African Postmodernism or Colonial-Modern Mimicry: Tracing the Postcolonial Trajectory of Sudano-Sahelian Architecture in Mali

As an important sustainable architecture, vernacular architecture plays a significant role in influencing both regional architecture and contemporary architecture. Vernacular architecture is the traditional and natural way of building that involves necessary changes and continuous adjustments. The formal characteristics of vernacular architecture are accumulated in the process of sustainable development. However, most of the research methods on vernacular architecture and its formal features are mainly based on qualitative analysis. It is therefore necessary to complement this with scientific and quantitative means. Based on the object detection technique, this paper proposes a quantitative model that can effectively recognize and detect the formal features of architecture. First, the Chinese traditional architecture image dataset (CTAID) is constructed, and the model is trained. Each image has the formal features of “deep eave”, “zheng wen”, “gable” and “long window” marked by experts. Then, to accurately identify the formal features of vernacular architecture in Jiangsu Province, the Jiangsu traditional vernacular architecture image dataset (JTVAID) is created as the object dataset. This dataset contains images of vernacular architecture from three different regions: northern, central, and southern Jiangsu. After that, the object dataset is used to predict the architectural characteristics of different regions in Jiangsu Province. Combined with the test results, it can be seen that there are differences in the architectural characteristics of the northern, middle, and southern Jiangsu. Among them, the “deep eave”, “zheng wen”, “gable”, and “long window” features of the vernacular architecture in southern Jiangsu are very outstanding. Compared with middle Jiangsu, northern Jiangsu has obvious features of “zheng wen” and “gable”, with recognition rates of 45.8% and 27.5%, respectively. The features of “deep eave” and “long windows” are more prominent in middle Jiangsu, with recognition rates of 50.9% and 73.5%, respectively. In addition, architectural images of contemporary vernacular architecture practice projects in the Jiangsu region are selected and they are inputted into the AOD R-CNN model proposed in this paper. The results obtained can effectively identify the feature style of Jiangsu vernacular architecture. The deep-learning-based approach proposed in this study can be used to identify vernacular architecture form features. It can also be used as an effective method for assessing territorial features in the sustainable development of vernacular architecture.

Consular trade returns from Tripoli show a dramatic increase in the proportion of legitimate trade in trans-Saharan exports from the central Sudan in the last quarter of the nineteenth century. This article focuses on Damergu, a Sahelian region located on the Tripoli–Kano route, and traces the reactions of North African merchants, local Tuareg rulers, and ordinary villagers to an increase and then an abrupt decline in trans-Saharan trade. North African merchants, who migrated to Damergu from Ghadames or from diaspora communities in Hausa towns, moved south after the decline of trans-Saharan trade in response to commercial opportunities in the savanna. A sharp rise in the importance of legitimate commerce in the Sahel upset the balance of power between two Tuareg groups, but the arrival of the French and the end of trans-Saharan trade eroded the power base of all Tuareg. The third group, villagers, responded to demand for new products by exchanging tanned goat skins and ostrich feathers for cheap European-made cloth and other imports. As trans-Saharan trade ended, they turned their full attention to exports of grain and animals, two forms of production and trade which had existed for some time before the boom in trans-Saharan trade. After 1900 the major change in trade patterns in these staple products was an about-face in the direction of exports corresponding to a secular decline in the desert-side economy. Whereas villagers had once taken millet primarily to Agadez, after 1900 they took progressively greater amounts south to Nigeria.

Grounded in ethnographic and historiographic research and taking a cross-regional approach, this book explores the complex dynamics of similarity and difference, rapprochement and detachment, and divergence and competition between practitioners of Christianity, Islam and African religious traditions. Across Africa, Muslims, Christians, and practitioners of African religious traditions live in shared settings, demarcating themselves in opposition to one another and at times engaging in violent conflicts, but also being entangled in complex ways and showing unexpected similarities and mutual cross-overs. However, while encounters and entanglements of African religious traditions with either Islam or Christianity have long been a central research issue, the configuration as a whole has barely been taken into account, even though Muslims, Christians, and practitioners of African religious traditions have long co-existed - and still co-exist - more or less peacefully in many settings in Africa. Building on recent interventions to move beyond the compartmentalization of the study of religion in Africa, this edited volume will spotlight why and how an integrated approach to Islam, Christianity, and African religious traditions is important. Bringing together stimulating case studies from Kenya, Nigeria, Zanzibar, Ghana, and Mozambique that offer new directions for ethnographic and historical research, the volume will not only shed light on an important phenomenon out there in the world - the long-overlooked ways in which Muslims, Christians and practitioners of African religious traditions interact with one another in various majority-minority configurations - but will also engage with a critical rethinking of the study of religion in Africa (and beyond).

Vernacular architecture is identified as a structure based on specific local needs, on the presence of building materials present in the place and on the extemporaneousness of the architecture, built according to structural dogmas based on the local construction tradition. This is confirmed by the etymology of the word ‘vernacular’, from the Latin “vernaculus”, meaning "indigenous, domestic", or from “verna”, that is "native slave". In the present, vernacular architecture takes on new meanings, often used as an identifier for popular architecture - as also stated by Allen Noble in "Traditional Buildings: A global Survey of Structural Forms and Cultural Functions" of 2007 - or rather structures belonging to common people but «That can be built by skilled professionals, using local and traditional designs and materials», which is also supported by the Oxford English Dictionary. It is in this context that the vernacular Aeolian architecture fits, which significantly and identically characterize the entire territory of the Aeolian Islands, awarded the title of World Heritage Site by UNESCO. Aeolian architecture is inextricably linked to the history of the invasions of different peoples that have taken place in this area, such as the Greek-Roman, Islamic and finally Campania influences, due to their modifications both from an urbanistic and compositional point of view. But today how is it possible to encourage the dissemination and knowledge of these architectures which are so identifying for the Sicilian territory? Cataloging and semantics are configured as fundamental actions for the analysis and use of the architectural heritage, broken down into its deepest formal and compositional characteristics, identifiable in Aeolian architecture through the identification of semantics with a peculiar nomenclature. This article therefore investigates the aspects of semantics applied to traditional language and the compositional characteristics of Aeolian architecture, treated as an indissoluble link of knowledge and analysis of the building, through possible uses of digital applications.

The Rise of Son and the Legitimization of African-Derived Cult ure in Cuba, 1908-1940 Glenn A. Chambers (bio) The rise of the Afro-Cuban musical genre commonly known as son is representative of Cuban society's ability to affirm through art its primary cultural influences: Europe and Africa. Despite the successful transculturation within the music, however, the events surrounding the creation and acceptance of son reiterate the struggle between Cuban elites and the masses to define lo cubano.1 While elites were looking to Europe and the United States for representations of culture and modernity, the black and mulatto masses were constructing an art form that ultimately gained acceptance worldwide and became a defining symbol of Cuban culture and identity. In many countries with large Afro-descent populations, culture has been the primary means by which these marginalized groups have been incorporated into the mainstream. This has often come as a result of the appropriation of African-derived culture by those of European descent, through such categories as dance, music, food, and religious practices. However, such practices are by no means an indication that the people who created the culture have achieved political, economic, and social gains within their respective societies. In many instances, the cultural practices of the black masses are accepted, while the originators of the culture continue to exist in the lower stratum of society. In this essay, I will show how the social and political conditions under which son became a representation of popular culture in Cuba served as a catalyst for the affirmation of Cuba's African roots, despite attempts on the part of the elite to exclude Afro-Cubans from establishing any connection to Cuban national identity. The Roots of Cuban Son Son came to be regarded as a highly sophisticated and culturally expressive popular art form in twentieth-century Cuba, despite historically originating from the most marginalized and disenfranchised group in Cuban society: the black masses. While mulattoes and poor whites contributed to the development of the music on various levels, it is the African-derived traditions of the black masses that constituted the foundation and early inspiration of son. These traditions had their origins in the many African nations and ethnicities transplanted to Cuba against their will throughout the duration of the Transatlantic Slave Trade. African traditions were transformed within the plantation environment, and retained in the Afro-Cuban cabildos de nación. The historian Philip Howard affirms that [End Page 497] these mutual-aid societies met in private and, because of their spatial distance from church officials, became very attractive to Afro-Cubans. The cabildos allowed them the means to enjoy much more religious autonomy than the Catholic-controlled cofradías, or religious fraternities (Howard 27). This religious autonomy was in many ways synonymous with cultural autonomy, in that cabildos proved to be a fertile ground for the nurturing of the Afro-Cuban musical tradition. The enslavement of Africans in Cuba, as in most areas where the institution was prevalent, played a pivotal role in the development and retention of African culture among the enslaved population. Robert Jameson, in his Letters from the Havana During the Year 1820, writes: "none of the enslaved Africans have acquired an indigenous character; the African soil from which they were torn still clings to them, neither washed off in the font of baptism or stream of knowledge" (20). Jameson's observation, that Africans still clung to their traditions despite being enslaved, advances the notion that African culture was strong during the period. Apart from Jameson's questioning of the civilized qualities of Africans, the description of festivals is reminiscent of some African religious ceremonies. This is important in explaining the cultural retentions of Afro-Cubans, because through detribalization efforts the Spanish colonial government attempted to supplant African cultures with that of the colonizer (Smallwood 191–92). This led to a clustering of traditions in which various African cultures blended with European culture, and allowed for the maintenance of many distinctly African traditions, which manifested themselves most notably in Afro-Cuban musical traditions such as son. While the African ethnic groups represented in Afro-Cuban cabildos were numerous, four groups are recognized as having...

Modern architecture has its roots in the vernacular type. Globally, every cultural group has its own form of vernacular architecture, though the approach may vary from region to region and also among the individuals. The traditional and modern architectural styles in Minna Niger State, Nigeria are examined in this paper since these styles possess distinct climatic, economic, and socio-cultural practices. A typical vernacular architecture was sited at Tudun Fulani Extension whereas a typical modern architecture was sited at GidanMatasa. The study examined the buildings in terms of physical features, thermal comfort and cost analysis. EnergyPlus, a simulation program, was used in this study to assess and forecast the thermal comfort. To affirm, local construction materials were used to meet the housing demands without harming the environment. The study outcomes found that the traditional housing units outperformed the modern ones by a wide margin. The findings of the study revealed the following features as part of vernacular architecture such as the presence of a courtyard, vegetation, connection to nature and construction using natural materials. On the other hand, the modern architecture does not have any courtyards, inadequate vegetation and isolation from the nature. It is also constructed using the imported building materials, although the modern architecture enables the windows to be of large size. The findings also disclose that the vernacular architecture provides more thermal comfort than the modern architecture since the latter has a heavy heating load density i.e., 9,571 (Watt). This value is 50 percent more than the peak heating load of the traditional architectural structure i.e., 2,109 (Watt). Finally, the study was able to ascertain the high-cost implication of the modern architecture compared to vernacular architecture. Furthermore, the study also proved that the vernacular housing units are much better than the modern ones in terms of thermal comfort, usage of cost-effective and natural materials and the building’s thermal properties. The researcher recommends that the components of both vernacular and modern architecture must be properly integrated for the development of the sustainable homes in Northern Nigeria.

Global warming and energy shortages have become major global problems, with the building industry being a major energy consumer. Vernacular architecture, which has been developed over generations, is more adaptable to changing environments, including building orientation, form, spacing, layout orientation, and climatic features. This approach considers the home's aesthetics, physical characteristics, and social purposes, resulting in unique designs in hot, arid climate locations. Examples include Rajasthan and Gujarat, which use locally produced sandstone and lime, Jaali screens, and courtyard designs. Modern architecture in these areas integrates advanced materials, shading technologies, passive cooling techniques, and sustainable energy systems. This study aims to examine vernacularism's climatic adaptation, focusing on climatic adaptive technology and its potential in house shape, construction method, building components, and materials. The findings have implications for architects, urban planners, and policymakers seeking to create resilient and sustainable built environments that respect cultural identity while embracing innovation and local knowledge. The essay will examine 23 previous studies and the work of architects who have adapted traditional and vernacular architecture to create a new identity in architecture, showcasing the blending of traditional and vernacular architectural knowledge with contemporary technology and materials.

Purpose Advances in technology and rapidly developing built environment lead to increased energy consumption and depletion of natural resources while harming the environment. The concept of ecological architecture emerged to generate solutions to these problems and various characteristics of traditional architecture, such as use of local and natural materials, energy saving etc. became important for contemporary ecological architecture. This paper addresses, from an ecological perspective, vernacular traditional architecture in Mersin, which has rapidly grown into a metropole from a 19th century Mediterranean port town. This study focuses on the ecological design components among traditional Mersin houses. The objective of this study is to reveal the relationships between vernacular traditional houses of Mersin and ecological architecture and to serve as a guide and reference for architects to design and construct in a way that they do not harm the natural environment and ecological balance by learning from vernacular architecture. Design/Methodology/Approach For the case study, 30 traditional houses located in Mersin old city centre, have been chosen to be inspected in terms of storey height, structural system, materials used for the construction, roof shape and materials, topography, selection of orientation, vegetation pattern, building form, spatial organisation, building envelope, use of renewable energy sources, sanitary installation and circulation systems. Yes and no scaled checklists were used to assess 30 traditional houses to identify the components of their ecological status and the quantitative data drawn from these checklists were used for the analyses of the urban texture. Findings It is observable from the analysis that traditional vernacular architecture of Mersin has various qualities that are compatible with ecological design criteria of our day. Research Limitations/Implications 30 traditional houses which have not been restored, have been chosen in Mersin old city centre. Originality/Value The results presented in charts and diagrams are aimed to serve as design recommendations in today’s architectural practice in the area and as an ecological pattern in sustainable development projects performed in the future.

The study of Bali's traditional and vernacular architecture requires a comprehensive interdisciplinary approach to reveal the complex expressions of this culturally diverse island. Influenced by Hindu, Buddhist and indigenous beliefs, Bali's architecture is closely interwoven with its lush landscape, characterised by terraced rice fields, volcanic mountains and a tropical climate. The theoretical foundations are based on vernacular architecture and emphasise the importance of indigenous knowledge, local materials and cultural, social and environmental factors. The study focuses on the classification and functions of more than 20,000 Hindu temples or "pura", which reflect the island's deep cultural roots and rituals based on the Balinese calendar. An examination of small villages such as Pengotan reveals a nuanced architecture with sacred and profane zones clustered around temple areas, residential areas and cemeteries. The concentration of family units in sacred spaces and the meticulous adherence to the luan concept reveal the intricacies of traditional Balinese architecture. However, the preservation of this architectural heritage is being challenged by rapid modernisation and a booming tourism industry. The influx of tourists, which has increased from 2.5 million in 2010 to 14 million in 2017, poses a threat to Bali's traditional building practices and materials. The environmental impact of increasing waste and inadequate infrastructure, exacerbated by the growing number of foreign visitors, requires sustainable planning. The government's ambitious goal of creating '10 new Balis' to double the number of tourists raises concerns about environmental protection and proper waste management. The methodological approach of this study is deeply rooted in vernacular architecture and aims to decipher the nuances and preserve Bali's architectural heritage. Balancing the demands of modernisation and tourism with the need for environmental sustainability is critical to the protection of the heritage.
 
 Index Terms— Vernacular Architecture, Bali, Tourism, Traditions

The purpose of this study is to reevaluate general theoretical and practical interpretation of vernacular architecture in Serbia in the 19th and the first half of 20th century. This incorporates the understanding of vernacular architecture in a wider context, through interpretations of various authors, who do not only observe its design value, but also the cultural and spiritual values. Since vernacular architecture cannot be recognized as a singular discipline, but within the area of many disciplines, the wider interpretation is mandatory. Although celebrated and recognized as archetypal, vernacular architecture in the studied period is fading away and gradually disappears, faced with modern building techniques and architectural styles, brought by formally educated builders. The goal of this study is to examine the processes within which mentioned transformation is occurring and, accordingly, to understand the vernacular architecture which developed in practice. Since vernacular architecture in Serbian historiography has up to now only been examined in the context of traditional rural architecture, or of, so called national style, the main premise of the study is to offer another approach to this kind of creation, so as to examine and critically view the recent dominant understanding of application of vernacular principles and elements in the architecture of the mentioned period.

Vernacular architecture is the traditional architecture built by indigenous (local) people in a country. It can be considered sustainable as it exhibits the consideration of environmental, social, cultural and economic factors. Vernacular architecture has been built in many countries around the world. It reflects the culture and tradition of indigenous people using simple forms and local materials supported by simple construction skills. Africa has many examples of vernacular architecture using natural resources within reach locally. Also, Latin America, Asia and Europe show various and similar examples. By-and-large, vernacular architecture illustrates many aspects of sustainability and addresses sustainable development requirements in terms of needs and limitations. Nonetheless, vernacular buildings demonstrate compliance with and adherence to basic green principles. This chapter focuses on vernacular architecture in general and presents leading global and regional traditional buildings, including examples in Africa (58 countries) and Middle East (13 countries) to learn about and detect synergies and to assist in better understanding of the vernacular architecture worldwide and the selected cases in Egypt. In this review, building types, materials, elements of structure and forms were illustrated and assessed. Factors influencing vernacular architecture in many countries are presented and discussed. Comparison between vernacular architecture examples in Africa was conducted in terms of building types and climatic region, specifically under parameters such as building shape (form), colour and materials as well as structural and sustainability features. In addition, examples of vernacular architecture in Egypt were reviewed and illustrated, mainly: Aswan, Luxor and Western Desert. A comparison between examples of vernacular architecture in Siwa Oasis in Egypt was conducted in terms of use, building materials, structure and project description as well as social sustainability, economic sustainability and environmental sustainability. Finally, lessons learned from global, regional and Egyptian vernacular architecture as well as sustainability guidelines for future development are outlined.

Ile-Ife is world-famous for its sculptures, and for the pivotal role it plays in defining black culture.It boasts of notable examples of Nigerian traditional, vernacular and metropolitan architecture.The paper discusses Ile Timi, a building strategically located with respect to Ife mythology and local building practices.It highlights its peculiarities at the interface of the transition from the traditional to the clearly-distinguishable vernacular.Ile Timi authenticates traditional building practices, while accommodating advantages of the new.The work also examines evolutionary trends in space-use and inherent meaning, to underscore the significance of such buildings, and concludes that more should be done to conserve them; apart from their heritage value, they have potential for boosting local tourism.

Passive environment control system of Kerala vernacular residential architecture for a comfortable indoor environment: A qualitative and quantitative analyses

The renovation and revitalization of vernacular architecture are pivotal in sustainable rural development. In regions like Shangri-La, traditional structures not only safeguard cultural heritage but also provide a foundation for enhancing local communities’ living conditions. However, these villages face growing challenges, including infrastructure decay, cultural erosion, and inadequate adaptation to modern living standards. Addressing these issues requires innovative research approaches that combine heritage preservation with the integration of contemporary functionality. This study employs a research-by-design approach, focusing on the Shanpian House as a case study, to explore how pre-planning and post-evaluation methods can revitalize traditional vernacular architecture. The pre-planning phase utilizes field surveys and archival research to assess spatial, cultural, and environmental conditions, framing a design strategy informed by field theory. In doing so, it evaluates how traditional architectural elements can be preserved while introducing modern construction techniques that meet current living standards. The post-evaluation phase, conducted through questionnaires and semi-structured interviews, assesses user satisfaction, focusing on the impact of architectural esthetics, structural stability, and material choices. Key findings from an OLS regression highlight the strong positive correlation between architectural style, structural choices, and cultural relevance with resident satisfaction. The research emphasizes that design elements such as structural details, materials, and infrastructure upgrades are critical in shaping perceptions of both functionality and cultural identity. Interestingly, the model reveals that improving architectural esthetics, alongside modern indoor features such as network connectivity, has a significant impact on enhancing overall resident satisfaction (significance level: 0.181). This study contributes to the broader discourse on sustainable building renovation by demonstrating how traditional architecture can be thoughtfully adapted for contemporary use and also proposes a paradigm shift in the renovation of historic buildings, advocating for a balance between preservation and modernization. The application of sustainable materials, digital modeling, and innovative construction techniques further ensures that these traditional structures meet the demands of modern civilization while maintaining their cultural integrity.

When the Europeans colonized African countries, they transplanted Eurocentric legal traditions on the African soil but never considered the impact of the imperial laws’ on, or interaction with, native laws and customs. The knowledge gap in assessment of the cross-fertilization of the legal traditions has left the hegemonic Western legal theory obscuring the indigenous African philosophical traditions; coupled with spurious perceptions of Africa as a ‘dark continent’ of uncivilized people. Surely, to debunk the existence or validity of African juridical thought is to throw the baby with the bath water. Although the legal systems of the native Africans were not formal, the communities were still governed by systematic laws and customs which were not written but integrated in culture and anchored in tradition. Afrocentric legal traditions can, therefore, be decoded through philosophical reflection of social practices and customs of indigenous societies. A sense of difference – in that it is not written but integrated in culture and transmitted through proverbs – is part of the unique ethos of African jurisprudence. Clearly, emblematic of the theories that have emerged from the indigenous African legal thought are, inter alia, concepts such as restorative justice, reconciliation, alternative dispute resolution, ‘ubuntu’ (humanity) which is centred on respect for human rights and human dignity as well as humanity as embodied in the ‘Martens Clause’, consensus decision-making process (panel of the wise), universal jurisdiction and the responsibility to protect (brother’s keeper) literally. The nature of its laws is usually reflective of the fundamental values of that society itself. Yet African juristic thought has been imprisoned in Eurocentric jurisprudence. By unlocking the ‘African-ness’ in mainstream legal theory, African legal theory can be a useful tool in the search for solutions to problems faced by African communities such as among others the peace or justice dilemma in Darfur, in international justice and the selectiveness of the United Nations (UN) Security Council in international law and international relations. For example, the ‘ubuntu’ philosophy was sufficient to deal with the post-apartheid accountability in South Africa. Therefore, let no man put asunder relevant African solutions to uniquely African problems, from ‘land grabs’ to mitigation and adaptation to climate change.KeywordsSecurity CouncilArmed ConflictRestorative JusticeLegal TheoryAlternative Dispute ResolutionThese keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.