Economies, societies, and identy in Architecture

 Louis Nelson assumes that “the most important meaning of architecture is often found in the various human networks—social, economic, political—that tied those spaces one to the next.“ This brings architecture out of its definition as a strictly physical structure and increases ephemeral space and the experience of space. Nelson explicates this through the narrative of the coastal towns which played a grave role during the slave trade. “The making of people into a commodity” was an economic process that became specifies enough to create architecture/ setting more suited for it– the trading castles. An example of this would be the presence of the British on the coast which was made permanent at the castle construction at Cormantin in the 1630s. Another example Nelson mentions is the 1672 structure of the Royal African Company, which stretched along the African coast for five thousand miles and received the English holding on the trade. The Company owned several smaller factories meant to increase investment- these structures materialized this growing industry.

In the case of the Gondar style, its location is entirely due to the need for economic stability during the Solomonic monarchy. LaVerle Berry suggests that wars waged against Ahmed Gragn biting Sertse Dingil’s reign (1563-97) was the reason for reconsolidating the kingdom and a significant amount of wealth was needed for this. Sertse’s travels to the Lake Tana region, a part of the northern trading network which ran from “Massawa across Tigre to Lake Tana and on to Enarya” (Berry,1995). Upon experiencing the wealth firsthand, Sertse moved and remained on Tana’s northeast shore. This is where he erected the first Gondar castle and church which still survives today.

Another indicator of the importance of economy through architecture is the symbolism of the Gondar style. Berry notes two significances of the style; (1) it marked the monarchy—seldom were plebeian structures designed in style. It was a style for the dynasty alone. It serves as a means of glorifying the Solomonic monarchy. It remained so until the royal office lost its supremacy and the architecture was abandoned entirely. (2) explicated the Amhara-Tigre culture value of ownership and individual achievement. The “ethos” made it, so the house or any structure made statements about the status and achievement of its sponsor. 

Trade routes also allowed for the diffusion of west African architectural styles in otherwise decentralized societies as defined by Peter Mark in his writing about “Portuguese Architecture and the Luso-African identity. While local techniques might have remained distict– such as whitewashing walls with lime rather than clay– the ideas transported between different western groups through the Luso-African community’s positioning along the trade route. 

 

 

Research ideas:

1. Fabric and Identity in West African Art; Possibly trace the origins of Ankara fabric specifically from its symbolic origins- how its symbolism defines various groups, experiences, essential activities, or even transplanted onto homes to show status, and values (did the scarification of women eventually transplant onto clothing instead?). Drawing upon my own experience with the fabric through my Nigerian heritage. Conversations about western appropriation might also be necessary. 

1. Acquaye, Richard. 2018. “Exploring Indigenous West African Fabric Design in the Context of Contemporary Global Commercial Production”. ProQuest Dissertations Publishing.

2. Home shrines in Western Culture; I'm interested in how these shrines have played a role in the makeup of a compound or village home throughout history. From the soul, ancestry, and sponsor mounds we’ve discussed through the Tamberma of Benin, to today’s village home. I have experienced Christine in recent years within the Christian context. How did these shrine