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Zambian Vernacular
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The heart of a homestead is the insaka, similar to a Western gazebo. There are two types: a social insaka, where men gather to talk, and the cooking insaka where women gather to work. Other structures are latrines, granaries, stock pens, and groundnut containers. Not every homestead includes all these structures.
The main houses are generally one of four shapes: rectangular, L-shaped, square, or circular. The shapes vary with geographic region. Despite some regional differences, there are many similarities including homestead layouts, size of structures, outdoor uses, and construction techniques.
How these structures are built depends on what materials are available. Some areas have a good quality clay that is used to make burnt bricks. Other areas have bamboo, an important building material. The main materials of brick, bamboo, thatch, and poles are used in various combinations and techniques. The color of brick and plaster depends on the color of the local clay, which can range from deep red or orange to brown or gray.
The homesteads are carefully crafted and maintained, showing the owners' pride in their homes. Many Zambian houses are decorated with wall paintings or live plants such as vines growing on verandas or flowers in roof thatch. Homeowners may also decorate by way of variations in thatching patterns, brickwork, or woodworking techniques.
There exist many anomalies in Zambian vernacular architecture. For instance the Lozi tribe completely surrounds their compound with a fence. Stilt houses are unique to the Tonga people, and hill homesteads are found in the Zambezi River flood plains.
Encroaching Western Construction
Unfortunately, much of this architectural tradition is in danger of disappearing. There is a widespread perception among Zambian people that modern materials are substantially better than vernacular ones.
Traditional materials and techniques are thought to be temporary, "substandard," or "second class," while modern materials are seen as civilized or a symbol of affluence.
Why does this perception prevail? One explanation is that the missionaries and colonists built in a style that reflected wealth and power. The Zambian people may have become convinced that having expensive imported materials was a status symbol and that vernacular styles using native materials were substandard.
And yet vernacular materials are durable if applied properly. A proper thatch job can last up to 25 years. Walls constructed of burnt brick can last up to 70 years.
Ironically, many of the beautiful new vernacular structures being constructed are going up in game parks, as lodges for tourists. It seems ironic that the only new structures built in the vernacular styles are for the benefit of visitors and not the native people.
I believe the unique qualities of Zambian architecture can be reproduced in new structures. My conviction is that people will build what they believe in, and I'm trying through my documentation to convince them that their vernacular structures are as structurally sound and beautiful as the more expensive modern applications. A change in perception has the potential to revive interest in the vernacular architecture.
An African style should focus on vernacular materials, with modern materials used as reinforcement when needed for larger structures or greater stability. Research is needed to understand different soil conditions and to come up with load calculations for pole and mud-brick structures. As many African countries struggle to solve housing problems, vernacular architecture may be one answer.
Zambian architecture is continuing to evolve. Just as early migrating tribes and later missionaries brought their own influences, modern construction materials and techniques have undoubtedly affected traditions. But if people can be reassured about the beauty and quality of their vernacular styles, I believe a positive shift back toward tradition could occur.
Jon Sojkowski attended the University of Kansas and is now an architectural intern living in Florida and continuing his research in vernacular architecture.
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