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Yona Friedman's Roofs: Manuals for Simple, Low-Cost Building

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Yona Friedman's Roofs: Manuals for Simple, Low-Cost Building Yona Friedman’s Roofs: manuals for simple, low-cost building Andrea Bocco1,a, Emiliano Cruz Michelena Valcárcel1,b, Laura Trovato1,c 1DIST-Politecnico di Torino, viale Mattioli 39, 10125 Torino, Italy [email protected], [email protected], [email protected] Keywords: Yona Friedman, low-tech, low cost, bamboo construction, learning by doing. Abstract. Since 1973, Yona Friedman, architect, born in Hungary in 1923, used the “manual” as a method of providing information to those unable to decipher technical drawings. The communication was entrusted to very schematic drawings, similar to comics, coupled with short texts. Manuals – mostly produced thanks to the support of UN agencies – were intended to transmit easy techniques regarding the basics of survival, i.e. shelter and food. The privileged recipients were slum dwellers. In his book L’architecture de survie, Friedman explained his lucid vision of an impoverished world, where in “developing” and industrialized countries alike, conditions of scarcity will be common and the question of survival will be urgent, even more so in cities. The only effective way to ensure the survival of the poor would be to support their autonomous development of feasible solutions. The manuals collected in Roofs contain a number of techniques suitable for people without building skills. Most involve the use of natural materials and include many different solutions for bamboo domes, which Eda Schaur and Yona Friedman used in the Museum of Simple Technologies they built in Madras in 1987. The techniques – chosen because of ease of use and low cost – have also important ramifications in terms of autonomy and environmental impact, and are the subject of sometimes advanced research carried out in rich countries. Therefore they may indicate a possible path towards a socially, economically and environmentally sustainable architecture. This presentation covers both the illustration of Roofs and a discussion of its current technological viability, which the authors conducted in students workshops, building a number of full-scale prototypes. The possible applications in the improvement of housing in the city and the metropolitan area of Buenos Aires are covered in paper no. 114. Introduction Roofs is a collection of practical information on the building of roofs for the shelters of the poorest populations. It bears the acronyms UNESCO, CCSK (that is, Friedman’s Centre for the Communication of Scientific Knowledge), and UNU (United Nations University), and is still freely downloadable from UNESCO archives. [1] One of the most appreciable peculiarities of Roofs lies in the simplicity of its drawings and texts, through which Friedman meant to make himself understood by the larger amount of people, even illiterate. He had first experimented with this communication strategy in 1973, when he decided to make the contents of his theoretical text Pour une architecture scientifique [2] – a book conceived in order to enable the inhabitants in designing their own living environment, a similar engagement to that of some contemporary authors, such as Habraken and Alexander – available to children. [3] From that time through most of the Eighties, a large part of Friedman’s work consisted in composing manuals. The cartoons encouraged self-planning and self-building practices, and innate creative capacities, with the scope of empowering citizens in fields deeply affecting their lives, but from which they had been expelled by professionals and political power. Awareness would build up a convivial relationship between one’s will and the tools to follow it up. [4] The Manuals Since 1973, Friedman collaborated with UNESCO on housing insecurity issues in big cities of developing countries; in 1976 he was a member of the preliminary commission to the first UN Conference on Habitat, to be held in Vancouver. In 1977, Friedman collected what he had learnt from such appointments in his fundamental essay, L’architecture de survie (“The architecture of survival”). [5] Friedman proposed that the spontaneous initiatives of the poor should be supported, both in housing and food provision. He also claimed that the best way to learn is from direct experience, what is denied by formal education. Friedman thought that the cartoon manual would have transmitted knowledge elements without compelling the reader to use them in a specific way: “Only those from bottom up are true solutions.” [5:74] Thanks to successful diffusion initiatives in India, in 1982 the UNU financed the establishment of CCSK, whose scope was the realisation of information tools for the improvement of living conditions in developing countries. [6] This included translating scientific knowledge into information which had to be comprehensible and usable by the poorest. The design of manuals was by far the largest activity the CCSK undertook. Architecture was just one of the many topics – they included food (production, storage and processing), health (diet, hygiene and basic care), water management (collection, conservation, treatment, irrigation), habitat, ecology, material resources, energy, self-organisation, communication, business. In all of these CCSK tried to teach simple techniques relying “more on investment of labour than cash or materials that must be bought.” [6:335] Only some of the topics were actually covered; anyhow, such ‘Encyclopaedia of survival’ [7:166] is outstanding in vision and richness, with potentially enormous ramifications: let us only think of what might be accomplished if a similar initiative were undertook now, in the age of Internet. The Museum of Simple Technology Besides the manuals, another means of knowledge diffusion envisaged by the CCSK was the construction of a Museum of Simple Technology. Friedman conceived it as “a permanent exhibition of techniques, traditional or modern, implementable by disfavoured people in order to improve their life. The exhibits consist of artefacts used for or resulting from such techniques, accompanied by a simple and pragmatic explanation.” [8:1] He held it was crucial that all exhibits be produced at a very low cost (or, better, without any money expenditure), make use locally available knowledge, and constitute innovations bringing tangible improvement to the quality of life. Moreover, they should have been easy to understand and copy. The target group was the urban poor. The Museum building itself was supposed to embody building techniques that the slum dwellers might use to improve their shelters. Therefore materials were selected according to economy and technical appropriateness – cement and steel were ruled out (“in India, even scrap metal can be too expensive for the disfavoured”) [6:335] and the use of timber was minimised. Expenditure in labour was privileged on cash for building materials. Friedman designed several architectural projects for the Museum. One, which was not implemented, consisted in a complex of three large rooms covered by ‘ring-ball’ domes: (Fig. 1) a technology which would allow covering quite large spans without intermediate columns and using a limited amount of material, that in our opinion was never really tested, although Friedman built a few prototypes at different stages of his career. [9] [10:62] It seems to us that he can be fully credited with such technology – which is described in the manual with the same name [1:89-99] –, as already in 1959 he invented a system of ‘spherical constructions’ based on tangential joints connecting what he dubbed ‘indeterminate polygons’ (that is, circles). From a single element – a steel ring –, this system would allow to build various polyhedra, assemblable almost at will, their faces being in all cases a ring with the same diameter. [11] Translating this system in ‘low-tech’ he substituted bamboo for steel, and reduced the diameter of the rings; he even proposed that these be prefabricated handicrafts, so to obtain a low-cost building component made from local material. [10:62-64] Theoretically, rings could be the only load-bearing element in indefinite space chains: in practice though, either they are so large that they contain a full storey, or they can be used for roof structures only – which will be quite cumbersome, and will require a different vertical structure. Fig. 1 Friedman’s sketch of an auditorium for Madras Museum, to be covered by a ring-ball roof. Fig. 2 Some pavilions of the freshly-completed Museum of Simple Technologies, 1987. This technology is quite different from that of the built Museum, which was erected in 1987 at the campus of Anna University, in Chennai (Madras). Eda Schaur’s and Yona Friedman’s project consisted of 13 square modules – 6 pavilions enclosed by walls and 7 covered courtyards. (Fig. 2) Walls were rather ordinary self-bearing raw and fired brick masonry, while roofs were bizarre double-domed structures, spanning 4.3 m, built of 10 cm diameter bamboo culms that had been split in eight strips, or 2.5 cm diameter whole canes. Domes were supported by an independent structure made of timber posts inserted in concrete pad foundations, and tightly tied to the domes’ base frames with vegetal rope. The technology of these domes is described in the manual Bamboo domes with suspended mat cover, [1:51-70] one of the very few containing also technical drawings. The upper dome is the load-bearing one, while the bottom one hangs from it and carries the roofing. The latter is relatively flat, which allows to keep down its surface area (just a bit more than with a flat roof, as opposed to common domes), and to employ sheets and mats for roofing. Friedman was proud of an innovation he dubbed ‘alumats’: an aluminium sheet 0.05 mm thick glued to a bamboo mat locally handcrafted – or a sandwich made of two outer mats and an aluminium sheet in between. Such an easy-to-use building product – coupling of a widely-spread, low-cost traditional technique with an also low-cost product issued from advanced industrial manufacture – is a good example of CCSK’s scientific and socioeconomic goal.
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