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The practice of Hausa traditional architecture: Towards conservation and restoration of spatial morphology and techniques
Scientific African 5 (2019) e00142
Contents lists available at ScienceDirect
Scientific African journal homepage: www.elsevier.com/locate/sciaf
The practice of Hausa traditional architecture: Towards conservation and restoration of spatial morphology and techniques Gali Kabir Umar a,b,1, Danjuma Abdu Yusuf a,2,∗, Abubakar Ahmed a,2, Abdullahi M. Usman a,2 a b
Department of Architecture, Kano University of Science and Technology, P.M.B. 3244, Wudil, Nigeria Department of Architecture, Ahmadu Bello University, P.M.B 0.1045, Zaria, Nigeria
a r t i c l e
i n f o
Article history: Received 7 February 2019 Revised 10 August 2019 Accepted 26 August 2019
Keywords: Conservation Restoration Spatial morphology Hausa Traditional architecture
a b s t r a c t Conservation and preservation ideology was first developed in the 20th century, based on an early theory of who believed it was important not only to define the history of the building but to return it to its original character. In other words, the architect should determine the possibility and period of greatest perfection of a building or monument. This study aims at conservation, preservation, and restoration of Hausa traditional architecture by highlighting the spatial morphology and techniques from village to town, the reason for formation, the subdivision, and development of the compound structure associated with its sowing concepts and layouts. For this study, a review approach and descriptive research method were employed. However, the reviewed literature was used to identify the spatial morphology and techniques of Hausa traditional architecture, which was examined in the context of conservation and restoration. The study showcased the concept of the triple spaces (inner core, central core, outer core) in compound family houses, which is synonymous with the concept of town (“Kauye”, “Gari” and “Birni”) or cities (“Ciki”, “Tsakiya” and “Wajen Gari”) surrounded by a compound wall, entrance and city wall with entrance gate. It also further unveil the relevance and use of “Tubali”, “Azara”, “Asabari”, from substructure to super-structures, as well as interior form, motifs and decoration (“Makuba” and “Zankwaye”) as reported by researchers for appreciation, conservation and restoration of Hausa traditional residential settlements for the present and future generation. © 2019 The Author(s). Published by Elsevier B.V. on behalf of African Institute of Mathematical Sciences / Next Einstein Initiative. This is an open access article under the CC BY license. (http://creativecommons.org/licenses/by/4.0/)
∗
Corresponding author. E-mail address: [email protected] (D.A. Yusuf). 1 Presently a staff at Kano University of Science and Technology, Wudil but the research was carried out during his Ph.D. Program at Ahmadu Bello University, Zaria. 2 Presently a staff at Kano University of Science and Technology, Wudil. https://doi.org/10.1016/j.sciaf.2019.e00142 2468-2276/© 2019 The Author(s). Published by Elsevier B.V. on behalf of African Institute of Mathematical Sciences / Next Einstein Initiative. This is an open access article under the CC BY license. (http://creativecommons.org/licenses/by/4.0/)
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G.K. Umar, D.A. Yusuf and A. Ahmed et al. / Scientific African 5 (2019) e00142
Introduction “Nigeria, a country situated in the Western part of Africa has been the location of several kingdoms and tribal states over the millennia and is divided into Northern and Southern parts with the Hausa-Fulani’s, a diverse but culturally homogeneous people living in the northern part of Nigeria” [3]. “In recent times, the desire for foreign taste, in terms of building form, aesthetics, elevations, and materials has brought, the neglect in the use of local building concept and materials, this disregard is not unconnected with the colonial masters’ influence and the modern trends of innovation diffusion through the imposition of new models and materials on Africans traditional building” [11]. “In recent years, Nigerian architecture is characterized by the post-modern buildings of the 1990s and a sprawling new design concept and engrossed with new building materials mainly imported from China” [8]. Architectural expression like a language is frequently evolving into new forms, and materials in contrast to the characteristics of past styles, or building concepts and techniques. Those that remain valid are carried into the present while those that remain antiquated are dropped from use. Hausa traditional architecture in Kano has also witnessed this change in typology and morphology of the building within the last few decades, so it generates several architectural statements based on the visual image and perceptions on traditional or modern contemporary buildings, otherwise termed as “Trado-Modern” buildings. In considering and analysing the spatial formation of the Hausa housing environment, as well as its transformations one requires an understanding of the settlement pattern in Hausaland. Umar [9] noted that “the variations in settlement pattern tend to coincide with ethnic social differences, thus, ethnicity appears to provide a convenient social framework similarly”. The research aims to study the concepts and practices of Hausa traditional architecture with the intent to conserve, preserve and restore its spatial morphology and techniques for the future generation. The specific objectives are: (i) To highlight the spatial settlement pattern; from village to town, the reason for the formation, the subdivision, and development of the compound structure associated with its sowing concepts and layouts. (ii) To highlight the construction techniques, method of construction, as well as interior form, motifs, and decoration as reported by researchers. Background of study “Optimistically no custom or tradition should be retained if it is in conflicts with a societal competitive genuine interest in the same spirit. None should be thrown out or left to decay merely because it is an old tradition. Not all traditions need to be stagnant or old fashioned. Africans should retain and maintain their local and regionalist identity, values, materials and techniques” [10]. The effect of losing the African cultural heritage to Western influence is alarming, glaring over the society, which resulted not only in spatial morphology and techniques but also the management of limited vulnerable resources such as historic urban assets and buildings. According to Whitehand [12], “the study of the historic urban landscape within urban morphology begins by describing the integral role of the built environment in the early development of urban morphology within the discipline of geography, regional planning, and architecture”. Whitehand [12], “Urban morphology started to take shape as an organized field of knowledge at the end of the 19th century. Although several architects also differed in their understanding of historical traditions as well as in theories, philosophies, concept of their work, some also challenged traditional design of the type of structure’s suitable for architectural design. But as technology is advancing rapidly, the need for reconsideration of the practice of Hausa traditional architecture before a new generation arises. “Conservation and preservation principles were first developed in the late 19th century based on an early architectural school of thought that either encouraged measures that would protect and maintain buildings in their current state and prevent further damage and deterioration to them” [7]. He further explains, “Architect should establish the possibility and period of greatest perfection of a building or monument”. Conservation of traditional building is very important because it provides a sense of identity and continuity in a fast-changing world for upcoming generations. Umar [7] also noted that “what makes urban and architectural heritage special is their survival through time; they resist a lot of natural weather disasters, difficulties, and damages”. The permanent shortage of heritage buildings and their disappearance through time, calls the attention to preserve heritage through maintenance and rehabilitation. Moreover, “conservation and preservation are referred to as careful management of limited vulnerable resources, such as historical monuments and buildings. Hausa traditional buildings also assess the extent to which the so-called ‘Tradomo’ conventional typologies can be absorbed sympathetically amongst the old ones. Their significance is that they have been built by a succession of local builders and have managed to attain the inherited quality of the past that survived into the 21st Century” [7]. Materials and methods For this study, a review approach and descriptive research method were employed. It is concerned with the collection of data to describe and interpret existing circumstances, prevailing practices, benefits, attitudes, and on-going process. However,
G.K. Umar, D.A. Yusuf and A. Ahmed et al. / Scientific African 5 (2019) e00142
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the central purpose of descriptive research is not just a description of what is but to explain what is discovered”. The review approach involves the review of past and related research on Hausa traditional architecture while focusing on the spatial morphology and techniques to get a better understanding of the past and future program requirements of Hausa traditional architecture.
Theories Spatial settlement pattern in Hausaland Sa’ad (1986) noted, “The differentiation between urban and rural settlement in Hausaland is not clear. Since people normally view the urban settlement as part and parcel of the surrounding rural areas and the rural lifestyle, called “Anguwani” much like rural communities”. Popoola [6] also reported “The rural landscape is dominated by nucleated villages, with the possibility of some expansion of compounds. The villages still have the remains of the old settlement walls, the isolated and dispersed compound is associated with more recent settlements having a strong link with some nucleated settlement types in Hausaland”. Notably, three-settlement types from the hierarchy discussed as follows: (a) Kauaye (village) is only found in rural areas. An urban dweller will normally detest being referred to as from the “Kauye” (village), which is basically a collection of matrilineal family groups, in a nucleated hamlet, organized for agriculture, the “Gona” (farmland) is contiguous and separated from that of other “Kwauyika” (villages) by “Daji” (forest). (b) Gari (town) is a large settlement, in the form of a township, consisting of distantly related family groups and some strangers. ‘Gari’ will normally have a collection of “Anguwanni” (wards) consisting of homogenous groups, based on family ties or common religious or occupational roles. Popoola [6] again, noted: “The introduction of the iron into Hausaland was probably a fact in the growth of such towns”. Two other factors associated with the development of “Garuruwa” (towns) are: (i) The availability of extensive fertile farmlands for agriculture; (ii) Sites selected based on religious consideration. In some locations became centres associated with the cult of certain “Iskokai” (spirits) and thus attracted a larger number of immigrants who formed “Garuruwa” (towns) (iii) “Gari” (town) does not have wall fortification, because “the fortifications of some “garuruwa” were associated with wars post-dating the foundation of the states in Hausaland. (c) Birni (city) is a cosmopolitan centre with people migrating into the centre from diverse groups. It is always a walled city and its fortifications appear to have been an essential element in the emergence of such cities. The wall also encircled farmland, in case of a protracted siege against the “Birni” (city). Some of the “Birane” (cities) became centres of political power or commercial activities of capital cities of the Hausa city-states. A discussion on the “Birane” (cities) will involve a consideration of the political situation in Hausaland. Some traditional Hausa “Birane” (cities) will be considered with four periods of Hausa political history. “The town or city is conceptually and organically categorize into 3 parts, ‘Cikin Gari’ (inner core), ‘Tsakiyar Gari’ (central core) and ‘Wajen Gari’ (outer core), surrounded by a thick mud wall (city wall) called ‘Ganuwa’. Accessed through a gate called ‘Kofa’, known as the city wall and gate” (Sa’ad 1986). The dichotomy exemplified that; the concept of the triple, space or cores in compound family houses is synonymous with the concept of town or cities surrounded by a compound wall entrance and the city wall with an entrance gate.
Compound structure According to Sa’ad (1986) “a traditional Hausa residence is conceptually subdivided into (3) parts or layout, inner core (private area), a central core (semi-private area), and outer core (public areas). The women area is the inner core consisting of the ward and guest/servant area with backyard space for the rearing of animals and refuse disposals. A courtyard is located mostly in the central core, for household and other associated social activities as well as for lighting and ventilation. These concepts historically originated from Egyptian domestic architecture of around (500 CE). Hence, Hausa traditional village layouts of shelter and settlements that developed to villages and town in such morphology”. The core of the compound is an open courtyard, where the family spends the greater part of their daily household activity and other social or ceremonial activities. It is also a place where children may quietly crawl or play undisturbed, there, one may chat and eat with other members, of the family and sleep during hot night or season (Fig. 1). The division between the exterior and interior space is accentuated in Hausa. Islamic architecture is influenced by “PURDAH” (exclusion of women) described as Haremlik and Selemlik areas (accessible and non-accessible). In other parts of the courtyard are well accentuated, but three common space denominators (i.e. the courtyard system for household and social activities, the kitchen and dining areas, where the kitchen is located far away in the compound, and the dining place,
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Private Area Haremlik Area
Family Area
Semi Private
Wards & Garden
Area Master Area Salemlik Area Public Area
Zaure & Guest
Fig. 1. Concept and layout of typical Hausa compound. Source: authors’ fieldwork, 2017.
LR
RM
K
RM
BR2
RM
COMPOUND 2 BR2
COMPOUND 1 COURTYARD
MB
T
T
ZAURE 3
LEGEND
LR
COURTYARD
MB
K
(COMPOUND 1)
MB - MASTER BEDROOM LR- LIVINGROOM RM- ROOM BR2- WIFE BEDROOM K- KITCHEN T- PIT-LATRINE
LEGEND
(COMPOUND 2)
ZAURE 2
ZAURE 1
MB - MASTER BEDROOM LR- LIVINGROOM RM-ROOM BR2- WIFE BEDROOM K- KITCHEN T- PIT-LATRINE
Fig. 2. Typical Hausa Traditional Compound at Dan-Dago, Kano Municipal, Nigeria. Source: [9].
individually or collectively in a Parlour or open space). The toilet or latrines is also located away from, or at the end of the compound for privacy, heath and other reasons (Fig. 2). According to Adamu [1], “the major function of ‘Zaure’, includes security, protection, reception, privacy, moral, ethnic ideas, decorations, and administration. Moreover, the provision of fairly large space at the vicinity of the neighbourhood necessitates congregational assembly to celebrate social functions such as a naming ceremony, wedding ceremony, and a playground for children and so on”. The open spaces are used for the rearing of animals’ little cultivation and future expansion. The built-up areas have a sleeping and living room, kitchen, entrance space, toilets, and stores. The height of the compound wall is raised high enough to prevent passers-by from seeing what is happening inside the compound.
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Discussions Building materials, construction and techniques “The predominant materials used in African traditional building are; earth, stone, and straw which have independently and jointly been used, then, also skilfully applied” [5]. Accordingly, Hausa people in Kano metropolitan have developed an architecture using materials found in their locality, such as mud, ‘Azara’, and thatch. Although the building process is dynamic, the present system has provided a dignified built environment with many beautiful structures with architectural merits, using locally acquired building material such as the followings: (i) (ii) (iii) (iv) (v) (vi) (vii) (viii) (ix) (x)
Earth and clay. “Azara” beam & stick. Corn stalk and thatch. “Tubali” and mortar. Water for mixing. “Chafe” plaster. Stone/“Marmara”. Reeds and grasses. Rope, corn mat/“Asabari”. White wash/red ear.
Mud-walls “Very little of adobe/earth/mud/brick architecture has lasted, apart from some of the monuments, temples, and mosques. Nevertheless, the enduring cultural practices of rural people indicate that adobe or mud surely has been one of the most common and abundantly obtainable materials while, the generally employed method was wattle-and-daub earth technology” [5]. The mud-wall is made up of mud block/bricks (tubali), with (100 × 250 mm) size and (100 × 150 mm) size. Foundation is dug about half a metre (40 0–60 0 mm) depth to penetrate below loose topsoil. The “tubali” is laid in course, which is covered with a specially prepared mud mortar for joining and bonding unit until the wall reaches the required height. The bottom is thicker with about 600 mm wide and getting slender on top of about 200 mm thickness. These bricks are made from excavated earth thoroughly mixed with grass (and other ingredients) for a few days later. The mixture is moulded into the required bricks or “tubali” left in the sun to dry before being used in any wall construction. A vertical element of mud with thatch, grasses and other admixtures of the blocks are called “tubali”, with the slender or triangular shape of about 10 0 mm–20 0 mm and a height of about 300 m. The mud walls are constructed with about 5 to 6 pieces of tubalis thatches at the bottom and getting thinner to the top with two (2) tubalis to ensure strength and stability, the wall achieves good thermal capacity at all seasons, during cold seasons, interior is warm and comfortable, due to the mud wall high thermal ability. It is used in most traditional buildings within the walled city of Kano. The traditional tendency was to make the walls thicker to meet the structural requirements. This was done partly to be on the safe side, partly because the thick wall makes inside room cooler and partly because slave labour was cheap. Moreover, failures in the wall such as cracks, collapse, or wearing are rarely identified needless of taking preventive measures during the construction works. The roof structure “Traditional builders consider the roof as the most challenging and rewarding part of the building. This seems to be justified based on the efforts of technology and decoration that are applied to it. The common types of mud roof usually span about 1.8 m wide space with “Azara” supported at both ends by a mud wall. Wider roofs can span 2.7–5 m and could be achieved by introducing corbels of mud at top of the wall which projects about (45 cm) to form the face of the wall and is usually reinforced with “Azara”. However, the room sizes can be increased up to 4.0 m by placing it diagonally across the room or horizontally on the opposite span of the room, to serve as beam supporters for very large rooms. The roof may be supported on a series of columns connected by “Azara” beams in a grid-like configuration while interiors are filled with “Azara” just simply spanned and distributed” (Sa’ad 1986) (Fig. 3). “The ‘Azara’ beams are also used to make frames constructions, beams, brackets, and corbels as elements for carrying flat and domed roofs. The ashes of the timber are often used as an insulating layer when spreading on top of flat roofs, treated with infusions from pods or roots to waterproof the top of flat roofs” [4]. Motifs, decorations and interior form Hausaland astounds visitors with its pleasing building forms full of colourful motifs, decorations and the quality of the interior space. It is generally characterized with vaults and piers decoration on walls, slits, punctures, archways and motifs in various sizes and proportions to attract and impress on the beholder to the awesome quality of the interior space.
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Fig. 3. Roof Structures (the use of Azara and thatch). Source: [9].
Fig. 4. Hausa traditional Facade Decorations – Pinnacles (Zankwaye) & Engraving. Source: [9].
Hausa building motifs symbolise the climax of the feeling of celebration that reigns inherently in a traditional builder at work, being expressive of man and nature. These motifs are done with as much relish and colour, as visual artists will have it on their masterpieces. “Motifs could be mounted on relief patterns impaled or scratched out once painted or textured with alternation of smooth and rough finishes. They are mainly focused on the vault: piers, pinnacles, “zaures”, interiors, walls, doors, and windows or the entire front facades are sometimes completely decorated with motifs. According to Sa’ad (1986), these motifs could be categorized into four classes by their origin as follows:
(i) (ii) (iii) (iv)
The first is by modelling a fresh mud plaster manually into arabesque feature. The second by cutting ornament into wet cement or mud plaster. The third by plastering the wall with “Makuba”. Fourth by painting on a plain white wall.
‘Zankwaye’ (Pinnacles) are an inevitable feature of Hausa architecture coming in different shapes and sizes and imparting character and beauty to a traditional building. They were originally reinforced vertical projections around the parapet wall of the roof; sometimes aid builders in climbing up onto the roof during construction or repair work (Fig. 4). The pinnacles (Zankwaye) have come to be accepted as a mark of aesthetics in Hausa traditional facade, without which is described by master masons as a bull without horn, or rather a chief without his headgear. Pinnacle (zanko) reflects the mood of a building or the builder of being exquisite elegant or otherwise. “Engraving is the practice of incising a design onto a hard, usually flat surface, by cutting grooves into it. The result may be a decorated object in itself. In Hausa traditional architectural decoration, the wall engravings are designed by traditional builders, specialized artisans and highly skilled hand engravers who can draw out minimal outlines directly on the wall surface just before engraving” [3]. “Consequently the facade decoration usually demonstrates wealth and social prestige” [2]. Fig. 5 shows engraving symbols as they are used in the interior and exterior spaces. One of the most striking features of Hausa architecture is described as external decoration in building, which usually surrounds external doors and outer wall fences, that front upon the street.
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Fig. 5. Collection of facade decorations (Engraving works as used in Interior and Exterior). Source: Authors’ fieldwork, 2019.
Summary, conclusion and recommendation Tradition in totality is people’s way of life, like dress and language, culture including any building settlement associated with the environment. The study unveils the concept of the triple space in city concepts as well as compound family house layout. While the former is synonymous with the concept of town or cities surrounded by a city wall and the entrance gate, the latter depicted compound wall with doorway. It also reveals the concept of ‘Zaure’ is for security, protection, reception, privacy, moral, ethnic ideas, decorations and administration while ‘Dakali’ and ‘Tsakar gida’ are for the naming ceremony, wedding ceremony, and playground for children. The production and cost of building with mud vary enormously, as the function of the building and material used, as well as technology and method of construction applied, additionally to the site location, design, political and socio-economic status; of the client significantly influence rather than dictates choice of materials and construction. The need to abate the effects of intense isolation and harsh harmattan wind indoors, coupled with the need for visual privacy have greatly reduced the size of openings and use of windows in traditional Hausa building in Kano Metropolitan city and its villages. Sustenance of habitable indoor temperature is not only dependant on ventilation, but on thick mud walls, and air exchange through windows. Based on the foregoing, this study has largely achieved its aim. It presents a valuable tool to help government, community, and professionals, to conserve and protect the cultural practice of Hausa traditional architecture. However, the urban and town planners, architects, builders, and other related professionals should put into consideration native technology, design theory, skills and craftsmanship associated with the dawn of traditional architecture while designing and planning the built environment. Consequently, the recent dominance of present-day innovations would not be to the weakness of our indigenous expertise. Therefore, the development of Hausa traditional architecture is recognized to have demonstrated a thorough understanding and meaningful response, in which the styles not linked to individual structures alone but collective neighbourhood design. Hence to extensively preserve, protect and develop the practice of Hausa traditional residential architecture, for the appreciation and patronization of the future generation the following recommendations are offered:
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(1) Government and the local community should embark on re-establishing the concept of triple space as they strengthen and maintain a healthy community. Positive impacts are evident throughout the community; it brings the community together, encourages safer neighbourhoods and creates a livelier community atmosphere. (2) Implementation of conservation and restoration policies by the government; the need to fully restore the ancient city wall and gates. Even on a small scale, steps can be taken to help mitigate impacts, such as improving the permeable surfaces. (3) Increase in awareness at all levels (local community, state, and national) to salvage and protect our cultural heritage. (4) Finally, despite modern innovation professionals should confidently use Hausa building motifs, symbols, and decoration in contemporary styles. This can be utilized as an incentive for aesthetical streetscapes in cities: the more desirable a place is, the more likely it will be visited, and in turn, money spent. Declaration of Competing Interest None. Acknowledgment This is to acknowledge the effort of Mustapha Umar Dauda (B. Sc. Architecture candidate, KUST, Wudil) for providing help during the research as a photography assistant. References [1] M. Adamu, Interpretation of significant and messages in Hausa traditional architecture. case of the “Zaure” entrance hall, J. Assoc. Archit. Educ. Niger. 4 (2005) 10–21. [2] O.P. Agboola, M.S. Zango, Development of traditional architecture in Nigeria: a case study of Hausa house house form, Int. J. Afr. Soc. Cult. Tradit. 1 (1) (2014) 61–74. [3] I.I. Danja, X. Li, S. Dalibi, Vernacular architecture of Northern Nigeria in the light of sustainability, in: Proceedings of the IOP Conference Series: Earth and Environmental Science, IOP Publishing, 2017. [4] Z. Dmochowski, An Introduction to Nigerian Architecture-Northern Nigeria, 1, Ethnographica Ltd., London, 1990, p. 1.2. pp. [5] Ejiga, O., O. Paul, and O. Cordelia, Sustainability in traditional african architecture: a springboard for sustainable urban cities. Sustainable Futures: Architecture and Urbanism in the Global South, Kampala, 2012: p. 27–30. [6] J.O. Popoola, Responsive housing: the spatial Formation of Housing Environment in Hausaland, Nigeria and the implications for public housing strategy, 1984. Nottingham UK, An unpublished Ph.D Thesis. [7] K.G. Umar, Methodological issues in architectural conservation, preservation and restoration of Hausa traditional residential building: case study of Kano metropolis, Int. J. Adv. Acad. Res. Sci. Technol. Eng. 5 (2) (2019) ISSN: 2488-9849. [8] Tofa, R.B. and I. Nigeria (2011). Traditional Nigerian architecture and design. Presentation for INTBAU and TAG Event, UK, 9-10th, February 2011. [9] G.K. Umar, Transformation in Hausa traditional architecture: A case study of some selected parts of Kano Metropolis (1950–20 04), 20 08. Architecture, ABU Zaria, An unpublished Ph.D Thesis. [10] G.K. Umar, D.A. Yusuf, Socio–Cultural rejuvenation: a quest for architectural contribution in Kano cultural centres, Nigeria, Int. J. Adv. Acad. Res. Sci. Technol. Eng. 5 (3) (2019) March 2019. ISSN: 2488-9849. [11] G.K. Umar, D.A. Yusuf, A. Mustapha, Theory and design for the contemporary residential building: a case study of Kano metropolis, north-western part of nigeria, Int. J. Innov. Environ.Stud. Res. 7 (1) (2019) ISSN: 2354-2918. [12] J. Whitehand, Urban Morphology and Historic Urban Landscapes, 27, World Heritage Papers, 2010, pp. 35–44.
Contents lists available at ScienceDirect
Scientific African journal homepage: www.elsevier.com/locate/sciaf
The practice of Hausa traditional architecture: Towards conservation and restoration of spatial morphology and techniques Gali Kabir Umar a,b,1, Danjuma Abdu Yusuf a,2,∗, Abubakar Ahmed a,2, Abdullahi M. Usman a,2 a b
Department of Architecture, Kano University of Science and Technology, P.M.B. 3244, Wudil, Nigeria Department of Architecture, Ahmadu Bello University, P.M.B 0.1045, Zaria, Nigeria
a r t i c l e
i n f o
Article history: Received 7 February 2019 Revised 10 August 2019 Accepted 26 August 2019
Keywords: Conservation Restoration Spatial morphology Hausa Traditional architecture
a b s t r a c t Conservation and preservation ideology was first developed in the 20th century, based on an early theory of who believed it was important not only to define the history of the building but to return it to its original character. In other words, the architect should determine the possibility and period of greatest perfection of a building or monument. This study aims at conservation, preservation, and restoration of Hausa traditional architecture by highlighting the spatial morphology and techniques from village to town, the reason for formation, the subdivision, and development of the compound structure associated with its sowing concepts and layouts. For this study, a review approach and descriptive research method were employed. However, the reviewed literature was used to identify the spatial morphology and techniques of Hausa traditional architecture, which was examined in the context of conservation and restoration. The study showcased the concept of the triple spaces (inner core, central core, outer core) in compound family houses, which is synonymous with the concept of town (“Kauye”, “Gari” and “Birni”) or cities (“Ciki”, “Tsakiya” and “Wajen Gari”) surrounded by a compound wall, entrance and city wall with entrance gate. It also further unveil the relevance and use of “Tubali”, “Azara”, “Asabari”, from substructure to super-structures, as well as interior form, motifs and decoration (“Makuba” and “Zankwaye”) as reported by researchers for appreciation, conservation and restoration of Hausa traditional residential settlements for the present and future generation. © 2019 The Author(s). Published by Elsevier B.V. on behalf of African Institute of Mathematical Sciences / Next Einstein Initiative. This is an open access article under the CC BY license. (http://creativecommons.org/licenses/by/4.0/)
∗
Corresponding author. E-mail address: [email protected] (D.A. Yusuf). 1 Presently a staff at Kano University of Science and Technology, Wudil but the research was carried out during his Ph.D. Program at Ahmadu Bello University, Zaria. 2 Presently a staff at Kano University of Science and Technology, Wudil. https://doi.org/10.1016/j.sciaf.2019.e00142 2468-2276/© 2019 The Author(s). Published by Elsevier B.V. on behalf of African Institute of Mathematical Sciences / Next Einstein Initiative. This is an open access article under the CC BY license. (http://creativecommons.org/licenses/by/4.0/)
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G.K. Umar, D.A. Yusuf and A. Ahmed et al. / Scientific African 5 (2019) e00142
Introduction “Nigeria, a country situated in the Western part of Africa has been the location of several kingdoms and tribal states over the millennia and is divided into Northern and Southern parts with the Hausa-Fulani’s, a diverse but culturally homogeneous people living in the northern part of Nigeria” [3]. “In recent times, the desire for foreign taste, in terms of building form, aesthetics, elevations, and materials has brought, the neglect in the use of local building concept and materials, this disregard is not unconnected with the colonial masters’ influence and the modern trends of innovation diffusion through the imposition of new models and materials on Africans traditional building” [11]. “In recent years, Nigerian architecture is characterized by the post-modern buildings of the 1990s and a sprawling new design concept and engrossed with new building materials mainly imported from China” [8]. Architectural expression like a language is frequently evolving into new forms, and materials in contrast to the characteristics of past styles, or building concepts and techniques. Those that remain valid are carried into the present while those that remain antiquated are dropped from use. Hausa traditional architecture in Kano has also witnessed this change in typology and morphology of the building within the last few decades, so it generates several architectural statements based on the visual image and perceptions on traditional or modern contemporary buildings, otherwise termed as “Trado-Modern” buildings. In considering and analysing the spatial formation of the Hausa housing environment, as well as its transformations one requires an understanding of the settlement pattern in Hausaland. Umar [9] noted that “the variations in settlement pattern tend to coincide with ethnic social differences, thus, ethnicity appears to provide a convenient social framework similarly”. The research aims to study the concepts and practices of Hausa traditional architecture with the intent to conserve, preserve and restore its spatial morphology and techniques for the future generation. The specific objectives are: (i) To highlight the spatial settlement pattern; from village to town, the reason for the formation, the subdivision, and development of the compound structure associated with its sowing concepts and layouts. (ii) To highlight the construction techniques, method of construction, as well as interior form, motifs, and decoration as reported by researchers. Background of study “Optimistically no custom or tradition should be retained if it is in conflicts with a societal competitive genuine interest in the same spirit. None should be thrown out or left to decay merely because it is an old tradition. Not all traditions need to be stagnant or old fashioned. Africans should retain and maintain their local and regionalist identity, values, materials and techniques” [10]. The effect of losing the African cultural heritage to Western influence is alarming, glaring over the society, which resulted not only in spatial morphology and techniques but also the management of limited vulnerable resources such as historic urban assets and buildings. According to Whitehand [12], “the study of the historic urban landscape within urban morphology begins by describing the integral role of the built environment in the early development of urban morphology within the discipline of geography, regional planning, and architecture”. Whitehand [12], “Urban morphology started to take shape as an organized field of knowledge at the end of the 19th century. Although several architects also differed in their understanding of historical traditions as well as in theories, philosophies, concept of their work, some also challenged traditional design of the type of structure’s suitable for architectural design. But as technology is advancing rapidly, the need for reconsideration of the practice of Hausa traditional architecture before a new generation arises. “Conservation and preservation principles were first developed in the late 19th century based on an early architectural school of thought that either encouraged measures that would protect and maintain buildings in their current state and prevent further damage and deterioration to them” [7]. He further explains, “Architect should establish the possibility and period of greatest perfection of a building or monument”. Conservation of traditional building is very important because it provides a sense of identity and continuity in a fast-changing world for upcoming generations. Umar [7] also noted that “what makes urban and architectural heritage special is their survival through time; they resist a lot of natural weather disasters, difficulties, and damages”. The permanent shortage of heritage buildings and their disappearance through time, calls the attention to preserve heritage through maintenance and rehabilitation. Moreover, “conservation and preservation are referred to as careful management of limited vulnerable resources, such as historical monuments and buildings. Hausa traditional buildings also assess the extent to which the so-called ‘Tradomo’ conventional typologies can be absorbed sympathetically amongst the old ones. Their significance is that they have been built by a succession of local builders and have managed to attain the inherited quality of the past that survived into the 21st Century” [7]. Materials and methods For this study, a review approach and descriptive research method were employed. It is concerned with the collection of data to describe and interpret existing circumstances, prevailing practices, benefits, attitudes, and on-going process. However,
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the central purpose of descriptive research is not just a description of what is but to explain what is discovered”. The review approach involves the review of past and related research on Hausa traditional architecture while focusing on the spatial morphology and techniques to get a better understanding of the past and future program requirements of Hausa traditional architecture.
Theories Spatial settlement pattern in Hausaland Sa’ad (1986) noted, “The differentiation between urban and rural settlement in Hausaland is not clear. Since people normally view the urban settlement as part and parcel of the surrounding rural areas and the rural lifestyle, called “Anguwani” much like rural communities”. Popoola [6] also reported “The rural landscape is dominated by nucleated villages, with the possibility of some expansion of compounds. The villages still have the remains of the old settlement walls, the isolated and dispersed compound is associated with more recent settlements having a strong link with some nucleated settlement types in Hausaland”. Notably, three-settlement types from the hierarchy discussed as follows: (a) Kauaye (village) is only found in rural areas. An urban dweller will normally detest being referred to as from the “Kauye” (village), which is basically a collection of matrilineal family groups, in a nucleated hamlet, organized for agriculture, the “Gona” (farmland) is contiguous and separated from that of other “Kwauyika” (villages) by “Daji” (forest). (b) Gari (town) is a large settlement, in the form of a township, consisting of distantly related family groups and some strangers. ‘Gari’ will normally have a collection of “Anguwanni” (wards) consisting of homogenous groups, based on family ties or common religious or occupational roles. Popoola [6] again, noted: “The introduction of the iron into Hausaland was probably a fact in the growth of such towns”. Two other factors associated with the development of “Garuruwa” (towns) are: (i) The availability of extensive fertile farmlands for agriculture; (ii) Sites selected based on religious consideration. In some locations became centres associated with the cult of certain “Iskokai” (spirits) and thus attracted a larger number of immigrants who formed “Garuruwa” (towns) (iii) “Gari” (town) does not have wall fortification, because “the fortifications of some “garuruwa” were associated with wars post-dating the foundation of the states in Hausaland. (c) Birni (city) is a cosmopolitan centre with people migrating into the centre from diverse groups. It is always a walled city and its fortifications appear to have been an essential element in the emergence of such cities. The wall also encircled farmland, in case of a protracted siege against the “Birni” (city). Some of the “Birane” (cities) became centres of political power or commercial activities of capital cities of the Hausa city-states. A discussion on the “Birane” (cities) will involve a consideration of the political situation in Hausaland. Some traditional Hausa “Birane” (cities) will be considered with four periods of Hausa political history. “The town or city is conceptually and organically categorize into 3 parts, ‘Cikin Gari’ (inner core), ‘Tsakiyar Gari’ (central core) and ‘Wajen Gari’ (outer core), surrounded by a thick mud wall (city wall) called ‘Ganuwa’. Accessed through a gate called ‘Kofa’, known as the city wall and gate” (Sa’ad 1986). The dichotomy exemplified that; the concept of the triple, space or cores in compound family houses is synonymous with the concept of town or cities surrounded by a compound wall entrance and the city wall with an entrance gate.
Compound structure According to Sa’ad (1986) “a traditional Hausa residence is conceptually subdivided into (3) parts or layout, inner core (private area), a central core (semi-private area), and outer core (public areas). The women area is the inner core consisting of the ward and guest/servant area with backyard space for the rearing of animals and refuse disposals. A courtyard is located mostly in the central core, for household and other associated social activities as well as for lighting and ventilation. These concepts historically originated from Egyptian domestic architecture of around (500 CE). Hence, Hausa traditional village layouts of shelter and settlements that developed to villages and town in such morphology”. The core of the compound is an open courtyard, where the family spends the greater part of their daily household activity and other social or ceremonial activities. It is also a place where children may quietly crawl or play undisturbed, there, one may chat and eat with other members, of the family and sleep during hot night or season (Fig. 1). The division between the exterior and interior space is accentuated in Hausa. Islamic architecture is influenced by “PURDAH” (exclusion of women) described as Haremlik and Selemlik areas (accessible and non-accessible). In other parts of the courtyard are well accentuated, but three common space denominators (i.e. the courtyard system for household and social activities, the kitchen and dining areas, where the kitchen is located far away in the compound, and the dining place,
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Private Area Haremlik Area
Family Area
Semi Private
Wards & Garden
Area Master Area Salemlik Area Public Area
Zaure & Guest
Fig. 1. Concept and layout of typical Hausa compound. Source: authors’ fieldwork, 2017.
LR
RM
K
RM
BR2
RM
COMPOUND 2 BR2
COMPOUND 1 COURTYARD
MB
T
T
ZAURE 3
LEGEND
LR
COURTYARD
MB
K
(COMPOUND 1)
MB - MASTER BEDROOM LR- LIVINGROOM RM- ROOM BR2- WIFE BEDROOM K- KITCHEN T- PIT-LATRINE
LEGEND
(COMPOUND 2)
ZAURE 2
ZAURE 1
MB - MASTER BEDROOM LR- LIVINGROOM RM-ROOM BR2- WIFE BEDROOM K- KITCHEN T- PIT-LATRINE
Fig. 2. Typical Hausa Traditional Compound at Dan-Dago, Kano Municipal, Nigeria. Source: [9].
individually or collectively in a Parlour or open space). The toilet or latrines is also located away from, or at the end of the compound for privacy, heath and other reasons (Fig. 2). According to Adamu [1], “the major function of ‘Zaure’, includes security, protection, reception, privacy, moral, ethnic ideas, decorations, and administration. Moreover, the provision of fairly large space at the vicinity of the neighbourhood necessitates congregational assembly to celebrate social functions such as a naming ceremony, wedding ceremony, and a playground for children and so on”. The open spaces are used for the rearing of animals’ little cultivation and future expansion. The built-up areas have a sleeping and living room, kitchen, entrance space, toilets, and stores. The height of the compound wall is raised high enough to prevent passers-by from seeing what is happening inside the compound.
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Discussions Building materials, construction and techniques “The predominant materials used in African traditional building are; earth, stone, and straw which have independently and jointly been used, then, also skilfully applied” [5]. Accordingly, Hausa people in Kano metropolitan have developed an architecture using materials found in their locality, such as mud, ‘Azara’, and thatch. Although the building process is dynamic, the present system has provided a dignified built environment with many beautiful structures with architectural merits, using locally acquired building material such as the followings: (i) (ii) (iii) (iv) (v) (vi) (vii) (viii) (ix) (x)
Earth and clay. “Azara” beam & stick. Corn stalk and thatch. “Tubali” and mortar. Water for mixing. “Chafe” plaster. Stone/“Marmara”. Reeds and grasses. Rope, corn mat/“Asabari”. White wash/red ear.
Mud-walls “Very little of adobe/earth/mud/brick architecture has lasted, apart from some of the monuments, temples, and mosques. Nevertheless, the enduring cultural practices of rural people indicate that adobe or mud surely has been one of the most common and abundantly obtainable materials while, the generally employed method was wattle-and-daub earth technology” [5]. The mud-wall is made up of mud block/bricks (tubali), with (100 × 250 mm) size and (100 × 150 mm) size. Foundation is dug about half a metre (40 0–60 0 mm) depth to penetrate below loose topsoil. The “tubali” is laid in course, which is covered with a specially prepared mud mortar for joining and bonding unit until the wall reaches the required height. The bottom is thicker with about 600 mm wide and getting slender on top of about 200 mm thickness. These bricks are made from excavated earth thoroughly mixed with grass (and other ingredients) for a few days later. The mixture is moulded into the required bricks or “tubali” left in the sun to dry before being used in any wall construction. A vertical element of mud with thatch, grasses and other admixtures of the blocks are called “tubali”, with the slender or triangular shape of about 10 0 mm–20 0 mm and a height of about 300 m. The mud walls are constructed with about 5 to 6 pieces of tubalis thatches at the bottom and getting thinner to the top with two (2) tubalis to ensure strength and stability, the wall achieves good thermal capacity at all seasons, during cold seasons, interior is warm and comfortable, due to the mud wall high thermal ability. It is used in most traditional buildings within the walled city of Kano. The traditional tendency was to make the walls thicker to meet the structural requirements. This was done partly to be on the safe side, partly because the thick wall makes inside room cooler and partly because slave labour was cheap. Moreover, failures in the wall such as cracks, collapse, or wearing are rarely identified needless of taking preventive measures during the construction works. The roof structure “Traditional builders consider the roof as the most challenging and rewarding part of the building. This seems to be justified based on the efforts of technology and decoration that are applied to it. The common types of mud roof usually span about 1.8 m wide space with “Azara” supported at both ends by a mud wall. Wider roofs can span 2.7–5 m and could be achieved by introducing corbels of mud at top of the wall which projects about (45 cm) to form the face of the wall and is usually reinforced with “Azara”. However, the room sizes can be increased up to 4.0 m by placing it diagonally across the room or horizontally on the opposite span of the room, to serve as beam supporters for very large rooms. The roof may be supported on a series of columns connected by “Azara” beams in a grid-like configuration while interiors are filled with “Azara” just simply spanned and distributed” (Sa’ad 1986) (Fig. 3). “The ‘Azara’ beams are also used to make frames constructions, beams, brackets, and corbels as elements for carrying flat and domed roofs. The ashes of the timber are often used as an insulating layer when spreading on top of flat roofs, treated with infusions from pods or roots to waterproof the top of flat roofs” [4]. Motifs, decorations and interior form Hausaland astounds visitors with its pleasing building forms full of colourful motifs, decorations and the quality of the interior space. It is generally characterized with vaults and piers decoration on walls, slits, punctures, archways and motifs in various sizes and proportions to attract and impress on the beholder to the awesome quality of the interior space.
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Fig. 3. Roof Structures (the use of Azara and thatch). Source: [9].
Fig. 4. Hausa traditional Facade Decorations – Pinnacles (Zankwaye) & Engraving. Source: [9].
Hausa building motifs symbolise the climax of the feeling of celebration that reigns inherently in a traditional builder at work, being expressive of man and nature. These motifs are done with as much relish and colour, as visual artists will have it on their masterpieces. “Motifs could be mounted on relief patterns impaled or scratched out once painted or textured with alternation of smooth and rough finishes. They are mainly focused on the vault: piers, pinnacles, “zaures”, interiors, walls, doors, and windows or the entire front facades are sometimes completely decorated with motifs. According to Sa’ad (1986), these motifs could be categorized into four classes by their origin as follows:
(i) (ii) (iii) (iv)
The first is by modelling a fresh mud plaster manually into arabesque feature. The second by cutting ornament into wet cement or mud plaster. The third by plastering the wall with “Makuba”. Fourth by painting on a plain white wall.
‘Zankwaye’ (Pinnacles) are an inevitable feature of Hausa architecture coming in different shapes and sizes and imparting character and beauty to a traditional building. They were originally reinforced vertical projections around the parapet wall of the roof; sometimes aid builders in climbing up onto the roof during construction or repair work (Fig. 4). The pinnacles (Zankwaye) have come to be accepted as a mark of aesthetics in Hausa traditional facade, without which is described by master masons as a bull without horn, or rather a chief without his headgear. Pinnacle (zanko) reflects the mood of a building or the builder of being exquisite elegant or otherwise. “Engraving is the practice of incising a design onto a hard, usually flat surface, by cutting grooves into it. The result may be a decorated object in itself. In Hausa traditional architectural decoration, the wall engravings are designed by traditional builders, specialized artisans and highly skilled hand engravers who can draw out minimal outlines directly on the wall surface just before engraving” [3]. “Consequently the facade decoration usually demonstrates wealth and social prestige” [2]. Fig. 5 shows engraving symbols as they are used in the interior and exterior spaces. One of the most striking features of Hausa architecture is described as external decoration in building, which usually surrounds external doors and outer wall fences, that front upon the street.
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Fig. 5. Collection of facade decorations (Engraving works as used in Interior and Exterior). Source: Authors’ fieldwork, 2019.
Summary, conclusion and recommendation Tradition in totality is people’s way of life, like dress and language, culture including any building settlement associated with the environment. The study unveils the concept of the triple space in city concepts as well as compound family house layout. While the former is synonymous with the concept of town or cities surrounded by a city wall and the entrance gate, the latter depicted compound wall with doorway. It also reveals the concept of ‘Zaure’ is for security, protection, reception, privacy, moral, ethnic ideas, decorations and administration while ‘Dakali’ and ‘Tsakar gida’ are for the naming ceremony, wedding ceremony, and playground for children. The production and cost of building with mud vary enormously, as the function of the building and material used, as well as technology and method of construction applied, additionally to the site location, design, political and socio-economic status; of the client significantly influence rather than dictates choice of materials and construction. The need to abate the effects of intense isolation and harsh harmattan wind indoors, coupled with the need for visual privacy have greatly reduced the size of openings and use of windows in traditional Hausa building in Kano Metropolitan city and its villages. Sustenance of habitable indoor temperature is not only dependant on ventilation, but on thick mud walls, and air exchange through windows. Based on the foregoing, this study has largely achieved its aim. It presents a valuable tool to help government, community, and professionals, to conserve and protect the cultural practice of Hausa traditional architecture. However, the urban and town planners, architects, builders, and other related professionals should put into consideration native technology, design theory, skills and craftsmanship associated with the dawn of traditional architecture while designing and planning the built environment. Consequently, the recent dominance of present-day innovations would not be to the weakness of our indigenous expertise. Therefore, the development of Hausa traditional architecture is recognized to have demonstrated a thorough understanding and meaningful response, in which the styles not linked to individual structures alone but collective neighbourhood design. Hence to extensively preserve, protect and develop the practice of Hausa traditional residential architecture, for the appreciation and patronization of the future generation the following recommendations are offered:
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(1) Government and the local community should embark on re-establishing the concept of triple space as they strengthen and maintain a healthy community. Positive impacts are evident throughout the community; it brings the community together, encourages safer neighbourhoods and creates a livelier community atmosphere. (2) Implementation of conservation and restoration policies by the government; the need to fully restore the ancient city wall and gates. Even on a small scale, steps can be taken to help mitigate impacts, such as improving the permeable surfaces. (3) Increase in awareness at all levels (local community, state, and national) to salvage and protect our cultural heritage. (4) Finally, despite modern innovation professionals should confidently use Hausa building motifs, symbols, and decoration in contemporary styles. This can be utilized as an incentive for aesthetical streetscapes in cities: the more desirable a place is, the more likely it will be visited, and in turn, money spent. Declaration of Competing Interest None. Acknowledgment This is to acknowledge the effort of Mustapha Umar Dauda (B. Sc. Architecture candidate, KUST, Wudil) for providing help during the research as a photography assistant. References [1] M. Adamu, Interpretation of significant and messages in Hausa traditional architecture. case of the “Zaure” entrance hall, J. Assoc. Archit. Educ. Niger. 4 (2005) 10–21. [2] O.P. Agboola, M.S. Zango, Development of traditional architecture in Nigeria: a case study of Hausa house house form, Int. J. Afr. Soc. Cult. Tradit. 1 (1) (2014) 61–74. [3] I.I. Danja, X. Li, S. Dalibi, Vernacular architecture of Northern Nigeria in the light of sustainability, in: Proceedings of the IOP Conference Series: Earth and Environmental Science, IOP Publishing, 2017. [4] Z. Dmochowski, An Introduction to Nigerian Architecture-Northern Nigeria, 1, Ethnographica Ltd., London, 1990, p. 1.2. pp. [5] Ejiga, O., O. Paul, and O. Cordelia, Sustainability in traditional african architecture: a springboard for sustainable urban cities. Sustainable Futures: Architecture and Urbanism in the Global South, Kampala, 2012: p. 27–30. [6] J.O. Popoola, Responsive housing: the spatial Formation of Housing Environment in Hausaland, Nigeria and the implications for public housing strategy, 1984. Nottingham UK, An unpublished Ph.D Thesis. [7] K.G. Umar, Methodological issues in architectural conservation, preservation and restoration of Hausa traditional residential building: case study of Kano metropolis, Int. J. Adv. Acad. Res. Sci. Technol. Eng. 5 (2) (2019) ISSN: 2488-9849. [8] Tofa, R.B. and I. Nigeria (2011). Traditional Nigerian architecture and design. Presentation for INTBAU and TAG Event, UK, 9-10th, February 2011. [9] G.K. Umar, Transformation in Hausa traditional architecture: A case study of some selected parts of Kano Metropolis (1950–20 04), 20 08. Architecture, ABU Zaria, An unpublished Ph.D Thesis. [10] G.K. Umar, D.A. Yusuf, Socio–Cultural rejuvenation: a quest for architectural contribution in Kano cultural centres, Nigeria, Int. J. Adv. Acad. Res. Sci. Technol. Eng. 5 (3) (2019) March 2019. ISSN: 2488-9849. [11] G.K. Umar, D.A. Yusuf, A. Mustapha, Theory and design for the contemporary residential building: a case study of Kano metropolis, north-western part of nigeria, Int. J. Innov. Environ.Stud. Res. 7 (1) (2019) ISSN: 2354-2918. [12] J. Whitehand, Urban Morphology and Historic Urban Landscapes, 27, World Heritage Papers, 2010, pp. 35–44.