UNIVERSITY OF NAIROBI
College of Architecture and Engineering
School of Arts and Design
BDS 413: PROJECT PAPER
(Interior design Specialization)
AFRICAN FABRICS AND PATTERNS IN CREATING AN AESTHETIC AND UNIVERSALY DESIGNED ATMOSPHERE AT SOCIAL CLUBS.
A case study of Chiromo Campus Club
By
CHEMUTAI SHARON
REG NO: B05/30416/2015
Supervisor
Mr. Michael Munene
Submitted in partial fulfillment of the requirement for the Bachelor of Art in Design Degree to the school of the Arts and Design, University of Nairobi.
DATE: 28th SEPTEMBER 2018
DECLARATION
This thesis is my original work and to the best of my knowledge has not been submitted for academic examination towards any qualification in the University of Nairobi or any other institution. The thesis is submitted in part fulfilment of the examination requirements for the award of the Bachelor of Arts (Design), School of the Arts and Design, University of Nairobi.
Author
Miss Chemutai Sharon
Signature………………….. Date……………………..
A research project submitted in partial fulfillment of the requirements for the award of the degree of Bachelor of Arts (Design) at the University of Nairobi.
Supervisor
MR MICHAEL MUNENE
Signature………………….. Date…………………….
Director: School of the Arts and Design (StAD)
DR. LILAC A. OSANJO
Signature………………….. Date……………………….
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DEDICATION
To parents Dr. Chepkoech Kiptoo, Mrs. Josephine Ndung’u and Mr. Paul Ndung’u.
To my brothers Shadrach, Caleb, Giovanni and Nathaniel.
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ACKNOWLEDGMENT
I would like to thank the Almighty God for his grace which has been sufficient and for giving me the strength, ability and passion to undertake this study.
To my mom, Dr. Chepkoech Kiptoo, thank you for sitting up with me through the late nights for your words of encouragement, for your prayers and for being the best mom a girl could ask for.
To my grandma, Esther Koskei, thank you for the constant prayers, words of wisdom and pep talks that kept me going.
To dad and mom, Paul Ndung’u and Josephine Ndung’u for your prayers, your words of courage and for constantly reminding me that all will be well.
To my brothers, thank you for reminding me to smile and take one day at a time.
My supervisors, Mr. M. Munene and Dr. Lilac A. Osanjo, my sincere gratitude for your support, guidance, positive criticism and constant encouragement.
To my friends Sambe, Ivy, Sabina, everyone from G-fam and all my classmates for your senses of humor. You truly helped me keep my sanity and talked my out of giving up once too often.
I also wish to thank the board at Chiromo Campus Club for allowing me to use their premises as a site for my research
May God Bless you all.
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ABSTRACT
Universal Design is known as the designing of all products and environments to be usable by people of all ages and abilities, to the greatest extent possible, without the need for adaptation or specialized design. This definition of Universal Design is known worldwide as coined by Center for Universal Design at the North Carolina State University. This research is aimed at finding out how Universal Design can be incorporated in the four areas discussed in the research paper and how it can be paired with African culture represented by African fabrics and patterns. This four areas are interior, furniture, exhibition and display and landscaping. The research paper will look at how the African culture can be incorporated into the modern design world without creating a feeling of backwardness by incorporating modern design in the four different areas.
Chapter one discusses the introduction to the problem statement and background of problem statement. The objectives of the study and the research questions are also outlined clearly. Chapter two looks at the existing literature on the topic guiding the research paper, Universal Design and the African fabrics and patterns selected. It also looks at exemplars and existing cases relevant to the research that have employed both African fabrics and Universal Design. Chapter three looks at the methods of data collection employed by the researcher. Chapter four discusses the findings of the researcher. Chapter five looks at the summary and conclusion of the research paper as well as the recommendations.
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Table of Contents
DECLARATION ...... i
DEDICATION ...... ii
ACKNOWLEDGMENT ...... iii
ABSTRACT ...... iv
CHAPTER 1: INTRODUCTION TO THE STUDY ...... 1
1.1 INTRODUCTION ...... 1
1.2 BACK GROUND OF THE STUDY ...... 1
1.3 STATEMENT OF THE PROBLEM ...... 2
1.4 OBJECTIVES OF THE STUDY ...... 2
1.5 RESEARCH QUESTION ...... 3
1.6 SIGNIFICANCE OF THE STUDY ...... 3
1.7 LIMITATIONS OF THE STUDY ...... 3
1.8 THE SCOPE OF THE STUDY ...... 4
1.8.1 Geographical ...... 4
1.8.2 Conceptual ...... 5
1.8.3 Contextual ...... 5
1.9 DELIMITATIONS ...... 5
1.9.1 Cultural delimitations...... 5
1.9.2 Space delimitations ...... 5
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1.9.3 Literature delimitations ...... 6
1.10 CONCLUSION ...... 6
CHAPTER 2: CHAPTER TWO: LITERATURE REVIEW ...... 7
2.1 INTRODUCTION ...... 7
2.2 UNIVERSAL DESIGN ...... 7
2.3 APPLICATION OF UNIVERSAL DESIGN ...... 10
2.4 UNIVERSAL DESIGN CHAMPION...... 11
2.5 AFRICAN FABRICS AND PATTERNS ...... 12
2.5.1 BOGOLANFINI...... 13
2.5.2 KUBA CLOTH ...... 18
2.5.3 SHWESHWE ...... 22
2.6 DESIGN PROCESS ...... 24
2.6.1 Identify problem ...... 24
2.6.2 Define universe ...... 24
2.6.3 Involve consumers ...... 24
2.6.4 Adopt guidelines/standards ...... 25
2.6.5 Apply guidelines/standards ...... 25
2.6.6 Plan for Accommodation ...... 25
2.6.7 Train and support ...... 25
2.6.8 Evaluate ...... 26
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2.7 CONCLUSION ...... 26
CHAPTER 3: RESEARCH DESIGN AND METHODOLOGY ...... 27
3.1 INTRODUCTION ...... 27
3.2 RESEARCH DESIGN ...... 27
3.3 TARGET POPULATION ...... 28
3.4 SAMPLE POPULATION ...... 28
3.5 DATA COLLECTION METHODS ...... 29
3.5.1 Photograph ...... 29
3.5.2 Observation ...... 29
3.5.3 Questionnaires ...... 29
3.5.4 Interviews...... 30
3.5.5 Secondary Data ...... 30
3.6 DATA ANALYSIS ...... 31
3.7 DATA PRESENTATION METHODS ...... 32
3.7.1 Drawing ...... 32
3.7.2 Photography ...... 33
3.7.3 Narratives...... 33
3.8 CONCLUSION ...... 33
CHAPTER 4: CHAPTER FOUR: SITE ANALYSIS AND INTERPRETATION OF FINDINGS ...... 34
4.1 INTRODUCTION ...... 34
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4.2 SPATIAL ANALYSIS ...... 35
4.2.1 LANDSCAPING ...... 35
4.2.2 ENTRANCE VIEW ...... 35
4.2.3 PATIO ...... 35
4.2.4 LAWNS ...... 36
4.2.5 INTERIOR ...... 36
4.2.6 FURNITURE ...... 36
4.2.7 LIGHTING ...... 37
4.2.8 CEILING ...... 38
4.2.9 EXHIBITION AND DISPLAY ...... 38
4.3 ANALYSIS OF RESPONSES ...... 39
4.3.1 Knowledge of Universal Design ...... 40
4.3.2 Gender Distribution ...... 40
4.3.3 Disability ...... 41
4.3.4 Aesthetic appeal of the dining chairs...... 41
4.3.5 Aesthetic appeal of the couches...... 42
4.3.6 Comfort level of Furniture...... 42
4.3.7 Communication level of the signage...... 43
4.3.8 Aesthetic appeal of the Dining area ...... 44
4.4 CONCLUSION ...... 44
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CHAPTER 5: SUMMARY FINDINGS CONCLUSIONS AND RECOMENDATIONS ...... 45
5.1 INTRODUCTION ...... 45
5.2 SUMMARY OF DATA ANALYSIS/FINDINGS ...... 45
5.3 INTERIOR ARCHITECTURE ...... 45
5.3.1 Lighting ...... 46
5.3.2 Ceiling finishes ...... 48
5.3.3 Flooring ...... 48
5.3.4 Walls and windows ...... 48
5.3.5 Space layout ...... 50
5.3.6 Color scheme ...... 50
5.3.7 FURNITURE ...... 51
5.3.8 EXHIBITION AND DISPLAY ...... 52
5.4 LANDSCAPING ...... 53
5.4.1 Water feature ...... 54
5.4.2 Parking ...... 55
5.4.3 Garden ...... 55
5.4.4 Pathways ...... 56
5.4.5 Patio...... 57
5.5 SUGGESTIONS FOR FURTHER STUDIES ...... 58
5.6 CONCLUSIONS ...... 58
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REFERENCES ...... 60
APPENDICES ...... 63
QUESTIONAIRE ...... 63
Figure 41: Proposed Furniture sketch...... 65
Figure 42: Proposed Furniture Sketch...... 66
Figure 43: Proposed Furniture sketch...... 67
Figure 44: Proposed Furniture sketch...... 68
Figure 45: Proposed Furniture sketch...... 69
Figure 46: Proposed Landscape sketch...... 70
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List of Tables
Table 1: Methods of Data Collection ...... 30
Table 2: Methods of Data analysis ...... 32
Table 3: Summary of disability statistics ...... 41
Table 4: Summary of comfort level of furniture ...... 42
List of Figures
Figure 1: Site Location on Map ...... 5
Figure 2: Principles of Universal Design ...... 9
Figure 3: Example of Universal Design...... 10
Figure 4: Universally designed furniture ...... 11
Figure 5: Bogolanfin Fabric ...... 13
Figure 6: Women making crashed leaves...... 14
Figure 7: Bogolanfin Patterns ...... 16
Figure 8: Furniture with bogolanfin fabric ...... 17
Figure 9: Furniture with bogolanfin fabric ...... 18
Figure 10: Man working on a single heddle loom...... 19
Figure 11: Bench made using part of Kuba cloth ...... 21
Figure 12: Cushions made from Kuba Cloth ...... 21
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Figure 13: Chair with Shweshwe fabric ...... 23
Figure 14: Chiromo Campus Club Front View...... 35
Figure 15: Patio ...... 35
Figure 16: Chiromo Campus Club Lawn ...... 36
Figure 17: Chiromo Campus Club Interior ...... 36
Figure 18: Chiromo Campus Club furniture ...... 37
Figure 19: Chiromo Campus Club reception area...... 38
Figure 20: Summary response on Universal Design...... 40
Figure 21: Summary of gender distribution ...... 40
Figure 22: Summary of aesthetic preferences – Dining chairs ...... 41
Figure 23: Summary of aesthetic preferences - Couches ...... 42
Figure 24: Summary of comfort level of furniture ...... 43
Figure 25: Summary of satisfaction with signage ...... 43
Figure 26: Summary of aesthetic appeal of dining area ...... 44
Figure 27: Accent lighting (right) Wall Scones (left) and vanity lights (bottom) ...... 47
Figure 28: Example of night lighting on Landscaping ...... 47
Figure 29: African Print Tiles...... 49
Figure 30: potted succulent plants on window sills...... 49
Figure 31: Recommended sitting space ...... 50
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Figure 32: Earthy brown Color Palette (top) and light color palette (bottom) ...... 51
Figure 33: furniture height recommendations ...... 52
Figure 34: Example of proper signage include the following...... 53
Figure 35: Proposed types of noise reducing water fountain...... 54
Figure 36: Recommended parking space size...... 55
Figure 37: Jasmine and ytt ...... 56
Figure 38: Rosemary and lavender ...... 56
Figure 39: Proposed pathway size...... 57
Figure 40: An example of hanging potted plants ...... 58
Figure 41: Proposed Furniture sketch...... 65
Figure 42: Proposed Furniture Sketch...... 66
Figure 43: Proposed Furniture sketch...... 67
Figure 44: Proposed Furniture sketch...... 68
Figure 45: Proposed Furniture sketch...... 69
Figure 46: Proposed Landscape sketch...... 70
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CHAPTER 1: INTRODUCTION TO THE STUDY
1.1 INTRODUCTION
Universal Design refers to the design of all products and environments to be usable by people of all ages and abilities, to the greatest extent possible, without the need for adaptation or specialized design. This is the widely quoted official statement definition as phrased by the Center for Universal Design at the North Carolina State University (CUD, 1997; 2006; Story, 2001). From the definition of Universal design, it is clear that UD should be applied by interior designers in their spaces. Application of UD is just as portion of the work the researcher will have to address at Chiromo Campus Club since the use of African fabrics and patterns will be key in introducing culture to the site.
Culture of a people is extremely important because it forms their core identity which in turn affords them due recognition. As the culture of a people is the due recognition, the researcher aims also to contribute to the emergence of Africa as a source of inspiration for the interior design field, therefore, incorporation of African inspired design is important. Most buildings in the University of Nairobi do not pay much attention to the aesthetic of their interiors. A lot of the old and original buildings are constructed with Victorian Era style. This therefore means African inspiration was not paid attention to.
Chapter one is therefore an introduction to the research. The parameters that will guide the research will be discussed in brief in this chapter. These parameters include the objectives of the research, the problem statement, the research questions, significance of the study, and scope of the study and the limitations of the study. The researcher gives a brief introduction on the site, its location and the problem being addressed.
1.2 BACK GROUND OF THE STUDY
The government of Kenya requires that all buildings are sensitive to accommodating all people without being biased. According to Act 14 of the Kenya Constitution, as of 2003, each employer ought to take in consideration the well-being of their employees in this
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case one who is physically disabled. Special facilities or modifications, whether physical, administrative or otherwise, are required at the work place to accommodate the person with a disability. This is not only in government institutions, public institutions but also in private owed businesses.
In order to meet the standards as dictated by the Government of Kenya constitution, Universal Design philosophy will be used as it seeks to cater for all the needs of the users of Chiromo Campus Club. As much as the constitution focuses on the needs of the physically disabled, it is important to note that other people like the old, sick can also be considered to have a form of disability and there needs to be catered for as well.
1.3 STATEMENT OF THE PROBLEM
The exterior and interior environment at Chiromo Club House has maintained the British colonial structure that was built during the colonial times. This therefore means they have not embraced the African culture in anyway or manner in the club house restaurant.
1.4 OBJECTIVES OF THE STUDY
Main Objective.
To determine how universal design and African fabrics and patterns can be used to make a usable and appealing environment at Chiromo Campus Club.
Sub-Objectives.
1. Identify the African fabrics and patterns to be used in creating a more appealing environment in Chiromo Campus Club. 2. To investigate how the African fabrics and patterns can be used in creating a more appealing environment in Chiromo Campus Club. 3. To identify how Universal design can be used to design the landscape at Chiromo Campus Club
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4. To investigate how universal design and African fabrics and patterns can be combined to make Chiromo Campus Club more usable and appealing.
1.5 RESEARCH QUESTION
In what ways can universal design and of African fabrics and patterns be used in creating a more appealing environment in Chiromo Campus club?
1. Which African fabrics and pattern can be used in improving the environment at Chiromo Campus Club? 2. How can a more appealing environment in Chiromo Campus Club be created using African fabrics and patterns? 3. What areas of the club can be improved using Universal design? 4. In what ways can universal design and African fabrics and patterns be combined to make the club usable and appealing?
1.6 SIGNIFICANCE OF THE STUDY
UD acts on the principle that it is important to include all people without discrimination of any kind, therefore coming up with an environment that is accommodative of all people at the Chiromo Campus Club while using inspiration from Africa focusing on African fabrics and patterns is essential. This study aims at contributing to the knowledge written about UD, this will be done by investigating the applicability of UD in designing the interior, exterior and landscape of Chiromo Campus Club. 1.7 LIMITATIONS OF THE STUDY
2,0 Structural Limitations
The original floor plan of the building that hosts Chiromo Campus Club was that of a house. It was a bungalow style house. Upon changing it the eatery, the floor plan was maintained which makes it a challenge when redesigning the interior of the building.
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2,1 Time
The allocated amount of time given for carrying out the research was not sufficient enough for carrying out the study.
2,2 Lack of information on the site
Unfortunately, no sufficient information is given on Chiromo Campus Club. As much as the building was constructed during British colonial era in the nation, it still doesn’t have enough documented information about it.
2,3 Man power
As a researcher, a number of assistance will be needed to help in carrying out research. Unfortunately, there is lack man power to give assistance when carrying out the research.
1.8 THE SCOPE OF THE STUDY
1.8.1 Geographical
Chiromo Members Club is located in Nairobi city along River side drive and is within Chiromo campus of the University of Nairobi.
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Figure 1: Site Location on Map
1.8.2 Conceptual
The research seeks to create an appealing restaurant using African fabrics, patterns and universal design in Chiromo Campus Club.
1.8.3 Contextual
This research will be applied in the design of Chiromo Campus Club. Design will include interior, furniture, exhibition and display and the exterior of the Club. The guiding design philosophy will be universal design and the use of African fabrics ad patterns.
1.9 DELIMITATIONS
1.9.1 Cultural delimitations.
The African culture is very rich in African fabrics and patterns
1.9.2 Space delimitations
Chiromo Campus Club is made up of a number of facilities the research however will focus on the restaurant, outside sitting spaces.
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1.9.3 Literature delimitations
The literature guiding this research starts from1980 to date. Therefore literature before 1980 is not relevant to the study.
1.10 CONCLUSION
This chapter would give detailed information on the background of the problem that led to the study, the problem statement, research objectives and research questions that are intended to guide that study. In addition, limitations and delimitations that the researcher would come across was outlined in this section.
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CHAPTER 2: CHAPTER TWO: LITERATURE REVIEW
2.1 INTRODUCTION
This chapter will give an overview of Universal Design as will be applied in redesigning social clubs. It will also discuss African fabrics and patterns used in the interior and exterior design of social clubs. Ronald Mace defines Universal Design as the design of all products and environments to be usable by people of all ages and abilities, to the greatest extent possible, without the need for adaptation or specialized design. This definition is the widely quoted as the official statement definition by the Center for Universal Design at the North Carolina State University (CUD, 1997; 2006; Story, 2001). What the rest of the word mostly refers to as Universal Design is known as Inclusive design in the UK, Design for all in Europe and India, Kyoyo-hiand in Japan, Trans generational design in the USA and gerontechnolgy in other parts of the USA and Europe. As much as these terms are different, the application and principles of universal design remain constant.
2.2 UNIVERSAL DESIGN
Designers are trained to design for a mythical "average" group of people, but in fact this group does not exist. Every individual is unique and as a group, the human species is quite diverse. (Story, Molly Follette; Mueller, James L.; Mace, Ronald L. TITLE The Universal Design File: Designing for People of All Ages and Abilities. Revised Edition). Universal Design is defined as the design of all products and environments to be usable by people of all ages and abilities, to the greatest extent possible, without the need for adaptation or specialized design. (Center for Universal Design at the North Carolina State University (CUD, 1997; 2006; Story, 2001).
Principles of Universal Design.
1. Equitable Use. The design is useful and marketable to people with diverse abilities.
2. Flexibility in Use. The design accommodates a wide range of individual preferences and abilities.
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3. Simple and Intuitive. Use of the design is easy to understand, regardless of the user’s experience, knowledge, language skills or current concentration level.
4. Perceptible Information. The design communicates necessary information effectively to the user, regardless of ambient conditions or the user's sensory abilities.
5. Tolerance for Error. The design minimizes hazards and the adverse consequences of accidental or unintended actions.
6. Low Physical Effort. The design can be used efficiently and comfortably and with a minimum of fatigue.
7. Size and Space for Approach and Use. Appropriate size and space is provided for approach, reach, manipulation, and use regardless of the user's body size, posture, or mobility.
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Figure 2: Principles of Universal Design
Image Source: Universal Design for Learning in HCPSS
In order for Universal Deign to be achieved, a number of perspectives have to be looked into while paying attention to the principles outlined by Center for Universal Design at the North Carolina State University. Some of these perspectives include the following;
Barrier-free design- retrofitting of buildings or facilities to accommodate physically impaired people; design that strives to make the built environment barrier free for all persons.
Accessible design-designing for equal opportunity of access to mobility, facilities, devices, and services for people with disabilities, typically mandated (e.g. By the ADA).
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Assistive technology-rehabilitative engineering that enables people with disabilities to perform previously not performable tasks by enhancing physical, sensory, and cognitive abilities.
Inclusive design-designing products and services for the needs of the widest possible audience, irrespective of age or ability.
Trans generational design- improving the quality of life for people of all ages and ability. Rather than solely responding to the mandates of disability rights legislation by removing or mitigating barriers, UD also relies on assistive technologies to help people with sensory and cognitive disabilities function more independently. It challenges the 5- to-95-percentile target of standard anthropometrics as being exclusionary and insensitive to the manifold differences of users (Hitchcocket al. 2001).
2.3 APPLICATION OF UNIVERSAL DESIGN Figure 3: Example of Universal Design
Image source (Build Design) Robson Square in Vancouver
Robson Square is a good example of the application of Universal design in landscaping of an area. Universally designed buildings will make them easier to maintain because
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with wider door openings, less obstacles to circulation it becomes more accessible. Improved lighting and elimination of hazards will lead to fewer accidents taking place.
Figure 4: Universally designed furniture
Source: Google Images.
2.4 UNIVERSAL DESIGN CHAMPION.
Ronald Lawrence Mace is often given the title ‘Father of Universal Design’. He was a polio victim who devoted his life as an architect and industrial designer to devising environments suitable for all people regardless of age or condition. Ronald contacted polio at the very young age of 9 years old which meant he was going to have to use a wheelchair for the rest of his life. Ronald grew up experiencing the challenges faced by physically disabled people. He is commonly known as Ronald Mace.
Ronald Mace coined the term "universal design" to describe the concept of designing all products and environments to be aesthetic and usable to the greatest extent possible by
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everyone, regardless of their age, ability, or status in life. He was also an advocate for the rights of people with disabilities which is reflected in his work.
In 1989, Ron established the federally-funded Center for Accessible Housing, now known as The Center for Universal Design, at the School of Design at North Carolina State University in Raleigh. Several of the projects Ron directed at the Center include the development of universal house plans for a modular home company; new universal designs for a thermostat, an adjustable toilet and a multi-use modular accessible bathing unit; He also wrote a number of design publications. In bathing units for example, according to a 2003 American Association of Retired Persons (AARP) study, more than three quarters of respondents said it’s important to have non-slip floor surfaces and bathroom aids such as grab bars or a bathing stool. Accessible bathtubs take into account the needs of the aged in addition to aesthetics. An accessible bathtub needs more than just a few grab bars. These tubs usually incorporate a deeper soaking tub style, built-in seat and walk-in door. This way, the bather doesn’t need to risk losing balance by stepping over the high bathtub wall. The typical walk-in bath has a hinged door that can easily be latched and unlatched. A new alternative is a rising wall bathtub, in which the entire outer wall of the bathtub raises and lowers easily. The extra-wide door opening allows a person to lift legs in and out of the bath and transition from a wheelchair (Gurney, 2012).
Ronald Mace passed away on June 29, 1998 at his home in Raleigh, N.C. at the age of 58.
2.5 AFRICAN FABRICS AND PATTERNS
The African continent is made up of many countries that are homes to people of different communities; these communities are rich in culture. According to Kroeber et al. (1952), Culture consists of patterns, explicit and implicit, of and for behavior acquired and transmitted by symbols, constituting the 12 distinctive achievements of human groups, including their embodiment in artifacts; the essential core of culture consists of traditional (i.e. historically derived and selected) ideas and especially their attached values. From
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this description, it is apparent that symbols and patterns are significant especially when referring to the African culture.
2.5.1 BOGOLANFINI
Bogolanfini widely known as the Mud Cloth is native to West Africa a country know as Mali. In Bambara, Mali’s national language, bogolanfini is made up of three different words. Bogo which means ‘mud’ lan which means ‘traces of’ and fini means ‘cloth’. Put together it simply means ‘cloth with traces of mud’. Bogolanfini represents expressive culture for the people of Mali. The patterns dyed on the cloth communicate many tribal stories and make reference to animals, historical events, religion, and mythologies of the tribe. The cloth is majorly dyed by females who are fluent in this iconographic language which is passed down generations.
Figure 5: Bogolanfin Fabric
Image source: Pinterest a) Making of Bogolafini
Bogolafini is made from yarn hand spun by the women using locally sourced cotton. Once the yarn is spun, men step in and weave narrow plain white strips of cloth on narrow double-heddle looms. At this stage the cloth is about 15cm in width. Adler and Barnard (1992:30) say that strip weaving 'must be the most labor-intensive weaving, per square inch of produced cloth, known to man'. They attribute the popularity of this type
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of weaving to the fact that the loom can easily be dismantled and transported, and that it requires a very small capital investment.The strips of cloth is cut into shorter pieces, mostly the required length of the final cloth. These strips are then joined using whipstitch selvedge to selvedge. After the cloth is ready it is washed to preshrink it and properly dried in the sun. The plain white cloth is referred to as finimougou The cloth is then soak in a leaf bath which dye the cloth to a deep yellow color which is the spread out to dry in the sun. The leaves and branches used in this step are obtained from trees such as the N'Galaman (Anogeissus leiocarpus) and N'Tjankara (Combretum glutinosum).The leaves and branches of these trees are crashed, pounded and soaked in water for 24 hours.
Figure 6: Women making crashed leaves.
Source: Google
The solution obtained is a brown tee that is rich in tannic acid. Once this step is done, the women paint different beautiful designs on the fabric using fermented mud with bamboo and spatulas as their tools. The mud used is usually collected from ponds in the previous season and left to ferment. During the painting, the designs are outlined and the backgrounds surrounding these designs are filled with mud. The then left to dry in the sun till the mud turns grey which is an indication that it is ready for the next step. The excess mud is scrapped off and washed away. The whole procedure is repeated several times, in most cases thrice. This will result in the mud pained areas becoming darker. Finally, the
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yellow areas are bleached with a dying solution made from boiled ground peanut, water, caustic soda and millet bran. This step turns the yellow patterns brown. The cloth dries in the sun for a week then the bleaching substance is washed off with plenty of water. The yellow, although it cannot be seen in the final product, forms a very important part of the whole process as it helps in the formation of tannic oxide which forms when iron oxide in the mud is converted to iron tannate by the tannic acid the leaf tea solution. (Luke-Boone, 2011) (Polakoff ,1982) b) Meaning of Patterns And Use of Bogolanfini
The patterns on the bagolanfini, give a story among the Bamana people. They give a special meaning and message depending on the context in which the cloth is used. This language of the symbols was passed down from mother to daughter. Traditionally these patterns were arranged in different design fields. If a cloth were made to be worn as a woman's wrapper, the design fields would be distinctly horizontal. The cloth would have an identifiable top and bottom and be divided into five different fields. The central field would be the largest and most complex. It would be framed by narrower strips on all four sides. The left, right and bottom strips usually are of the same width and complexity, while the top strip would be much narrower, often containing a repetition of only one symbol (Arnoldi, 2000) Bogolanfini is used as clothing in such items as women's wrappers and men's trousers, shirts, tunics, and bonnets. A woman would wear these cloths during important transitional periods in her life: after excision, prior to the consummation of her marriage, immediately following childbirth, and finally as a burial shroud (Rovine, 1997), and by male hunters who believe that the designs and patterns carried powerful powers capable of protecting them in the bush.
Malian clothing is sectioned off into meaningful areas that are decorated accordingly. For example, one wears senkorola “near the earth,” or under the leg, while so kono bolo corresponds to the inside arm, worn close to the body. The central area of the robe is called fini ba, or mother of the cloth, worn around the torso. Kenema bolo, worn on the arm, faces others. Outer and inner arm patterns include juguru fara (tortoise feet), fluri (flower), wara kalan wolo (panther skin), and basiaba, a pattern worn during
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major events in a young woman’s life. The central region of the cloth adds the mari nyonzon (crocodile finger) pattern to the list of options, and under the leg, one has the option of the tiga (peanut), sungum sen kelen & dolo ni (one-legged girl with stars), seben koloni (small, old amulet), donkokolo (drum that calls warriors to battle), or Kumi Jose Kan, a design representing the famed long-necked hero.
Figure 7: Bogolanfin Patterns
Image source: Pinterest
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c) Uses of Bogolanfini in Furniture
Chis Seydu has been credited with bringing mud cloth to the international fashion scene in the 1970s. Chris’ mother was an embroiderer so from an early age, he was surrounded by textiles, the clothing trade and fashion magazines. He got his start in fashion by apprenticing in tailor shops of Mali when he was sixteen years old, and by the time he was twenty-six, he was already designing his first collection using bogolanfini fabrics. He simplified the older traditional patterns and used the cloth on his miniskirts, motorcycle jackets and bell bottom pants. From then on, bogolanfini has been used for different functions such as in furniture making, soft furnishing.
Figure 8: Furniture with bogolanfin fabric
Source: Pinterest
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Figure 9: Furniture with bogolanfin fabric
Source: Pinterest
2.5.2 KUBA CLOTH
This fabric was developed in the Kuba kingdom of central Africa, which is now situated in the Democratic Republic of Congo. Kuba cloth is a product of joint effort made by the men and the women of Congo. The men weave the fabric from the Raffia fibers, while the women decorate the cloth by applying colorful tufts in various geometric designs. There are numerous forms and uses for these raffia cloths. The process involved in making the unique fabric includes the gathering of the fibers, the weaving of the base cloth, dyeing, embroideries, and patchworks. The designs made by the women are stitched to the woven fabric. The kuba cloth was considered ceremonial clothing and was mainly worn for wedding ceremonies and funerals. d) Making of Kuba Cloth
It was prepared from the leaves growing on the raffia palm. After the fibers are gathered and stripped by hand or with the aid of a stripping comb, the basic cloth unit is produced by men on a single heddle loom. The loom consists of a heddle bar and two horizontal bars between which the warp fibers are extended and secured in groups of fibers or
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hanks. The lower bar is fixed. Suspended from the upper bar is a cross beam supported by two poles. The loom is positioned in a way that the face of the weaving leans toward and over the weaver at approximately 45 degree angle to the ground.
Figure 10: Man working on a single heddle loom.
Source: Google
The basic cloth units woven is a size determined by the natural length of the raffia fibers. Weft fibers are laid into the alternating shed of the warps with several inches of excess nonwoven material on each side. To secure the cloth from unraveling after weaving, each unit is trimmed of excess fibers then the edges are hemmed or the cloth is joined to another cloth. After weaving is complete, the cloth units are dyed and softened by repeated wetting and pounding in a mortar. Once the base of the cloth is complete, the women begin doing patch work. The applique technique is where the raffia pattern elements are secured with an embroidery stitch in single or double rows around the perimeter of each raffia pattern. e) Meanings of patterns on the Kuba cloth
The kuba cloth has numerous designs. Some of the common designs as found by Cornet are as follows;
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Nshiin inlshak : As its name indicates "the edge of the wrapper", it is a design often employed in the borders of wrappers. This design also appears on certain box decorations. (Comet 1982)
Lantshoong : This design should not be confused with the preceding one, it is typically found on the beading which decorates the pendants of royal costumes. (Comet 198)
Lashalmbap: A design used on the border of a wrapper that is similar to the lantshoong design. (Cornet 1982)
A1yeeng: A pattern that is frequently seen in king's clothing and that of great notables. The name derives from a particular species of fish. The design most likely alludes to the scales of a fish. One can note that this design has three principal variations. When C does not possess alternate colours it is called mbish akot, meaning "the back ofKot's wrapper". It is mainly used for ordinary headdresses or hats. (Cornet 1982)
Mikomingom: This expression signifies the "drum ofMikobi or Mikopey", alluding to the drum created by king Miko mi-Mbul for his reign. This is also a commonly used design and is seen on mats, sculptures, beaded surfaces, and velourtextiles. (Cornet 1982)
Lakiik: This design meaning "eyebrow" is frequently used on the borders ofa wrapper. (Cornet 1982)
Lo liyoong'dy: This design called "the arm of the chameleon'' is frequently used among the Bushoong and decorates wrappers and funerary objects. (Cornet 1982)
Twool apwoong: The name of this design means "the eagle's breast" as it simulates the spots that characterize the body of the bird. It is typical of particular 76 dance costume~. (Comet 1982)
Mwaan mwikaangl: This design, meaning "the palms of the palm tree" is often realized in cowries and is reserved for the very luxurious wrappers owned by the king and his close relatives. (Comet 1982)
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f) Uses of Kuba Cloth in Soft Furnishings
In the modern world, the kuba cloth has been used as wall pieces, cushion covers, bed runners, in fashion among many other uses.
Figure 11: Bench made using part of Kuba cloth
Source: Pinterest
Figure 12: Cushions made from Kuba Cloth
Source: Pinterest
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2.5.3 SHWESHWE
In the early 1840s French missionaries presented Moshoeshoe I, Lesotho’s King, with a gift of indigo printed cloth, and still prevails today, hence the term shoeshoe or isishweshwe. The original shwehswe given to the King was made from 100% quality cotton. It is always 90cm wide as opposed to other fabrics which are usually 150cm. g) Making of the Shweshwe
Original shweshwe is printed using a discharge printing method that transfers a weak acid solution onto the cloth. Fabric is fed through copper rollers; these rollers have patterns etched on the surface. Those places where the acid solution reacted with the dye are seen as the intricate white markings that have the original design. It is printed in all-over patterns. This style of printing is a unique feature that sets shweshwe apart from other fabric. Natural indigo dye was obtained from the Indigofera Tinctoria plant, however, in 1862 a German chemist developed synthetic indigo( History of shweshwe). Some of the prints have endearing names used in the fabric trade to identify them according to the different motifs, such as: “earrings”, “snow on the mountain”, “pegs”, “the fly” and “bones”. The brands which are associated with the making of shweshwe fabric include Three Cats, Three Leopards and Toto 6 Star. Users of the shweshwe use things like smell, texture and taste to ensure they are buying the real thing. The original cloth has a characteristic scent, from special oils used in the processing and it has a stiff, starchy feel. Once washed, the fabric softens.
The cloth is now produced in various colors including the original indigo, red and brown and a variety of shapes including diamonds, squares, stripes, floral and circular geometric patterns and is made through a complex process. Later however, the cloth was printed in bright red and chocolate brown as well. Da Gama textiles has combined other colors with the indigo, brown and red, including black, green, turquoise, pumpkin, shocking pink and yellow/gold. This therefore means different types are now available in the market to fit different tastes of people. Shweshwe is widely used for traditional South African clothing.
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h) Uses of Shweshwe
Shweshwe also known as South Africa’s denim is traditionally worn by newly married Xhosa women, or a Xhosa bride known as makhoti, and married Sotho women. It also used to make dresses, skirts, aprons and wrap around clothing. Apart from traditional wear, shweshwe is used in contemporary South African fashion design and other places around the world as well. In the fashion world it is used to make designer clothing by top SA designers such as Bongiwe Walaza. Shweshwe is also used to make shoes decoration, swimwear, hats and jewelry as shown by upcoming designer, Refiloe Mapitso Thaisi.
Figure 13: Chair with Shweshwe fabric
Source: Pinterest
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2.6 DESIGN PROCESS
The Design Process refers to an approach for breaking down a large project into manageable chunks. . It involves the planning of routine steps of a process aside from the expected result like the end product of a design it is treated as a product of design and not the method of design (Design, 2012).
A good design ought to be both functions and aesthetically appealing for this to happen there should be a good, flawing and well-organized design process.. Universal Design can be applied to a wide range of applications (Sheryl, 2012). These are the steps that the researcher will use to carry out the design of his proposal
2.6.1 Identify problem
What the designer does first is to specify the product and environment that he/she wishes to apply universal design. This will be done by identifying the problem. This involves fact findings where the problems are identified and defined, gathering and analyzing the pertinent data (Sheryl, 2012).
2.6.2 Define universe
At this stage, the designer will describe the overall population then researcher will describe the diverse characteristics of the potential members of the population for which the application is to be designed for. For example; students, faculty and staff with diverse characteristics with respect to gender, age, size, ethnicity and race, native language, learning style and abilities to hear, see, manipulate objects, read and communicate. This is the stage where ideas are found, produced and developed. (Sheryl, 2012).
2.6.3 Involve consumers
At stage three, the designer will involve the people with the diverse characteristics (as identified in Step b above) in all phases of the development, implementation, and evaluation of the application. Also gain perspectives through diversity programs, such as the campus disability services office. The designer will understand what the client wants,
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needs and expects. The client‘s comments help‘s the designer get a clearer picture of what they will be designing.
2.6.4 Adopt guidelines/standards
For a designer to design a universal interior design, the researcher will adopt existing guidelines/standards of Universal Design. These guidelines are requirements specification which Specify the user and organizational requirements (Sheryl, 2012).
2.6.5 Apply guidelines/standards
Apply universal design in concert with best practices within the field, as identified in Step (d) above, to the overall design of the application, all subcomponents of the application, and all ongoing operations (for example, procurement processes, staff training) to maximize the benefit of the application to individuals with the wide variety of characteristics identified in Step (b) (Sheryl, 2012).
2.6.6 Plan for Accommodation
The researcher will develop the processes to address accommodation requests (for example, purchase of assistive technology, and arrangement for sign language interpreters) from individuals for whom the design of the application does not automatically provide access (Sheryl, 2012).
2.6.7 Train and support
When the design is in process the researcher will tailor and deliver ongoing training and support to people (for example, instructors, computer support staff, procurement officers, volunteer) One should also share institutional goals with respect to diversity and inclusion and practices for ensuring welcoming, accessible, and inclusive experiences for everyone to use the design. This is with reference to one of the principles of UD;- Flexibility in use. (Sheryl, 2012).
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2.6.8 Evaluate
This is done by including universal design measures in periodic evaluations of the application, evaluate the application with a diverse group of users, and make modifications based on feedback. Provide ways to collect input from users for example, through online and printed instruments and communications with staff (Sheryl, 2012).
2.7 CONCLUSION
This chapter gave information on literature that the research relied on to provide guidance, clarity and comparison. The section gave an overview of Universal Design as will be applied in redesigning Chiromo Campus Club. It will also give a background and more detailed understanding on African fabrics and patterns and how all this information may be applied in the interiors and exterior design of social clubs.
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CHAPTER 3: RESEARCH DESIGN AND METHODOLOGY
3.1 INTRODUCTION
This chapter discusses the research methods, tools and instruments that have been employed by the researcher. This being a case study type of research, the researcher will use qualitative data collection methods while carrying out the research as this will provide the most accurate data. This chapter will also give information on the sources of data needed and the data collection methods used. Furthermore, detailed descriptions of data analysis and interpretation of data methods used will be given. This research will determine how universal design and African fabrics and patterns will be used in creating a more appealing atmosphere at the Chiromo Campus Club.
3.2 RESEARCH DESIGN
In Robert Yin definition of a case study, he defines the research method as an empirical enquiry that investigates a contemporary phenomenon within its real life context; when the boundaries between the phenomenon and context are not clearly evident; and in which multiple sources of evidence are used. (Yin, 1984, Pg23). In his explanation he highlights the main steps used in case study research as: a) First a design understands the design problem that needs to be solved by analyzing the problem critically b) Determining and defining the research questions c) Selecting the cases and determining data gathering and analysis technique d) Preparing to collect the data e) Collecting the data in the field f) Evaluating and analyzing the data
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In a case study research, the method used to carry out research is mostly qualitative this however does not denote the fact that quantitative research methods may also be used. The researcher in case studies focuses on collecting very extensive data on the field which the research is being carried out. This is to improve on the accuracy and reliability of the findings. Case study method will be used in this research. Two types of data will be used; the primary and the secondary data. The primary data will be derived from the answers respondents give during interviews with the researcher. The secondary data on the other hand, will be derived from the findings stated in published documents and literatures related to the research problem. The study will use both qualitative and quantitative methods. Qualitative methods employ different knowledge claims, strategies of inquiry and methods of data collection and analysis. Qualitative methods are to explore the human factors and causes-and-effects nuances. Although the processes are similar, qualitative procedures rely on text and image data, have unique steps in data analysis and draw on diverse strategies of inquiry (Creswell)
3.3 TARGET POPULATION
Population in this case refers to the group of people at the researches site. A sample on the other hand is a smaller group of members of a population selected to represent the whole population. Random sampling will be used by the researcher. The target population of the study will be the members and the staff of Chiromo Campus Club.
3.4 SAMPLE POPULATION
The sample of the research will be the members and the staff of Chiromo Campus Club as this is the main population. The sample will provide the information and data for the study. According to Burns & Grove (2011) a small sample size can be adequate for a qualitative study, “when the quality of the data is high, with a rich content” The researcher will ensure that there is a balance in gender, age among the necessary participants by employing random stratified method. Random stratified method is the most effective method to use seeing as the researcher has no personal knowledge about the population.
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3.5 DATA COLLECTION METHODS
Data collection refers to the styles and techniques the researcher uses to gather the information needed in order to carry out the research. In this section, techniques of obtaining data are outlined and described in brief. Data collection methods can be split into primary and secondary methods. Primary methods of data collection refer to data that is gathered by the researcher from the primary source specifically for the research at hand. On the other hand, secondary methods of data collection refer to data that is obtained from other existing source of data. Here the researcher can rely on previously carried out research, journals, and books as a source of data.
3.5.1 Photograph
Photography refers to the art of producing images of objects on sensitized surfaces by the chemical action of light or of other forms of radiant energy, as x-rays, gamma rays or cosmic rays. (https://www.dictionary.com)The data captured is first hand and untampered and it gives the real picture on the ground. The data is first hand and untampered. (Leedy, 2005, 184) Photos were taken of the existing structures, furniture and landscape and used as reference later on by the researcher.
3.5.2 Observation
Observation refers to the researcher taking time at the area of research just to see what happens and how things naturally interact without the researches interference. It enables one to observe behaviors and emotions in a natural setting that would otherwise not be perceived. It enables one to gain insight about the group that cannot be obtained in any other way (Creswell, 1998).
3.5.3 Questionnaires
A checklist or rating scale enables one to quantify people’s behaviors and attitudes. It simplifies and more easily quantifies people’s behaviors or attitude (Delandshere & Petrosky, 1998). The questionnaires were open-ended and unstructured this enables the respondent to further explain themselves and the level of understanding of the question as
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well as structured questions that requires the corresponded to respond in s specific guided manner.
3.5.4 Interviews
An interview is a social encounter where speakers collaborate in producing retrospective and prospective accounts or versions of their past or future actions, experiences, feelings and thoughts (Seale 2011). In depth interviews are personal and unstructured interviews, whose aim is to identify participant’s emotions, feelings, and opinions regarding a particular research subject. The main advantage of personal interviews is that they involve personal and direct contact between interviewers and interviewees, as well as eliminate non-response rates, but interviewers need to have developed the necessary skills to successfully carry an interview (Fisher, 2005, Wilson, 2003).
3.5.5 Secondary Data
Books, journals and articles will be used to collect secondary data on other similar research that has been carried out successfully. Documents like site maps, architectural proposal drawings, plans and artistic impression of the site will be viewed.
Table 1: Methods of Data Collection
Method of Collection Remarks
Photography Pictures were taken of different areas of the club as needed for the research
Observation Was done through note taking, sketching and pictures.
Interviews Asking relevant questions and note
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taking.
Questionnaires 20 questionnaires were handed out only 33 were returned.
3.6 DATA ANALYSIS
In this section, the research explains how the data collected will be analyzed. Data analysis is the process of bring order, structure and meaning to the mass of information collected. Qualitative data analysis seeks to make general statements how categories or themes of data are related. (Olive M. Mugenda 1999) The researcher will explain how the data collected will be organized analyzed and interpreted and in order to be presented at the end of the research. It is important to analyze data correctly as wrong analysis will lead to improper results that will in turn affect the outcome of the research. Steps to follow in order to analysis data correctly are as follows;
i. Data organization
The data collected may sometimes be a lot and tend to overwhelm the research hence it is advised that the researcher should break down large bodies of text into smaller portions using note cards, folders or computer database. They should be in the form of short sentences, paragraphs or even major key words. i. Creating categories, themes and patterns At this point the researcher will classify and establish the relationships in the categories. Then after the will be required to generate various themes and patterns. ii. Analyzing and interpreting information. At this point the researcher evaluates and analyses the data to determine the adequacy of information and credulity, usefulness and validity. The researcher also evaluates the usefulness of the information
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iii. Write a report. One will be required to summarize the data for other readers, this steps seeks to show the relationship between concepts and attempts to advance alternative explanation derived from data
Table 2: Methods of Data analysis
Method of Collection Data Analysis Presentation Tools
Photography Pictures
Observation narration
Interview narration
Questionnaires Grouping of data according narration to sections and relevance of questions.
3.7 DATA PRESENTATION METHODS
The data collected through participation and observation (direct observation) was analyzed by the researcher reading and reviewing his data, he then wrote notes as he reviews his field notes. These notes were made in the margins and highlight key passages (Hall, 2012).
3.7.1 Drawing
The researcher will draw sketches and plans of Chiromo Campus Club. That of the existing club and the possible recommendations for the club.
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3.7.2 Photography
Photographs will be presented complimented by descriptions to explain the circumstances and their relevance to the research. There are several aspects of the interior spaces that can’t be explained without the use of photographs to understand the environment better
3.7.3 Narratives.
Notes taken throughout the research will be taken into account and they will be explain in form of narratives. They will be discussed in different segments of the paper as is relevant.
3.8 CONCLUSION
The researcher investigated ways in which universal design and African fabrics and patterns can be applied in the redesigning of interior and exterior spaces at the Chiromo Campus Club. This section provided information on design methodology. Methods of data collection proposed for the study were discussed in details as well as a summary of how they were analyzed and presented. It is also important to develop a design process that will be used as a reference and as a guide as to how the results will be achieved.
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CHAPTER 4: CHAPTER FOUR: SITE ANALYSIS AND INTERPRETATION OF FINDINGS
4.1 INTRODUCTION
In Robert Yin definition of a case study, he defines the research method as an empirical enquiry that investigates a contemporary phenomenon within its real life context; when the boundaries between the phenomenon and context are not clearly evident; and in which multiple sources of evidence are used. (Yin, 1984, Pg23). In his explanation he highlights the main steps used in case study research as: a) First a design understands the design problem that needs to be solved by analyzing the problem critically b) Determining and defining the research questions c) Selecting the cases and determining data gathering and analysis techniques d) Preparing to collect the data e) Collecting the data in the field f) Evaluating and analyzing the data
In accordance to Yin, this chapter will address the last section of his highlighted steps; Evaluating and analyzing the data. In order to address that section, explanation is given on how collection and analysis of relevant information was carried out. Research instruments and methods of collection that were employed included: observation, interviews, questionnaires and interview guides, photographs, and documents review, among others, will be looked into as well. Methods of analysis that were used included graphs, notes, photograph analysis and interpretations. Methods of interpretation of the data and its presentation are also looked into.
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4.2 SPATIAL ANALYSIS
Analysis was done on the four main divisions of Interior Design: landscaping, exhibition and display, furniture and interiors. The analysis of this site is done to answer questions according to the objectives listed in the first chapter.
4.2.1 LANDSCAPING
Chiromo Campus Club is a structure that sits of a sloping piece of land. It is fenced off using a living fence on all the sides that border other compounds except one fence that is made of a stone wall. Some of the materials used in landscaping include concrete, cabro tiles, stone, wood, shrubs, plants, grass and even trees.
4.2.2 ENTRANCE VIEW Figure 14: Chiromo Campus Club Front View
Source: Author As soon as you walk into the clubs compound, you walk
into a parking area. This parking area is laid out using cabro tiles and a small shrub and tree that pal the role of Source: Author a roundabout right at the middle of the parking. As soon as you walk passed the parking, you walk into a path that is made out of concrete and is marked out using a live hedge. This path, lead you to the entrance of the club house.
4.2.3 PATIO
Figure 15: Patio Source: Author The patio in Chiromo Campus Club is an area set aside
for people who prefer an outside seating space. One section of the patio which makes up the main patio has been raised to the level of the rest of the building and on
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the other section was left lower than the rest of the building. This section of the club has a protective barrier around the building that is made of wood. It is made in a way that adds to the beauty of the landscape.
4.2.4 LAWNS
Figure 16: Chiromo Campus Club Lawn
Source: Author The club, as pointed out earlier sits on a sloping piece of land. This land also has a lawn that is mostly covered with grass. The glass is most used because it does a good job in covering the ground and still making the place beautiful. The trees on the lawn and the flowers are very few and limited to a very specific section of the lawn
4.2.5 INTERIOR
Figure 17: Chiromo Campus Club Interior
Source: Author This section deals with the enhancing the interior of a building and patio of Chiromo Campus Club to achieve a healthier and more aesthetically pleasing environment for the people using the space. The interior space at the club is divided into a number of sections; the restaurant, server, the store, the office and washrooms.
4.2.6 FURNITURE
The patio has plastic chairs and wooden tables. These chairs are neither attractive nor ergonomically designed therefore uncomfortable for the people seating on them. As much as effort has been put to maintain one uniform color for the chairs, there is still a lack of beauty. In addition to that, the chairs break and are very difficult to repair or dispose of.
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Figure 18: Chiromo Campus Club furniture The lower patio has
Source: Author wooden chairs that are permanent fixture. This
simple means they cannot be moved around from one place to another. Unlike the other chairs in the patio, these chairs add to the beauty of the place. They are not as conformable to seat on for long hours because of the design of the chairs.
Within the club, there are dining areas and a bar areas. The dining areas comprise of sofas and tables.
The sofas are made from wood that is cushioned. These sofas are different styles, colors and designed. This being a dining area, the sofas make the place look out of place and lack symmetry of seen. The layout of this chairs is not as appealing since the sofas are mixed up with the different types of sofas being put together to form a set. The tables in the dining area are all made of wood the look a little dull which gives an impression of being unmanaged and older than they actually are. Being wood, these tables are brown in color which gives a familiar and welcoming touch to the dinning are.
4.2.7 LIGHTING
Chiromo Campus Club is lit using both natural and artificial lighting. Natural lighting refers to light that is supplied by the sun while artificial lighting is from bulbs. Natural lighting at Chiromo Campus Club is very little, this is because the windows are very few and limited to just one wall in most rooms. Since the building that houses the club was originally someone’s home, the amount of lighting is not sufficient enough for a
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restaurant. Artificial lighting has been used by employing the use of energy saving bulbs on the ceiling.
4.2.8 CEILING
The ceiling at the club is a softboard ceiling. The ceiling has areas that have brown stains due to a leaking roof. Other corners where the ceiling meets the wall have insects that have built their homes. The ceiling also has a number of wooden frames that subdivide the ceiling into sections this subdivisions were to act as decoration.
4.2.9 EXHIBITION AND DISPLAY
This is one of the areas that has been overlooked because many people term it as irrelevant and self-explanatory. The club’s reception area is a major exhibition and display room. There is display of drinks, announcements for the club and art pieces. The reception also has a television that on most occasions shows sports mostly football.
Figure 19: Chiromo Campus Club reception area.
Source: Author
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Source: Author
Menus ought to be provided without having to ask for its provision. Signage is very important in such a premises as it gives easy when moving around the space. Signage at the club has been done poorly, the signage at the main entrance has been put up in a place that cannot be seen easily.
4.3 ANALYSIS OF RESPONSES
In this section, analysis of the data collected through questionnaires is presented. Quantitative analysis according to (Olive M. Mugenda 1999) can be defined as the design techniques and measures that produce discreet numerical and quantifiable data. The researcher gave out 25 questionnaires in total and got back 20 questioners. All the tables formed below are as a result of the questionnaires that were given back to the researcher.
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4.3.1 Knowledge of Universal Design
The objective of this question was to establish the participants’ knowledge on universal design. The question was seeking to find out if the respondents knew Universal Design or not. The results are as summarized below:
Figure 20: Summary response on Universal Design
Number
Choice Number Yes 8 No 12 Total 20
Source: Author
Yes NO
Majority of the respondents said they did not know the definition of universal design but from the follow up question proved they they had had an idea of what it involved and the fact that it involved accommodating people with physical disabilities.
4.3.2 Gender Distribution
Majority of the members and staff at the club are men. The pie chart below represents gender of the members who responded to the questionnaire.
Figure 21: Summary of gender distribution
Gender Number Number
Male 15 Female 5 Total 20
Source: Author
Male Female
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4.3.3 Disability
Since universal design seeks to accommodate all people one of the questions in the questionnaire was seeking to find out if any of the members or staff had disabilities. As shown below none had disabilities but from observation, it was noted that the club is frequented by guest with disabilities.
Table 3: Summary of disability statistics
Disabled Number Yes 0 No 20 Total 20
Source: Author
4.3.4 Aesthetic appeal of the dining chairs.
Majority of the correspondents found the chairs with the African fabric more appealing compared to the one that was wooden. The chart below represents the response received concerning the aesthetic appeal which included the comfort of the dining chairs.
Figure 22: Summary of aesthetic preferences – Dining chairs
Choice Number Number
Wooden 6 14 African Fabric 12 12 10 No response 2 8
Total 20 6
4 2 Source: Author 0 Wooden African Fabric No response
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4.3.5 Aesthetic appeal of the couches.
Majority of the correspondents found the couches with the African fabric cushions more appealing compared to the current couches at the club. The chart below represents the response received concerning the aesthetic appeal of the couches.
Figure 23: Summary of aesthetic preferences - Couches
Choice Number Number
Current Couches 3 African Print 15 16 14 No response 2 12 Total 20 10
8 Source: Author 6 4 2 0 Current Couches African Print No response
4.3.6 Comfort level of Furniture.
The majority correspondents found the comfort level of the furniture at the club not to be as comfortable as they wanted. None of the correspondents thought the furniture were extremely comfortable pointing out that there was room for improvement with regards to the comfort of the furniture.
Table 4: Summary of comfort level of furniture
Choice Numbers
Extremely Uncomfortable 3 Uncomfortable 9 Neutral 4 Comfortable 4 Extremely Comfortable 0
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Figure 24: Summary of comfort level of furniture
Numbers
10 9 8 7 6 5 4 3 2 1 0 Extremely Uncomfortable Neutral Comfortable Extremely Uncomfortable Comfortable
Source: Author
4.3.7 Communication level of the signage.
16 of the respondents felt that the current signage was not properly placed to aide in movement within the club, however 4 of the respondents felt that the current signage was good since the club was not big enough to get lost or that the existing signage was sufficient.
Figure 25: Summary of satisfaction with signage
Number Choice Number
Yes 4 No 16 No response 0 Total 20
Yes No No response
Source: Author
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4.3.8 Aesthetic appeal of the Dining area
The following chart represents the feedback given by the respondents regarding the aesthetic appeal of the dining area. Although good number of the correspondent did not answer this question, majority of the ones who answered thought the club could do with an improvement to the dining area of the club.
Figure 26: Summary of aesthetic appeal of dining area
Choice Number Number
Yes 5 9 No 8 8 No response 7 7 6 Total 20 5
4 3 2 1 0 Source: Author Yes No No response
4.4 CONCLUSION
This chapter discussed the research methods, tools and instruments that were employed by the researcher. Qualitative data collection methods were employed while carrying out the research. Description of data analysis and interpretation of data methods used was given. The research will be used to determine how universal design and African fabrics and patterns were used in creating a more appealing atmosphere at the Chiromo Campus Club.
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CHAPTER 5: SUMMARY FINDINGS CONCLUSIONS AND RECOMENDATIONS
5.1 INTRODUCTION
This chapter discusses the summary of the findings after use of the earlier mentioned data collection techniques. The researcher uses all the information obtained to come up with ideas that can be applied in making Chiromo Campus Club more appealing and comfortable for its members. It focuses on the four areas of study which are furniture, interior design, exhibition and display and landscape which will incorporate Africa fabrics and universal design.
5.2 SUMMARY OF DATA ANALYSIS/FINDINGS
The main aim of this research was to find out how universal design and African fabrics and patterns can be merged to create a beautiful atmosphere at Chiromo Campus Club. The researcher collected all the data needed to develop efficient recommendations towards the improvement of the club.
5.3 INTERIOR ARCHITECTURE
Interior architecture is the process through which the interiors of buildings are designed, concerned with all aspects of the human uses of structural spaces (Interior architecture, 2012). In order for interior architecture to be achieved, a number of elements have to be considered. These elements include lighting, wall finishes, floor finishes, ceiling finishes and furniture layout. In this elements, subjects such as color, texture and materials and elements. The researcher will look at all the elements mentioned above in detail and recommend the necessary changes.
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5.3.1 Lighting
Jun'ichirō Tanizak(2001) describes how lighting affects our view on things and surfaces as follows, “We find beauty not in the thing itself, but in the patterns of shadows, the light and darkness, that one thing against another creates.” Our view on the world is defined through both lighting and materials on surfaces. The only way we get to interact, using our eyes, with surfaces and materials around us is with the presence of good lighting. The relationship between light and materials present in our environment create the visual atmosphere as we know and interact with it. This therefore means good lighting is necessary in Chiromo Campus Club. The different elements in the rooms at Chiromo Campus Club are brought out very well when lighting in a room is done right. Lighting in a room can be split into two major parts. First being natural lighting which is archived by maximizing the use of natural light in a room. The second is artificial lighting, which is archived by the use of things such as electricity.
The researcher recommends proper distribution and use of ambient lighting in the rooms. Ambient lighting will ensure proper visibility of all surfaces, it will brighten and enhance the glow and beauty of a room. The researcher also recommends the use of task lighting at the reception desk to ensure easy when working at the reception desk both for the staff and the clients.
Accent and decorative lighting is recommended in the reception room, around paintings. Around the mirrors in the bathrooms, the use of vanity lights would do recommended since they act as both functional and decorative. Similarly, the researcher recommends the use wall scones on the walls for the corridor leading to the bathrooms and have the floor along the corridor and the bathroom be lit using recessed floor lighting. The researcher recommends the use of LED lights on trophy, sculpture shelves to give the objects being displayed life. Landscape lighting is also recommended especially for times like the night to ensure safety when moving around and to enhance the aesthetics of the landscape during the night.
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Chiromo Campus Club has plenty of natural lighting except in rooms such as the toilets. To make maximum use of this natural lighting, the researcher recommends a new method of window treatment to allow more effective and efficient use of the lighting. This mode of window treatment will be discussed later in this chapter.
Figure 27: Accent lighting (right) Wall Scones (left) and vanity lights (bottom)
Source: Pinterest
Figure 28: Example of night lighting on Landscaping
Source: Google
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5.3.2 Ceiling finishes
Ceiling is one of the areas in the interiors of a building that is most often overlooked and given very little attention. In Chiromo Campus Club, different sections of the ceiling have changed color due to stain from rain water which is caused by leakage from the roof. The researcher therefore first and foremost proposes the fixing of the roof to avoid further leakage. Secondly, the researcher proposes the use very glossy and lighter color paint on the ceiling to give a high ceiling impression. The researcher also recommends the use of ceiling cornices that march that off the floor in terms of material.
5.3.3 Flooring
The floor is an important area in interior design. A number of elements such as slipperiness, maintenance, costing and aesthetics need to be looked at. This being mentioned, the researcher recommends keeping the current flooring, which is wood parquet, at Chiromo Campus Club. The wood parquet is flattering for the room, however, the researcher recommends fixing the different areas of the floor that had come off. Cleaning the floor and polishing it as a way of maintenance is also recommended. Lastly. The researcher recommends replacing the floor cornice since it has become damaged due to age and wear and tear with new cornice that marches the wood parquet.
5.3.4 Walls and windows
The walls of a room are very important they hold the power to make a room look crowded, depressing, happy, relaxing among other things. The walls at Chiromo Campus Club are painted two different colors, as much as this is a good design, it is does not give a fluttering look to the rooms. The researcher therefore recommends the use of one color on the walls. The color recommended by the researcher would be from a light color scheme such as beige, ivory, light grey and white, this is to help bring out the feeling of a big room and a relaxed welcoming one as well. For decorative tiles on walls, the researcher recommends the use of African print patterns with the recommended African patterns. This tiles can be used on washroom walls, as back splash surface on the sinks.
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Figure 29: African Print Tiles.
Source: Pinterest
Window treatment is very important as this is one of the major sources of natural lighting and as well as adding to the aesthetics of the room. The windows at the club are casement widow style and have plenty grills as per the original design which means at the moment they don’t really serve any purpose such as security as earlier intended. The researcher recommends doing away with the grills and having a plain glass casement widow that can be used for proper lighting ventilation and aesthetically pleasing to the eye. The widows also have curtain boxes the researcher recommends removing the curtain boxes and relaxing it with a curtain rod that is fixed closer to the ceiling to create a tall room impression. Lastly removing the interior window sill is recommended by the researcher so as to avoid too much clutter around the window especially since the sill is not functional but decorative. Lastly the researcher recommend the use of small potted plants to decorate the widows but placing them on the window sills.
Figure 30: potted succulent plants on window sills.
Source: Google
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5.3.5 Space layout
Chiromo Campus Club has a set up that requires plenty of movement for both clients and staff such as waiters. The researcher recommends that the arrangement of furniture be done in a way that allows space for comfortable movement and accessibility to different parts of the club. The researcher recommends that the doors be made wide enough to accommodate all people including those with disabilities.
Figure 31: Recommended sitting space
Source: Architects Data.
5.3.6 Color scheme
There is a psychology of color which has a great impact in our entire life. Color impacts our mood, our appetite, our energy level. Years of color response research have shown that certain colors elicit specific –and often strong response (Color Moods - The Impact of Paint, 2012)The interior design of Chiromo Campus Club should be designed in a way that show cases a calm and relaxing environment. The color scheme of the club should be made of earthy tone or light color scheme that complement the colors of the African fabrics and patterns.
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Figure 32: Earthy brown Color Palette (top) and light color palette (bottom)
5.3.7 FURNITURE
The club has a variety of furniture throughout the club serving different functions. Due to some of the shortcomings of the furniture, the researcher recommends some of the following changes and improvements when it comes to furniture. First of all, the researcher recommends that all furniture be ergonomically and properly set and to ensure it is universally designed. The researcher recommends the use of tables that are of standard height to be paired together with chairs to serve the functions of the furniture.
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Figure 33: furniture height recommendations
Source: Architects Data
Source: Architects Data
The researcher recommend the use of a bar stool to be used at the bar area. The researcher recommends the use of adjustable bar stools with a foot rest to unsure the comfort of the users. For the dining furniture, the researcher recommends the use of dinning and coffee tables that are spacious enough to accommodate the intended number of users per table as well as encourage ease in conversing. The researcher recommends that the club considers furniture set up and sizes suitable for two people, four people and one that accommodates large groups of people. Sofa sets of an earthy or light color palette are also recommends, this ensures that the cushions with African patterns standout and complement the sofas.
5.3.8 EXHIBITION AND DISPLAY
The researcher recommends the use of well labeled and clear signage throughout the club. The signage provided should include but not limited to reception are, entrances, key facilities such as toilets and buildings and their functions. Signage should communicate a
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message without having to ask for assistance otherwise it beats the point of the signage. The signage at the club should also include way finding signage to avoid walking in to the wrong rooms or address a client as though they were staff. All types of signs should be visible, clear, simple, easy to read and understand, and properly lit at night.
Figure 34: Example of proper signage include the following.
Source: Google images.
The researcher also recommends also recommends proper display of art pieces and sculptors in shelves and proper hanging on walls as needed.
5.4 LANDSCAPING
Landscaping should be designed in a manner that merges up with the building and structures in site. Exterior landscaping has the ability to make a space appealing and relaxing at the same time it has the ability to do the exact opposite. The researcher recommends the use of different plants in the landscape with sweet scents and different colors depending on the season. Similarly, the researcher recommends that Chiromo Campus Club maximizes the use of the flower beds close to the entrance of the building and that between the building and the patio. Planting different flowers and grasses on this specific flower beds.
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5.4.1 Water feature
The researcher would recommend the introduction of a water feature such as a water fountain or a fish pond at Chiromo Campus Club. This is because the club is situate next to a very busy road that leads to plenty of noise pollution. Water features are a very good way of reducing noise pollution and at the same time creating a relaxing sounds in the club especially near the building. The researcher also recommends night lights for the water fountain during the night, to create a beautiful water feature at the same time light up the area around the water feature.
Figure 35: Proposed types of noise reducing water fountain.
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Source: Google images.
5.4.2 Parking
Chiromo Campus Club already has an existing parking space. The researcher however recommends clearly making out the parking spaces allocate for each vehicle.
Figure 36: Recommended parking space size.
Source: https://static.un.org/esa/socdev
5.4.3 Garden
The garden area at Chiromo Campus Club has plenty of trees and mostly grass. The pathways are lined with a live hedge made of the golden privet plant. The rest of the flora in the club is not structured. A lot of the flowers have been randomly planted or grown there due to natural pollination. The researcher recommends the following additional and reduction flora elements in the club. First, the researcher recommends the use of paspalum notatum grass, commonly known as Zimbabwe grass, as the general plant cover around the club. This grass is good for areas that have shades as well as areas with full sun exposure. Secondly, the researcher recommends the planting of flowers and shrubs spaced out into different seasons. This is to ensure all year round ornamental plant cover. The researcher also recommends the use of aromatic shrubs as hedges. Some of
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the recommended aromatic shrubs include lavender, rosemary, jasmine and brunfelsia pauciflora commonly known as yesterday today tomorrow (ytt). This shrubs produce aromatic fragrance in the wind and sun.
Figure 37: Jasmine and ytt
Source: Google
Figure 38: Rosemary and lavender
Source: Google
The club already has a number of trees for shades such as the jacaranda trees, terminalia trees and other trees that apart from shade also help in making the environment at the club very cool.
5.4.4 Pathways
The researcher recommends the construction of a wide pathway to serve the premises. The standard size of an unobstructed pathway should be not less than 0.90 m width. A width of 1.5m to 1.8m would ensure two people comfortably go past each other. This will also ensure an individual with a wheel chair or a walking stick comfortable uses the
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pathway without difficulty or bumping on the curb of the pathway. The pathways ought to be smooth, hard level surface suitable for both walking and wheeling.
Figure 39: Proposed pathway size.
Source: https://static.un.org/esa/socdev
Curb ramps are normally used whenever there is a difference in ground levels on pathways. Therefore they should be placed on the pathways and entrances to building so as to be used when need arises. To avoid confusing visually impaired people, curb ramps should be positioned out of the usual line of traffic flow and in places where water does not accumulate.
5.4.5 Patio.
The club has a patio that is right in front of the building. The patio provides shade and a sitting space outdoors. The patio has a golden privet hedge around its edges. The edges act as a wind break as well as for aesthetic purposes. The researcher recommends the addition of aromatic shrubs such as the rosemary which is good for making edges. In addition to all this, the researcher recommends the use of potted plants hang on the beam of the patio to act as decoration. The researcher recommends a change of the furniture so as to suit the patio better and be ergonomically friendly.
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Figure 40: An example of hanging potted plants
Source: Google.
5.5 SUGGESTIONS FOR FURTHER STUDIES
The researcher looked at all the four aspects of the study being carried out and the relationship between these aspects and the African fabrics and patterns. As well as the importance of incorporating universal design in all the aspects. The researcher exposed the gap between African culture with reference to African fabrics and patterns and the design of a space. However, the researcher did not exhaust this areas of design, therefore giving room for more research to be done.
5.6 CONCLUSIONS
In conclusion, this chapter the researcher provided recommendations and ideas concerning each area being looked at and addressed by the research questions. The researcher, by employing the two major outlines that is universal design and African
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fabrics, has provided workable, inclusive, aesthetically pleasing and functional recommendations. It focused on the four areas of study which are furniture, interior design, exhibition and display and landscape which will incorporate Africa fabrics and universal design.
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"Center for Universal Design NCSU - About the Center - Ronald L. Mace." College of Education Homepage Comments. Accessed May 18, 2018. https://projects.ncsu.edu/design/cud/about_us/usronmace.htm.
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"Dictionary.com." Dictionary.com. Accessed September 24, 2018. https://www.dictionary.com/.
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"Historical Foundations." Universal Design for Learning in HCPSS. February 09, 2012. Accessed May 18, 2018. https://udlhcpss.wordpress.com/historical-foundations/.
"History of Shweshwe and ShweShwe Dresses in South Africa." Ebontu. May 17, 2018. Accessed September 24, 2018. https://ebontu.com/wedding-inspiration/history- shweshwe/.
"Kuba Cloth Textile and Fabric History from the Bamileke People." Paulski Art. Accessed July 11, 2018. https://paulskiart.com/kuba-cloth/.
Khasiani, S. A., O. M. Mugenda, and A. G. Mugenda. Research Methods. Nairobi: AAWORD, 1992.
Kroeber, Alfred Louis, and Clyde Kluckhohn. "Culture: A critical review of concepts and definitions." Papers. Peabody Museum of Archaeology & Ethnology, Harvard University(1952).
Leedy, Paul D., and Jeanne Ellis. Ormrod. Practical Research: Planning and Design. Upper Saddle River, NJ: Pearson/Merrill Prentice Hall, 2005.
Luke-Boone, Ronke. African Fabrics. Iola, WI: Krause Publications, 2001.
Luke-Boone, Ronke. African Fabrics: Sewing Contemporary Fashion with Ethnic Flair. Krause Publications, 2011.
Mainstreaming Universal Design in Cape Town: FIFA 2010 World Cup™- related Activities as Catalysts for Social Change Mugendi K. M’Rithaa, Doctoral Candidate
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APPENDICES
QUESTIONAIRE
My name is Chemutai Sharon. I am a student at the University Of Nairobi, School of the Arts and Design, presently carrying out a research on the application of universal design in Chiromo Campus Club and how the aesthetics of the place can be improved using African fabrics and patterns. Below are a number of questions that will help in carrying out the research. This questionnaire is strictly for scholarly purposes. Kindly assist by filling the questionnaire. Tick and answer where necessary.
1. Gender: Male Female 2. Do you have any form of physical disability? Yes No 3. Do you know what universal design is? Yes No If Yes, what is universalZ design?
4. Is the club accommodative to people of all abilities? Yes No 5. To what extent do you think the club has represented Africa Fabrics and patterns? Very little little average a lot very much 6. Which chair do you find most appealing? a)
c)
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7. How comfortable do you find you find your use of the sofas and tables at the dining area? Extremely Uncomfortable Uncomfortable Neutral Comfortable Extremely Comfortable 8. Is the space in the dinning are beautiful and inviting? Yes No 9. Is there signage to give proper directions within the club? Yes No 10. What do you like most and least about the lawn/garden space in club?
11. Is the sitting space outside (patio) comfortable? Yes No
Thank You
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Figure 41: Proposed Furniture sketch.
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Figure 42: Proposed Furniture Sketch.
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Figure 43: Proposed Furniture sketch.
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Figure 44: Proposed Furniture sketch.
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Figure 45: Proposed Furniture sketch.
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Figure 46: Proposed Landscape sketch.
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