Competion / Brief / Jury / Calendar / Download / Subscription / Partners / Supported project / FAQ / Winning Projects
Dakar is a thriving example of architectural progress within the West-African continent and Senegal is moving away from the lingering perception of “bush and village”. With this in mind rather than failing at imitating an unfamiliar traditional design the project aims to combine established principals of modern architecture with local solutions. The building uses locally sourced and inexpensive materials, such as clay bricks, baobab wood and corrugated metal in accordance with the surrounding architecture of the town to create a non-intrusive structure. The detached partially perforated metallic roof, not only allows natural light to come in, but also enables air circulation to cool the building and provide coverage. The cultural centre is divided by four gardens and a gridded wooden frame. It is a promenade through flexible spaces and tranquil greenery inviting an extended stay. The user accesses the building by a gentle ramp to transition from the street into the central area. Walking down a few steps to the left you enter four connecting exhibition spaces where the visitor is invited to follow a path to discover local art and handicraft. Two large and empty rooms can easily display sculptures, whilst the two others, with their central seating area, are dedicated to expose mural art. When stepping out of the exhibition rooms, there is a semi open circular amphitheater featuring a carved stage, inciting people to assist to the varied shows. The central position of the theatre, enhanced by the adjacent empty space surrounded by one of the gardens, creates an additional viewing area for overcrowded performances. The last rooms consist in two large spaces for educational purposes partially hidden behind gardens featuring a narrow entrance for added tranquillity. The cultural center has been designed to become an icon for Sedhiou embodying a vision of progress rather than offering a nostalgic transcription of Senegalese culture.
The project concept of the Cultural Center comes from carrying rich and secular cultures traditions and experiences through shelves. Organized in a circular way, the shelves convey the idea that passing knowledge through generations is a cycle. The learning cycle. By the looping of the program, several accesses that invite the community are created, besides dividing the project into three main areas. The shelves (exhibition space that retains the Africa’s history knowledge), the central circle (performances) and the deck (flexible area where training spaces, market-place and events can be created). Local craft curtains are responsible for the flexibility. When closed, they create small training spaces and when opened they can create a market-place and events space, turning the project to the inside out, no longer looking to the center, but to the square, integrating the whole terrain. The curtain closure made with the local craftsmanship has a familiar texture facilitating the identification by the population with the new volume that shelters its culture. Craft work seen in the lots divisions of the city now embraces the cultural center. The self-identification with the project also occurs through the structure. A repeating wooden module with stepped growth. The slats coming out of the ground and growing pass the idea of something being born, developing and creating deep roots. Thus, a structure is created that mimics itself, born in Sedhiou, natural of the place, like its vegetation. In addition to assisting in ventilation, the raised structure allows the cultural center not to seem to be “landing” in the site as something new, but rather, being born, as something local, subtly on the ground. It is intended that the Cultural Center, its form and its elements, will function as a great Kora, helping Griots in the work of passing on their oral traditions. Therefore, the process of learning is represented by the form, structure and assembly.
Evoking the Senegalese myth of the two luminaries1, two circles were drawn on the ground: Sun and Moon are represented as metaphors for distinct concepts. Therefore, two cylindrical volumes, that gently embrace each other, are proposed. Each architectural object opens to its interior, designing two different parts of the program. The center of each volume is marked by a courtyard. The first one, the welcoming courtyard, designs around itself the exhibition space. A small auditorium that opens to the sky, creating a strong relationship with the sunlight, marks its center. Here the visitor can find the cultural program and a small exterior space for different performances. The second one, the inner courtyard, shows up as a smaller and cozy space that evocates silence and shadow, getting closer to the contemplation of the moon. The rest of the required program (offices, classrooms and bathrooms) develops itself around this space. Each one is a unique fragment that composes this second shape, like an orange bud. The materials used are mostly: wood, bamboo, straw and adobe bricks, chosen as an answer to the needs of the place. These materials were chosen, not only because they are easy to find in the surrounding area, but also because during their lifetime its changes can integrate the landscape in a natural way, preserving its ecosystem.
As world is getting ever-increasingly globalized and developed countries constantly assisting economically and technologically, it contributes a lot to the modernization of developing country. It always occurs that poverty countries gradually lost their regionalism, which is a kind of cultural lose to the whole world. When we build some new large-scale public space to adapt demand of new world, we inevitablely break the primitive feeling of African continent. Thus we try to make a inner space to keep outside away, as kind of metaphor of escaping from rough type development. We propose to impose the consciousness and cognition to residents not trying to forget the protection of traditional things. In the quiet space we create, the only thing you can feel is pure sky, conventional roof, immemorial texture and primitive beauty that lasts eternally In Africa, man communicate mostly in a type of rounded sunken place while woman talk with each other underneath trees, which is their favorite way of learning and story-telling from past to now. We attempt to pass down this primitive way by extracting and enhancing these character. We use circle as a element, which respects the most basic form from nature, meanwhile represent the union of numerous tribes and nations. Trying to make it less authorized, more welcoming to local people, we make it totally open and penetrating. We expect it to be the truly activity space for local people in their daily life, more aiming to remind local people of who they are, where they come from….
Sedhiou Cultural Centre offers spaces where history, tales and traditions meet innovations, ideas and creations. Onwards is a landscape of boxes to be opened.
The stage, classroom and galleries are designed so that the building can adapt to the needs of the cultural centre . The stage entertains performances, lectures and projections, the classroom hosts lessons, smaller shows and exhibitions while the galleries display and store art. Alternatively the building can open from all sides and be one large public space.
Varying light conditions are offered in the gallery rooms and open spaces. While curtains help dimension rooms and control light.
A comfortable temperature is maintained by providing shade, natural ventilation and using materials with high thermal mass. The large metal sheet roof shelters visitors and collects rainwater for the public and centre in two tanks. Open facades release the hot air and bring in the cool breeze. Walls of rammed earth and shells of casamance store heat during the day and release it at night.
This is a zero-waste building. Eco-san toilets require no water and no chemicals. These are intentionally placed away from the café and water tanks to prevent contamination. Plastic, paper, glass, metal and organic waste should be separated, reused and transformed.
The project uses low-tech building methods using local materials. The first stage involves giving the people of Sedhiou shade and a place where activities can take place. This includes the floor, amphitheater, roof and walls that are built up to seating and workbench height.
Stage two brings the walls to their full height providing more intimate, unique spaces that can operate more independently.
This will be a place where everyone is welcome in large groups or small, locals or tourists. To meet a friend, watch a play, learn something new or simply to retrieve some water.
As a texture defines the fabric and its structure, our cultural center builds on the will to unify the variety of traditions and local cultures in a unitary image which can identify the community. The shape of the building consists in a regular and modular volume whose internal and external appearance is profoundly influenced by both the displacement of the different functions and the results of climatic studies. The regular form is open to the community and to its context; all of the activities that take place inside can be practiced out too and viceversa. The plan is defined as a sequence of modular and flexible spaces, organized around a main axis. The exhibition area is located on the principal entrance, next to the main road, while the educational one is positioned on the opposite side, in a more intimate and protected space. The performance area is exactly in the center of the plan; it can be alternatively opened or closed to the outside and larger or smaller according to the number of people and to the type of show. All of the areas are divided in order to avoid problems of noise related to the overlapping of simultaneous different activities. The final volume is raised by a thin wood basement as to emphasize the border between the external and the internal space. This plinth is dug in the center in order to define an area destined for performances. Its thickness hides all of the devices for the collection of the rain water and the mechanisms for the movement of the flowing walls. Indeed, the tilted roof is designed as to collect the rain water and make it reusable for the community. The overflow of the rain water is controlled by a system which channels it to the reservoir hidden under the above-mentioned plinth of the building. The interlaced wooden elements of the external walls introduce different patterns as variations which allow the passage of light just where it is necessary according to functions and climatic orientation. Under the tilted roof there is a second coverage as an undulated and light veil. This patchwork of different fabric unifies the variety of spaces, introduces colour and natural light and represents a reference to the artisan culture of the community, as a hymn to the local traditions. It is fixed to the wooden pillars with a system of ropes through which it is possible to regulate the height of the fabric on the coverage and to lower it for maintenance and substitution. The choice of local materials (as wood and fabric) and of a very simple technology derives from the will to involve local and low-skilled workers in the constructive process.
The idea behind this project is creating an iconic architectural structure that represents the unification of different ethnic groups with rich cultural background under ‘one roof'. Gaps between the bricks, besides letting the light and the fresh air in, they also let out fragments of voice and manifestations; in purpose of awaking curiosity and luring people in. This cultural center is designed to gather ethnic groups, share their stories and ancestors’ history through the sounds of kora and narration of griots while passing it to the younger generations by recording, noting and preserving it. The roof shape is inspired by the vernacular architecture of Senegal, while it holds on to the local materials, it does embrace the idea of getting out of comfort zone and exploring new structures and possibilities. Regarding the variety of the cultural events, flexible indoor spaces are a ‘must’ for activities such as performances, gatherings, exhibitions, education and workshops. Other additional spaces such as storage, archive, office and restrooms, are included for technical preparations, archiving data, and preserving goods. Besides its role as a home of culture, this building is also considerate to the environmental and infrastructural issues: water, sanitation and power cuts. An important future of this design, is rainwater collection through the roof, to the water canals with layers of sand and gravel (natural water filter) before it reaches to the underground water reservoirs. The composting toilets are likewise designed to be eco-friendly and waterless. Also, considering the high temperatures and humidity, the double roof structure and wall gaps, besides the protection from the direct sun rays, it also allows fresh air to flow in and drop the indoor temperature. Using local materials only, traditional building methods, characterized by longevity and durability, the project is easy to be built, has flexible spaces, and doesn't require qualified builders.
The design and the concept is inspired by the Senegal national motto. The building is evenly spread out over the land, without clear boundaries between the interior and exterior, without a clear dominating entrance. A variety of different walls and pillars create a multi-purpose space that is multifunctional and interconnected. These walls or “nations” don’t have the same length or height; however they do have the same direction or purpose. They are elevated to the same height with the same goal - to hold a common roof. They don’t have common beginnings or ends and therefore they create a diverse character of space. You can acquire knowledge of the space or knowledge of the content in any place. You can enter or leave the journey of learning about the Cultural Center at any point. The character of the building is iconic yet still simple. The spaces are monotonous and, at the same time, they create a lot of experience with their height and division. The design features a total of 480 m2 of interior space, which consists of 159 m2 for Education, 179 m2 for Exhibitions, 109 m2 for Performances and 33 m2 for Bureau and restrooms. The interconnection of the interior spaces provides multifunctionality to the whole space. Evenly spread around the entire building there is a 395 square meter of semi-covered and divided exterior pistons, atriums and nooks, which blend with the interior. In the urban context, event areas under "the tree" and in "the park" have been created following the main road and the corner. These areas are suitable for movie screenings, dance performances and cultural events that are visible to all passers-by. Accordingly, this urban concept do creates a "main entrance", which of course is logical and in the same time does not contradict the original concept of the building. Despite its iconic shape the design of the building takes into account local materials and simple details by using only local materials, local bricks, wooden wicker ceilings and intersections with opening parts. The roof is made of corrugated iron sheets and with the traditional ventilation of spaces. Ventilation is supported by underground channels that are cooled in water and green areas and are brought into the interior floor. The height of the interior provides, in addition to emotions, even faster air exchange. Simplicity = understand= remember = know = want = return = welcome. Welcome to the Cultural Center and enjoy it.
A beating heart for Sedhiou, to recollect traditions and look forward to the future. Upon starting to develop the idea, we identified our main aim in the creation of a place for the community to get together and share traditions, abilities and ideas, a space that could be interpreted by the users and transformed in time according to the community's needs. We wanted the theoretical versatility and freedom to be mirrored in the building, devising a physical frame for the various activities of the village. Hence the choice of an extended built area, applying the system of the covered piazza, achieved through a beam and pillar structure. In the facade, the liberty granted by this solution finds purpose in both the formal and environmental comfort fields. The wooden structure alternates mangrove branches and large fabric areas, with the possibility to switch the latter, stating a connection to local materials and crafts and the expression of the local community. On the other hand, the breathing facade is expression of another theme that plays a relevant part in our project - environmental comfort. The building is devised with passive ecocooler techniques such as solar chimneys and water pillars. Taking inspiration from traditional methods such as the Egyptian Maziara, we developed a system in which the precipitation is collected by and stowed inside the hollow columns located along the perimetral walls, in order to cool the air as it crosses through. Regarding the management of the water resource, we contemplated the hypothesis of the consumption of the stored water, though the likelihood of its unfitness for drinking has led us to the decision of an exclusive use in the air cooling system, since the stagnation would render water harmful, while a water treatment plant would be too expensive. In order to incentivize the air turnover and drain the heat we also have two courts working as solar chimneys, in addition to the provision of lighting.
Sedhiou lives a leisure life. Being insulated from contemporary cities, Sedhiou embraces natural rhythm while catalyzes abundant outdoor activities. People’s life unfolds on streets, open lots or farmland by dancing, music playing, tailoring and ceremonial daily greeting. Born destined to exchange lengthy inquiries into the well being of every other person, to smile and shout at a “Tubab” whenever encountered, to sing, dance and play instrument almost like breathing, people’s daily life is cohesive and reactive to the entire community as well as every emotional subtlety. Collective memories are being regenerated every single day, and passed on through oral narratives. However, still living in a diffusive and undefined environment, people in Sedhiou are missing a place to tie the inhabitants spatially, a container to accommodate their collective memories, a palimpsest to carry the culture and ritual which has no archive. A giant palm woven roof is our proposal to Sedhiou. Gently descending towards the center due to its weight while opening up at periphery, the oval-shaped roof redefines the spatial property beneath it, thus creating a covered field that allows life to take place. Widely used as fences by local habitants, woven palm has been subconsciously acknowledged by people as the physical manifestation of separation. By transforming it from enclosure to cover, from fence to roof, we are repurposing both existing structure and ordinary material to become the incubator of collective memories. The roof is shared by the community, under which elders tell tales and myths to children, habitants enjoy music and dance, artists exhibit their art works to the whole community. Building process of the giant roof constitutes an important performance to tie the whole community. Being 36m at long side while 22m at short side, the making of the roof records the collective labor as well as adds a new narrative to their storybook. Local weaving technique and art, on the other hand, is under representation during the building process. Sedhiou has its mysteries, which cannot be explained in a rational way. Hundreds of oral animist hold the tradition that natural objects can be seen as spirits as well as invisible phenomena. By leaving a circular opening at the lowest point of the pendulous roof, we are creating a channel for the natural light. Recording the trajectory of time, a life stage is also set up for all the improvisational performers. A set of mangrove wood pillars are supporting the giant roof, while also echo the autonomy and iconic nature of the oval roof. At the periphery, a volume gently raises up between pillars, which gives background for the open stage. Inside is placed offices, restrooms, activity rooms and storage rooms. This culture center, on one hand, provides open and shaded place enabling flexible engagement; on the other hand, set a spiritual and monumental space recording local memories, rituals and culture.
We imagine a place of harmony, offering diverse experiences, where the community can spread its culture and customs. Our design aims to be respectful towards the environment and can be built by the local community, using traditional methods and only bio-degradable natural materials, such as rammed earth and local wood. Humble yet present, the intervention does not compete with the surroundings, but instead celebrates Nature. It trusts nature up to the point where architecture becomes one with it. The transition from landscape to architecture is fluid and delicate. The forest-like portico that surrounds the site is a permeable and discreet boundary, its shadows always trembling under the sunlight, the wind and the fallen leaves crossing the space freely. It can be a place of transition, but also a space to rest in for a while, band together and interact with one another. Light floods the composition and is a fundamental element: along with the journey of the sun, the space changes its identity. Through the always-shifting shadows cast on the ground, time and space fuse and become one. Earth is both skin and structure for the central volume – the performances area. What is man-made is humble: the building is partially buried and creates the illusion of rising from the ground. It appears that the soil is baring its secret core: earth is emerging from earth. The interior of the performances area is like a secret realm where the stories are told, where the music is played. The ceiling is covered in wooden blades that light-up when touched by sunlight. These are a metaphor for African masks, symbolizing the ancestors watching over. The core of rammed earth is surrounded by thick underground walls pierced by irregular and varied niches: the exhibition area, which may also stretch out into the main volume, in need be. Thereby stands a meaningful witness-the education area-completing and balancing the composition. Also made from rammed earth, it provides a sheltered and peaceful space for the educational activities of the community. Water: rainwater is harvested into the tanks for sanitary purposes. The Cultural Center aims to be a meeting place, a place of interaction, where people can be different yet together at the same time, where local cultures have the chance to be passed on and preserved.
The project draws three concentric spaces where different cultures can blend harmoniously: - the exhibition space characterized by the filtering light of the external wall in baboo; - the education space characterized by walls in raw earth that do not touch the roof; - the central performance space characterized by perimetral zenithal light. Under one roof this spaces are connected to each other generating free flowing movements. The accesses on the four facades follow the concept of rotation of the floorplan. The roof leads rainwater to the perimeter of the central space and then into the tank. The volume is proportional to the context through its dimensions: the rectangular shape relates to the row of existing trees oriented towards north and the building height, being low, allows the passage of light and air. The structure and its simple realization is coherent with the materials used on the place : bamboo, bricks, raw earth.
The Baobab tree is often known as the “tree of life”. Characterized by its large trunk and branches, this tree has a miracle ability to store water in an extremely dry climate, and often lives to be over 1,000 years old, earning its name. In Senegal, the Baobab tree is considered a sacred national symbol. On a day to day, the tree offers generous shade, which attracts many to gather under during both the hot and dry season from November to June, but also during the rainy season from July to October. This proposed community centre has been named after the Baobab tree, adopting its characteristics of being a celebrated gathering space designed by nature. The circular layout of each dedicated space was inspired by the traditional gatherings in African communities; whether it is story telling, drumming or dancing, many of these activities happen within circles, directing the focus of a group of people onto a singular performer or a group of performers. The goal was to create a space that could be used on a day to day basis, but also as an event space for special functions and celebrations. The design borrows from the natural landscape of Senegal, and also from the beautiful vernacular architecture which dots the region. The parti of the design was based around 3 rings, each demarcating a different space and program. However, in order to make the space feel like a singular entity, a weaving ribbon of rammed earth was introduced to tied the three spaces together. Along with the rammed earth wall is a lighter bamboo screen; the two facades dance around each other, creating different visual and physical thresholds, which tailor to the spaces, depending on the need for natural light, privacy and structural support. The main materials used are rammed earth and bamboo, both which are natural materials found in the area. Although both materials are rigid by nature, the design animates both materials, giving them a fabric like feel. Instead of cutting out traditional openings for entrances, the design incorporates various arch- like openings, derived from lifting selected points along the facade, creating a grander entry into all of the spaces. The space is divided into 3 main rings. The first and largest ring is dedicated to the performance and exhibition hall. The entrance is off centred from the main road to create a small gathering space in the south-east corner of the site. A generous reveal creates an entrance in the rammmed earth facade, opening into the entrance gallery space. The soaring ceiling in the gallery space provides a well naturally lit passage which not only serves as circulation, but also doubles as a permanent or temporary display of art. Following the walls, visitors will find themselves heading into the performance stage and amphitheatre. Like the other three rings, the roof design has been inverted from the tradition roof in order to collect water into the centre of the space. This water is collected and filtered through an underground pump and filtration system, which then can be reused by in the kitchen and washroom program. In the centre of the site is the ‘utility’ ring. Located here is a community well, several taps and stove tops which functions as a community kitchen. Many villagers are still struggling to access clean water; with this in mind, the commmunity kitchen and well became a key component in the design. An equal amount of space was dedicated to the development of the community. Therefore, on the opposite side of the kitchen lies a third ring composed of several classrooms and a garden in the middle. This space is not dedicated to children in particular, instead all members of the community can gather here to learn and share their knowledge.
The proposed Cultural Center wants to embrace the formal plasticity and the functional flexibility of the built heritage of West Africa. A 7 m. high wall, winding along the length of the site, is the main element of the scheme. Its curly shape strengthens the stability of its earthen construction. This curvilinear wall recalls the clusters of circular volumes linked together in a typical Somba house, the elegant mud dwellings of the Musgum tribe, as well as the zig-zagging walls of old fortifications known as tata in the Casamance region. The whole complex is embodying a fusion of the organic and the geometric. This combination is seeking to express the precarious balance between local tradition and imported modernity. Moreover, the succession of enclosures and voids contributes to the formation of a nonhierarchical order. The polycentrality of the arrangement echoes the compounds of round huts and implies a system where the order of things lies no longer in their subordination to a dominant centre but in their mutual relations. There is no separate space ascribed to each part of the program. Performance, exhibition and education can take place in any available part of the indoor areas. Uncovered areas between the main wall and the roofed spaces serve as small courtyards that admit light and air. The main open space is the entire remaining lot and the bays formed by the wall. In terms of building techniques, the walls are constructed by sun-dried mud bricks and covered by a non-erodable coating made of clay, sand and lime. The roofs are made by corrugated iron sheets and only three small circular spaces bear flat mud roofs. Posts and girders are made of baobab timber. Bamboo and mangrove wood is used for vertical perforated screens. Floors are formed of compacted laterite finished smooth with clay and embedded oyster shells. In the unroofed interior areas, a thick layer of pebbles and shells, along with sunken waterways will allow the drainage of the storm water.
The design we propose for a cultural center in Sedhiou is a project in transit, at the crossroads, standing between difficult past and uncertain future, bewteen „own”, historically oppressed and disregarded, and „foreign”, overwhelming local cultures with the might of the means of digital pop-cultural reproduction, and between two seasons – that of an unforgiving Sun, and that of the salutary rains. The project is not to be a lifeless shell for the folklore, but rather a vibrant environment for a culture to thrive. As such, we aim to expose the most important parts of local identity orbiting around family and community, its openness, temporarity, and a notion of time and bring them forth not as a mere shield protecting from the globalization, but as a rich source of inspiring possibilities to be proudly exposed to the world. Formally, the building grows at the junction between earth, connected with everyday activities, and sky, source of nurishing Sun and rains. It expresses horizontaliy, realting the building to the infinitely distant horizon, boundlessness, and modesty of vernacular archetypes. Functionally, it consists of main performance area located in a dome with an oculus, bringing sky closer to earth, and being reminescent of a center of the village, a place for the bonfires to be lit, dances to be performed, and stories to be told. Then – a multifunctional exhibition area, where the works of craftsmen would be shown, attached to the wooden structure of the roof. Educational area is located in the longest adobe block, consisting of a class, small media library. Additional part is the kitchen – a common place for the users to cook – and be – together. These elements, accompanied by the well with clean water, the administrative parts, storages and toilets form the program of the center. Materially, the building is a set of brick building components located on site, with wooden structure superimposed over it, providing shade and shelter from rain.
