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SANKOFATECTURE

Amie Edwards Master Research Project

Chair | Donna Cohen Co-Chair | Charlie Hailey SANKOFATECTURE Time - Space - Itinerary: Architecture and Culture of , ,

Table of Contents

Introduction Preface 1 Abstract 4

Case Studies National Museum of African American History and Culture 5 Sinthian Threads Art Cultural Center 9 Zinc Mine Museum 15 Parc de La Villette 17

Historical Context Ghana Geographic and Demographic 19 Tribal Villages 21 Castles and Forts 27

Architecture is an artifact of time. The tectonics and materiality of buildings tell the story of society. Making and Movement Revealing the essence of place, the movement of people, and the trajectory of the future. Culture and Secrecy 47 Objects 49 Symbols 53

Edge and Intinerary 57 Landscape 61 Monuments 59 Streets Coast 65 Mapping 69

Independence Park Concept 75 Site 71 Sections and Floorplans 73 Visual Moments 77

Conclusion 79

Bibliography 81

Index 83 Introduction

A collected journey of thoughts, questions, movement, memories, exploration and discoveries lead to the research of Ghana, Africa. Looking back, many years ago as a child,13 years old to be exact, growing up in a small rural city in Georgia I started to ask questions about cul- ture identity and my future. The superficialities and generalizations regarding cultural identity as a individual of African descent became a tangible part of my life. In a wood working class in middle school I experienced joy in discovering that the meaning of lines connecting and intersecting on a plane creates spaces. This was the first time I heard about the profession of architecture. However, joy and disappoint collided through social constructs and bound- aries of communal ecologies in which I lived that prevented me from pursuing my interest in architecture. Nevertheless, over the course of time, changes, and shifting in the formation and building of new nodes in life provoked the me to recall the experience of creating spaces. Now, in the path of my architectural learning experience I’ve had the opportunities to travel to differ- ent countries and cities; Seoul, Korea, Hong Kong, China, Tokyo and Kyoto Japan, Singapore, Rome, Italy, Barcelona, Spain,and Switzerland to name a few. The built environments in each location varied in scale and texture. Each city was a testament of the history and culture in the region. The streets were aligned with buildings as archives of the past and present narratives. Many of the cities such as Tokyo ,Japan and Rome, Italy allowed me to see the buildings that I learned about in my classes. Yet, It was the opportunity to take an African Architecture seminar with Professor Donna Cohen that provoked me to question and explore an architecture that is not universally known or understood. This seminar also allowed me to recall the knowledge of the socio-cultural identity I discovered in my youth. From this experience I pursued to inves- tigate and travel to Accra, Ghana to explore the architecture of the country. In Accra I discov- ered an Adinkra symbol that reference movement and time in the of the people called (Sahn-koh-fah). The Sankofa means san- to return, ko-to go, fa- to look, to seek and take . The symbol is know as a bird with its head turned backwards while its feet facing forward carrying a precious egg in it’s mouth (The Spirituals Project, 2004). Sankofa is associated with the proverb, “Se wo were fi na wossankofa a yenkyi” which translates to, “It is not wrong to go back for that which you have forgotten. ”

time /tīm/ the indefinite continued progress of existence and events in the past, present, and future regarded as a whole. “travel through space and time”

space The Adinkra symbol Sankofa /spās/ a continuous area or expanse which is free, available, or unoccupied an area of land which is not occupied by buildings. an interval of time

i·tin·er·ar·y /ītinərerē/ a planned route or journey

1 Sankofatecture 2 Abstract

The inherent connections’ of how architecture influence and shape the social environment is dis- played over time. The buildings in many cases tell the story of the culture, economy, religious be- liefs and political composition of the country. Tectonically, the buildings and material elements address climatic conditions within the region. Historically, the urban fabric of various building types was the measure of technological advancement and references of power in the landscape. Culturally, the embodiment of social identity is enscrided in buildings to mark the measure of existence. This research investigates the progression of architectural materialism in the African culture. How with the current rapid urbanization on the African continent, the historical influence of European culture and western built environments, are buildings in Africa being constructed with materials influenced by the local culture? Today, building technologies are allowing a cross pollination of ideas that may not be conducive to the climatic and cultural needs of Africans. This research ask these questions with the focus on the west coastal region of Africa in the country of Ghana isolat- ing the investigation in the area surrounding the capital city Accra. The objective is to inquire how and what is the dynamics of building interventions of the area in reference to time, space and itin- erary, by observing the culture and materiality of buildings that connect to the people over time.

3 Sankofatecture 4 CASE STUDIES

Fig. 1 North Facade of the National Museum of African American History and Culture Museum (NMAAHC, 2020). Fig. 2 Left: Yoruban sculpture located in the of the museum . Right: View of exterior facade reflecting in the interior space. (NMAAHC, 2020)

The case study of the National Museum of African American History is located in Washington, D.C. USA. It was completed in 2016 by the architecture team of Philip Freelon, Davis Adjaye and J. Max Bond. The museum is the last structure in the National Mall, the nations memorial park of historical monuments and buildings. The interesting idea about the museum is that the conceptual design intent is displayed throughout the structure and program of the building. The itinerary of time, culture, space and history is woven into the experience of the building. The facade, the first visible element of the structure, was conceptual designed based on the corona, a three-tiered crown used in Yoruban art from . The sculpture that served as the inspiration for form of the building is displayed in the uppermost gallery in the museum. The 250,000 square feet facade that take on shape of the coro- na is covered in a latticework of bronze-colored cast-aluminum panels to celebrate historical patterns by African American ironworkers in the South. The structure extends deep below grade and rises above just over 60 feet (NMAAHC, 2020). Visitors are encouraged to begin their tour at the basement floor to experience the journey of African American history. The history galleries begin in dark rooms with the narrative of slavery, through the civil rights exhibits and arrive to Contemplative Court circular water feature for a place of pause and reflection. The journey continues through five floors of exhibits Fig. 3 Left Drawing of ironwork lattice historical designed by in the south. Middle: Drawing of the of African American progress to arrive at the top of the building to experience a view of the park and conceptual design of the museum facade. Right: View of facade panel. the city.

5 Sankofatecture Case Studies National Museum of African American History and Culture 6 Fig. 4: Water feature in Contemplative Court, Middle: Jim Crow exhibit in History Gallery, Bottom: Wrist shackles in Slave Exhibit in History Gallery (NMAAHC, 2020).

7 Sankofatecture Case Studies National Museum of African American History and Culture 8 Fig.5 The facade of the in Senegal Sinthian Thread Art Cultural Center (Foundry, B., 2020).

The case study of the Sinthian Thread Art Cultural Center was designed pro-bono in 2015 by Toshiko Mori a New York-based architect. The interesting elements of this building is how is it connects with the land and the cultural tradition of the people. The building is situated in the remote community of Sinthian, Senegal, near the border of Mali. The building is constructed using local materials and local builders have shared their technical knowledge of working with bamboo, brick, and thatch. These traditional techniques used by the Senegalese for thousands of years are combined with parametric design innovations by Mori. The customary pitched roof is reconfigured and has the ability of collecting approximately 30% of the villagers’ domestic water usage in fresh rainfall (Foundry, B., 2020). This proj- ect offers multiple programs for the community, including gathering space, performance center, and residency for visiting artists. A collaboration with the Josef and Anni Albers Foundation and American Fig.6 Top Exterior view of roof and entryway Middle Friends of Le Korsa, the cultural facility complements the existing clinics, kindergarten, and farming Open air interior space, Bottom: Gathering space un- der oculus (Foundry, B., 2020). school near the site. It is also meant to ensure stability and provide a common ground within a commu- nity consisting of 12 different tribes. The shared music, art, and performance programs are a testament to the resiliency of the region.

9 Sankofatecture Case Studies Sinthian Thread Arts Culture Center 10 Fig.7 Section, floor plan and diagram of the process of the rainwater collection for the Sinthian Thread Art Cul- Fig.8 Site plan of Sinthian Thread Art Center. The spatial organization of the center is conceptual similiar to the tradi- tural Center (Foundry, B., 2020). tion village compound by having single units surrounding a center courtyard (Foundry, B., 2020).

11 Sankofatecture Case Studies Sinthian Thread Arts Culture Center 12 Fig.9 Explode Axonometric diagram of traditional tectonic assembly of roof made of bamboo and thatch, and with the facade Fig.10 The Cultural Center construction site that display the bamboo substructure framework and weave structure layer made of local brick (Foundry, B., 2020). for the thatch roof (Foundry, B., 2020).

13 Sankofatecture Case Studies Sinthian Thread Arts Culture Center 14 Fig.12 Site Plan Allmannajuvet Zinc Mine Museum (Mairs, J., 2020) Fig.13 Top: Museum, Bottom: Cafe (Mairs, J., 2020).

From an interpretative view of the project, the small black buildings perch lightly on the edge of the montainscape. Displaying a contrast to the heavy carving of dark mining spaces into the mountains that took place many years ago. Fig.11 Buildings of the Allmannajuvet Zinc Mine Museum in Sauda, Norway by Peter Zumthor (Mairs, J., 2020). The black interior space of the museum and cafe reflect an The case study of the Allmannajuvet Zinc Mine Museum was designed in 2002 by Swiss experiential element of mem- architect Peter Zumthor. He was commissioned by the Norwegian Public Roads Adminis- ory of the mines while also tration to design a tourist route attraction to welcome visitors and restore the mining history allowing moments of light to of Sauda. The buildings are inspired by the mining operations, and the strenuous everyday penetrate the spaces to views lives of the workers’ from 1881 to 1899. Zumthor designed four structures along the route of the surrounding mountian- that consists of a service facility, café, museum, and rest shelter. scape.

15 Sankofatecture Case Studies Allmannajuvet Zinc Mine Museum 16 Fig. 14 Parc de la Villette by Bernard Tschumi Follies along Canal de l’Ourcq (Arch Daily_ Tschumi, 2020) Fig.15 Left; Site Plan of Parc de la Villette (Arch Daily_ Tschumi, 2020), Fig. 16 Exploded copceptual site drawing of Parc de la Villette by Benard Tschumi (Tschumi, 2020). The cases study Parc de la Villette was design by Bernard Tschumi in Paris, France in 1984-1987. The site was previously the location for slaughter houses in 1867. After winning the design competition for urban redevelopment project city, Tschumi designed the master plan for the 135 acre park. The design objective was to create an “urban park of the 21st century.” He envisioned the park to be a place of culture where the natural and artificial are merged together. The park was to be a key element in Paris that encapsulate the vision of the era for future economic and cultural development. The Tshumi designed Parc de la Villette with three principles of organization classified as points, lines, and surfaces(Tschumi, 2020). The 135 acre site is organized spatially through a grid of 35 points displayed as follies. The series of follies are red and vary in construction giving a dimensional and organizational quality to the park serving as points of refer- The aligned follies ence in a plane. The repetitive nature of the follies allow the visitors to retain a sense of place through the adjacent to one large park. In between the follies (points) and green spaces (surfaces) allow a place for people to relax. another, the pedres- Constructed pathways (lines) allow vistors to move freely through out the park. trian walkway and the Canal de l’Ourcp create a series of edges. The red follies display a distinct edge of color, the pedestrian walkaway create a hard edge against the soft water way of of the Canal de l’Ourcpq.

17 Sankofatecture Case Studies Parc de la Villette 18 HISTORICAL CONTEXT The Ghana flag.The red represents the blood of those who died in the country’s struggle for independence from Great Britain in1957 The yellow represents the mineral wealth of the country, the green symbolises the country’s rich and natural wealth, and the black star is the symbol of African emancipa- tion.

Gulf of Guinea Ghana population 30,764,127

Indian Ocean Atlantic Ocean

Ghana

Fig. 17 Map of Africa. Ghana located on the west coast of Africa Accra population 2,514.000 Ghana, which mean Warrior King, is 1 of 54 countries in the continent of Africa. The country lies along the Greenwich Meridian 0 degrees longitude. It is located in the north west coastal region of Africa bordered by the and Atlantic Ocean. Ghana is also bordered on land by Cote d’Ivoire () to the west, Burkina Faso to the north, and Togo to the east. Ghana is located in a tropical climate zone with wet and dry seasons (Adjaye, Alison, 2016). The country has two main rivers the Black Volta flowing north-south on the western border of Ghana and the White Volta that Area of Research flow north-south to in the center of the country. The rivers merge into Lake Volta the largest artificial reservoir in the world formed by Akosombo Dam. From the dam the Volta rivers flow into one and into the Gulf of Guinea. The dam generates electrical energy for Ghana. There are over approximate- ly 19 spoken in the country. The capital of Ghana is Accra, which means ant. In this area the most native languages spoken are Ga of Ga-Adangebe people and Twi of the Akan (Ashante ) people.

19 Sankofatecture Historical Context Ghana Geographic and Demographic 20 There is a persistent misconception that pre-colonial Africans lived almost exclusively in circular mud and thatch dwellings. Some publication since mid 19th century have associated most traditional African archi- tecture with round, thatched roof, mud wall huts. While the circular spatial geometry is apart of the typical building construction in Ghana, in is not the only typology. Historical research indicates that square and rectangular forms are of great antiquity and have existed built by the Ashante tribe the dominate culture of people in diverse areas within geographical regions of Ghana. These buildings were organized in villages. The spatial configuration was arranged with rooms around a center courtyard (Adekunle, Odeyale, 2008).

Fig. 19 Traditional Ashante palace (Ashanti Civilization,2020)

Fig. 18 Map of

Kumasi is the second largest city of Ghana and know as foundational city of the heritage tradition of the Ashanti. The name Kumasi means “under the kumnini tree” established by the Ashanti King.

Fig. 20 Section and plan of traditional compound.

21 Sankofatecture Historical Context Tribal Villages 22 Survey of the "center" of Tongo. a. The market­ place. b. The District Commissioner's office. c. Roman Catholic Mission House. d. the compound of the na ‘ab, or chief of Tongo.

Fig. 21 This site show the spatial organization of a village of circular form buildings in Tongo in Northern Ghana(Brasseur, 1971) Fig. 21 This site show the spatial organization of a village of rectilinear form buildings in Larabanga in Northern Ghana(Bras- seur, 1971)

23 Sankofatecture Historical Context Tribal Villages 24 Fig. 25 Above : waddle and daub wall Right: Masons laying local clay bricks (McClure, 2014).

Fig. 23 Fetish Temple, Kumasi Ghana

Traditional vernacular design of the Ashante people consist of the use of local material that include to bamboo, palm fronds, grasses and aggregated mud to create structures. To create the waddle and daub wall builders mark out the desired building form with pegs and strings on the compact- ed laterite surface before creating footings at regular intervals along the form. Wooden posts are inserted into individual footings, adding stones rammed together to increase stability. Within this framework, builders craft a woven lattice of horizontal and vertical branches or wood posts, upon this system wet laterite balls are pressed onto the lattice surface at a thickness ranging from 6 to 9 inches (Vernacular Architecture, 2020) Another traditional method of making buildings was by using earthen construction through the wet-mud method called banco. The walls were create in a circular or rectangular form by adding thick layers of mud , similar to coil pottery. This walling tech- nique is credited to builders of the Ewe present in Ghana, Togo and Benin and often deployed in Ghana’s northern zones where wood supply is minimal. Walls typically have a thickness of 11 inches with footings averaging 18 inches and heights of 8 feet. Builders set out by delineating desired wall forms (or circular) with pegs and string and then digging a pit nearby to prepare the laterite needed for construction. After the last laterite course, builders make holes at 2 feet intervals at the top using posts of Parkia biglobosa, African locust bean tree, as structural supports for the roofs. For flat roofs, builders use mud, but for pitched roofs use grass and palm fronds constructed by tying smaller pieces of stick and bamboo to main timber rafters with raffia or twine. Bricks were also made and dried in the sun to construct building (Labelle, 1974).

Fig. 24 Traditional building constructed in waddle and daub method. (image by author)

25 Sankofatecture Historical Context Tribal Villages 26 During the 15th-19th century in Ghana more than 40 castles and forts densely align the coast for trade and protection for benefit of Europeans that invaded Ghana. Trading start in the 1400s when the Portuguese found gold with a few miles of the sea. As Ghana became well know for gold, other European countries came to fight and claim territories to mine gold for themselves. There many wars between the Ashanti and the Europeans before country was also divided into four major territories. The territories were divided as colonies between the French, German, and British in the 1914. The British name colony around the coast the Colony (Ward, 1958). The British eventually claimed the entire country of Ghana and a British Colony. Fig. 26 Coastal castles of Ghana Top: Osu Castle, Middle: , Bottom: Elimina Castle (Anquandah, 2007).

27 Sankofatecture Historical Context Castles and Forts 28 Route of Trans-

The major reason for the development of forts in Ghana was to trade intially gold, cocoa, and later slaves.

Fig. 28 Floor Plan of Elimina Castle (Zamainia, 2020)

Fig. 27 Top: gold , Middle: cocoa, Bottom: Ship with slaves The basic architectural design of the forts in the region was in large square or rectangle form. and materials of trade. The outer components consisted of four bastions/batteries or towers located at the corners, while the inner components consisted of buildings of two or three storeys with or without towers, in ad- dition to an enclosure, courtyard or a spur. Many have been altered, during their use by succes- sive Europeans, that include the Portugese, Dutch and British powers, and some survive only as ruins. St. George’s d’, built in 1482, was the blue print of all forts in Ghana and one the oldest forts in the region. The historic town of Elmina is documented to be the location of the first point of contact between Europeans and sub-Saharan Africans (Zamainia, 2020).

29 Sankofatecture Historical Context Castles and Forts 30 Fig. 29 Elmina Castle west facade entrance. (image by author)

31 Sankofatecture Historical Context Castles and Forts 32 Fig. 30 Top left Elmina Castle courtyard fac- ing north , Top right view into courtyard facing south with the old church in the center Bottom left is the slave dungeon, Bottom right: is the entrance to the door of no return. (images by author)

Fig. 31 Elmina Castle prison holding cells the one to the left was for slaves the one the right was for Dutch soldiers. (images by author)

As I walk through the dark spaces where thousands of slaves were held it was hard to imagine what it was like to live in total darkness without access to natural light for months. Moreover the process of moving from a dark space to arrive at a narrow light that comes from the door of no return. The thought left me in complete silence.

33 Sankofatecture Historical Context Castles and Forts 34 The Elmina Castle spatial organization aligns with the function of defense and movement. Outling a directional path for gold, cocoa, fabrics and slaves through dark spaces into contricted dark vessels into the expanse of the ocean to unknown places.

Fig. 32 Analytical skecth of Elmina Castle structures dark spaces

35 Sankofatecture Historical Context Castles and Forts 36 Fig.34 top left courtyard , bottom left corridor to bedroom, bottom right brisoeil detail, top right original holding dungeon for slaves. (images by author) Fig. 33 Osu Castle Acca, Ghana (image by author)

37 Sankofatecture Historical Context Castles and Forts 38 The Osu Castle architectural design function was primarily for administrative and residential purposes of the Dutch. Small scale dark spaces where allocated to transport slaves and vari- ous items of trade across the ocean.

Fig. 35 Analytical skecth of Osu Castle connecting of the spaces living quarters where the commander stayed to the insignia on the water reservoir that often used to brand the slaves in the dungeons. Above the dungeons was a Christian worship space and also a balcony where commanders stood to observed and chose female slaves.

39 Sankofatecture Historical Context Castles and Forts 40 Fig. 36 Left: Jamestown Light House, middle Fisherman Village opposite page entry to and interior view of jail cells. (images by author)

41 Sankofatecture Historical Context Castles and Forts 42 The JamesTown Lighthouse in Accra is a point of reference in the transition from the street where the Ussher Castle serve as a backdrop above to The Fishermen village area below that slopes down to the water’s edge with aligned handcrafted boats waiting to depart into the ocean.

Fig. 37 Analytical skecth of James Town Area: Jamestown Light House, Fisherman Village And Ussher Castle

43 Sankofatecture Historical Context Castles and Forts 44 Fig. 38 Analytical sketches of movement, space and transition of building types over time.

45 Sankofatecture Historical Context Castles and Forts 46 MAKING AND MOVEMENT Culture and Secrecy

Fig. 39 The and the Asantehiene Sir Osei Agyeman Prempeh II wearing a robe. The Golden Stool, which takes precedence of the Asantehene, is lying on its side on its own chair of state the upper surface facing the spectators. ( Ward, 1958).

The making of objects and symbols in society since antiquity define the purpose of existence in many cultures all over the world. Making was the fundamental idea of communicating the intan- gible elements of the mind into tangible objects of meaning. The Asante people used gold the plentiful earth mineral of the region to create elements of wealth, power and spirituality of the culture. The most significant objects of the are the Golden Stool and the Kente Cloth. They relay a message to the people to create unity in the nation.

Fig. 40 The Golden Stool and Kente cloth collage

47 Sankofatecture Making and Movement 48 Fig. 41 The Golden Stool (Sika’ dwa) in it’s chair with ceremonial bells of protection (Ewusi, 2018)

The Golden Stool, Sika Dwa Kofi, has been the sym- bol of power in Ashanti Kingdom since the 17th cen- tury. According to oral tradition, , a High Priest and one of the two founders of the Ashanti Confederacy, conjured the Golden Stool, decorated with golden bells, and caused it to descend from the sky where it landed at the feet of Osei Tutu I, the first Asantehene, King of Ashanti. Beginning with Fig. 42 The national flag of Ashanti the Osei Tutu I, the Ashanti have believed that the Gold- yellow symbolize the gold mineral soil en Stool houses the soul of the Ashanti nation. The wealth, the green represent the rich Stool, made of gold, stands 18 inches high, 24 inches rainforest ecozone the black represent long, and 12 inches wide. It was cut and carved from the people with the Golden Stool in a single tree and overlayed with gold. It was never the middle representing unity and the ulitimate symbol of power. allowed to touch the ground and was considered so sacred that no one was allowed to sit on it. Each new Ashante king is lowered and raised over the Golden Stool without touching it. (Ewusi, 2018).

49 Sankofatecture Making and Movement Objects 50 Fig. 43 Left : Kente cloth Right: Weaver in a loom making Kente cloth in Accra, Ghana.(image by author)

“African traditional textiles are a visual representation of history, philosophy, ethics, social conduct, Weavers would shave the bark from trees, grind their seeds, and then pound both together to produce religious beliefs, political thought and aesthetic principles.” – Abraham Ekow Asmah. The narra- dyes. There were different trees that created red, green, and yellow dyes, which is why these are the tra- tives of Kente cloth and Kente weaving vary in measure and degree. Kente weaving is an indige- ditional kente colors. The threads would then be soaked in the dye and woven together to create colorful nous techinque dated far back as the 16th century in Ghana. The craft of weaving the Kente cloth fabrics for the king. Each geometric shape has symbolic meaning and collective reveal a hide message. is tradition done by men. The pioneered Kente weaving in Ghana, having an aged Weaving involves the crossing of a row of parallel threads called the warp (threads running vertically) story of two brothers Nana Kuragu and Nana Ameyaw who learned the noble art by observing a with another row called the weft (threads running horizontally). A horizontal loom, constructed with wood, spider spin patterns in its web on a farm they visited in a village called Bonwire. The brother was consists of a set of two, four or six heddles (loops for holding thread), which are used for separating and inspired and wove a pattern themselves out of raffia leaves. When the cloth was presented to the guiding the warp threads. These are attached to treadles (foot pedals) with pulleys that have spools of Ashanti king, he was extremely impressed with it and asked the brothers if the could woven with thread inserted in them. The pulleys can be used to move the warp threads apart. As the weaver divides many different colors (Csdt, 2020). Since the raffia tree only produced black and white thread, the the warp threads, he uses a shuttle (a small wooden device carrying a bobbin, or small spool of thread) weavers needed to come up with a new way of creating colorful threads. Opoku-Agyeman, to insert the weft threads between them. The width of each woven kente cloth is four inches wide and one of the greatest weavers, came up with the idea of using the bark and seeds of local trees to vary in length according to the design(Csdt, 2020) To make robes and various larger articles four inch create dye. cloths are sewn together to make the fabric.

51 Sankofatecture Making and Movement Objects 52 Fig. 44 left: Stools with , right: Adinkra symbols by Professor Ablade Glover, Accra Ghana.(image by author) Below: Man uses wood comb to make parallel lines a Adinkra cloth (Ventura, 2012)

Adinkra is an Akan word that means farewell or good- bye. It is a group of symbols created by the Ashanti as a writing system each symbol can be associated with an aphorism that offered insight to the Akan way of life. The Adinkra and their accompanying proverb was and still is a form of communication system that preserves and transmits the cultural and spiritual val- ues of the people (The Spirituals Project, 2004). The symbols were traditional used on facade of buildings, This final boiling produc- furniture, pressed in gold weights for trade, on jewelry, es a thick black ink for and stamped on clothing. In Ghana today the symbols stamping. The Adinkra are still made and used. The most renown element that symbols are carved into a Adinkra symbols are applied to is fabric. The ink for calabash gourd for making Adinkra stamping is made from the bark of the Badie stamps for printing on the tree (Bridelia ferrungia). First, the outside bark is cut cloth. Once the stamp is away, leaving a red fiber. Next, the red fiber is soaked carved, it is attached to in water for about 24 hours to make it soft. The red fiber bamboo sticks for a grip is then pounded to make it even softer and placed back and pressed on the cloth in the water to be boiled for two days. After cooking for on table or on the ground two days, the bark is strained out of the water. With the (Making And Using | CSD, bark removed, the liquid is boiled a final time, reducing 2020). it in volume.

53 Sankofatecture Making and Movement Symbols 54 EDGE AND ITINERARY EDGE

As I moved through the city of Accra build- ings are displayed as a tapestry of color. Every moment joining together between the sky and ground marking a point in the fabric of the city. 55 Sankofatecture 56 Fig. 29 The lush green landscape of red clay hills step down to the littoral edge of the coast of grass, sand and rocky beaches to the ocean. (images by author)

57 Sankofatecture Edge and Itinerary Landscape 58

Fig. 30 Independence and monument collage (left to right Black Star Gate, Independence Arch, Nkrumah Memorial Park and Masoleum, Liberation Day Monument, Eco Bank , National Theatre (images by author)

59 Sankofatecture Edge and Itinerary Monuments 60 Fig.31 Oxford Street (images by author)

The One of the most significant places of movement and materiality that reflect the surge of progressive globalization while maintaining a display of cultural vitality in Accra is Oxford Street. Oxford Street is located in the Osu area of the metropolis hub of the city. Modern buildings of glass that reflect the sky and frameworks of steel and concrete are scattered along the street reaching for the sky creating a hard edge trajectory of progress into the future. Yet on ground level the rapid movement of men and a wom- en draped in color selling their goods form a organic edge like a moving storefront adapting to custom- ers that want to buy their products. Apart of the Oxford Street system that is the ubitquios is the open gray water system that creates an obstacle barrier between the people and the busy vehicular move- ment of the street.

61 Sankofatecture Edge and Itinerary Streets 62 Fig.32 Makola Market (images by author)

Makola market is a renown place of exchange that displays a tapestry color with merchants aligning the edges of Kojo Thompson and Derby Avenue. The vendors products range from fruits and veggies, colorful fabrics, shoes, pots and pans, beaded jewelry, cooked local dishes and much more. The atmo- sphere is alive and vibrant. Erected behind the dense organic edge of color are small scale story two building reflecting a past aim of progression. In the forefront of these two peripheries lie the open gray water system and the mass interlocking vehicular traffic with driver anxious to be intangled from the web of cars.

63 Sankofatecture 64 Fig.33 Elimina Castle and the surrounding coastal city area (images by author)

The Elimina Castle dominates the steep edge of the coastline. The dock intersects the coastline into the ocean. In the ocean are scattered fishing boats marking moments in a plane.

65 Sankofatecture Edge and Itinerary Coast 66 Fig. 34 Jamestown Fishermen Village (image by author)

Descending from a structured wall aligned with buildings of color is the Jamestown Fishermen Village creating a scattered field condition of working huts and aligned fishing boats. A dock with men working on boats and sewing fishing net intersect the coastline into the ocean.

67 Sankofatecture 68 Fig.35 The analytical mapping shows the tapestry of the historical cultural and spatial itinerary of Ghana. The single thread the coast line weave in and out of every moment connecting with every element binding everything together.

69 Sankofatecture Edge and Itinerary Mapping 70 INDEPENDENCE PARK PROJECT INDEPENDENCE PARK

Fig.35 Lighthouse clay model

The conceptual design intent for the Indepen- The Kente cloth a significant cul- dence Park project proposal is to tell the story of tural element of Ghanaians serve the land, culture and and the as a conceptual inspiration for the capital city of Accra. The objective is to create a project. The idea of weaving the space that connects with the people, by weaving culture into the fabric of the city by traditional design methods with modern design extracting and extruding the geo- technologies. The lighthouse clay model above metric patterns of the cloth to make convey the idea of using clay, a local material that volumes of space in the landscape. was traditional used to make cylindrical shape Fig.37 Kente cloths with plexi glass etched with Moreover, the color and pattern kente cloth patterns in the center. buildings in villages. of the cloth can be transfered into Fig.36 Moments in the lighthouse a building facade condition using clay model that reflect movement and time. modern materials.

71 Sankofatecture Independence Park Project Concept 72 The project site is located on Marine Drive on the coast of Accra. The com- plex of three buildings are designed to be a point to connect and be woven into the fabric of the city. The Independence Light- house is positioned on the axis of the Indepen- dence Arch and Black Star Square to serve as a monument to the nar- rative of freedom. The Kente Pavilion connects to the vibrant movement of Makola Market and the Nkrumah Cultural Center connect to the busy mod- ern hub of Oxford Street. The site also have a com- munity dock to enjoy the ocean. The design intent is also to introduce a new language of building types that represent the Independence Arch / along Black Star Square the coastal edge of the Makola Market country. Oxford Street

73 Sankofatecture Independence Park Project Site 74 Independence Lighthouse Kente Cloth Pavilion Nkrumah Cultural Center

75 Sankofatecture Independence Park Project Sections and Floor Plans 76 Kente Cloth Pavilion

Independence Lighthouse

Nkrumah Cultural Center

77 Sankofatecture Independence Park Project Visual Moments 78 Conclusion

Considering, the research and experience of traveling to Accra, Ghana to explored the archi- tecture of the country. I discovered the inherent connections’ of how architecture influence and shape the social environment of Ghana. The buildings in the region reveal the story of the colonial rule that shifted the culture, economy, religious beliefs and political composition in the country. The most prominent buildings that display reference of power and authority was the castles and forts that densely populate the coast since the late 15th century. Though these buildings no longer serve as structures of defense and trade their presence are an artifact that tell the story of the impact on the landscape and social environment of Ghanaians. In the urban capital city of Accra I observed the effect of globalization and cross pollination of ideas from historical influence of European culture and western built environments. However, I also observed the expression of cultural vibrancy displayed through color on mod- ern concrete buildings. Also, through the tradition of making visual representation. The craft of Kente cloth and elements of Adinkra symbols show Ghanaians connection to the history, phi- losophy, ethics, social conduct, and political ideals. Moreover, the presence of preservation of the lush green landscape that is represented on the Ghana flag. From these observations I gathered that Ghanaians have deep adoration for their culture and land. That is why I propose Sanfkofatecture for the Independence Park project. Sankofactecture is the concept of merging or weaving the word architecture with the cultural Adinkra symbol Sanfoka which means, “It is not wrong to go back for that which you have forgotten.” In my travels I have observed that Europe, Japan, Italy and China use a similar concept to preserve culture and history while cre- ating innovative buildings for their society. For Ghanaians, Sankofatecture can become a new way of creating buildings that reflect the culture of the people and weave a new color in the fabric of the cities.

79 Sankofatecture Conclusion 80 Bibliography

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