African Symbolism and Form on Two American Black College Campuses
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AFRICAN SYMBOLISM AND FORM ON TWO AMERICAN BLACK COLLEGE CAMPUSES By David Lewis Chandler Submitted in partial fulfillment of the requirements for the degree of Master of Architecture at the Massachusetts Institute of Technology February 1980 A I ' / Signature of the Author { Df r~ nY' of Arc itecture / Certified b Mf David fee, Assi a rofessor of Architecture Thesis Supervisor Accepted by Professor Imre Ha asz Chairman Departmental Committee for Graduate Students 0 David Lewis Chandler 1979 Roftf Room 14-0551 77 Massachusetts Avenue Cambridge, MA 02139 Ph: 617.253.2800 MITLibraries Email: [email protected] Document Services http://Iibraries.mit.edu/docs DISCLAIMER OF QUALITY Due to the condition of the original material, there are unavoidable flaws in this reproduction. We have made every effort possible to provide you with the best copy available. If you are dissatisfied with this product and find it unusable, please contact Document Services as soon as possible. Thank you. The images contained in this document are of the best quality available. table of contents Abstract .. Acknowledgements....................... List of Maps............................I1 List of Photos......................... INTRODUCTION........................... CHAPTER 1...............................- BONDAGE - the slave trade - arrival and housing AtA4W wori ?.I - the team CHAPTER 2..............................4 AFRICA - THE SEED - african form - form contributors - bricks - decorative motifs CHAPTER 3.......... ............... AFRICAN SIGNATURES ON AMERICAN BUILDINGS - before the mark - the mark - hampton - tuskegee CONCLUSION ............ .... FOOTNOTES .................. BIBLIOGRAPHY .............. APPENDIX ................... 78 WA f 1AA46 m5< (fCniv%) r ws v1 eIV pWOMFrz.pre, abstract AFRICAN SYMBOLISM AND FORM ON TWO AMERICAN BLACK COLLEGE CAMPUSES By David Lewis Chandler Submitted to: The Massachusetts Institute of Technology, Department of Architecture on 2 October 1979 in partial fulfillment of the re- quirements for the degree of: Master of Architecture ABSTRACT Some elements in Black Architecture might best be understood through some physical form on American Black college campuses. It is there where vestiges of time in American history can be explored by the architectural observer. By the use of existing slave trade docu- ments; data regarding African ports parti- cipating in the trade practice, and; the tribal origins of the slaves captured we will notice a similarity of architectural styles when this information is compared against the data on structures in America that have been designed and/ or built by Blacks. YryAl ivey WAsh (OW) e. 17 Black colleges constructed between 1850 and 1900 present the most significant re- ference aids. Within the list of Black colleges constructed during that time (see appendix), Hampton and Tuskegee Institutes present an infinite array of African sym- bolism and form. It is through those re- ferences, of African heritage, that one might address the qualities of form on any American Black college campus. This thesis should be used, not only as a collection of information, but also as a guide in determining other levels and ele- ments in judging some qualities of form that may or may not be on any American Black college campus. //1 Thesis Supervisor:- Y-* v V -M. YvdLe e Title: Assistant Professor of Architecture 61LV - WWVC At,-JCVIVe, (MO11i -+ :&i~VrY) acknowledgements This thesis would not have been possible without the support and encouragement of many people. It is with that thought in mind that I extend special thanks: To my mother, for the love and guidance that has motivated me to develop into a positive individual. To Meiko, my bride to be, for understanding my ways and showing me their directions while enriching my life with more happiness than I could have ever imagined. To Linda and Jeanette, my sisters, for also being my friends when I needed them. To Cheryl and Haywood, for the times of clearing my head of the MIT debris. To Abraham Ford, Jr., Philip G. Freelon, Simon Wiltz, Ran Bradley, Wesley Henderson, Barbara Williams, Bob Powell, Daryl Carter, Keith Rowan, Karen Duncan, Sandi Jones, Onaje Jackson, Sharon Lee, Sharon Robinson, Gertrude Hodges, Robin Geraldand Nels Arm- strong for being..... To Chip Tabor and his rhythmic recorder. To Debbie Alexander for the use of her typewriter and the typing. To Professor Imre Halasz, my mentor, for instilling within me a desire to see beyond the boundaries given for any Urban Design or Architectural problem. And, most of all, to M. David Lee, my the- sis advisor, for being critical, thorough, patient, imaginative and very encouraging at all times. If We who oive AveAvce-, ,'( hime, HaW-vesr the ovvi wtl Ov lpveitth. The 5wcetW v kn'ove 1v1 aw 1 tv\Ove+ ticetev9 avev'ev e cence ,Av A v'cwriv A, U+ Aryevkt Mvv M~iv AMy eVCikvoA', A eoutmvc to avem A Avemme1c i thv-ivkil ve list of maps AM16A - C V-CA (500 t 5TATE-:! ; ANP V"So 60PIOVNITIE5- Atit? VIL-LA64--- VVFfr--Mr '5PLAVr-! WIE7 09MANEV --- - KAJOIK TKIM - 17VKINro, 11-ir-- -5;L...AVr-- TK4W-2& FKIM^K: MrOTs. 27 ?vAAJOK Af"KICAN F-CKM,5 ?VP ist of photos -TAM-r-- OF CONTENT! 7 6HAPTffIr,- THKE:C-- 6zavrhvivea) pplol-, , I ,I(rjan 0* eHOT-0Z-7 Veot AC*I 11.aO KOV'5C WOV12rPf4,,7rO X O cniv% ( ,Ouyt A&) C H.Avq '7' F fora -3 Af-A o WA i Wwr7K (? 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Instead, Thomas Jefferson's Latinized architectural decep- tions provided a false reflection of some kind of America that never really existed. It was this Classical architectural cloak on state capitals, and other public build- ings, which set the architectural tone for America and consequently squashed any con- tinuum of forms by Blacks and other eth- nics. Neither Black nor Red, for differ- £'AfrW (LvylA) ent reasons, could be allowed to express themselves and their accompanying values physically. Furthermore, they could not control resources for independent develop- ment of any sort. Yet more than simple obstruction of the natural desire to per- petuate a group image through architect- ural form was involved in the initial stage of Black settlement. In contrast to the intellectual hopes of some compensating researchers, the Afri- cans brought to America were not, under certain criterion, artisans1 . They were forced to quickly respond to the building practices of the colonizers in the major- ity. Africans in America were subjected HeU onlasA6ifi 44alin winamO (C. 10p to a generally colder environment, weath- er-wise, which dictated a change to a building practice fashioned with wood ele- ments and more sophisticated brick. The few practices and images relating to the various African cultures waned eventually POCWN PPC4AT1\trz fAOTIF- through acculturation and lack of prac- . SeeFA-E4 tice. However, some indigenous vestiges of African form and character found its way onto the American Black college camp- us. It is the structures, on those camp- bama, that present a greater situation for uses, which demonstrate an architectural discussion concerning African symbolism heritage and a culture, of natural crafts- and form. It was on these campuses that people, which might otherwise had become the students received "hands on" training extinct. as a part of their educational develop- ment. Also, these campuses present a The formal educating of Blacks began in richer diversity of representative African 1831 with the founding of Xavier College Architecture, art and culture then other in Louisiana (a Black college). Time American Black colleges of the same peri- presented the founding of more Black col- od and region. leges with the structures on the campuses built by white philanthropists, with few Of the 92 major African tribes that exis- exceptions. For the most part, where the ted during the slave trade, vestiges of exceptions are observed, the slaves pro- decorative motifs and symbolism from 17 vided the labor force on those campuses different tribes can be observed on the during the pre-emancipation period. campuses of Hampton and Tuskegee. The architectural elements can be traced to Of the certified Black colleges in Amer- 9 major form contributors from the 30 ica, there are two; Hampton Institute at known forms that existed at that time. Virginia and Tuskegee Institute at Ala- It was the talents of those tribal mem- bers, with the assistance of countless un- Colonial and Plantation Architecture. It known supporters and instructors, that ini- was the Black builder who inherited the tiated the foundation and background of responsibility of designing and building what could now be considered as American a major part of the American South.