) 20 parking (above grade) 1

An independent back-up fuel-powered generating plant

should be installed for occasional power failure.

All electrical systems should conform to the

applicable codes. Power supply outlets shall be generously

supplied and furnish only 240 v. power. The possibility of

future expansion of this facility should be putting into

account while designing the lighting systems, so that an

ample plan to have reserve capacity to handle future loads

resulting from expansion areas such as the auditorium,

performance hall and meeting rooms should have lights

15

controlled by dimmer switches to accommodate performances o

visual aids such as movies or slide shows.

Natural lighting should be used in the lobbies,

exhibition areas, and some offices. Shading techniques

should be employed, through to reduce direct glare inside

the areas.

Acoustics

The auditorium and performance hall are the primary

target for acoustical consideration. This includes meeting

rooms, conference rooms, and cinema halls, too. Particular

attention must be made to the layout and shape of the floor,

walls, ceiling, and seating arrangements in each of these

areas. There must be a correct mix and placement of hard,

sound-reflecting materials and soft sound absorbing

materials, so the surfaces of the floor, seats, sidewalks,

back wall, and ceiling should be determined carefully. The

following chart shows the optimum reverberation for

auditoriums and similar facilities.

iiac4<t^«'n

155

Source Design Data.

Time Saver Standards for Architectural

o^ o< o e o e 'O > z < * l a i a 2 0 2 2 ? * g e 20 30 32 3

u Si 3 I

0 * z

111 •

t z u u u a. M

I I I l l i i a M M M M M M * * * ! !

M l • I • I t

2 o * o .« o.« l O i.a i.« » • • • 2 0 » - * * * * • MCVCRBCRATION T I M E (SCCONOS)

2 • 3 O 3.2 3 «

lai

The following diagrams are typical arrange­

ments that are condusive to proper sound distribution

in meeting rooms, and auditoriums.

St*«p MWliWI HMMMUtVt •••4i«MC* •tt*ft««ti««

I miiJimmmAjm/RwinmJijHfnmm

^

Uttitarm 4iiatik^»*imm al eaHaatad MW«4 MM ha atmeead hy peapae aaiUm$ 4amfm

""'^"""-ilW'f.-f'*! -' f ^"'-tTi-Bi-T''"Bl V

Sound absorption is just as important if not

more important than sound reflection. Walls should

be properly constructed to prevent sound from es­

caping or intruding in an area. The following chart

f °n Architectural Graphic Standards shows the need

for sound absorption in various areas. It expresses

that most areas require a sound-absorbant ceiling

except auditoriums where the ce i l ing ref lects the

sound to all areas of the audience.

157

leSORPTlON IN COMMON O C C U P A N C I E S (1)

MNCY

(hufOMi trwanri. iKhiriMIt ndw. T.V. iiudiai. VMadi n

•wnury

Mp

vtma

bMMMM

Mm

mrn.mitwent'

mrootni

WWII roonw

I'trvwi roona

«

Minaitftao^

^woaitftoot

CK

r U L L

• •

• SiTWii

PAItTIAL | 2 |

•

• Ljrga

L iMa

N U C I I A N « C I 3 )

0.6(M).7S

• •

•

• •

•

• •

•

o v i f * 0.7S

•

•

•

•

•

•

WALL

•

•

•

•

S^CCIAL iSl

•

•

1 1

1

1 • • 1 • •

•

• •

I nn—uiiim "ml* of ittwinto r tfw UM of HBtorvoon «

^thaca»ian*ouktbavamaa^

It #wuM IM Mumad in tlw u a of ttiii tabta that mintf atonftomf tf—pwni ii net rweeif^

• har^ wwnd rtftacnng linnft ««ewM ba

X NOISC REDUCTION COEf^lCIENT: An anttt. of Mund ibaofpiion eoafficMna e<

raguancMB i3Sa 500. 1000. and 3000 Ht) ia caMad ma Hpm Madueiion CoaffiMnt

(NRC). Tha NRC »« a »9od maam of eo»no«fin9 tha partonnanca cnaractafistia ol timnar proouca.

4. Wall traatinant ia adviiaMa in aoeition to cait«n« traatmant lor tfta raduciion ol rallactiont. liuiiar. or acne. This traatmant will furmar rtouca noita and control ravatMration.

1 For hifNy oomptaa apeiwatiora. coniuU <n teou*-iieat(

A

15

Ventilation

All interior areas of the center will be properly air

conditioned and special consideration to ventilation will b*

given to take advantage of fairly good weather conditions

that stay all year round and areas with heavy smoking (such

as lobbies, restrooms, and meeting rooms). The temperature

and freshness of the air is important to areas such as

auditoriums to keep the audience comfortable throughout the

entire performance. The following are the required air

changes for various areas. The formula for air changes is

(60 X cfm/person) volume of the space.

Space No. of Air Changes per Hour

Main Lobby 1 Meeting/Conference rooms 7.5 Offices 1 Restrooms 3 Auditorium 2 Performance Hall 2 Cinema Hall 2 Lobbies 1 Restaurant 7.5 Kitchen 10 Exhibition space 1,5 Storage 1

Exits

Since the Festival Center is a public facility, exits

are very important in case of an emergency. The proper

amount of emergency exits must be carefully considered. All

public assembly areas are required to have a minimum of two

emergency exits other than the entrances/exits to the

facilities if there are more than 50 occupants. Office

in

<

<

(0 o o

161

Some of the activity areas should be open to air and

sun by the use of roof decks to enable people to enjoy

maximum effectiveness of fairly good weather.

The foundation system should either be a raft

foundation or pile foundation: this is due to the Nigerian

building code which specifies these foundations for

construction occurring in the area of my chosen site.

Theatre. The design of the interior of an auditorium

is very important to proper sound distribution.

Sources: Architectural Graphic standards. Time Saver

Standards for Building Types, and Time Saver

Standards for Architectural Design Data.

COST ESTIMATE ANALYSIS

PROJECT DEVELOPMENT COST ESTIMATE

Building Type (Museum)

161

miildinq System

Foundation Floors on Grade super Structure Roofing Exterior Walls partitions Wall Finishes Floor Finishes Ceiling F i n i s h e s conveying Systems Specialties Fixed Equipment Hyac Plumbing Electrical

"Average" $1 s . f .

2.28 2 .28

13 .49 2.28 8 .10 6.99 4 .15 4 .72 2 .35 0.0 0.48 1.18 8 .79 5.47 6.64

3.3 3.3

19.5 3.3

11.7 10.1

6.0 6.8 3.4 0.0 0.7 1.7

12.7 7.9 9.6

$ 6 9 . 2 0 100%

The bu i ld ing c o s t i s the p r i c e of the structure per

square foot = $69.20 sq. f t . construct ion w i l l be scheduled

to last 24 X lOOths - due t o fund a l l o c a t i o n .

Escalation at 0.5% per month = 24 months x 0.5% = 12%

Cost per square f o o t f o r 24 months = $ 6 9 . 2 0 / s q . f t . x 0.12 =

$8.00.

$69.20 + $8.00 = $77 .20

Gross square f e e t = 101,062 x $77.20

= $7,801,986 construct ion cost for 24

months

Source: 1984 Dodge c o n s t r u c t i o n System Costs.

c^

X a <

cc o

cB

g 5 o IL

1(

Cost Estimate

A. Building Cost $ 7,801,986 B. Fixed Equipment (8% of A) $ 624,159 C. Site Development (15% of A) $ 1,170,297

Parking Cost - $250 per car -460 cars - $250 x 460 $ 115,000

D. Total Construction (A+B+C) $ 9,711,442

E. Movable Equipment (8% of A) $ 624,159 F. Professional Fees (6% of D) $ 582,686 G. Contingencies (15% of D) $ 1,456,716 H. Administrative Costs (1% of D) $ 97,114

K. Total $12,472,117

Total Budget Required $12,472,117

Land - already owned by Federal Government.

Note: Dollar equivalence in Nigeria currency (Naira) is $5.00 to Nl.OO due to current devalued naira.

Budget in naira = N62,360,585.

Source: Problem Seeking: An Architectural Programmin Primer.

163

FOOTNOTES

l-'-^n ^^o^ ' '??^ '^^ ' '* ' L e o p o l d S. Senghor "Black C u l t u r e , jESTAC 7 7 / p g . 1 3 . '•'='

2. H- E. P r e s i d e n t Leopold s . Senghor, pg. 13 .

3. Roy W. Terry, " I t s H i s t o r i c a l Beginnings," Man in Africar pg. 16 .

4. Roy W. Terry , pg . 16.

5. Roy W. Terry, "Early History of Africa," Man in Africa, pg. 19. '

6. Roy W. Terry, "Peoples of Africa," Man in Africa, pg. 24.

7. Roy W. Terry, pg. 26.

8. Roy W. Terry, pg. 27.

9. Roy W. Terry, pg. 31.

10. Julius F. GlQck, "African Architecture," Peoples and Cultures of Africa, pg. 231.

11. Julius F. GlQck, pg. 231.

16

BIBLIOGRAPHY

Architectural Graphic Standards, Time Saver Standards for Building Types, and Time Saver Standards ^or Architectural Design Data.

Berry, Chester A. Arch. Graphic. Standards, UBC.

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