Hassell Studio: The Bidi Bidi Performing Arts Center

The Bidi Bidi Performing Arts Center is an earthen amphitheater serving the South Sudanese refugee community in Northern Uganda. This art center was designed in collaboration with Hassel Studios, To: Studios, architecture practice LocalWorks, and engineering firm Arup.  This space was created as a community gathering space, a performance venue , and a music school; with classrooms, music training spaces, and a recording studio.

The design of the amphitheater utilizes local and easily accessible materials for it’s walls which are made from hand pressed earth bricks.  The earthen walls are protected from weathering by its roof structure.  The positioning of the bricks allows daylight and ventilation to permeate all spaces. These specific brick patterns have a relationship with music. The brick absorbs and diffuses sound in the performing space, classroom, and recording studio, further optimizing the spaces acoustically.

The center roof design is shaped like a funnel, which collects to rainwater This rainwater then provides water to the community and supports essential facilities such as the tree nursery and vegetable garden located outside the center.

Bidi Bidi allows for a a place for dance, music and performance; a unionization between refugees and local communities in Northern Uganda.  Allowing for a cultural connection from refugees’ birth countries, the art center creates a space for love and peace.

The new space in Bidi Bidi will offer an acoustic recording studio and performance space, as well clean water collected from rain.

Location: Bidi Bidi, Uganda

Completed Year: 2024

Collaborators: LocalWorks, Arup, The Landscape Studio, To.org

Design team: Xavier De Kestelier, Joanna Lesna, Sarah Huc, Nikolaos Argyros, Jonathan Irawan

Photography: Mutua Matheka

Dano Secondary School – Francis Kere

 

Students in front of Dano Secondary School. Photo by Erik-Jan Ouwerkerk.

Project Info:

Status: Completed

Date: 2006-2007

Site: Dano, Burkina Faso

Size: 370 sqm

Client: Dreyer Foundation, Munich

Collaborators: EGC (Entreprise Générale de Construction)

Awards: 6th edition of the International Sustainable Architecture Prize, special mention 2008. Global Award for Sustainable Architecture 2009. BSI Swiss Architectural Award 2010

Francis Kere

Architect: Francis Kere, 2022 Pritzker Prize Winner

Shade over sitting Area of Dano Secondary School. Photo by Kéré Architecture.

Having established its expertise with successful school building projects in Gando, Kéré Architecture was commissioned to build the Dano Secondary School in Burkina Faso. The building was designed from the outset with the goal of making it environmentally sustainable and appropriate to its specific climatic conditions.

The school consists of three classrooms, a computer room, office space and a shaded seating area sunken below ground level to host more informal learning sessions.

Sketch of Dano Secondary School by Francis Kéré.
Dano Secondary School_Kéré Architecture. Photo by Erik-Jan Ouwerkerk.

The laterite stone used for the main body of the building is abundantly available in the region and lends the walls their rich reddish-brown tone. The material is an excellent source of thermal mass, helping to absorb the ambient heat inside the building.

Interior of classroom at Dano Secondary School. Photo by Erik-Jan Ouwerkerk.

Upside-down plaster vaults reminiscent of draped fabric hang above the classrooms, diffusing indirect sunlight to make the space brighter without increasing its temperature. Gaps are introduced between the modular plaster elements, allowing hot air to travel upwards.

Climate Diagram of Dano Secondary School.
Students at the Dano Secondary School. Photo by Erik-Jan Ouwerkerk.

An elegant truss structure, shaped like the body of a fish, holds up the corrugated metal roof. The roof undulates along the length of the building, silhouetted against the bright sky. Its generous overhang, combined with the building’s east-west orientation, helps to reduce the impact of direct sunlight. (Kere Architecture)

Window of Dano Secondary School. Photo by Erik-Jan Ouwerkerk.

The load-bearing masonry walls are made of laterite, an iron-rich soil found in the area that hardens when exposed to air. Villagers shaped the red bricks with basic tools. “This is very important — they don’t need to buy a new tool to do this building,” emphasizes Kéré. In constructing the walls, the architect opted to use less mortar than is typically applied in bricklaying. His goal: to “let the material be seen like it is,” while also boosting the walls’ strength.

To protect the building from the elements, Kéré developed an undulating, corrugated tin roof that hovers several feet above the building and is supported by an elegant truss system made of common rebar. Aesthetically striking, the roof’s wavelike form also has a pragmatic function: Water is channeled into the folds and funneled off the roof, away from the building. (Architectural Record)

 

 

Section of Dano Secondary School.
Plan of Dano Secondary School.

Videos:

https://youtu.be/RmRZNqi8V_w?si=C3BtlaKsEv3tIzaT&t=445

https://youtu.be/kdT_TwcA0qQ?si=WSy08ZNm6_ki5SRY&t=431

Sources:

https://www.kerearchitecture.com/work/building/dano-secondary-school

https://www.architecturalrecord.com/articles/6600-secondary-school

IAAC: Open Thesis Fabrication

image of 3d printing robot making curvy cellular forms out of clay
Image Source: OTF Booklet

Open Thesis Fabrication is a six-month applied research program for postgraduates at the Institute for advanced architecture of Catalonia.

The program focus is on combining additive manufacturing with construction technology to create sustainable architecture with key areas of research in robotic manufacturing, material research, and performance-based design.

The program works with non-governmental organizations to develop designs for use in African humanitarian contexts and is comprised of architects, engineers, designers, and professionals with previous knowledge of digital fabrication and computational design.

It’s learning objectives are for program participants to:

  • Gain experience in large-scale 3D printing
  • Develop skills in digital fabrication, computational design, and material research
  • Learn to provide architectural solutions considering various aspects of construction

This is achieved through the implementation of three phases, Exploration, Prototype Design Charettes, and Prototype Construction.

chart that displays the phases of implementation and timeline
Image Source: OTF Booklet

Examples of projects that have been completed include:

  • Digital Adobe – A 2-meter wide and 5-meter-high printed clay wall [2017-2018]
  • Terraperforma – A façade design of parametrically constructed modules optimized for solar radiation, wind behavior, and structural 3D printing [2016-2017]
  • Digital Urban Orchard – A wooden pavilion made with digital and robotic fabrication divided into a wooden structure, aquaponic system, and silicon skin designed to capture the ideal solar radiation for winter and summer.
  • Minibuilders – a family of small-scale construction robots that are capable of constructing objects larger than itself in order to address the limitation found in additive manufacturing that often constrains the proportions of fabricated objects to the size of the machine.
Image Source: OTF Booklet
Image Source: OTF Booklet
Image Source: OTF Booklet

 

Image Source: OTF Booklet
schematic and images of mini robots being used to produce clay structures larger than the size of the machine
Image Source: OTF Booklet

For more information regarding tuition fees, how to apply, grading systems, etc., be sure to check out IAAC OTF resource guide: https://iaac.net/wp-content/uploads/2019/07/OTF_Booklet_2019-22-07-2.pdf

 

 

Preschool of Aknaibich

 

 

Location: Aknaibich, Morroco

Completion: 2014

Project Area:  55 m²

Budget: 25.000€

Architect(s): BC architects & studies + MAMOTH

The population of Aknaibich collapsed from 1266 inhabitants in 2014 to only 634 in 2013. Of which the majority were young students migrating to the center of Agadir 30km away, to study. This rural-urban trend  exacerbates not only the physically abandonment of Aknaibich but the cultural abandonment of traditional earthen building. Returning migrants opt for the faster and easier concrete construction to build their village homes, scattering the village with exposed rebar.

BC Architects proposes a strategic combination of traditional vernacular seismically maximized by innovative technologies, built by the community, in an architecture that might be called a new, contemporary vernacular. The vernacular embraces the humanity of Aknaibich, it’s logical and thoughtful response to the communities needs. The utilization of local typologies and materials allows bioclimatic functioning. A dialogue is created with the existing concrete school on site, leaving it up to the teachers and children to make their own perceptions of the juxtaposing materiality. The school complex further visualized the importance of education in the small village.

Plan
Section

Adobe Brick + Qued Stone

Gravel earth, excavated from the site, and clayey soil, from the river bank of Qued Souss are made into sun-dried soil bricks. The process of forming the earth into a brick is only ever done in the village by a single craftsmen. Stones found at the same river bed are traditionally used for foundations, for its strength and durability.  These stones are processed for an even wall surface.

Thomas Joos

Cement ‘Where it is Necessary’

To resolve seismic challenges of traditional earthen buildings, cement is strategically placed, in ring beams connected by reinforcement bars and the foundation, to guarantee stability. In replacement to local wood, which is poor in tension, normally used in Moroccan construction. At the south facade, these ring beams become small platforms or niches. At the north facade, the ring beams become openings to the interior courtyard.

Rammed Earth ‘Leh’

Rammed earth, ‘Leh’ in Berber, walls are using for enclosure walls.

‘Tamelass’ + ‘ Nouss-Nouss’

For protection against weather and impact, a rendering of straw, sand, and earth is used to finish exterior adobe walls. In interior spaces, a finer and more worked plaster, made of sieved clayey soil and gypsum called ‘Nouss-nouss,’ or half-half in Berber. The material reflects light well, luminating the classroom.

Ratan

Moroccan carpenters weave in between wooden beams in order to create a flat roof and a pergola. Overlaid on a lattice of wooden beams, the ratan allows for hot air to rise and escape the interior space. Then a thick, heavy earthen flat roof, additionally insulated by 10cm of cork, slows down the heating process from the exterior.

The interior courtyard consists of a playground as well, protected from the sun by a pergola covered by ratan. This outdoor space creates enough shade that it doubles as a possible outdoor classroom.

 

 

 

 

 

 

 

 

 

References

New Gourna – Hassan Fathy

Location: Egypt, New Gourna
Year: 1946 to 1952
​Architect: Hassan Fathy

The project is done by Hassan Fathy, which is an Egyptian architect renowned for his pioneer technology for building, especially by working with regional materials such as adobe and mud brick. By working with traditional materials and construction processes Hassan tried to propose another type of architecture that is opposed to the international style which was popular during the period.

The project was assigned by the Egypt government in 1946 and was built between 1946 to 1952. The purpose of the project is to rebuild a new village 3 kilometers away from the old Gourna and relocate the residents in order to safeguard the pharaonic tombs that were embedded in the mountain of Gorn.

In the master plan, the new settlement provided the residents with a mosque, a school, a theater, a market, and a total of 90 houses. However, the project has never been completed due to political and financial reasons as well as the inhabitants’ rejection of the new site and the new architecture.

The design has failed to connect to the lives of its intended residents. For instance, Fathy made courtyards an essential part of the residences. However, courtyards were rarely used in that region of Egypt, and when they were used, they served a more practical function as a work area, not a space for leisure and enjoyment as Fathy intended.

Despite the failure of replacing the old village, the new Gourna still showcases the potential of traditional techniques as genuine solutions to some contemporary problems. Hassan has chosen adobe and mud brick as the materials due to their simplicity and affordability, which could be constructed with local materials without relying on international resources.

Source:  https://www.tandfonline.com/doi/full/10.1080/13602360903357120#d1e238

The project applied the ancient Nubian Vault technique, which Fathy is often associated with. This technique enables vaulted roofs to be built without the need for the usual timber framework and using only standard mud bricks. Ideal I locations where wood is not an abundant resource, particularly in some arid regions where harvesting what timber there is can cause serious erosion problems.

 

Source:https://www.designboom.com/architecture/anicent-nubian-vault-modern-solution-for-tanzania-07-29-2020/

Source: https://www.dezeen.com/2016/12/01/video-interview-thomas-sgranier-nubian-vault-transform-housing-future-africa-movie/

Source: https://daily.jstor.org/hassan-fathy-and-new-gourna/

The technique itself is as simple as it is ingenious. Building off of a vertical wall, brick courses are laid in angled arches, inclining against the wall, each supporting the next. The first 5 courses are not complete arches (the first only consists of a single brick on each side) as they have to establish the incline. This produces a vault with forces working more or less in the traditional way but that is self-supporting from the very start of construction as opposed to requiring support until the last brick is laid.

By using traditional materials and construction in a modern way, Hassan’s experiment found a contemporary vernacular architecture answer for post-colonial Egypt instead of the globalized modern international style.

 

The Great Mosque of Djenne

The Great Mosque of Djenne, east facade.

 

The national emblem of Mali.

Originally built during the 13th century CE, the Great Mosque of Djenne was rebuilt in 1906, and remains the largest mud brick building in the world to this day. It is located in the town of Djenne, which is situated near the Bani River in Mali. It is considered the preeminent example of Sudano-Sahelian architecture, and served as a center of Islamic knowledge for centuries before it fell into ruins. The Old Towns of Djenne were designated as a UNESCO World Heritage Site in 1988, including various other mud buildings and archaeological sites in addition to the Great Mosque. The Great Mosque has been featured on Mali’s national emblem since it was adopted in 1961.

Photo taken by Edmond Fortier in 1906.

The Great Mosque is located in the city center of Djenne, adjacent to the marketplace. It is built on a raised platform or mound of earth 3m tall, and measuring 75m by 75m. This platform protects the Great Mosque from damage when the nearby Bani River floods. Rain does damage the mosque, though usually only causing cracks that are addressed through regular maintenance. Unusually heavy rain can cause greater damage, as was the case in 2009 when the upper portion of the south tower of the east facade collapsed. The Aga Khan Trust for Culture funded repairs in 2010, and the mosque has been fully restored as of the present day.

La fete de creppisage, the annual festival when the Great Mosque is fully rendered and repaired.

The Great Mosque is maintained through an annual festival, “La fete de crepissage,” where community members participate in the rendering of the building. The mud plaster used in this annual process is mixed in large pits, and left to cure and ferment for several days before it is ready to use. Young men and boys climb the toron, the rodier palm clusters protruding from the facade of the mosque that serve as scaffolding, while the young women and girls bring water to aid in plastering. More senior masons observe the young men as they smear a new layer of mud plaster over the mosque, and later check the work to ensure that it is smooth and even. The festival begins with a race to see who can bring the first bowl of mud plaster to the mosque, and ends with the workers washing the plaster off in the remaining water.

Detail view of the exterior wall of the Great Mosque.

The Great Mosque is constructed entirely from mud, excepting the toron. Mud forms the bricks, the mortar, and the plaster with which the mosque was originally built. These bricks are made of banco, a combination of grain husks and the traditional West African brown mud that forms much of the earthen architecture of the region. The qibla, or prayer wall, of the mosque faces east, toward the central square of Djenne and toward Mecca. The qibla is roughly a meter thick and punctuated by three main towers, with small minarets at either end. The wall derives additional support from the eighteen pilasters, each ending in a conical pinnacle.

East elevation of the Great Mosque.
Plan of the Great Mosque.

The prayer hall is directly behind the qibla, and takes up roughly half of the interior of the mosque. The other half is an open court which is surrounded on three sides by galleries with pointed archways, one of which is reserved for women. The roof of the prayer hall is made of more rodier palm clusters, which run crossways, and are covered in mud plaster. It is supported by interior walls.

Interior of one of the galleries of the Great Mosque.

In 2005, the Zamani Project spatially documented the Great Mosque, producing 3D scans and GIS analysis of the area. Play with the 3D model produced by the Zamani Project here. Watch an animated tour of the model here.

 

References:

[1] https://zamaniproject.org/site-mali-djenne-great-mosque.html

[2] https://www.archnet.org/sites/6395

[3] https://reportage.org/2000/Djene/PagesDjeneFrames/DjeneFrameset.html

[4] https://whc.unesco.org/en/list/116/

[5] https://the.akdn/en/where-we-work/west-africa/mali/cultural-development-mali

[6] https://edmondfortier.org.br/fr/postal/soudan-djenne-ruines-de-lancienne-mosquee/?highlight=Djenne

 

Mud is not the Villain

Reinforced concrete building damaged in Morocco earthquake

Morocco recently experienced the most devastating earthquake that the country has had in the last 60 years. To date, more than 2,600 people have died and news outlets are quick to point out that the cause of death isn’t the earthquake, but the buildings made of earth. While I am aware of the thousands of mud brick and rammed earth buildings that define the villages in the Atlas Mountains where the disaster took place, I note that the photos of the devastation often show buildings made of reinforced concrete or concrete masonry units. The tendency to villainize earthen architecture traditions is a common practice. The headline of one article reads, “Morocco’s Mud Brick Housing Makes Hunt for Earthquake Survivors Harder” and yet the cover image is clearly of a reinforced concrete building. As I scroll through articles about the earthquake, I do see many earthen buildings that have been damaged, but I also see a large number of buildings constructed of industrially produced materials. In the 1995 earthquake in Kobe, Japan, three times the number of people died, and over 100,000 buildings were destroyed in a city that was largely constructed of concrete and steel. Kobe was a magnitude 6.9 earthquake similar to Morocco’s 6.8. The 6.9 Loma Prieta earthquake in the San Francisco Bay Area caused an estimated $14 billion in damage to buildings, bridges, and highways with the majority of deaths happening under reinforced concrete structures like the Cyprus Street Viaduct.

The New York Times writes, “Mud brick buildings common to the region — some of which date back to before Morocco’s colonization by the French — were reduced to a collapsed sand castle.” France colonized Morocco in 1912, making many of the buildings older than 111 years old It should be pointed out that the seismic activity of these regions is high, and earthen building traditions have survived in seismic zones for thousands of years. The oldest buildings in every seismic zone are constructed of earth, including those found in the San Francisco Bay Area. A visit to downtown Sonoma, the Missions, the Petaluma Adobe, and countless other mud brick buildings demonstrate the longevity of earthen architecture in earthquake-prone regions. A visit to Santiago, Chile, a city with a history of earthquakes, will also demonstrate how earthen architecture has survived in many urban and rural environments while adapting to a ground that shakes.

Yes, buildings made of mud brick and rammed earth did collapse causing many deaths. However, reinforced concrete and concrete masonry units did as well — there simply happens to be more earthen buildings in that region, just as there are more reinforced concrete buildings in Kobe, Japan. And despite the reality that our continued quest to combat the forces of mother nature, we continue to find that she wins. But perhaps she is not the villain, nor is architecture made of earth. According to Bloomberg, man-made climate-related disasters due to climate change account are linked to approximately 5 million deaths per year and the concrete industry is responsible for about 8% of planet-warming carbon dioxide emissions. Earthquakes account for approximately 60,000 of those deaths, however, few of those are related to the collapse of earthen buildings. Some of those deaths are related to the collapse of buildings made with other materials, landslides, and tsunamis. Some earthquakes are a product of fracking and mining.

I do not believe that earth architecture is the villain in the tragedy in Morocco. Rather, it is the cultural perception of the building material, and the prejudices against those that live in them, within a capitalist society. Earth is an inherently ecological material, possesses excellent thermal mass properties, requires little embodied energy, and is recyclable—earth buildings can return to Earth. It should be noted that most of the recent Pritzker Prize winner Francis Kere’s buildings are constructed of mud, and as I wrote about in my book, Earth Architecture, a number of universities including the Pontificia Universidad Católica del Perú, the University of Kassel, Germany, and the University of Technology, Sydney are advancing the technology of creating earthquake-resistant earth buildings. Let us look to solving the 5 million deaths per year due to climate change, and improve the technologies of earthen construction as humans have continued to do for the past 10,000 years of civilization before we eradicate large percentages of the population due to industrialized building practices that have not proven to safely house the planet, unlike our planetary traditions of earthen architecture.

H2OS

The H2OS project, or Open Source Prototype House for Eco-Villages in Senegal, is a prototype house constructed of compressed earth block, that can harvest and store water supplies for all domestic uses (drinking, cooking, washing, irrigation) and to integrate the scarce water resources in a few artificial walls. The project relies on ancient knowledge such as how to harvest rain water or how to ventilate rooms while incorporating up to date technologies for energy production from renewable sources. Learn more here.

Nka Foundation Announces the winners of the Mud House Design 2014 competition for Ghana.

The 1st prize winning design is Sankofa House by the design team: M.A.M.O.T.H from France

The 2nd prize winner is Eban Aya by Atelier Koe in Senegal

The 3rd prize is awarded to Ejisu Earth House by Jason Orbe-Smith in USA.

The competition was open to recent graduates and students of architecture, design and others from around the world. The challenge was to design a single-family unit on a plot of 60 x 60 feet to be built by maximum use of earth and local labor in the Ashanti Region of Ghana. The client of the design entry is the middle-income family at any township in the region. Total costs of constructing the design entry was capped at $6,000; land value was excluded from this price point. The competition was designed to: (1) to generate mud house design alternatives to be available free to everyone to appreciate, use, or improve them to generate more practical and contemporary design solutions for the region; and (2) to make possible the construction of the best design entries through building workshops to realize prototypes, as examples to the local people that mud architecture can be durable and beautiful.

The jury involved a preselection jury and grand jury by use of judging criteria involving functionality, aesthetics and technical matters. Twenty top finalists were chosen by the Preselection Jury of architects, professors and administrators with relevant expertise, which were forwarded to the Grand Jury of architecture professors and others who are established in earth architecture. From the Top 20 Design Entries, three prize-winning designs were selected. Prizes for first, second and third place consist of a commemorative plaque and a choice of cash reward or construction of winning design in Ghana. Every design team of the Top 20 Design Entries receives a certificate of recognition.

What is next?

BUILDING WORKSHOPS: THE PROTOTYPING CHALLENGE
Nka Foundation is issuing a challenge to builders, architecture professors and architects worldwide who know how architecture is localized, uses the means and the materials available in the site to create a friendly building to the environment. Join us as a workshop director or a participant to realize the winning designs from our 2014 Mud House Design competition in the Ashanti Region of Ghana. Each prototyping workshop will run for about 10 weeks. Participants can join at any time and participate for a minimum of 1 month. Students can use the workshop opportunity to fulfil the academic requirements for their stage/internship, thesis, or volunteer just for learning-by-doing on a vernacular architecture project. Here are all submitted design entries: http://nkaprojects.boards.net/thread/30/submitted-entries-1st-list Please, take a look!

For more information contact info@nkafoundation.org / www.nkafoundation.org.

Mud House Design 2014 Competition

Nka Foundation invites entries for Mud House Design 2014, an international architecture competition open to recent graduates and students of architecture, design and others from around the world who think earth architecture can be beautiful. The challenge is to design a single-family unit of about 30 x 40 feet on a plot of 60 x 60 feet to be built by maximum use of earth and local labor in the Ashanti Region of Ghana.

This is the design problem: In Ghana, as in other countries in West Africa, stereotypes about buildings made of earth persist because of poor construction. From the cities to the low-income villages, use of concrete – despite its dependence on imported resources – is considered indispensable for building. Yet an excellent, cheap and local alternative called laterite, red earth, is available everywhere in Ghana. The long-term goal is to enable the Ghanaian population and lots of other places, to overcome the stigma that mud architecture is architecture for the very poor.

Registration and submission of entries runs from March 15, 2014 until August 31, 2014. For additional information, see the competition Website: http://www.nkafoundation.org/competitions.html and the registration page: https://www.eventbrite.com/e/mud-house-design-competition-tickets-10697036123