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International Journal of Scientific Research and Innovative Technology Vol. 6 No. 9; November 2019

IMPACT OF BUILDING MATERIALS ON ARCHITECTURAL

AESTHETICS

Omale Reuben Peters* and Olatunji Adesoji

Department of Architecture, School of Environmental Technology,

Federal University of Technology, Akure, Nigeria

[email protected]

Abstract

Architects designs rarely come to reality until their dreams end up being constructed and

brought to life. One prominent factor that helps in bringing architects dreams to reality is in

the use of building materials. Many building materials exist for construction, from earth

bricks, to sandcrete blocks, concrete, aluminium etc. Building materials have lasting effects

on the final form and visual quality of buildings depending on the type of materials employed

for such construction. In Nigeria however, research has shown that there is the use of generic

materials which have thus become overly repetitive resulting in drabby buildings appearance.

This outcome is mostly as a result of limited attention being paid into the aesthetic

capabilities of materials in this part of the world. Through a comparative literature review and

an examination of existing buildings with distinctive non-generic materials, this paper

elaborates on the need for architects in Nigeria to make informed usage of materials based on

aesthetic abilities and not just on the technical aspects thereof. Drawing inferences from local

and international case studies, it can be deduced that there is a need for architects to decide on

building materials for projects from the outset and work in synergy with other professionals

so as to develop newer and better ways that materials can enhance suitability, adaptive, and

sustainable buildings that have sufficient aesthetic appeal.

Keywords: Aesthetics, architects, building materials, designs, urban environments

1. INTRODUCTION

The pursuit of aesthetics, or beauty, has been one of man's oldest endeavors. This can be

readily observed in man's interaction with the immediate environment, and how in early times

man had always been able to create and appreciate beauty. Researchers agree that although

man’s earliest creations were both crude and utilitarian, but had a certain aesthetic appeal,

even by modern standards (Jennath and Nidhish, 2015). Nature has served as both case study

and tutor for man since prehistoric times; man’s tools were made from materials provided by

nature and aesthetic sense and responses were borne from its diverse patterns, colors and

configurations (Ulrich, 2006).

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ISSN: 2313-3759 www.ijsrit.com

The natural cave is unarguably man’s earliest residence. It served as dwelling for mankind's

first families, providing shelter, protection and a supportive framework for the first

civilizations to emerge (Fadamiro and Ogunsemi, 2008). The cave was made use of as it was

delivered by nature with no alterations on the part of man; except for the occasional cave

painting done within the interiors (Fadamiro and Ogunsemi, 2008). Increasing human

population coupled with climate changes caused mankind to expand territories, moving into

places with varied climates and developing house forms and materials suitable to each one,

all the while not losing touch with the aesthetic side of things (Jennath and Nidhish, 2015).

Vitruvius, identified aesthetics as an integral part of Architecture and recognized it to be a

result of well laid out dimensions and proportions according to the principles of symmetry

(Pazooki, 2011). Since Vitruvius' era however, a lot of changes have occurred in the field of

Architecture. One major proof of this being the fact that architectural aesthetics is no longer seen

solely as a function of dimensions and proportions but a combination of many factors (Liu and

Chuang, 2014). The building's overall form, colors, patterns among others contribute to an

individual's perception of beauty (Lodson, Obgegba, and Elinwa, 2018). Aesthetic response is an

aggregate assessment, biased either positively (e.g., beauty or attraction) or negatively (e.g.,

ugliness or repulsion) and not a nuanced multi-dimensional evaluation (Ulrich, 2006). This shows

that when it comes down to the basics, an individual's perception of beauty will be a direct

reflection of his ideology, experiences, backgrounds etc.

In this era, with increasing sophistication in building technology, newer and aesthetically-

pleasing building forms have been achieved through the use of building materials (Fadamiro

and Ogunsemi, 2008). Thus, architects and designers in regions with low technical ability

who want to achieve architectural aesthetics, as born of pleasing forms (usually made

possible by advanced building construction techniques) have to look elsewhere to achieve this

important aim of a good piece of architecture whilst avoiding the repetitive use of materials

(Rikko and Gwatau, 2011).

This research shall concern itself with architectural aesthetics going by the way of building

materials. Wastiels and Wouters (2009) believe that building materials, despite being one of

the many facets of judging a buildings performance, don’t often get the much-desired

attention in research and development.

1.1 STATEMENT OF THE PROBLEM

Within the chosen study area and a host of other locations within Nigeria, there is this general

drabness of the buildings which the residents in turn perceive as a dull and boring built

environment (Lodson, Obgegba, and Elinwa, 2018). This is mostly brought about by the

inadequacy of up to date technological knowhow which in turn informs the overall form of

the buildings. Spectacular and aesthetic forms can mostly be achieved through the use of up-

to-date technological tools (Duggal, 2008). This dour quality of buildings and city as a whole

has always been and will most likely remain so unless an effective solution is sought; usually

by way of building materials. While sufficient research has been carried out as regards

materials in architecture and design as a whole, the aesthetic aspects of materials have often

been overlooked, with more than required focus on the technical properties (Wastiels &

Wouters, 2009).

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1.2 AIMS AND OBJECTIVES

The aim of this study is to highlight the extent to which building materials used in

construction, impact architectural aesthetics and to emphasize the need for thorough material

selection during the design process. This research seeks to achieve the above aim through the

following objectives:

i. Identify and record all common building materials especially as regards form and façade,

ii. Examine the factors responsible for the material selection,

iii. Justify the need for these building materials through the use of case studies,

iv. Assess the perceived aesthetic impact of these building materials also via case studies

2.0 LITERATURE REVIEW

2.1 THE CONCEPT OF ARCHITECTURAL AESTHETICS

Some authors (Scruton (1979); Parker (1920); and Ulrich, 2006) have drawn comparisons between

aesthetics in architecture and in the other arts and seem to come to a common ground that

aesthetics in other arts is the ole end while in architecture; it is part of the total meaning.

Aesthetics in architecture, according to Ulrich (2006), is the immediate feeling evoked when

experiencing a building via the sensory system. Rikko and Gwatau (2011) quote Astrolabe

(2002) opinion that good architecture must satisfy a trinity of requirements in a user, which

are; physical needs (satisfactory body reaction of feeling), emotional needs (aesthetic and

psychological) and intellectual needs (logic, orderliness and flawlessness); hence the appeal

for architecture as being both art and science. This statement further helps to establish the

central role aesthetics play in architecture as an anthropocentric field of endeavor.

Ulrich (2006) opined that meaning in architecture is closely related to aesthetics. This

statement goes to show that aesthetics is the interface that links an observer with architecture

and the environment at large. The need for appealing aesthetics is thus seen in the fact that

boring and drabby environments can cause residents to feel disconnected and dysfunctional

(Smith 2003) as the influence of aesthetics on pleasure is important because happiness, in

turn, has numerous positive effects on human well-being (Lyubomirsky, King and Diener

2005).

Fadamiro and Ogunsemi (2008) identified aesthetics as one of the three fundamentals of

design, alongside the creative and technical aspects. According to (Jennath and Nidhish,

2015), aesthetic appeal of a building, in architecture, has a key concern and is generally

adjudged a subjective feature. Yet, it is common knowledge that some buildings are

appreciated worldwide, while some others are criticized. This phenomenon of universal

criticism or appraise, according to (Scruton, 1979), has always fascinated researchers.

Aesthetics is one of the markers of assessing a building’s success (Scruton, 1979). The

aesthetic value of any piece of architecture is mostly always preconditioned by functionality

(Kászonyi, 1981). From the viewpoint of design and conception, aesthetics in architecture is

heavily linked to artistic creativity on the part of the designers (Omale and Ogunmakinde,

2018). Aesthetics is the aspect of architecture that is directly linked and connected to human

experience (Pazooki, 2011). It is very obvious that aesthetics is the lens through which users can

get to experience architecture; in a way similar to the user interface of modern technological

gadgets.

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Rapoport (1969) wrote extensively on the impact of symbolism on architecture with respect

to the selection of materials, building configuration and aesthetics. (Scruton, 1979) also

shared views on aesthetic value of a building not been understood independently of its utility;

further advancing the theory that architecture is the antithesis of sculpture. Some authors

(Scruton, 1979, Kászonyi and Ulrich, 2006) are of the opinion that a building’s aesthetics

cannot be separated from its function and the conception of what that particular building

should be. In the perception of the beauty of a human form, for example it is always

conditioned by conception of how a human form should look like; hence the often

controversial but logical ‘double standards’ of judging the male and the female form.

In contrast, Parker (1920) observed that the abstract beauty of architecture can be understood

without any knowledge of the purpose of buildings. In Parker’s view, a Hindu who knows

nothing of European civilization may fail to be positively responsive to the Notre Dame, any

more than an European can fail to admire the beauty of the Taj Mahal. This analogy, however

seems to function only on the large scale (often involving monuments) and even then the

symbolic significance is usually lost on the external observer at first sight (Ulrich, 2006 &

(Tekel, Akbarishahabi, Yildirim, and Bande, 2016). On the other hand, aesthetics, like

ideology, provides a culturally specific way of knowing the world, and as such “offers to the

participants in a society a model upon which they may (and by implication should) base their

beliefs, their behavior and their characters” (Tekel et al., 2016). In a more general sense,

aesthetics as a philosophy refers to the study of sensory values. This means the judgment or

evaluation by the senses and through time has come to refer to critical or philosophical

thought about art, culture and or nature.

2.2 ARCHITECTURE AND MATERIALS

In a manner similar to that of sculptors, architects create new spaces making use of materials

to bring conceptions to life. Kászonyi (1981) and (Mishra and Daas, 2014) suggested that

material is the most general concept in philosophy. This implies that the bulk of inquiry into

the nature of concepts (of which architecture is one) revolves around the subject of

materialness. Philosophers such as Engels are of the opinion that the summation of all

consciousness is based on materialness and not on mere existence (Kászonyi 1981). (Duggal,

2008) asserted that although the most important use of materials is in construction activities,

no field of architecture and engineering is conceivable without material use.

Man makes use of materials in shaping the environment which in turn shapes man (Kászonyi,

1981). Man is always projecting nature and ideals onto the materials being used; by way of

choosing the materials that are of symbolic value. The relationship between man and

materials is symbiotic in nature; it is either beneficial or detrimental to both (Mishra and

Daas, 2014). Materials exist objectively (irrespective of an external observer) and building

materials are fundamental to the shape (Kászonyi 1981). This statement is echoed by Wastiels

and Wouters (2009) opinion that building materials are the tools for bringing the architect’s

idea to life. Materials even possess the visual and sensory essence and memory of man’s

progenitors (Kászonyi 1981). This expands on the well-known idea that technologies and

materials alike are passed from one generation to the other since mankind’s first progenitors,


with paradigm changes birthing newer and newer epochs. Rapoport (1969) gave examples of

different cultures drastically changing their way of life which in turn affects their building

materials e.g. when the Cheyenne Indians of North America acquired horses giving up an

agrarian lifestyle for hunting, their building materials changed from rocks and stones to fabrics

for making tents.

Works, such as those by MVRDV, Tadao Ando, Kengo Kuma, Herzog and de Meuron, Zaha

Hadid, explicitly show that the choice of materials used do not only determine what can be

built but also the building’s overall character spaces (Wastiels and Wouters, 2009). The

above named architects and architecture firms are able to execute their architectural visions

strictly with the aid of materials. Tadao Ando for instance creates masterful pieces making

use of special mixes of concrete; Kengo Kuma, in continuing with the Japanese traditional

aesthetics weaves wood into livable spaces; Zaha Hadid is noted for making use of composite

materials (such as glass-fibre reinforced concrete) in her works; Herzog and de Meuron are

known for their creative and intuitive use of materials to weave reductivist and parametric

spaces alike.

Materials clearly influence the user’s perception of the spaces (Wastiels and Wouters, 2009). This

signifies that architects do not design spaces for utility purposes alone, but also with user

experience and emotions in view. It is a well-known fact that different materials possess

different emotive characteristics. Plates 1-4 below are examples of architectural forms and

aesthetic building character and compositions that can be achieved by use of different

building materials during construction.

Plates 1- 4: Achieving distinct forms and aesthetic compositions through various building

materials in architecture (concrete, wood, metals, and composite concrete) Source: ArchDaily.com, 2012

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2.3 FACTORS CONSIDERED IN SELECTING BUILDING MATERIALS

Materials selection is a very complex process (Wastiels and Wouters, 2009). It is not just

about choosing the strongest or cheapest materials (which is logical from the technical

standpoint). This goes to say that since each piece of architecture is unique, specific users in

specific buildings in specific locations will react to the materials used differently. While

technical considerations take a central place in architecture, the selection of building

materials also involves careful thought on factors such as appearance and sensory behavior,

availability, technical know-how, structural formations and behavioral properties and nature

of the materials (Wastiels and Wouters, 2009). Duggal (2008) identified three major factors

affecting the selection of building materials. i. Climatic background - Obviously, different

materials and forms of construction have developed in different parts of the world as a result

of climatic differences. Another factor is the economic aspect of the choice of materials. The

rapid advancement of construction methods, the increasing introduction of mechanical tools

and plants, and changes in the organisation of the building industry may appreciably

influence the choice of materials (Fadamiro and Ogunsemi, 2008). Wastiels and Wouters

(2009) had an improved view of Duggal (2008), by identifying the factors involved in the

selection of building materials as: material properties, experience, manufacturing process, and

context.

2.4 BUILDING MATERIALS AND AESTHETICS

Idi and Khaidzir (2015) asserted that material is an essential component of artistic creation.

Aesthetically speaking, material is a medium with visual & sensory form that helps to record

the creation of architects and designers. Different architects achieve aesthetics unique to their

architectural and artistic vision through the use of different materials. For example, some

architects favor the use of metals (e.g. Frank Gehry), some timber (e.g. Kengo Kuma), yet

some concrete (e.g. Tadao Ando). Wastiels and Wouters (2009) affirm that building materials

are one of the facets of any architecture project imbuing it with character. Kászonyi (1981)

opine that a form is good and aesthetically appealing if it is in perfect harmony with the inner

regularities of the material, discloses the natural beauty of the material, and does not deceive

but exhibits forces and reactions. Kászonyi (1981) further explain that aesthetic analysis of

materials point out two fundamental factors from the aspect of construction: particulars (inner

structure, color, texture etc.) and decision over the structure (strength, physical

characteristics). A contrast is given of steel being dominant in structure due to its workability

and strength while timber, glass and plastics are preferred more for facades or general

lightweight construction (Idi and Khaidzir, 2015).

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2.5 Smart Materials

The term smart materials, intelligent materials, active materials or adaptive materials,

describe a group of material system with unique properties (Duggal, 2008). Generally these

materials respond with a change in shape upon application of externally applied driving

forces. In addition some material systems do not exhibit a shape change but rather have other

significant properties such as being color-changing, self-cleaning, photo-reactive, memory-

possessing etc. (Duggal, 2008). Consequently, the term smart materials is not very well

defined and frequently used to describe different systems and their behaviors. Other examples

of smart materials that are presently being used in practical situations include transparent

wood, light-generating concrete, biodegradable furniture to mention but a few (Uribe, 2016).

Research, however is still ongoing as regards smart materials towards the making and use of

newer and better materials in the construction industry.

3.0 RESEARCH METHOD

3.1 CASE STUDIES

Case study approach was used as the method of enquiry for this study. Case studies are viable

ways to conduct qualitative studies (Creswell, 2009). The case studies used within this study

were designed to cover two local and two international examples. The case studies were

selected for their creative use of the inherent properties of materials to create visual

appeal/aesthetics in edifices both on a small and a large scale. Based on earlier literature and

referenced studies, a set of visual aesthetic judgment parameters of maximum significance on

building form were selected based on Wastiels and Wouters (2009) studies, the parameters

for adjudging a building’s aesthetic value include:

i. Shape or Geometry which defines the form’s silhouette.

ii. Composition of architectural elements which defines the form’s complexity.

iii. Material Usage which defines the form’s texture, age and structural character.

iv. Color which defines the intensity of façade finishes, level of cleanliness and the theme

of building’s setting.

v. Functional character which defines the expected functional quality of the interior space

The fifth point can only be possible when the buildings spaces are experienced firsthand, but

the first four factors can be adjudged by just seeing the buildings without necessarily

experiencing the functions.

The focus of this research however shall be the effects of building materials on aesthetic

perceptions. In the integrated framework four themes of material selection considerations

were identified (Wastiels and Wouters, 2009). The four case studies selected for this research

are listed below:

i. Chief Bode Akindele School of Management Technology Building, Akure, Nigeri

ii. The Dome International Events Centre and Glass Hall, Akure, Nigeria

iii. Asakusa Culture and Tourism Centre, Tokyo, Japan

iv. Heydar Aliyev Cultural Centre, Baku, Azerbaijan.


3.1.1 CHIEF BODE AKINDELE SCHOOL OF MANAGEMENT TECHNOLOGY

BUILDING, AKURE

The Chief Bode Akindele School of Management Technology building is located at the

Obanla main campus of the Federal University of Technology Akure Campus. It was

commissioned in 2012. The structure houses departments under the School of Management

Technology: the departments of project management, transport management and

entrepreneurship management to mention a few. The structure is being studied for its creative

use of space, materials and unique forms compared to most buildings on campus.

3.1.2 Building Materials Used

The building materials used include reinforced concrete, hollow sandcrete blocks, timber panels,

laterite brick facing, fully vitrified clay tiles and danpalon panels. The frame structure of the

building was achieved through the use of reinforced concrete (R.C) and 225mm sandcrete block

walls. The R.C design enable the building to cover relatively large spans especially at the

entrance and the atrium. The atrium is of exposed steel truss system (painted black to prevent

deterioration and improve aesthetics) covered with danpalon panels to introduce sky lighting (see

plate 6). Electrical works covered with plywood with an off-white paint finish. All floors within

the building are of fully vitrified clay tiles. The building’s exterior façade involved the heavy but

coherent usage of laterite brick facing finish amidst emulsion painted wall finish.

The overall massing of the buildings forms (where emphasis plays a major role) coupled with the

careful and coordinated use of materials all serve to achieve the great aesthetic appeal that the

Chief Bode Akindele School of Management Technology is known for on campus as shown on

plate 5.

Plate 5: Front view of the building showing the massing of forms and the materials used

(Author’s field work 2019).

International Journal of Scientific R

Plate 6: Atrium showing

Sou

Plate 7: Seating area of the atri

application

Sou

Research and Innovative Technology Vol. 6 No. 9; N

g exposed steel trusses and danpalon panels cove

urce: (Author’s field work 2019).

ium showing the floor tiles used (Note the color

n using contrast, clarity and cleanliness)

urce: (Author’s field work 2019)

November 2019

ering.

choices and

ISSN: 2313-3759

Plate 8: Fairly large spans cove

facing bric

3.1.2 THE DOME INTERNAT

CENTRE, ALAGBAKA, AKU

The Dome International Event

The Dome Event Space is situate

built in a drive to push the sta

especially going into the future

service bar area, full warming kit

contemporary fine art décor, whi

Plate 9: Pictorial map

w

ered at the entrance using R.C construction finis

cks. Source: (Author’s field work 2019).

TIONAL EVENT CENTRE AND GLASS HA

URE.

t Centre

ed in Alagbaka, Akure, the capital city of Ondo

ate into a more technological stance among it

e. Rental features of the building includes: 350

itchen, full sound system and iPod/mp3 player d

ich includes set up and break down (Johnson, 20

of the buildings’ location. Source: (Google Map

www.ijsrit.com

shed laterite

ALL EVENT

o State. It was

s peers, most

00 sq. ft. full-

dock, beautiful

016)

ps).


The ripple effect of this centre, whose conception started in 2010, is the new wave of urban

renewal activities in the city. For instance, the location of Shoprite in Akure was said to have

been influenced by its proximity to The Dome complex (vanguardngr.com, 2016). The Dome

international Event Centre has a capacity of up to 5,000 guests and three events

simultaneously in its main auditoriums and it also offers its gallery as a solution for smaller-

scale events (including a reception space for big events). There is a fine array of original fine

art and fine furnishings displayed in vignettes, creating a warm mood and atmosphere for all

in attendance (vanguardngr.com, 2016).

Plate 10: The dome during construction (Nairaland.com).

Plate 11: Cobble-stone facing used on the steps into the podium of the geodesic domes are

covered using ETFE (Nairaland.com).

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Plate 12: Finished domes wi

Materials used in The Dome p

blocks, R.C, steel, aluminium a

appears to be as a result of the co

The Glass Hall Event Centre

Plate 13: Front view of The G

The Glass Hall Event Centre, loca

piece of architecture, at least in th

monetary value, the architectura

enormous (pulse.ng, 2017).

w

ith good landscaping surrounding them (Nairala

project include but not limited to; ETFE, holl

and glass. The outstanding aesthetic appeal o

oherent use of the various materials involved in c

Glass Hall Event Centre, Akure (schoolofestate.c

ated within the 36.05 ha The Dome complex, is a r

his part of the world. With over N10 billion inve

al and economic ramifications of the building

www.ijsrit.com

and.com).

low sandcrete

of The Dome

construction.

com, 2018).

ather daring

estment in

g are certainly

International Journal of Scientific R

The Glass Hall Event Centre wa

Besides, it consists of two galler

and the other with a 420- sitting

park that can accommodate 1,00

detectors, sprinklers and toilet fa

2018). When fully operational, t

monthly from hall rentals alone

revenue (ogavenue.com.ng, 201

Centre is bringing about a dom

improved amenities (vanguardng

Plate 14: the cantilevered roof of

wa

Plate 15: showing th

The Glass Hall Event Centre w

cement works. Plastic cladding

façade (guardian.ng, 2017). Als

possible only by the materials us

Research and Innovative Technology Vol. 6 No. 9; N

as designed and built by Messrs Groupo System

ries, with the bigger gallery having a capacity o

g capacity; large screen for multi-media purpo

00 vehicles at a time; fire-fighting equipment, s

acilities are installed at strategic locations (ogav

the centre is expected to generate an average of

e, this is outside the use of other facilities tha

18). Like The Dome project before it, the Glas

mino effect by way of better infrastructure p

gr.com, 2016).

f The Glass Hall Event Centre before the alumin

as done (Nairaland.com, 2017).

he building under construction (Core TV, 2016)

was built of combined steel and glass materia

of different shades of brown and yellow were

so, the aesthetic appeal of the overhanging ro

sed: steel trusses and aluminium cladding.

November 2019

mso of Spain.

of over 2, 000

oses and a car

such as smoke

venue.com.ng,

f N45 million

at will attract

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provision and

nium cladding

.

als, with little

e used on the

oof was made


3.1.3 ASAKUSA CULTURE AND TOURISM CENTER, TAITO, TOKYO, JAPAN

Plate 16: Street view of the building within the city scape (ArchDaily, 2018).

The Asakusa Culture and Tourism Centre is located on a corner lot of just 326m2 across

Kaminari-mon Gate, Tokyo, Japan. The building, designed by Kengo Kuma and associates,

was required to accommodate plural programs such as tourist information center, conference

room, multi-purpose hall and an exhibition space (ArchDaily, 2018). The center, adapting

ancient Japanese principles of form and design and materials selection, extends Asakusa’s

lively neighborhood vertically and piles up roofs that wrap different activities underneath,

creating a “new section” which had not existed in conventional layered architecture

(ArchDaily, 2018). Equipment are stored in the diagonally shaped spaces born between the

roof and the floor, and by this treatment large air volume could be secured despite its average

height for high-and medium-rise buildings. Furthermore, the roofs not only divide the

structure into 8 one-storied houses, but also determine the role of each floor. First and second

floor has an atrium and in-door stairs, creating a sequence from which you can feel the slope

of the two roofs (ArchDaily, 2018).


Plate 17: Entrance hall and reception area highlighting the creative blend of steel, wood and

glass; wood being the centre of attraction (ArchDaily, 2018).

A terraced floor was set up on the 6th floor with which the entire room can function as a

theater. As angles of the roofs inclined toward the street and the heights from the ground vary

from floor to floor, each floor relates differently to the outside, giving a unique character to

each space (ArchDaily, 2018).

3.1.4 HEYDAR ALIYEV CULTURAL CENTRE, BAKU, AZERBAIJAN. Background

Information

The Heydar Aliyev Cultural Centre is both an architectural marvel and historical statement.

As part of the former Soviet Union, the urbanism and architecture of Baku, the capital of

Azerbaijan on the Western coast of the Caspian Sea, was heavily influenced by the planning

of an era immediately following the country’s independence on the wave of the collapse of

the Soviet Union in 1991 (ArchDaily, 2018). Azerbaijan has invested heavily in modernising

and developing Baku’s infrastructure and architecture, departing from its legacy of normative

Soviet Modernism.

Zaha Hadid Architects was appointed as design architects of the Heydar Aliyev Center

following a competition in (Heydar Aliyev Cultural Centre, 2013). The Center, designed to

become the primary building for the nation’s cultural programs, breaks from the rigid and

often monumental Soviet architecture that is so prevalent in Baku, aspiring instead to express

the sensibilities of Azeri culture and the optimism of a nation that looks to the future

(WikiArquitectura, 2013).


Plates 18: Front view of the building. The graceful curves were achieved strictly with a space

frame and composite materials (Heydar Aliyev Cultural Centre, 2013)

Materials Used and Geometry

The single most critical yet challenging elements of the project was the architectural

development of the building’s skin (Heydar Aliyev Cultural Centre, 2013) Our ambition to

achieve a surface so continuous that it appears homogenous, required a broad range of

different functions, construction logics and technical systems had to be brought together and

integrated into the building’s envelope (WikiArquitectura, 2013).

The Heydar Aliyev Center principally consists of two collaborating systems: a concrete

structure combined with a space frame system. In order to achieve large-scale column-free

spaces that allow the visitor to experience the fluidity of the interior, vertical structural

elements are absorbed by the envelope and curtain wall system (WikiArquitectura, 2013).

The particular surface geometry fosters unconventional structural solutions, such as the

introduction of curved ‘boot columns’ to achieve the inverse peel of the surface from the

ground to the West of the building, and the ‘dovetail’ tapering of the cantilever beams that

support the building envelope to the East of the site (Heydar Aliyev Cultural Centre, 2013).


Plate 19: The building during construction making use of steel space frame and R.C (Heydar

Aliyev Cultural Centre, 2013).

The space frame system enabled the construction of a free-form structure and saved significant

time throughout the construction process, while the substructure was developed to incorporate a

flexible relationship between the rigid grid of the space frame and the free-formed exterior

cladding seams (Heydar Aliyev Cultural Centre, 2013). These seams were derived from a

process of rationalizing the complex geometry, usage, and aesthetics of the project. Glass

Fibre Reinforced Concrete (GFRC) and Glass Fibre Reinforced Polyester (GFRP) were

chosen as ideal cladding materials, as they allow for the powerful plasticity of the building’s

design while responding to very different functional demands related to a variety of

situations: plaza, transitional zones and envelope (WikiArquitectura, 2013).

Plate 20: Gilded cladding material used in the interiors (Heydar Aliyev Cultural Centre,

2013).


Plates 21: Sinuous curves of the interior achieved with R.C, GFRC and the glazing system of

the façade.

4.0 FINDINGS AND DISCUSSIONS

4.1 CASE STUDY ONE: CHIEF BODE AKINDELE SCHOOL OF MANAGEMENT

TECHNOLOGY BUILDING.

General Material Overview

The Chief Bode Akindele School of Management Technology building made use of a

number of materials such as reinforced concrete, steel, glass, danpalon panels, vitrified clay

floor tiles, paint but it is the laterite brick facing on the façade that best defines the aesthetic

appeal for which the building is known for on campus.

Reinforced concrete allowed for considerable horizontality to be achieved. This was

done in a unified manner and is easily perceived in the structural and aesthetic aspects of the

building. Exposed steel trusses in the atrium support the curved opaque danpalon panels

allowing daylight to stream in ushering in a sense of wellbeing. White PVC gypsum ceiling

material at the entrance foyer helped convey a feeling of loftiness.

The red brick facing, being the dominant façade material, was applied to better define

the form and massing of the building and this was done so masterfully. The dark brown color

of the red brick facing coupled with the dominant off-white paint finish helped create an

organic color scheme that agrees well with the building.

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Table 1. Summary of materials used and their properties in order of visual dominance, with

notes on the perceived impact on the building’s aesthetic appeal.

S/N MATERIALS PROPERTIES AESTHETIC IMPACT

1. Brick Facing • Dimension:150×75×15mm The horizontality of the brick tiles

• Colour: Dark Brown itself helped to accentuate the

• Good Thermal Absorption building’s scale and proportion. The

• High Durability dark brown colour gives a suitable

• Good Fire Resistivity organic appearance to the building.

2. Reinforced • High Durability Allowed for structural and visual

Concrete • Responsive to a wide balance, resulting in a wholesome

range of finishes and unified design. This ensures that

• Considerable Tensile the building stands out among others

strength on FUTA campus.

3. Steel Trusses Hollow steel truss of the The steel truss is coated with a

Bowstring variety durable black pigment to prevent

corrosion and to contrast with the

dominant off-white paint render.

4. Danpalon • Translucent Allow a consistent stream of natural

panels • Good Heat Conductivity light into the building ensuring that

the atrium and the rest of the building

have sufficient day lighting. This

creates a sense of well-being for

occupants of the building and

interaction with nature as well

5. Vitrified Clay • Glossy finish The floor tiles glossy finish is as

Tiles • Good Heat Conductivity practical as it is aesthetic. It also

• High Durability stands in stark contrast to the dark

brown of the brick wall cladding and

other elements like the dark brown

color doors.

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4.2 CASE STUDY TWO: THE DOME INTERNATIONAL EVENT CENTRE AND

GLASS HALL EVENT CENTRE, ALAGBAKA, AKURE.


A variety of building materials were used in the construction of The Dome Event Centre; the

dominant ones being reinforced concrete, (ethylenetetrafluoroethylene) ETFE, glass, stone

facing, vitrified floor tiles. The defining material for The Dome are the hollow steel

components of the geodesic dome and the ETFE roof covering; as these two combine to give

the building its definitive form and overall aesthetic appeal. The dominant materials at the Glass

Hall Event Centre are steel, glass and Aluco panels. The steel was used to create a cantilevered roof

system that seems to defy gravity. The glazing system was also a bold structural and aesthetic

statement as it offers a visual watershed between the exterior and the interiors.

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Table 2. Summary of materials used in order of visual dominance with notes on the perceived

impact on the buildings’ overall aesthetic appeal. S/N MATERIALS PROPERTIES AESTHETIC IMPACT

1. Steel • High Durability The cantilevered truss system of the

• Highly Ductile Glass Hall creates an interesting visual

• High tensile strength appeal. The geodesic frame system of

• Highly Versatile the Dome is also made possible by the

use of hollow steel components that are

light yet structurally stable.

2.ETFE roof • High Durability ETFE is highly transparent to light

covering • Highly Ductile from the whole visible light spectrum

allowing large amounts of natural light

into the building (without glare) and

creating a bright and open space that

can emulate the outdoors’ unified

design. Thus solving lighting issues and

exuding aesthetic appeal with ease.

3.Aluco panels • Weather Resistant Aluco panels as used in The Dome

• Good Heat Conductivity helped to keep up with the austere

• Glossy finish color scheme (light gray panels to

• Availability in a wide achieve visual balance with the

variety of colour dominant white of the ETFE covering).

In the Glass Hall, orange and yellow

panels were employed to contrast with

the transparency or translucency of the

dominant

glazing system.

4.Glass • Highly Brittle Glass was extensively used in the

• Fairly versatile Glass Hall as evident in the large

•Available in a wide glazing system. The event centre made

range of colors and use of clear fast glass offering a view

panel shapes and sizes

into the majestic interiors. This allows for visual

impact within and without the building for

internal & external viewing

5.Vitrified Clay • Weather Resistant Floor tiles with exquisite patterns on

Tiles • Good Heat Conductivity the interior has great aesthetic appeal

• Glossy finish on buildings. They also efficiently

• Availability in a wide reduce heat gains into the building

variety of colours and

• Wear resistant

resulting in a cool and relaxed

atmosphere. Color varieties help in

complimenting/contrasting other colored

building elements resulting in high visual

impacts

6.Stone Tiling • Weather Resistant Used on the entrance steps onto the

• Great Heat Conductivity platform of the Dome; it helps to

• Rough cut finish convey a sense of stability all the while

being in unison with the overall color

palette of the building. The rough cut surfaces

create great visual texture that is pleasurable to

the eyes.

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4.3 CASE STUDY THREE: ASAKUSA CULTURE AND TOURISM CENTER,

TAITO, TOKYO, JAPAN


The Asakusa Culture and Tourism Centre is yet another glorious example of innovative use

of materials in architecture. The edifice so deftly merges the old and the epoch of Japanese

architecture with a design that reflects the past all the while elucidating modern design

sensibilities. The dominant building materials are timber, glass and steel as evident in the

unified, stacked exteriors and the exquisite and minimal interiors. The design, by renowned

architect Kengo Kuma, made explicit use of timber on both the façade and the interiors in a

way that echoes traditional Japanese architecture. The timber (cedarwood) as used on the

exterior, serves as vertical shading device that rhythmically downplays the building’s visual

dominance within the neighborhood all the while resulting in an interesting façade. In the

interiors, oak flooring, custom-made timber furniture, timber panel walls all combine to

create a serene interior environment for visitors.

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Table 3. Summary the materials used in order of visual dominance with notes on the

perceived impact on the building’s overall aesthetic appeal.

S/N MATERIALS PROPERTIES NOTES ON AESTHETIC IMPACT

1. Timber • Readily available Cedarwood used on the exterior is a

• Great sound absorption stong and vibrant building material.

• Thermal insulator The rhythmic spacing of the vertical

• Shock absorbing element creates a very unique façade

• Fairly versatile causing the building to stand out within

• Responsive to a wide the neighbourhood.

range of treatment to On the interiors however, oakwood

enhance its strength , flooring and timber wall paneling were

durability and used to give an organic outlook to the

appearance interiors. On the façade too, lacquered

composite timber conceals piping and

other mechanical works. The dominant

black colour on the exterior contrasts

beautifully with the organic look of

cedarwood and the transparency of

glass. This has great visual impact on

observers

2. Reinforced • High Durability The ‘stacking’ evident in the building’s

Concrete • Considerable Tensile overall form is made possible by

strength reinforced concrete. The result is what

looks like a stack of seven buildings

• Responsive to a wide one atop the other with great visual

range of finishes impact.

3. Glass • Highly Brittle The glazing system while positioned to

• Fairly versatile reduce heat gain (a brilliant technical

• Available in a wide consideration) also offers exquisite

range of colours and views to various landmarks around the

panel shapes and sizes cultural centre combined with the

aesthetic appeal it has on a viewer on

the exterior. Glass was also used to a

great extent in making the stairs’

balustrades and barriers on the

building’s observation decks.

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4.4 CASE STUDY FOUR: HEYDAR ALIYEV CULTURAL CENTRE, BAKU,

AZERBAIJAN


The Heydar Aliyev Cultural Centre can be referred to as the most daring piece of

Architecture in the 21st

Century. With graceful, free flowing forms reminiscent of water

waves; the edifice is truly a beauty to behold. Beyond the audacious design however came the

technical considerations of what materials are best to create the sinuous curves of the exterior

and the sublime aesthetics of the interior. Steel, concrete, glass and glassfibre-reinforced

concrete (a composite material) were the major materials required to execute the above-stated

quest. All three combined as structure and cladding, on the exterior, helped to create the

graceful curves for which the building is famously known for.

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Table 4. Summary of the materials used in order of visual dominance with notes on the

perceived impact on the building’s overall aesthetic appeal S/N MATERIALS PROPERTIES AESTHETIC IMPACT

1. Steel • High Durability Steel, noted for its high tensile strength

• Highly Ductile and ductility enables the building warp

• High tensile strength and defy the norms of modern

• Highly Versatile construction through an intricate steel

space frame system.

2. Reinforced • High Durability Reinforced concrete is well-known for

Concrete its workability and yield strength. In

• Considerable Tensile conjunction with the steel framework

strength

of the exterior, R.C skillfully creates

graceful

• Responsive to a wide entrance interior spaces within the

range of finishes

Building that gives users a feeling of

warm welcome

3. Glass • Highly Brittle Glazing on the approach façade was

• Fairly versatile both an aesthetic and an allegorical

• Available in a wide statement. It reflects the neighbourhood

range of colours and while also balancing with the structure

panel shapes and sizes (the lightness of glass compared to the

weight of the steel and reinforced

concrete)

4. Glassfibre- • High Durability In the interior spaces GFRC efficiently

reinforced • Dirt-repellant traces out the contour of the building. It

concrete • Responsive to a wide is interspersed with lighting panels to

(GFRC) range of finishes augment daylighting. And since the

• Relative ease of basic colour palette is white, there’s

maintenance. enough ambient lighting within the

building ensuring that visitors have a

rich visual architectural experience

within the building.

5. Glassfibre- • High Durability The material for the building’s external

reinforced • Dirt-repellant skin is made entirely of GFRP. The

plastic (GFRP) • Available in a wide external cladding is made of an intricate

variety of colors. network of specially GFRP tiles made

• Relative ease of to fit and follow the complex curves of

maintenance. the building’s exterior.

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5.1 RECOMMENDATIONS

Building materials have a huge, but often overlooked role to play in determining the aesthetic

appeal of any building. It has been deduced that it is an important factor in bringing about

success in a building’s design and construction. Therefore, there is the need for a paradigm

shift in the way architects and other stakeholders approach the nature and essence of building

materials. Since many enquiries have been carried out into ensuring standards as regards the

technical requirements of building materials, with the aesthetic and symbolic aspects being

largely overlooked and subjugated, designers, now more than ever, need to look intricately

into the aesthetic aspects of materials as concerns form making, facades and finishes.

Choices of materials need to be decided at the outset of designs by using a standardized

framework, architects and interior designers alike will be better equipped to select the ideal

materials for any project and apply them to suit the aesthetic needs of the building in view.

This is in a manner similar to the standardized approach used in selecting building materials

based on technical considerations.

Architects and designers also need to look more into context when selecting and using any

building materials. This enables them to put everything into perspective and choose the right

building materials when working in any geographical location, especially as the world is

becoming a global village. However, symbolism in architecture varies from place to place

and building materials that may be greatly appreciated by a group in a region or location, may

not be by another group.

5.2 CONCLUSION

The coherent and practicable use of building materials in design and construction is necessary

if appealing aesthetics must be achieved in buildings. To effectively achieve this, architects

and other professionals in the built industry must work together in synergy to ensure the

development of newer and better materials to better meet the aesthetic, structural and

technical requirements of a building.

This study has proven that early choice decisions on different building materials at design

stage helps in the overall aesthetic appearance of any project. This study has shown that

structural form, massing and color are design elements and principles that were employed to

achieve aesthetics in case study one. For case study two: shape, texture, fluidity and

translucency were used to achieve beauty in the overall form of the dome building. Cultural

symbiosis, scale and proportion alongside staggered effects were employed to alter the urban

silhouette and morphology of the Japanese tourism center. Finally, Zaha Hadid once again

influenced innovation by combining structural stability with fluidity of design to achieve a

Neo-futuristic style that exemplifies grace and splendor.

The case studies that were carried out in this study show how far building materials go in

determining a building’s aesthetic appeal. Different materials evoke different responses on

first contact and after prolonged interaction with the buildings. As such, some buildings tend

to remain aesthetically appealing for a long time due to the manner in which the materials are

combined. The materials used also determine the aesthetic value of the building. The feeling

101


evoked in an observer by exposed concrete is different from that of red bricks or timber or

even steel.

It is thus needful for designers and other professionals in the built environment to work in

synergy to ensure considerable research and development is focused on the aesthetic aspect

of building materials to help achieve better and cost-effective aesthetics both on any scale of

building design and construction.

Future research may focus on smart materials and their benefits to users, professionals and

the built environment where these buildings will eventually be constructed; hence the works

of Duggal, (2008) concerning smart materials can be expanded further in relation to this piece

of work.

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