FASHON EXHIBITION CENTRE

(FASHION WORLD), ENUGU

M.Sc(ARCH.) THESIS REPORT

By
OTU-UDOFA IMA ABASI .B.
PG/MSC/O6/45942

SUBMITTED TO THE SCHOOL OF POSTGRADUATE STUDIES,

DEPARTMENT OF ARCHITECTURE,
FACULTY OF ENVIRONMENTAL STUDIES,
UNIVERSITY OF NIGERIA, ENUGU CAMPUS

IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE

AWARD OF THE DEGREE OF MASTER OF SCIENCE (M.Sc) IN
ARCHITECTURE.

OCTOBER, 2008

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 TITLE PAGE

FASHION EXHIBITION

CENTER,

(FASHION WORLD) ENUGU

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 CERTIFICATION

I OTU-UDOFA I.B., a post-graduate student of the Department of Architecture and

with registration number, PG/MSc/06/45942, have satisfactorily completed the

requirements for the degree of Masters in science in Architecture. The work presented

in this thesis report is original and has not been used for any other diploma or degree

in this school or any other university

PREPARED BY CERTIFIED BY

-------------------------------------- --------------------------------------

OTU-UDOFA I.B. ARC UDEH C.A.

(Supervisor)

ACCEPTED BY

------------------------------------------------------------------

ARC UZUEGBUNAM .F.O

(Head of Department)

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 DEDICATION

This project is dedicated to my best friend who has never left me, in spite of me.

Thank you Holy Spirit for always being there.

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 ACKNOWLEDGEMENT

There are several persons I would like to dedicate this project to. I would try and

mention most people that have made a positive impact in my life, especially as

pertains to architecture.

First, I’m proud to be the daughter of the richest man alive. I want to say a big thank

you to my Daddy who always scooped out money whenever I needed even when I

didn’t ask. Though heavenly, Dad you are so real.

Mother you are especially worthy of mention in my acknowledgement, it may not

have been so rosy but I’d choose you all over again.

To my sister, Sharp sharp, I’m glad we stayed back, don’t ever die on me Okay, you

are all I’ve got and I’ll try to do the same.

To micou and my love, I love you guys nothing compare.

To my supervisor Arc. Udeh C.A. if every one in authority were as humble as you,

Nigeria will be transformed in a jiffy. Thank you for your simplicity. Also to Arc.

Ifeajuna thank you for blending in. You were like one of us and I respect you for that.

Also to Arc Okey Nduka, you’re different you know. We didn’t start off well but we

sure did end well. Thanks for bothering.

To my Bsc Class mates, the supposed 04’ class, never seen a people as carefree as you

guys, you made every tough situation seem like a big joke and we laughed away our

sorrows with tears in our eyes, you changed architorture to architecture and made my

stay a hilarious one, thanks a lot.

To my Msc Class mates, never thought I’ll blend in this much, thanks a lot for making

it much easier.

To my friends, some of who groomed me architecturally, Dray, Baby, Abua, Gabriel,

Pappy, Mfon, Henry, Wuru wuru, Dangle, Bros, Princi, Agan, N.g., Osisi, thanks for

your conscious and unconscious efforts to make school pass through me.

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To my eight year friendship, for some reasons it wasn’t as much fun as during Bsc

days, you win some you loose some but one thing is sure I can’t sign my signature

without A.T. somewhere.

Ufan, it hurt me though, but I’ll do it again.

-OTU-UDOFA, I.B.

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 TABLE OF CONTENTS

TITLE PAGE i

CERTIFICATION ii

DEDICATION iii

ACKNOWLEDGEMENT iv

TABLE OF CONTENTS vi

LIST OF PLATES, xii

LIST OF TABLES AND FIGURES xv

ABSTRACT xi

CHAPTER 1: GENERAL INTRODUCTION

1.1 General introduction 2

1.2 Definition of terms 3

1.3 The big question 3

1.3.1 Fashion as a sign system 4

1.3.2 Fashion as Barometer of cultural change 4

1.3.3 The Need for Tribal Belonging 4

1.4 Background of study 5

1.5 Statement of architectural problem 7

1.6 Motivation 7

1.7 Aims and objectives 8

1.8 Significance of project 9

1.9 Scope and limitation of project 10

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CHAPTER 2: LITERATURE REVIEW

2.1 Historical evolution of fashion 12

2.1.1 Early twentieth century 12

2.1.2 Mid twentieth century 18

2.2 History of Sauna 30

2.3 History of Barbing 35

2.4 The Nigerian perspective 37

CHAPTER 3: CASE STUDIES

3.1 Gossip beauty shop, new haven, Enugu 43

3.2 The Oak tree, shopping complex, Calabar 48

3.3 Monterey fashion house 52

3.4 La maison unique 56

3.5 Xel-ha, Tokyo 62

3.6 NIKEgoddess fashion house, California 65

3.7 Mix(modern clothes), Houston, Texas 69

CHAPTER 4: SITE LOCATION AND ANALYSIS

4.1 General overview of Enugu state 74

4.1.1 The Economy 76

4.1.2 Transport 76

4.1.3 Energy 77

4.1.4 Water Supply 77

4.1.5 Postal services and telecommunications 77

4.1.6 Banks and Other Financial Institution 78

4.1.7 Educational Facilities 78

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4.1.8 Medical facilities 79

4.1.9 Radio and Television 79

4.1.10 Communication 79

4.1.11 Tourism 81

4.1.12 The people 81

4.1.13 Culture 82

4.1.14 Population 83

4.1.15 The Political System 83

4.1.16 Topography and Geology 84

4.1.17 Solid Waste Management 84

4.2 Physical characteristics of Enugu 85

4.2.1 Climatic Conditions 85

4.2.2 Atmospheric Conditions 86

4.2.3 Temperature 86

4.2.4 Rainfall 88

4.2.5 Humidity 90

4.2.6 Climatic Controls 91

4.2.7 Orientation of Building 92

4.2.8 Winds 93

4.2.9 Ventilation 93

4.2.10 Solar Control Measures 94

4.2.11 Soil Types 95

4.2.1.1 Site analysis 96

4.3.1 Site Description 97

4.3 Criteria for site selection 98

4.4.1 Location and Proximity to Activity Zone 100

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4.4.2 Access 100

4.4.3 Services 101

4.4.4 Neighborhood 102

4.5 Climatic Considerations 102

4.5.1 Rainfall 103

4.5.2 Sunshine and Cloud cover 103

4.5.3 Temperature and Relative humidity 104

4.5.4 Topography and Drainage 105

4.5.5 Soil 106

4.5.6 Vegetation 106

4.5.7 Access 107

4.5.8 Views 108

CHAPTER 5: PLANNING AND TECHNICAL

CONSIDERATIONS

5.1. Functional spaces in a fashion

Exhibition center 111

5.1.2 Administrative offices 111

5.1.3 Administrative Unit 113

5.1.4 Support facilities 113

5.1.5 Service facilities 113

5.2 General design principles and

Requirements 114

5.2.1 Design of the runway Auditorium 114

5.2.2 Sightlines 115

5.2.3 Anthropometrics 116

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5.2.4 Seat Spacing and Chair Design 116

5.3 Spas 116

5.3.1 A day spa 118

5.4 Massage Parlor 118

5.4.1 Equipment 120

5.5 Sauna 121

5.6 Beauty shops and Salons 123

5.6.1 Beauty treatments 124

5.6.2 Hairdressing 125

5.6.3 Barbershop 126

5.6.4 Restaurant and Catering Unit 127

5.7 Fashion interiors 128

5.8 Design considerations 133

5.8.1 Security 133

5.8.2 The Disabled 133

5.8.3 Lighting 134

5.8.4 Acoustics 140

5.8.5 Ventilation 141

5.9 Planning Considerations 144

5.9.1 Safety 144

5.9.2 Fires 145

5.9.3 Panic 146

CHAPTER 6: DESIGN MORPHOLOGY

6.1 Concept 149

6.2 Form development 149

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6.3 Space requirements 151

6.4 Conclusion 164

References 165

Bibliography 169

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 LIST OF PLATES

PLATE NO PLATE NAME PAGE

Plate 2.1 Picture showing ancient dressing 46

Plate2.2 Inside a modern sauna 47

Plate 2.3 Finnish sauna by lake 52

Plate 2.4 Barbers shop in Bucharest, 1842 53

Plate 2.5 Interior of a barber's shop, circa 1920. 55

source- Google images

Plate 3.1.1 View showing the entrance to Gossip beauty shop. 68

Source-author

Plate 3.1.2 Showing display area of wigs 68

Source-author

Plate 3.1.3 Showing display area of attachments 69

Plate 3.1.4 Showing display area of beauty products 69

Plate 3.1.5 View showing mirrored ceiling 70

Plate 3.2.1 Front view of The Oak tree fashion shop 73

Plate 3.2.2 Interior view showing clothes and footwear at The Oak Tree, 73

Source-author

Plate 3.2.3 Interior view showing fashion accessories at The Oak tree, 74

Source-author

Plate 3.2.4 Interior view showing Partitioning for store and toilet at The 74

Oak Tree, Source-author

Plate 3.3.1 View showing circulation space used for exhibition at 78

Monterey Fashion house, Source- architectural record

interiors

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Plate 3.3.2 View showing the use of mirrors to double space at 78

Monterey Fashion house, Source- architectural record

interiors

Plate 3.3.3 View showing clothes display area, Source- architectural 79

record interiors

Plate 3.3.4 View showing clothes display area, Source- architectural 79

record interiors

Plate 3.4.1 View showing zipper bag at La Maison Unique, Source- 81

architectural record interiors

Plate 3.4.2 View showing display area of fashion accessories, Source- 83

architectural record interiors

Plate 3.4.3 View showing undulating stair case, Source- architectural 83

record interiors

Plate 3.4.4 Interior showing leather display area, Source- architectural 84

record interiors

Plate 3.5.1 View showing curly ceiling at Xel-Ha Salon, Source- 88

architectural record interiors

Plate 3.6.1 Exterior View of NIKEgoddess, Source-building type study, 93

architectural records

Plate 3.6.2 Interior view showing clothes display area at NIKEgoddess, 93

Source-building type study, architectural records

Plate 3.6.3 Interior view showing fashion accessories display area at 94

NIKEgoddess, Source-building type study, architectural

records

Plate 3.6.4 Top view Pictorial plan 94

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Plate 3.7.1 View showing clothes display area at MIX(modern clothes), 99

Source-building type study, architectural records

Plate 3.7.2 View showing secluded display area at MIX (modern 99

clothes), Source-building type study, architectural records

Plate 3.7.3 View showing lounge at MIX (modern clothes), Source- 100

building type study, architectural records

Plate 4.1 View showing recess of site from the road and fencing, 132

source author

Plate 4.2 Site showing existing pavilion, source author 135

Plate 4.3 Site showing Technical College at the northern end, source 139

author

Plate 4.4 Site showing temporary structures and vegetation, source 146

author

Plate 4.5 The Okpara avenue/Abakiliki road, source author 148

Plate 4.6 The site showing some tarred area, source author 149

Plate 5.1 View showing runway, source-Google image 156

Plate 5.2 Massage tables used in Kyrala style 163

Plate 5.3 Mechanical massage chairs used in Vivocity, Singapore 163

Plate 5.4 Hairdresser washing a woman’s hair 171

LIST OF FIGURES

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FIGURE NO FIGURE NAME PAGE

Figure 1 Representation of conceptional idea, source-architectural 85

records

Figure 2 Architect’s sketch of section, source-architectural records 85

Figure 3 Floor plan of La Maison Unique, source-architectural 86

records

Figure 4 Section showing levels of display area, source-architectural 86

records

Figure 5 Floor plan of Xel-Ha salon, source-architectural records 90

Figure 6 Concept Diagram, source-architectural records 95

Figure 7 Showing the plan of MIX, source-architectural records 98

Figure 8 Perspective showing display area, source-architectural 98

records

Figure 9 Map of Nigeria showing study area, source- world atlas, 103

University press plc, 2001

Figure 10 Map of Nigeria showing two climatic zones 117

Figure 11 Mean monthly temperature of Enugu, Source-Department 119

of Meteorological Services, Ibadan

Figure 12 Map showing rainfall distribution in Nigeria, Source- 120

Department of Meteorological Services, Ibadan

Figure 13 Mean monthly rainfall, Source-Department of 121

Meteorological Services, Ibadan

Figure 14 Mean monthly relative humidity, Source-Department of 122

Meteorological Services, Ibadan

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Figure 15 Mean wind force in Enugu, Source-Department of 126

Meteorological Services, Ibadan

LIST OF TABLES

TABLE NO TABLE NAME PAGE

Table 4.1 Projected population of Enugu 2000-2008, source- national 114

population commission, Enugu

Table 4.2 Mean temperature values for Enugu state, Source- 118

Department of Meteorological Services, Ibadan

Table 4.3 Mean relative humidity values for Enugu state, Source- 121

Department of Meteorological Services, Ibadan

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 ABSTRACT

Argued or agreed, man’s outlook is a primary need. In today’s world, the situation at

hand is a dress to be addressed situation which can not really be reversed. Fashion

covers a whole range of varieties and has become a cause for concern in our everyday

lives.

The primary aim of this project is to provide a one stop fashion transformation and

shopping center along side introducing organization into the fashion sector.

The researcher has gone through great lengths in examining the history of Fashion,

fashion centers and what it is made up of in the world and in Nigeria. Various case

studies were thoroughly studied to find out their strengths and prevailing problems

that can be seen in such Fashion homes/centers. From these case studies, relevant

information were noted and applied accordingly. General principles of Fashion

shopping were examined and applied according to their peculiar situations. A concept

was also developed to fit into the requirements of Nigerians as regards their fashion

sense and crave and satisfy their age long desire of being at the fore front of fashion

trends and styles. Steps toward achieving this project were also proffered by the

researcher.

This project being the first of its kind, has had more questions than answers but a

good design will go a long way in explaining without words.

OTU- UDOFA, I.B.

PG/MSc/06/45942

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CHAPTER ONE

GENERAL INTRODUCTION

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1.1 GENERAL INTRODUCTION

For the elite and wealthy in Nigeria, shopping for fashion items usually involves a trip

to Paris, Italy, New York or London. Some even travel there to get their hair done.

For the middle class a same activity entails a visit to any of the boutiques in our urban

areas and some big shops in the market. Some can afford the luxury of being called to

come and shop in the home or car of an importer from Dubai or some other similar

location. A visit to hair stylist or for receiving some other treatment will entail a trip

to a shop in a shopping centre or some road side salon. The rich and middle class do

also avail themselves of some time to visit some big fashion houses in Lagos and

Abuja. These include the houses of Tara, Dakova, meggito, KC jabari and other well

known Nigerian fashion consultants, beauticians and designers. Most of these fashion

houses are located in rented offices and shops. The lower class in the society does

their shopping in the markets and other shanties around town. Hair making or barbing

is done in shanties or under trees at a nearby home. This is the scenario of housing in

the Nigerian fashion sector.

The Nigerian people however, have always been and still remain a fashion conscious

people.In the past years, fashion has become a function of money and people are

becoming more conscious and very particular about what they wear. People are now

out to look good and cute, feel and smell nice at any cost. It will not be an

overstatement to say that people now spend as much as 30-50% of their income on

fashion.

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1.2 DEFINITION OF TERMS

FASHION -According to The Oxford Dictionary, the word fashion is a Noun which

means the prevailing custom, a current or conventional usage, especially of a

particular period or place or among a particular class of society; specifically a current

style in clothing, hairstyle, etc. It could also mean the mode of dress, etiquette,

furniture, speech, etc., prevalent at a particular time; the person who or thing which it

is fashionable to admire or discuss.

EXHIBITION- According to The Oxford Dictionary, the word Exhibition is a Noun

which means the action or an act of exhibiting; manifestation; a visible show or

display (of a feeling, quality, etc.).

CENTER- According to The Oxford Dictionary, the word Center is a Noun which

means a building or group of buildings forming a central point, or constituting a main

site for a particular activity; an installation etc. devoted to a particular activity.

1.3. THE BIG QUESTION

What is Fashion?

Fashion is a form of free speech which not only embraces clothing, but also

accessories, jewellery, hairstyles, beauty and body art (tattoo, body piercing, etc.)

For centuries individuals or societies have used clothes and other body adornment as a

form of nonverbal communication to indicate occupation, rank, gender, sexual

promiscuity, locality, class, wealth and group affiliation. What we wear and how and

when we wear it, provides others with shorthand to subtly read the surface of a social

situation.

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Fashion as a Sign System

Fashion is a language of signs, symbols and iconography that non-verbally

communicate meanings about individuals and groups. Fashion in all its forms from a

tattooed and pierced navel, to the newest hairstyle, is the best form of iconography we

have to express individual identity. It enables us to make ourselves understood with

rapid comprehension by the onlooker.

Fashion as a Barometer of Cultural Changes

How we perceive the beauty or ugliness of our bodies is dependant on cultural

attitudes to physiognomy. The accepted beautiful female form that Rubens painted is

subliminally undesirable nowadays, if we are to be thought beautiful in a way that the

majority accepts in the 21st century.

Today an inability to refashion and reshape our bodies whilst constantly monitoring

the cultural ideal leaves us failing the fashion test. Those that pass the fashion test

invariably spend their lives absorbed in a circle of diet, exercise, cosmetic surgery and

other regimes. This includes the rigors of shopping in search of the ultimate garb.

The Need for Tribal Belonging

Our reluctance to give ourselves a regular makeover through diet, exercise, and

consistently conscious use of specific dress styles infers that we have the personality

flaws of a weak willed human. We become in the eyes of fashion aficionados

somewhat inadequate and imperfect in the fashion stakes. Thus we strive to keep a

culturally satisfying appearance so that we feel better, whereas in fact we are striving

to stay in the tribe, whatever type of tribe that may be.

Group affiliation is our prime concern with regard to fashion. As long as some group

similarity is identified within the group, our personal fashion whether current or dated

4
can belong to any tribe. It is the sense of belonging marked by how we fashion

ourselves that gives us the tribal connection.

A history of fashion is a history of life and like the saying ‘Dress to be addressed’;

man’s outlook determines how he is treated or responded to. Also, dressing is a form

of communication, it tells ones occupation or destination .It also is a reflection of their

times as well as of their class, of their financial status and of the local weather.

Fashion is not just international, it is inter-continental, and subject to local variations

due to color or climate, it will become increasingly so in a world which is becoming

rapidly smaller.

1.4 BACKGROUND OF STUDY

The basic needs of the present man are food, clothing and shelter. Everything man

does is to achieve these basic needs-foods on the table, cloths on our back and a roof

over our heads. It is amazing to know that buildings are designed to satisfy the need

for food and of course shelter is no small deal because it is the basis for which we as

architects exist but when it comes to clothing we hope that we can get the best out of

it without providing a designed space for its activities.

In the past, only a small privileged class was interested in Fashion. Today what once

used to be the province of a minority has become a general preoccupation because

like it or not, everyone has to wear clothes. This also applies to all fields of

contemporary life, from architecture to interior decoration, from philosophy to

sociology to every area of modern sciences. Human beings tend to always keep

abreast with time and its changes.

Fashion refers to styles of dress (but can also include cuisine, literature, art,

architecture and general comportment) that are popular in a culture at any given time.

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Such styles may change quickly, and "fashion" in the more colloquial sense refers to

the latest version of these styles. Inherent in the term is the idea that the mode will

change more quickly than the culture as a whole.

The terms "fashionable" and "unfashionable" are employed to describe whether

someone or something fits in with the current or even not so current, popular mode of

expression. (‘Fashion Emporium’, an Msc thesis by Clifford Okoye, Unpublished

work 1981). The term "fashion" is frequently used in a positive sense, as a synonym

for glamour, beauty and style. In this sense, fashions are a sort of communal art,

through which a culture examines its notions of beauty and goodness. The term

"fashion" is also sometimes used in a negative sense, as a synonym for fads and

trends, and materialism. A number of cities are recognized as global fashion centers

and are recognized for their fashion weeks, where designers exhibit their new clothing

collections to audiences. These cities are New York City, Milan, Paris, and London.

Other cities, mainly Los Angeles, Berlin, Tokyo, Rome, Miami, Hong Kong, São

Paulo, Sydney, Barcelona, Madrid, Vienna, New Delhi and Dubai also hold fashion

weeks and are better recognized every year.

Due to the influence of television, profusely illustrated magazines, window display in

modern shops and fast easy air travel, fashion today is one of the formative influences

in the modern world. Everyone wants to look good even the most ordinary people are

acquainted with the latest trends in clothing and like we know, the standard of living

has risen in the world, so also the sensibility and good taste of the man on the street

has become highly developed.

For the first time many people are able to choose their own clothes with discretion on

the two essential elements of fashion which are Form and Color.

Not only does fashion reach more people now than it ever did, it also draws people

together. Infact it can be said that having observed closely the impressions and

6
reactions of modern fashion trends, fashion is one of the principal factors in bringing

about international understanding.

1.5 STATEMENT OF ARCHITECTURAL PROBLEM

There is an abundance of designers and tailors shops, salons, beauticians and cosmetic

shops being housed in small shops and shanties all over the state and a dearth of

buildings architecturally designed for the purpose of accommodating fashion services.

Hair makers cluster together in some part of town, occupying roads and streets and

constituting nuisance. In as much as they are satisfying the fashion needs of the

inhabitants of the cities, their batchers are degrading our streets and giving our

environment the look of a fourth world country. On the other hand, the clothe sellers

are not left out. Stacking up clothes in wheel barrows which are packed on the streets

or better still piling the clothes on a mat on the ground popularly known as ‘bend

down select’ or ‘okrika’. This appalling array of fashion does not leave out the

jewelry/accessory sellers and make-up sellers. Any form of fashion sold in a shop

(otherwise known as ‘Boutique’) is usually for the high income earners and still, these

Boutiques are not even befitting for fashion shops.

1.6. MOTIVATION

A Fashion Exhibition center (fashion world) of this nature being one of the first of its

kind in Nigeria is in contrast to the scattered shanties, batchers and casual fashion

shops seen all around. A controlled and selected Fashion designing and shopping

complex is envisaged for a sophisticated entity comprising a carefully balanced

selection of contemporary shops, designed and erected as one unit.

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There is also a need for a center that is at once a social and community centre with

ambience openness in the design of a space structure.

The Fashion Exhibition center (fashion world) is meant to be a landmark which

strives to preserve, enhance, and create the values of a civilized environment.

It will also provide a conducive environment that can make the choice of fashion

designing and shopping an exciting activity.

Finally, the Fashion Exhibition center (fashion world) will cater for the needs of

shoppers and fashion lovers.

1.7 AIMS AND OBJECTIVES

The primary aim of this project is to create a home for an all in one fashion shopping.

As the essence of fashion is in looking good and being presentable, the fashion

Exhibition center (fashion world) should encompass all aspects of fashion by bringing

in clothing, jewelry, accessories, hair dressing, make up, e.t.c. The Fashion Exhibition

center (fashion world) is a multi-functional centre aimed at convenient and efficient

execution of its objectives, any necessary conscious activities by man to ‘Look Good’.

Looking good and being well groomed or beautiful is an end product of a sequence of

activities and states of being. You have to feel good to look good i.e. you must be

healthy- not necessarily medical health but health achieved through physical therapy

e.g. Heat treatments, massages, physical fitness exercises and dieting.

The project aims at creating variety and style in the pattern of fashion and also

focusing the attention of the architects, developers, businessmen, designers,

manufacturers, the financial institutions, the Nigerian Government and the general

public on a new concept in revolutionalizing Fashion in Nigeria, and Africa as a

8
whole, to stimulate and bring to life, their imaginations towards a very objective way

of achieving the set goals. In doing so, the following objectives will be pursed.

1. Agglomeration of the scattered shanties and batchers into a designed space

thereby reducing public nuisance and promoting a healthy environment.

2. Encouraging of the indigenous designer and manufacturer to improve on their

efficiency and increase out to meet international standards.

3. To bring to the present and coming generation the history of fashion and its

evolution in the country.

4. To provide facilities for conducting research into various foreign fashions and

its trends in order to keep abreast with the fast moving fashion sense in the

world today.

1.8 SIGNIFICANCE OF PROJECT

This project is geared at examining the prevailing fashion sector of Nigeria with

special reference to Enugu state.

The research will highlight the problems, standards, requirements and pre-requisites

in the design of a model fashion house. The primary aim of any architect is to

organize space, enclose the organized space and check for safety, beauty and stability

of the enclosed space. This project is significant in the sense that there is a realistic or

rather possible alternative that will prevent disorganization, unavailability of enclosed

space, presence of inadequate facilities, poor design conceptualization often evident in

the design of buildings in the Nigerian fashion sector.

Through the proposal and recommendations put forward by the researcher, it is

expected that fashion designers, policy makers and even private developers will make

9
good use of such an opportunity to amend or develop in the future fashion

homes/houses befitting of international standard.

1.9. SCOPE AND LIMITATION OF PROJECT

The fashion Exhibition center (fashion world) is a center of commerce which will

include the administrative offices, Research and Design department, a runway

auditorium, an Emporia, a cosmetic store, a beauty drug store, a photo shop, modeling

agencies, image, makeup and costume consultancy center, a fashion exhibition and

modeling gallery, a fashion design training centre, a massage/spa, a fitness center,

Unisex salons and hair treatment center, Fashion accessory Boutiques, shops to let,

Restaurant and Restrooms and conveniences.

The outdoor spaces are as important as the indoor spaces; therefore, the landscape is

to be properly integrated in the design with the terrain.

1.10 RESEARCH METHODOLOGY

The method of research to be adopted involves the collection of data from

both primary and secondary sources. Primary sources of information include personal

interviews, on general planning principles; questionnaires (which will be distributed

at random to people). Case studies of existing fashion shops with emphasis on their

planning will be from personal observations, existing literature such as textbooks,

published and unpublished works in paper print or in electronic format, magazines,

journals, thesis reports, etc. The internet will be visited immensely for foreign case

studies and data collection.

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 The information gathered from all sources will be judiciously analyzed, evaluated

and finally harnessed to meet the specific needs which would then provide a basis for

the design of a Fashion Exhibition center (fashion world) Enugu.

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CHAPTER TWO

LITERATURE REVIEW

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2.1 HISTORICAL EVOLUTION OF FASHION

The first fashion designer who was not merely a dressmaker was (Charles Frederick

Worth) (1826–1895). Before the former draper (clothe maker) set up his ‘maison

couture’ (fashion house) in Paris, fashion creation and inspiration was handled by

largely unknown people, and high fashion descended from style worn at royal courts.

Worth's success was such that he was able to dictate to his customers what they

should wear, instead of following their lead as earlier dressmakers had done.

It was during this period that many design houses began to hire artists to sketch or

paint designs for garments. The images alone could be presented to clients much more

cheaply than by producing an actual sample garment in the workroom. If the client

liked the design, they ordered it and the resulting garment made money for the house.

Thus, the tradition of designers sketching out garment designs instead of presenting

completed garments on models to customers began as an economy

2.1.1 Early twentieth century

Throughout the early 20th century, practically all high fashion originated in Paris, and

to a lesser extent London. Fashion magazines from other countries sent editors to the

Paris fashion shows. Department stores sent buyers to the Paris shows, where they

purchased garments to copy (and openly stole the style lines and trim details of

others).

Around the start of the twentieth century, fashion style magazines began to include

photographs and became even more influential than in the past. In cities throughout

the world these magazines were greatly sought-after and had a profound effect on

public taste. Talented illustrators - among them Paul Iribe, Georges Lepape, Erté, and

13
George Barbier - drew exquisite fashion plates for these publications, which covered

the most recent developments in fashion and beauty.

1900s

This era was called by the French 'Belle Époque'. The outfits worn by the fashionable

women of this era were strikingly similar to those worn in the heyday of the fashion

pioneer Charles Worth. By the end of the nineteenth century, the horizons of the

fashion industry had generally broadened, partly due to the more mobile and

independent lifestyle many well-off women were beginning to adopt, and the practical

clothes they demanded. However, the fashions of the La Belle Époque still retained

the elaborate, upholstered, hourglass-shaped style of the 1800s. As of yet, no

fashionable lady would (or could) dress or undress herself without the assistance of a

third party. The constant need for radical change, which is now essential for the

survival of fashion within the present system, was still literally unthinkable.

Conspicuous waste and conspicuous consumption defined the fashions of the decade

and the outfits of the couturiers of the time were incredibly extravagant, elaborate,

ornate, and painstakingly made. The curvaceous S-Bend silhouette dominated fashion

up until around 1908. The S-Bend corset was very tightly laced at the waist and so

forced the hips back and the drooping mono bosom was thrust forward in a pouter

pigeon effect creating an S shape. Toward the end of the decade the fashionable

silhouette gradually became somewhat more straight and slim, partly due to Paul

Poiret's high-waisted, shorter-skirted Directoire line of clothes.

The Maison Redfern was the first fashion house to offer women a tailored suit based

directly on its male counterpart and the extremely practical and soberly elegant

garment soon became an indispensable part of the wardrobe of any well-dressed

14
woman. Another indispensable part of the outfit of the well-dressed woman was the

designer hat.

Fashionable hats at the time were either tiny little confections that perched on top of

the head, or large and wide brimmed, trimmed with ribbons, flowers, and even

feathers. Parasols were still used as decorative accessories and in the summer they

dripped with lace and added to the overall elaborate prettiness.

1910s

During the early years of the 1910s the fashionable silhouette became much more

lithe, fluid and soft than in the 1900s. The couturier Paul Poiret was one of the first

designers to translate this vogue into the fashion world. Poiret's clients were at once

transformed into harem girls in flowing pantaloons, turbans, and vivid colors and

geishas in exotic kimono. Paul Poiret also devised the first outfit which women could

put on without the help of a maid. The Art Deco movement began to emerge at this

time and its influence was evident in the designs of many couturiers of the time.

Simple felt hats, turbans, and clouds of tulle replaced the styles of headgear popular in

the 1900s. It is also notable that the first real fashion shows were organized during

this period in time, by the first female couturier, Jeanne Paquin, who was also the first

Parisian couturier to open foreign branches in London, Buenos Aires, and Madrid.

1920s

Soon after the First World War, a radical change came about in fashion. Puffed out

hair styles gave way to short bobs, dresses with long trains gave way to above-the-

knee pinafores. Corsets were abandoned and women borrowed their clothes from the

male wardrobe and chose to dress like boys. Although, at first, many couturiers (dress

15
makers) were reluctant to adopt the new androgynous style, they embraced them

wholeheartedly from around 1925. A bustless, waist less silhouette emerged and

aggressive dressing-down was mitigated by feather boas, embroidery, and showy

accessories. The [flapper] style (known to the French as the 'garçonne' look) became

very popular among young women. The [cloche] hat was widely-worn and sportswear

became popular with both men and women during the decade, with designers like

Jean Patou and Coco Chanel popularizing the sporty and athletic look.

The great couturière (dress maker) Coco Chanel was a major figure in fashion at the

time, as much for her magnetic personality as for her chic and progressive designs.

Chanel helped popularize the bob hairstyle, the little black dress, and the use of jersey

knit for women's clothing and also elevated the status of both costume jewelry and

knitwear.

Two other prominent French designers of the 1920s were [Jeanne Lanvin] and [Jean

Patou]. Jeanne Lanvin, who began her career in fashion as a milliner, made such

beautiful outfits for her young daughter Marguerite that people started to ask for

copies, and Lanvin was soon making dresses for their mothers. Lanvin's name appears

in the fashion yearbook from about 1901 onwards. However, it was in the 1920s that

she reached the peak of her popularity and success. The Lanvin style embraced the

look of the time, with its skillful use of complex trimmings, dazzling embroideries,

and beaded decorations in light, clear, floral colors that eventually became a Lanvin

trademark. By 1925 Lanvin produced many different products, including sportswear,

furs, lingerie, men's fashion, and interior designs. Her global approach to fashion

foreshadowed the schemes that all the large contemporary fashion houses would later

adopt in their efforts to diversify.

The style of Jean Patou was never mainstream, but full of originality and

characterized by a studied simplicity which was to win him fame, particularly in the

16
American markets. Many of his garments, with their clean lines, geometric and

[Cubist] motifs, and mixture of luxury and practicality, were designed to satisfy the

new vogue for the outdoor life, and bore a remarkable similarity to modern

sportswear. The most famous advocate of his style was [Suzanne Lenglen], the

legendary tennis champion.

In menswear there was a growing mood of informality, among the Americans

especially, which was mirrored in fashions that emphasized youthfulness and

relaxation. In the past, there was a special outfit for every event in the well-dressed

gentleman's day, but young men in the Twenties, no longer afraid to show their

youthfulness, began to wear the same soft wool suit all day long. Short suit jackets

replaced the old long jackets of the past which were now only worn for formal

occasions. Men had a variety of sport clothes available to them, including sweaters

and short pants, commonly known as knickers. For evening wear a short tuxedo was

more fashionable than the tail-coat, which was now seen as somewhat old-fashioned.

The London cut, with its slim lines, loose-fitting sleeves, and padded shoulders,

perfected by the English tailor Scholte, was very popular.

Heels, at the time, were often over two inches high and Coco Chanel helped

popularize the two-tone shoe, one of her trademarks.

Salvatore Ferragamo and André Perugia were two of the most influential and

respected designers in footwear. Many stars of the [silent films] had a significant

impact on fashion during the 1920s, perhaps most notably Louise Brooks, Gloria

Swanson, and Colleen Moore. The lighthearted, forward-looking fashions of the

1920s gradually came to halt after the [Wall Street Crash of 1929], and succumbed to

a more conservative style.

17
1930s

In the 1930s, as the public began to feel the effects of the Great Depression, many

designers found that crises are not the time for experimentation. Fashion became more

compromising, aspiring to preserve feminism's victories while rediscovering a subtle

and reassuring elegance and sophistication. Women's fashions moved away from the

brash, daring style of the Twenties towards a more romantic, feminine silhouette. The

waist was restored to its proper position, hemlines dropped, there was renewed

appreciation of the bust, and backless evening gowns and soft, slim-fitting day dresses

became popular. The female body was remodeled to a more neo-classical shape and

slim, toned, and athletic bodies came into vogue. The fashion for outdoor activities

stimulated couturiers to manufacture what would nowadays be called sportswear. The

term 'ready-to-wear' was not yet widely used, but the boutiques already described

such clothes as being 'for sport'.

Two of the most prominent and influential fashion designers of the 1930s were Elsa

Schiaparelli and Madeleine Vionnet. Elsa Schiaparelli showed her first collection in

1929 and was immediately hailed by the press as 'one of the rare innovators' of the

day. With her exciting and inventive designs, Schiaparelli did not so much

revolutionize fashion as shatter its foundations. The first pullover she displayed in her

windows created a sensation: it was knitted in black with a white bow. She

consistently turned out breathtaking collections thereafter. Schiaparelli was a close

friend of Christian Berard, Jean Cocteau, and Salvador Dalí, who designed

embroidery motifs for her and supplied inspiration for models like the desk suit with

drawers for pockets, the shoe-shaped hat, and the silk dress painted with flies and the

one bearing a picture of a large lobster. All of Paris thronged to her salon at 21 Place

Vendôme as collection succeeded collection.

18
Madeleine Vionnet found her inspiration in ancient statues, creating timeless and

beautiful gowns that would not look out of place on a Greek frieze. Queen of the bias

cut (cutting diagonally across the fabric's lengthwise threads), she produced evening

dresses that fitted the body without excessive elaboration or dissimulation, employing

a flowing and elegant line. Her perfect draping of chiffon, silk, and Moroccan crepe

created a marvelously poised and sensual effect. The unparalleled success of

Vionnet's cuts guaranteed her reputation right up until her retirement in 1939.

Mainbocher, the first American designer to live and work in Paris, was also

influential, with his plain yet supremely elegant designs, often employing the bias cut

pioneered by Vionnet. The luxury goods manufacturer Hermès started selling

handmade printed silk square scarves in early '30s, and also popularized the zip and

many other practical innovations. Toward the end of the decade, women's fashions

took on a somewhat more imposing and broad-shouldered silhouette, possibly

influenced by Elsa Schiaparelli. Men's fashions continued the informal, practical trend

that had dominated since the end of the First World War.

2.1.2 Mid-twentieth century

The Second World War created many radical changes in the fashion industry. After

the War, Paris's reputation as the global center of fashion began to crumble and off-

the-peg and mass-manufactured fashions became increasingly popular. A new youth

style emerged in the Fifties, changing the focus of fashion forever. As the installation

of central heating became more widespread the age of minimum-care garments began

and lighter textiles and, eventually, synthetics, were introduced.

In the West, the traditional divide that had always existed between high society and

workers came to be considered simply unjustifiable. In particular, a new young

19
generation wanted to reap the benefits of a booming consumer society. Privilege

became less blatantly advertised than in the past and differences were more glossed

over. As the ancient European hierarchies were overturned, the external marks of

distinction faded with them. By the time the first rockets were launched into space,

Europe was more than ready to adopt a quality ready-to-wear garment on American

lines, something to occupy the middle ground between off-the-peg and couture. The

need was all the more pressing because increases in overheads and raw material costs

were beginning to relegate handmade fashion to the sidelines. Meanwhile, rapidly

developing new technologies made it easier and easier to manufacture an ever-

improving high-quality product.

Faced with the threat of a factory-made fashion-based product, Parisian haute couture

mounted its defenses, but to little effect. It could not stop fashion leaking out onto the

streets. In these years when the old world was taking its final bow, the changes in

fashion were one of the most visible manifestations of the general shake-up in society.

Before long, whole categories of women hitherto restricted to inferior substitutes to

haute couture would enjoy a greatly enlarged freedom of choice. Dealing in far larger

quantities, production cycles were longer than those of couture workshops, which

meant that stylists planning their lines for the twice-yearly collections had to try to

guess more than a year in advance what their customers would want. A new power

was afoot, that of the street, constituting a further threat to the dictatorship of the

masters of couture.

1940s

Many fashion houses closed during occupation of Paris during World War II,

including the Maison Vionnet and the Maison Chanel. Several designers, including

20
Mainbocher, permanently relocated to New York. In the enormous moral and

intellectual re-education program undertaken by the French state couture was not

spared. In contrast to the stylish, liberated Parisienne, the Vichy regime promoted the

model of the wife and mother, the robust, athletic young woman, a figure who was

much more in line with the new political criteria. Germany, meanwhile, was taking

possession of over half of what France produced, including high fashion, and was also

considering relocating French haute couture to the cities of Berlin and Vienna, neither

of which had any significant tradition of fashion. The archives of the Chambre

Syndicale de la Couture were seized, most consequentially the client list. The point of

all this was to break up a monopoly that supposedly threatened the dominance of the

Third Reich.

Due to the difficult times, the number of models in shows was limited to seventy-five,

evening wear was shortened and day wear was much skimpier, made using substitute

materials whenever possible. From 1940 onward, no more than thirteen feet (four

meters) of cloth was permitted to be used for a coat and a little over three feet (one

meter) was all that allowed for a blouse. No belt could be over one and a half inches

(four centimeters) wide. Despite this, haute couture tried to keep its flag flying.

Humor and frivolity became a way of defying the occupying powers and couture

somehow survived. Although some have argued that the reason it endured was

because of the patronage of the wives of rich Nazis, in actuality, records reveal that,

aside from the usual wealthy Parisiennes, it was the wives of foreign ambassadors,

clients from the black market, and a whole eclectic mix of people who continued to

frequent the salons, among whom German women were but a minority.

In spite of the fact that so many fashion houses closed down or moved away during

the war, several new houses remained open, including Jacques Fath, Maggy Rouff,

Marcel Rochas, Jeanne Lafaurie, Nina Ricci, and Madeleine Vramant. During the

21
Occupation, the only true way for a woman to flaunt her extravagance and add to

color to a drab outfit was to wear a hat. In this period, hats were often made of scraps

of material that would have otherwise been thrown away, sometimes incorporating

butter muslin, bits of paper, and wood shavings. Among the most innovative milliners

of the time were Pauline Adam, Simone Naudet, Rose Valois, and Le Monnier.

Paris's isolated situation in the 1940s enabled the Americans to exploit the ingenuity

and creativity of their own designers. During the Second World War, Vera Maxwell

presented co-ordinates in plain, simply cut outfits and also introduced innovations to

men's work clothes. Bonnie Cashin transformed boots into a major fashion accessory,

and, in 1944, started to produce original and imaginative sportswear. Claire

McCardell, Anne Klein, and Tina Leser formed a remarkable trio of women who were

to lay the foundations of American sportswear, ensuring that ready-to-wear was not

simply thought of as second best, but as an elegant and comfortable way for modern

women to dress.

Among young men in the War Years the zoot suit (and in France the zazou suit)

became popular. Many actresses of the time, including Rita Hayworth, Katharine

Hepburn, and Marlene Dietrich, had a significant impact on popular fashion.

The couturier Christian Dior created a tidal wave with his first collection in February

1947. The collection contained dresses with tiny waists, majestic busts, and full skirts

swelling out beneath small bodices, in a manner very similar to the style of the Belle

Époque. The extravagant use of fabric and the feminine elegance of the designs

appealed greatly to a post-war clientèle and ensured Dior's meteoric rise to fame. The

sheer sophistication of the style incited the all-powerful editor of the American

Harper's Bazaar, Carmel Snow, to exclaim 'This is a new look !'.

22
1950s

Flying in the face of continuity, logic, and erudite sociological predictions, fashion in

the 1950s, far from being revolutionary and progressive, bore strong nostalgic echoes

of the past. A whole society which, in the 1920s and '30s, had greatly believed in

progress, was now much more circumspect. Despite the fact that women had the right

to vote, to work, and to drive their own cars, they chose to wear dresses made of

opulent materials, with corseted waists and swirling skirts to mid-calf. As fashion

looked to the past, haute couture experienced something of a revival and spawned a

myriad of star designers who profited hugely from the rapid growth of the media.

Throughout the 1950s, although it would be for the last time, women around the

world continued to submit to the trends of Parisian haute couture. Three of the most

prominent of the Parisian couturiers of the time were Cristobal Balenciaga, Hubert de

Givenchy, and Pierre Balmain. The frugal prince of luxury, Cristobal Balenciaga

Esagri made his fashion debut in the late Thirties. However, it was not until the post-

war years that the full scale of the inventiveness of this highly original designer

became evident. In 1951, he totally transformed the silhouette, broadening the

shoulders and removing the waist. In 1955, he designed the tunic dress, which later

developed into the chemise dress of 1957. And eventually, in 1959, his work

culminated in the Empire line, with high-waisted dresses and coats cut like kimonos.

His mastery of fabric design and creation defied belief. Balenciaga is also notable as

one of the few couturiers in fashion history who could use their own hands to design,

cut, and sew the models which symbolized the height of his artistry.

Hubert de Givenchy opened his first couture house in 1952 and created a sensation

with his separates, which could be mixed and matched at will. Most renowned was his

Bettina blouse made from shirting, which was named after his top model. Soon,

23
boutiques were opened in Rome, Zurich, and Buenos Aires. A man of immense taste

and discrimination, he was, perhaps more than any other designer of the period, an

integral part of the world whose understated elegance he helped to define.

Pierre Balmain opened his own salon in 1945. It was in a series of collections named

'Jolie Madame' that he experienced his greatest success, from 1952 onwards.

Balmain's vision of the elegantly-dressed woman was particularly Parisian and was

typified by the tailored glamour of the New Look, with its ample bust, narrow waist,

and full skirts, by mastery of cut and imaginative assemblies of fabrics in subtle color

combinations. His sophisticated clientèle was equally at home with luxurious

elegance, simple tailoring, and a more natural look. Along with his haute couture

work, the talented businessman pioneered a ready-to-wear range called Florilege and

also launched a number of highly successful perfumes.

Also notable is the return of Coco Chanel (who detested the New Look) to the fashion

world. Following the closure of her salons in the war years, in 1954, aged over

seventy, she staged a comeback and on February 5 she presented a collection which

contained a whole range of ideas that would be adopted and copied by women all over

the world: her famous little braided suit with gold chains, shiny costume jewelry, silk

blouses in colors that matched the suit linings, sleek tweeds, monogrammed buttons,

flat black silk bows, boaters, quilted bags on chains, and evening dresses and furs that

were marvels of simplicity.

Despite being a high fashion designer, American born Mainbocher also designed

military and civilian service uniforms. In 1952, he redesigned the Women Marines

service uniform combining femininity with functionality. Previous redesigns include

uniforms for the WAVES (Women Accepted for Volunteer Emergency Service) in

1942, and uniform designs for the Girl Scouts of America and the American Red

Cross in 1948.

24
Dior's New Look (that premiered in 1947) revived the popularity of girdles and the

all-in-one corselettes. In the early 1950s many couture houses used the interest in

"foundationwear" to launch their own lines, soon after many lingerie manufacturers

began to build their own brands. In 1957, Jane Russell wore the "Cantilever" bra that

was scientifically designed by Howard Hughes to maximize a voluptuous look. The

invention of Lycra (originally called "Fibre K") in 1959 revolutionized the underwear

industry and was quickly incorporated into every aspect of lingerie.

After the war, the American look (which consisted of broad shoulders, floral ties,

straight-legged pants, and shirts with long pointed collars, often worn hanging out

rather than tucked in) became very popular among men in Europe. Certain London

manufacturers ushered in a revival of Edwardian elegance in men's fashion, adopting

a tight-fitting retro style that was intended to appeal to traditionalists. This look,

originally aimed at the respectable young man about town, was translated into popular

fashion as the Teddy boy style. The Italian look, popularized by Caraceni, Brioni, and

Cifonelli, was taken up by an entire generation of elegant young lovers, on both sides

of the Atlantic.

The designers of Hollywood created a particular type of glamour for the stars of

American film, and outfits worn by the likes of Marilyn Monroe, Lauren Bacall, or

Grace Kelly were widely copied. Quantitatively speaking, a costume worn by an

actress in a Hollywood movie would have a much bigger audience than the

photograph of a dress designed by a couturier illustrated in a magazine read by no

more than a few thousand people. Without even trying to keep track of all the Paris

styles, its costume designers focused on their own version of classicism, which was

meant to be timeless, flattering, and photogenic. Using apparently luxurious materials,

such as sequins, chiffon, and fur, the clothes were very simply cut, often including

some memorable detail, such as a low-cut back to a dress which was only revealed

25
when the actress turned her back from the camera or some particularly stunning

accessory. The most influential and respected designers of Hollywood from the 1930s

to the 1950s were Edith Head, Orry-Kelly, William Travilla, Jean Louis, Travis

Banton, and Gilbert Adrian.

By the end of the decade mass-manufactured, off-the-peg clothing had become much

more popular than in the past, granting the general public unprecedented access to

fashionable styles.

1960s

Until the 1960s, Paris was considered to be the center of fashion throughout the

world. However, between 1960 and 1969 a radical shake-up occurred in the

fundamental structure of fashion. From the 1960s onward, there would never be just

one single, prevailing trend or fashion but a great plethora of possibilities, indivisibly

linked to all the various influences in other areas of people's lives. Young people, with

a power and culture that were all their own, now at an age to speak out, were a force

to be reckoned with and had a powerful impact on the fashion industry. For perhaps

the first time in history, there was an independent youth fashion that was not based on

the conventions of an older age group. In the past, failure to follow fashion merely

meant that you were poor, but in the Sixties it became just as much a statement of

personal freedom.

In stark contrast to their mature, ultra-feminine mothers, the women of the 1960s

adopted a girlish, childlike style, with short skirts and straightened curves, reminiscent

of the look of the 1920s. At the start of the decade skirts were knee-length, but

steadily became shorter and shorter until the mini-skirt emerged in 1965. By the end

26
of the decade they had shot well above the stocking top, making the transition to

tights inevitable.

Many of the radical changes in fashion developed in the streets of London, with such

gifted designers as Mary Quant (known for launching the mini skirt) and Barbara

Hulanicki (the founder of the legendary boutique Biba). Paris also had its share of

new and revolutionary designers, including Pierre Cardin (known for his visionary

and skillfully-cut designs), André Courrèges (known for his futuristic outfits and for

launching the mini skirt along with Mary Quant), Yves Saint Laurent (known for his

revolutionary yet elegant fashions), and Emanuel Ungaro (known for his imaginative

use of color and bold baroque contrasts). In the United States, Rudi Gernreich (known

for his avant-garde and futuristic designs) and James Galanos (known for his

luxurious read-to-wear) were also reaching a young audience. The main outlets for

these new young fashion designers were small boutiques, selling outfits that were not

exactly 'one-offs', but were made in small quantities in a limited range of sizes and

colors. However, not all designers took well to the new style and mood. In 1965,

Coco Chanel mounted a rearguard action against the exposure of the knee and

Balenciaga resolutely continued to produce feminine and conservative designs.

The basic shape and style of the time was simple, neat, clean cut, and young.

Synthetic fabrics were very widely-used during the Sixties. They took dyes easily and

well, giving rise to colors that were both clear and bright, very much mirroring the

mood of the period. Hats suffered a great decline and by the end of the decade they

were relegated to special occasions only. Lower kitten heels were a pretty substitute to

stilettos. Pointed toes gave way to chisel shaped toes in 1961 and to an almond toe in

1963. Flat boots also became popular with very short dresses in 1965 and eventually

they rose up the leg and reached the knee.

27
Two notable and influential designers in the '60s were Emilio Pucci and Paco

Rabanne. Emilio Pucci's sportswear designs and prints inspired by Op art,

psychedelia, and medieval heraldic banners earned him a reputation that extended far

beyond the circles of high society. His sleek shift dresses, tunics, and beachwear,

created a 'Puccimania' that was all part of a movement to liberate the female form and

his designs are today synonymous with the 1960s. Francisco Rabaneda Cuervo (later

Paco Rabanne) opened his first couture house in 1966 and, from the start, produced

resolutely modern designs. Rather than using conventional dress materials, he created

garments from aluminum, Rhodoid, and pieces of scrap metal. His designs, as well as

being experimental, were also closely in tune with what modern adventurous young

women wanted to wear. Among his innovations are the seamless dress made, after

much experiment, by spraying vinyl chloride on to a mold, and the low-budget

disposable dress made of paper and nylon thread. Rabanne was also the first fashion

designer to use black models, which very nearly resulted in his dismissal from the

Chambre Syndicale de la Couture Parisienne. The success of his perfume Calandre

helped support the less profitable areas of his work, while his utopianism assured him

a unique position in the conservative world of haute couture.

The principal change in menswear in the '60s was in the weight of the fabric used.

The choice of materials and the method of manufacture produced a suit that, because

it was lighter in weight, had a totally different look, with a line that was closer to the

natural shape of the body, causing men to look at their figures more critically. The

spread of jeans served to accelerate a radical change in the male wardrobe. Young

men grew their hair down to their collars and added a touch of color, and even floral

motifs, to their shirts. The polo neck never succeeded in replacing the tie, but the

adoption of the workman's jacket in rough corduroy, and especially the Mao jacket

proved to be more than simply a political statement. A few futuristic rumblings were

28
set off by Pierre Cardin and Andre Courrèges, but the three-piece suit still survived

intact.

In the early 1960s there were influential 'partnerships' of celebrities and high-fashion

designers, most famously Audrey Hepburn with Givenchy, and Jackie Kennedy with

Oleg Cassini. Also, many models had a very profound effect on fashion, most notably

Twiggy, Veruschka, Jean Shrimpton, as well as Andy Warhol superstar Edie

Sedgwick. Early in the decade, culottes were in style and the bikini finally came into

fashion in 1963. The hippie and psychedelic movements late in the decade also had a

strong influence on clothing styles, including bell-bottom jeans, tie-dye and batik

fabrics, as well as paisley prints.

1970s

Nick-named the 'me' decade; 'please yourself' was the catchword of the 1970s. Some

saw it as the end of good taste, while many perceived it as the beginning of awesome

taste. The decade began with a continuation of the hippie look of the late 1960s, with

Afghans, Indian scarves, and flower-print tunics. Jeans remained frayed, tie and dye

was still popular, and the fashion for unisex mushroomed. An immense movement

claiming civil rights for blacks combined with the influence of soul music from the

USA created nostalgia for Africa and African culture. A radical chic emerged,

influenced by the likes of James Brown, Diana Ross, Angela Davis, and the Black

Panthers, in everything from afro hairstyles to platform soles. During the Seventies

brands greatly increased their share of the international market. Hems began dropping

in 1974 to below the knee, until finally reaching the lower mid calf in 1977 and

shoulder lines were dropped.

29
Perhaps the two most innovative French fashion designers of the 1970s were Kenzo

Takada and Sonia Rykiel. The undisputed star of Parisian fashion in the Seventies,

Kenzo drew his inspiration from all over the world, mixing Western and Oriental folk

influences with a fantastic joie de vivre and an instinctive understanding of what his

young customers wanted. With his fluid lines, unusual prints, clever accessories, and

finery that was hitherto unprecedented in ready-to-wear, he very much turned the

fashion world upside down. The queen of figure-hugging knits, in 1974, Sonia Rykiel

designed her first pullovers with reversed seams. However, more than that, she

created a whole range of clothes that were extremely individual and yet could be worn

almost anywhere. The Rykiel style, dominated by fluid knitted garments, dark blacks,

rhinestones, long boa-like scarves, and little crocheted hats, conquered the American

market, and even to this day Rykiel is considered by many Americans as the true

successor of Chanel.

Plate 2.1- Picture showing ancient dressing

30
2.2 HISTORY OF SAUNAS

Etymology

The word sauna is an ancient Finnish word referring to the traditional Finnish bath as

well as to the bathhouse itself. The proto-Finnic reconstruction is savńa. There are

etymological equivalents in the Baltic-Finnic languages such as the Ingrian and Votic

word sauna, Estonian saun and Livonian sōna. The word suovdnji in Sámi means a pit

dug out of the snow, such as a hole for a willow grouse. In Baltic-Finnish, sauna does

not necessarily mean a building or space built for bathing. It can also mean a small

cabin or cottage like a cabin for a fisherman. [ Bowen Therapists Federation of

Australia]

First saunas

The oldest known saunas were pits dug in a slope in the ground and primarily used as

dwellings in winter. The sauna featured a fireplace where stones were heated to a high

temperature. Water was thrown over the hot stones to produce steam and to give a

sensation of increased heat. This would raise the apparent temperature so high that

people could take off their clothes.

Evolution

As a result of the industrial revolution, the sauna evolved to use a metal woodstove, or

kiuas with a chimney. Air temperatures averaged around 70-80 degrees Celsius (160-

180 degrees Fahrenheit) but sometimes exceeded 90 °C (200 °F) in a traditional

Finnish sauna. Steam vapor, also called löyly], was created by splashing water on the

heated rocks.

The steam and high heat caused bathers to perspire. The Finns also used a vihta

(Western dialect, or vasta in Eastern dialect), which is a bundle of birch twigs with

31
fresh leaves, to gently slap the skin and create further stimulation of the pores and

cells.

The Finns also used the sauna as a place to cleanse the mind, rejuvenate and refresh

the spirit, and prepare the dead for burial. The sauna was (and still is) an important

part of daily life, and families bathed together in the home sauna. Indeed, the sauna

was originally meant to be a place of mystical nature where gender/sex differences

did not exist. Because the sauna was often the cleanest structure and had water readily

available, Finnish women also gave birth in the sauna.

Although the culture of sauna nowadays is more or less related to Finnish culture, it's

important to note that the evolution of sauna has happened around the same time both

in Finland and the Baltic countries sharing the same meaning and importance of sauna

in daily life. The same sauna culture is shared in both places still to this day.

When the Finns migrated to other areas of the globe they brought their sauna designs

and traditions with them, introducing other cultures to the enjoyment and health

benefits of sauna. This led to further evolution of the sauna, including the electric

sauna stove, which was introduced in the 1950s and far infrared saunas, which have

become popular in the last several decades.

32
Modern saunas

Plate 2.2- Inside a modern sauna

Source-Building type study, architectural record

Many North American and Western European college/university physical education

complexes and many public sport centers and gyms include sauna facilities. They may

also be present at public and private swimming pools. This may be a separate area

where swim wear may be taken off or a smaller facility in the swimming pool area

where one should keep the swim wear on.

Under many circumstances, temperatures approaching and exceeding 100 °C (212 °F)

would be completely intolerable. Saunas overcome this problem by controlling the

humidity. The hottest Finnish saunas have relatively low humidity levels in which

steam is generated by pouring water on the hot stones. This allows air temperatures

that could boil water to be tolerated and even enjoyed for longer periods of time.

Steam baths, such as the hammam, where the humidity approaches 100%, will be set

33
to a much lower temperature of around 40 °C (104 °F) to compensate. The "wet heat"

would cause scalding if the temperature were set much higher.

Finer control over the temperature experienced can be achieved by choosing a higher

level bench for those wishing a hotter experience or a lower level bench for a more

moderate temperature. A good sauna has a relatively small temperature gradient

between the various seating levels.

Good manners require that the door to a sauna not be kept open so long that it cools

the sauna for those that are already in it. Leaving the door even slightly ajar or

keeping it open for more than a few seconds will significantly cool down the

relatively small amount of hot air inside the sauna.

Infrared saunas are growing in popularity, using far infrared rays emitted by infrared

heaters to create warmth.

In Finland, the sauna was thought of as a healing refreshment. The old saying goes:

"Jos ei viina, terva tai sauna auta, tauti on kuolemaksi." ("If booze, tar, or the sauna

won't help, the illness is fatal.") The Finnish sauna is not thought as an easy way to

get physical exercise, and it is not intended for weight loss; in fact, it predates these

modern ideas.

In Finnish and Latvian sauna culture, a beer afterwards is thought to be refreshing and

relaxing. Pouring a few centilitres of beer into the water that is poured on the hot

stones releases the odor of the grain used to brew the beer. This distinctive smell,

however, sharply divides Finnish people. Also other scents can be used (for example

pine tar or eucalyptus), but using any scents other than birch leaves is frowned upon

by the traditionalists. A common method for adding birch leaf scent is to wet the

leaves of a vihta in water, and then place the vihta on the hot stones for a second or

two. This also conveniently heats the vihta for use to whip the users skin to increase

34
blood circulation. According to Finnish lore, the human body is most beautiful thirty

minutes after a sauna.

Social and mixed gender nudity with adults and children of the same family is

common in the conventional sauna. Sometimes the sauna is considered not only a sex-

free, but also almost a gender-free zone. In the dry sauna and on chairs one sometimes

sits on a towel for hygiene and comfort; in the steam bath the towel is left outside.

Some hotel sauna facilities and especially cruise ships and/or ferries have an area

where refreshments (often alcoholic) are served in conjunction with the sauna/pool

area; draping a towel around the waist is generally required in that part of such

facilities.

As an additional facility a sauna may have one or more jacuzzis.

Plate 2.3- Finnish sauna by the lake

Source-Building type study, architectural record

Records and other historical evidence indicate that the Finns built the first wooden

saunas in the 5th or 8th century. Early saunas were dug into a hill or embankment. As

tools and techniques advanced, they were later built above ground using wooden logs.

Rocks were heated in a stone fireplace with a wood fire. The smoke from the fire

filled the room as the air warmed.

35
2.3 HISTORY OF BARBING

Plate 2.4- Barbershop in Bucharest around 1842. Woodcut.

Source- architectural record interiors

As shown in the image above, the barbershop also provides an opportunity for social

contacts.

The barber's trade is an ancient one. Razors have been found among relics of the

Bronze Age (circa 3500 BC) in Egypt, and barbering is mentioned in the Bible by

Ezekiel who said "Now, son of man, take a sharp sword and use it as a barber's razor

to shave your head and your beard. (5:1 NIV)"

Shaving, either of the head or face, was not always a voluntary act, for it has been

enforced by law in England and elsewhere. Cleanliness and vanity were therefore not

the sole reasons for a "clean shave"; the origins lie deeper.

Before the Macedonian conquest brought the custom of clean shaving, the κουρευς

(ancient Greek barber) in the Greek agora would trim and style his patrons' beards,

hair, and fingernails, as gossip and debate flowed freely.

Barbering was introduced to Rome from the Greek colonies in Sicily in 296 B.C. and

barber shops quickly became very popular centers for daily news and gossip. A

morning visit to the tonsor became a part of the daily routine as important as the visit

36
to the public baths, and a young man's first shave (tonsura) was an essential part of his

coming of age ceremony.

A few Roman tonsores became wealthy and influential, running shops that were

favorite loci publici of high society; most were simple tradesmen, owning small

storefronts or setting up their stool in the street and offering shaves for a mere

quadrans. Some had reputations as clumsy butchers who left their patrons scarred

about the cheeks and chin; their dull bronze or copper (never steel) razors must share

some of the blame. The better barbers offered depilatories for those customers who

refused the razor.

The barbers of former times were also surgeons and dentists. As well as haircutting,

hairdressing, and shaving, barbers performed surgery, blood-letting, cupping and

leeching, enemas, and the extraction of teeth. Thus they were called barber surgeons

and they formed their first organization.

Plate 2.5- Interior of a barber's shop, circa 1920.

37
 THE NIGERIAN PERSPECTIVE

Roles

An innate characteristic of human beings is the desire to strive for differentiation. In

Nigeria, the absence of rigid dress codes has enabled the individual to use fashion as a

means to identify clearly the many different roles that a person plays in any one day.

Sociologists borrowed the word 'role' from the theatre because, like actors, individuals

play many parts and each part has to be learnt. Roles are continually learned and

rehearsed and relearned. They are also shared, because like the actors on a stage, fluid

interaction only occurs if all the performers know the behavior expected.

Class Stratification

Nigerians are socially stratified into those who wear expensive tailor made clothing

down to those who wear other people's cast offs. The poor simply look poor, because

their raiment betrayed them. Whilst the rich display their wealth through an

iconography of signs and symbols that enhanced their body image in the eyes of those

that see themselves as socially inferior.

Role Set

Roles and activities are closely linked to what people wear. People are affected by

their role-set, which includes boyfriends, girlfriends, sisters, brothers, friends,

husbands, lovers, mothers, fathers, grandparents, relatives, employers, customers,

clients, work mates, business colleagues, peer and age groups.

The people with whom a purchaser interacts affects the final purchase and this applies

to any fashion dominated item from interior furnishings to choice of cars. Likewise

the purchase of fashionable clothes, fabrics, or accessories becomes a visual currency

38
and speaks volumes silently. People are so aware that others make judgments about

them through their clothes and accessories that many run up huge debts to appear to

belong to a particular lifestyle. Only individuals with a strong sense of self identity

stick their necks out and admit to wearing items that others might consider low class

or out of style.

Occupation, Status and Purpose of Clothing

Those with high status occupations will wear the clothes and accessories they think

others expect them to wear. They will not wish to experience role conflict by wearing

the incorrect clothing or accessories. It is from the clothes a person wears that we get

our first impression of personality. They provide mental clues to a person's status and

occupational role, as well as being a means of conforming to peer group expectations.

Clothes and accessories also have the utilitarian function of providing both

protections from the extremes of the elements, keeping us warm or cool or safe. They

also act as an aid to modesty or immodesty as the wearer so desires.

The state of a person's clothes is synonymous with self respect and is a sign of

respectability. It also adds another sign that the person has sufficient status in society

to maintain at the cost of time and money, laundering, dry cleaning and repair. To be

respectable some expense has to be incurred in the maintenance of cleanliness and

neatness.

Status Symbols

One of the most favored forms of status distinction in Nigeria is fashion, because

fashionable clothes, accessories and body adornment are easy for others to observe at

glance. Incidental items like particularly branded specific handbags, footwear,

39
jewellery, accessories and new hairstyles act also as important status symbols.

Everybody wants to wear a name like Prada, Gucci, Coco Chanel, Mary Kay etc.

First - a fashion is approved by others.

Then - it is copied because of competition.

Finally - it is replaced as it becomes commonplace and has ceased to fulfill its

function of being distinctive.

The status fashion can be anything from a particular jewel such as solitaire diamond

stud earrings or the latest fad for long drop gold earrings to a brand logo pair of jeans

in a particular style and color. The ability to decode trends that are not deliberate and

obvious is limited to a small group who adopt consumer items early. Especially the

rich who travel out of the country often.

Wearing a Uniform

Some people instinctively know how to appear respectable to the majority through

their clothing. Others are less obviously successful in attaining consistently reliable

grooming. The rise of the Corporate Uniform adopted by banks and similar

institutions in the 1980s reinforced power dressing. It indicated how important the

uniform is as a means of distinguishing one person from another instantly. Uniforms

provide us with mental clues.

Occupational Uniform

Wearing an occupational uniform puts an employee in the position of being a visual

metaphor. We learn quickly to associate different uniforms with different role

conceptions and different role expectations. We connect the policeman or security

40
guard's uniform with authority, law, order and help. Likewise we associate the nurses

or paramedic's uniform with help, care, protection and mothering. By contrast the

jaunty overall and hat of the ice cream vendor with the promise of pleasure.

When people put on a uniform they adopt what they think it symbolizes, but even

people who don't wear a specific occupational or leisure uniform tend to know

vaguely what to wear. Those who adapt their wardrobe to “fit in” with their

company, succeed much faster in terms of upward job mobility.

Mass Youth Uniform

Young people in particular adopt the uniform of their peer group. However the

uniform must be the peer group's uniform, not one imposed on them by adults.

Fashion in the form of a mass youth uniform can create a sense of belonging to the

peer group and a feeling of identity as the adolescent personality reaches maturation.

For the majority, an old status symbol, be it a brand, a logo or attitude accessory is

old-fashioned the moment it loses favor within the group. An up to date status

symbol cries out to some "I must have it now". The mobile phone as a belt accessory

was a perfect example of this. As new products develop, last year's hands free mobile

phone version is soon giving way to the iPod and/or other electronic gadget as they

gain more approval by being newer and more novel. By being the latest in a line of

personal wear gadgets it gives unspoken signage about a person of the 'latest' style

statement and therefore again by association some deeper meaning about (spending

ability or know how) of that person. It is essential to have the latest fashion accessory,

to gain instant peer approval.

Today what people see in their homes on television or when surfing the Internet soon

becomes accepted very quickly as normal and everyday. In the comfort of one's own

home the television monitor scales down the stark newness of an idea, especially the

41
impact of a fashion concept and this makes it easier for us to accept more quickly

when worn by others even if we can't see ourselves wearing a similar item.

(Anscombe, Isabelle A Woman's Touch: Women in Design from 1860 to the Present

Day, New York, Viking Press, 1984)

Fashion Cycles.

By the millennium everyday changes in lifestyle include fitness and health pursuits,

car and air travel and centrally heated environments in home life. All created a need

for clothing fashion designed for the way we live now. How we perceive our person

and what we want to say to society in a very visual camera obsessed culture, is still

expressed through our bodies, the way we wear clothes, jewellery and body art.

Today fashion and beauty can be affordable for everyone. There is always a range that

provides quality beauty, make up and accessory products at a price most can afford.

Mass fashion is moving so fast that fashion now moves in a weekly cycle and fashion

trends are hot for a short time only.

42
CHAPTER THREE

CASE STUDIES

43
3.1 GOSSIP BEAUTY SHOP

Location: Upper Chime, New Haven Enugu

Founded: Unknown

Founder: Unknown

The Gossip beauty shop is a must stop for fashion lovers. It is a combination of a hair

shop with a beauty drug store.

It’s packed full with hair attachments, hair wigs and beauty products which are up-to-

date with the present fashion trend.

It is strategically located in the heart of hair making and thus ‘hotcake’.

The gossip beauty shop is a four cornered room with one entrance and floor area of

about 18.5m2. The hair attachments are hung all over the wall covering every bit of it.

To the left are beauty care products on display and also in show cases in the center of

the small space. The ceiling is mirrored thus giving the room a doubling effect and

placing the customer in the spotlight. The floor is finished with concrete tiles.

Finishes

Floor- Finished with ceramic floor tiles

Walls- White Emulsion paint

Ceiling- Mirrored ceiling

Critical Appraisal

Attributes

 Being a small shop, the customer is able to see at a glance what he/she wants

and make a choice.

44
  The mirrored ceiling gives the shop a doubling effect, thus causing it to look

larger than the actual size and putting the customer in the spot light which is

what fashion actually does.

Short Comings

 There are no window openings for natural ventilation.

 For the form of fashion solution this place gives, it has insufficient space.

 The display of items for sale is unaesthetic and unappealing.

 The interior layout of the shopping area is not functional therefore customers

cannot pick what they want except aided.

 For a fashion accessory shop, the entrance facade is not as attractive and

aesthetic as it should be.

Plate 3.1.1- View showing the entrance

Source-author

45
Plate 3.1.2- View showing display area of wigs

Source-author

Plate 3.1.3- View showing display area of hair attachments

Source-author

46
Plate 3.1.4- View showing display of beauty products

Source-author

Plate 3.1.5- View showing mirrored ceiling

Source-author

47
Plate 3.1.6- View showing display area of hair attachments

Source-author

48
3.2. THE OAK TREE FASHION SHOP

Location: Upper Chime, New Haven Enugu

Founded: Unknown

Founder: Unknown

Located in one of the prime shopping districts in Enugu city, Oak tree fashion shop

caters for the fashion needs of the rich and middle class of Enugu.

The building comprises a frontal reception, sales and exhibition area, the management

office, store, convenience and a small changing room all within an 80m2.

The sales area has display shelves along the wall for clothing items and an island for

fashion accessories. Access for customers is through from and there is another service

access from the back for staff and supplies.

The entrance façade gives unobstructed visual access from the outside to the items on

display. The frontal roof overhang provides a landing point for visitors to the shop as

well as a space for display of clothed manikins.

Finishes

Floor- finished with terrazzo floor tiles

Ceiling- Concrete slab

Wall- Cream Emulsion paint

49
Critical Appraisal

Attributes

 The interior layout is functional for shopping.

 The presence of the service entrance enables the shop to be serviced

without obstructing activity in the shopping area.

 The changing room although within the sales and exhibition area, is

hidden from the public.

Short Comings

 There are no window openings for natural ventilation.

 The convenience door opens into the display area instead of a lobby and thus

customers have no privacy.

 Inadequate lighting

 The wall hung exhibition systems and shelving units are of substandard

design.

50
Plate 3.2.1- Eternal view of the oak tree fashion shop

Source-author

Plate 3.2.2-Interior view showing clothes and footwear display area

Source-author

51
Plate 3.2.3- interior view showing display of fashion accessories

Source-author

Plate 3.2.4- view showing partitioning for store and toilet

Source-author

52
3.3. MONTEREY FASHION HOUSE

Location- Rue Dupuis, Paris

Founded- 2006

Founder- Maria Vryzakis

The Monterey Fashion house is the destination of choice for shoppers looking for

something different and more personal. Just north of the quarter's historical center,

past the Marché du Temple, Maria Vryzakis has thrown down a silken glove and

entered the fray with Marie Louise de Monterey, a charming new boutique of hand-

picked vintage women’s wear, and the only place on the Continent where you can

find the vintage-inspired styles of Paris best fashion.

The Monterey fashion house was before renovation, a three windowed bungalow with

three rooms. After renovation, it became fully lit and ventilated with large wall

windows to display the contents of the fashion house to the onlookers. The Fashion

house itself is a simple affair: two rooms done in creamy eggshell, with old-fashioned

floor tiles, nickel-plated train luggage racks to hang the goods, and hefty cast-iron

radiators. Women's vintage occupies the first room, the second is given over to

jewelries and accessories, and the small passage between them offers a few racks of

baby-vintage for discerning young mothers. The third room has a display of shoes,

bags and hats.

Critical Appraisal

Attributes

 The nature of this design allows for advertisement of the contents of the

fashion house thereby attracting customers.

53
 All forms of fashion are existing in one building for a change and customers

can complete their shopping without having to leave the building.

 The spaces are well lit due to the large wall windows that through in sufficient

light.

 Each space opens into the next thereby avoiding the existence of long dark and

unventilated corridors.

 Wall mirrors give a multiplying space effect thereby making the rooms appear

larger than they really are.

 The choice of wall paint color gives a relaxing and homely atmosphere

therefore causing the customers to stay longer and thereby buying more goods.

Short Comings

 The door to the convenience has no lobby and thus opens into the

shopping space. This gives the shoppers no privacy.

 Due to insufficient space, there are no standard changing rooms thus

customers have to guess their size or change uncomfortably behind some

curtain.

 For an all in one shopping center as this, the available space is insufficient.

54
Plate 3.3.1-View showing circulation spaces used for exhibition

Source- architectural record interiors

Plate 3.3.2-View showing the use of mirrors to double space

Source- architectural record interiors

55
Plate 3.3.3- View show clothes display area

Source- architectural record interiors

Plate 3.3.4-View showing clothes display area

Source- architectural record interiors

56
3.4. LA MAISON UNIQUE

Location: SoHo, New York

Designer: Thomas Heatherwick

Owner: Longchamp Company

La Maison Unique is a three-story fashion retail facility in New York City’s SoHo

neighborhood. The architect applied zipper principles to architectural space. Since

zippers are both functional and sexy, holding things together while offering the

promise of revealing what’s hidden inside, the design teases shoppers to come inside

and see what’s upstairs.

A flagship store for Longchamp, a French Fashion accessories company, the project

resides in what Heatherwick describes as a “runty shoe box of a building” that posed

all sorts of problems for creating a successful retail operation. The plain-Jane

structure offered Longchamp ground-floor space that was not only limited to 1,500

square feet, but also squeezed awkwardly between a clothing store, in the prime

corner spot, and a chocolate shop. But upstairs, Longchamp could spread out with a

4,500-square-foot second floor, and a newly added third floor with a 1,700-square-

foot showroom plus a wraparound terrace for entertaining wholesale buyers. The

challenge for Heatherwick was to grab attention with only a small streetfront presence

and then entice people to schlep up a flight of stairs to the main retail space.

57
Plate 3.4.1- view showing zipper bag

Source- architectural record interiors

In 2004, Longchamp debuted a handbag designed by Heatherwick featuring a zipper

that snakes up and around the outside. When unzipped, it reveals a satiny fabric layer

inside and nearly doubles the bag’s volume. Instead of a clasp at the top, hidden

magnets close the bag.

The designer employed similar strategies at Longchamp’s La Maison Unique, using

undulating ribbons of rubber-coated steel to create a stair that seems to unfold as it

rises, and orchestrating a procession from a tight, ground-floor lobby to the expansive

second-floor retail. And as with the handbag, he found an inventive use for magnets—

this time to secure light fixtures and shelves anywhere along the metal ribbons.

Heatherwick calls the stair a “landscape,” a topographical feature inserted within a

46-by-27-foot atrium, cut from the corner of the building. The atrium rises 60 feet to a

sloped skylight and required 55 tons of steel. Daylight from the top of the vertical

58
space helps draw people upstairs, he says, noting, “Like insects, people are attracted

to light.” When he envisioned the stairscape, he thought of “a hillside with goats

climbing up winding paths.”

Plate 3.4.1- View showing display area of fashion accessories

Source-Building type study, architectural record

Plate 3.4.2-Interior showing undulating staircase

Source- architectural record interiors

59
Plate 3.4.3- Interior showing leather display area

Source- architectural record interiors

Fig 1-3D representation of conceptional idea

Source- architectural record interiors

60
Fig 2-Architect’s sketch of section

Source- architectural record interiors

Fig 3-Floor plan of La Maison unique

Source- architectural record interiors

61
Fig 4-Section showing levels of display areas

Source- architectural record interiors

62
3.5. XEL-HA SALON

Location: Minato-Ku, Tokyo

Architect: Jun Aoki & Associates

At beauty parlors around the globe, scissors-wielding stylists routinely scatter shorn

locks over the floor. But at Xel-Ha, a Tokyo salon designed by architect Jun Aoki,

even the ceiling is strewn with curls. Combining a finish with a lighting system, Aoki

covered the entire 2,336-square-foot surface with swirling sheets of plastic-laminated

washi, a bleached-wood pulp paper, commonly used for lampshades in Japan. Each

well-coiffed curl spirals loosely and eccentrically around a ball-shaped, 13-watt

fluorescent lamp. “For the consumer, a visit to a hair salon is sometimes a special

event,” says Aoki. “A salon must be a little bit theatrical, plus a little bit cozy.” Xel-

Ha’s dramatic cover is gentle on the eye but as head turning as a perfectly sculpted

bouffant.

Plate 3.5.1-View showing curly ceiling

Source-Building type study, architectural record

63
The decision to highlight the ceiling came in response to practical and aesthetic

concerns. While the client, an established stylist, requested non-directional, even

lighting, the ceiling was one of the few places—amid sinks, brushes, and blow-

dryers—where Aoki could leave his mark. After all, when customers lean back for

hair washing, they often gaze upward (though in most salons, the vista is

unremarkable). And to passersby on the street, the space—topping a three-story

commercial building in Tokyo’s Omotesando fashion district—reveals little more

than its ceiling.

As realized, that lofty surface becomes most luminous and visible to pedestrians at

night, during the salon’s evening hours and training sessions for budding barbers and

beauticians. But even during the day, the ceilings articulated contours are in full view

from the curving, car-free passageway that divides the structure’s base into an L-

shaped block for high-end retail and a freestanding corner boutique for Cartier.

From the cobbled pedestrian way, a glass-enclosed elevator leads directly up to Xel-

Ha. The elevator opens onto the 3,746-square-foot salon, a single factory like space

divided into an open haircutting zone, to the left, and a secluded spa zone, to the right.

For privacy and tranquility, the spa required a warren of treatment rooms behind full

walls and doors. While hairstyling and spa areas needed clear separation, Aoki tied

them together with a uniform material palette of dark brown surfaces, contrasting

markedly with the ethereal white ceiling.

64
Fig 5- Floor plan of Xel-ha saloon

Source-Building type study, architectural record

65
3.6. NIKE GODDESS FASHION HOUSE

Location: Newport Beach, California

Gross square footage: 5,000 sq. ft.

Owner: Nike, Inc.

Design Architect: Callison Architecture, Seattle, Washington

Retailer's Design Team: Nike Brand Design Beaverton, Oregon

This mall-based store is designed to strengthen Nike's relationship with female

customers by featuring their footwear, apparel, and equipment. With its emphasis on a

comfortable, modern environment with a residential appeal, the design presents a

lifestyle rather than the sports imagery themes found in other Nike stores.

The artful interpretation of the brand is revealed in materials, colors, images, textures,

and lighting in the store's environment. NIKEgoddess derives its design inspiration

from the modernist style of architects such as Richard Neutra and Albert Frey. The

open spaces and use of organic materials in their work were especially influential to

the design team. The architecture of the store creates an atmosphere of comfort

modernism in which to showcase the women's line. The space conveys the feeling of

a home, rather than a commercial landscape, with residential fixtures and furniture by

notable designers such as Charles and Ray Eames, Eero Saarinen, and Isamu

Noguchi.

Maintaining a holistic approach, store design and merchandising were developed

simultaneously, creating a harmonious relationship between product and environment.

A runway in the center of the store, made of varying shades of blue mosaic glass tiles,

provides a distinct entry and product presentation focus while reinforcing the store's

two distinctive halves. On one side is a "boutique" which showcases products in a

66
vignette style, using the display to tell the story about the product; while on the other

side the "warehouse" provides density with a higher capacity fixture type. The color

palette is neutral, using dark and light woods mixed with pale blues to provide a rich

and warm yet subtle background for the clothing.

Plate3.6.1- Exterior view of NIKEgoddess

Source-Building type study, architectural record

Plate 3.6.2- view showing clothes display area

Source-Building type study, architectural record

67
Plate 3.6.3-view showing fashion accessories display area

Source-Building type study, architectural record

Plate 3.6.4-Top view showing pictorial plan

Source-Building type study, architectural record

68
Fig 6- Concept diagram

Source-Building type study, architectural record

69
3.7. MIX: (MODERN CLOTHES)

Formal name of Project: Mix: (modern clothes)

Location: Houston Texas Albert Marichal Studio

Gross square footage: 3,000 sq. ft.

Owner: Evelyn Gorman

Architect: Albert Marichal Studio 315 West 39th Street Suite

New York, New York

This progressive boutique of feminine fashion encourages patrons to mix styles,

collections, fashions, and cultures. It is a fashion gallery of sensual minimalism. The

design employs techniques of cutting raw buildings to reveal the art and science of

common construction practices in the United States. Construction details are not

covered-up, but are articulated in a character following Kenneth Frampton's theories

of tectonics and critical regionalism. Materials are left to age in their natural state and

invite both natural light and users to touch their changing depth of color and texture.

This architectural vocabulary is easily understood and speaks a language of

authenticity.

The gallery-like spaces serve as a backdrop for the presentation of and

experimentation with fashionable collections. Each of two major galleries displays

collections of select designers. The east gallery, lit naturally, becomes a large display

window when seen from the street, while the west gallery, with more focused

artificial light, displays collections in a more enclosed setting.

Spaces in which to "mix" collections are between the tectonic walls of the galleries;

"mix" spaces include three large changing rooms and a "mix gallery" reserved for the

70
display of collection combinations as well as the work of local artists. The changing

rooms are entered through thick walls and heavy, blue velvet curtains. A generous

lounge area near the changing rooms allows customers to model their selections to

others on either side of the curtain. Materials are cut to reveal their sectional

characteristics. The existing structure has layers of history that reveal different times

and programs.

Fig 7- Showing the plan of Mix

Source-Building type study, architectural record

71
Fig 8-View showing perspective of display area

Source-Building type study, architectural record

Plate 3.7.1-View showing clothes display area

Source-Building type study, architectural record

72
Plate 3.7.2-View showing secluded display area

Source-Building type study, architectural record

Plate 3.7.3-View showing lounge

Source-Building type study, architectural record

73
CHAPTER FOUR

SITE LOCATION AND

ANALYSIS

74
 SITE LOCATION AND ANALYSIS

SITE LOCATION

Source-Author

Nigeria lies within the part of the world described as the tropics. This region lies

between latitude 23o27 north to 32027 south of the earth’s surface. Within this area the

sun is perpendicular at noon on at least one day of each year. For all the points in this

region. The sun is almost vertically overhead during the entire year. The peculiar

characteristics of the tropics include high amounts of sunshine, high amount of

rainfall, high humidity levels, almost uniform weather throughout the year and high

temperatures. Architectural design in the tropics must take into consideration the

peculiar climatic features of

Fig 9- Map of Nigeria showing the study area: Enugu

Source- World atlas, University press plc, 2001.

4.1 GENERAL OVERVIEW OF ENUGU

Enugu otherwise known as the Coal City is southeast of Nigeria. It is the capital of

Enugu State which was created on August 27, 1991. Enugu is located between the

6°30′N 7°30′E of the earth surface.

Enugu has good soil and climate, sitting at about 223 meters (730 ft) above sea level,

and the soil is well drained. It lies in the part of the world described as tropics. Lying

at the southeastern foot of the Udi Hills, Enugu is a major coal-mining and trading

center. Manufactures include steel, Tile, pottery, asbestos, cement, petroleum

products, pharmaceuticals, and machinery.

75
The word "Enugu" means "the top of the hill". The first European settlers arrived in

the area in 1909, led by a British mining engineer, Kikson. In his quest for silver, he

discovered coal in the Udi Ridge. Colonial Governor of Nigeria Federick Lugard took

keen interest in the discovery, and by 1914 the first shipment of coal was made to

Britain. As mining activities increased in the area, a permanent cosmopolitan

settlement emerged, supported by a railway system. Enugu acquired township status

in 1917, and became strategic to British interests. Foreign businesses began to move

into Enugu, the most notable of which were John Holt, Kingsway Stores, British Bank

of West Africa and United Africa Company.

From Enugu, the British administration was able to spread their influence over the

Southern Province of Nigeria. The colonial past of Enugu is today evidenced by the

Georgian building types and meandering narrow roads within the residential area

originally reserved for the whites, an area which is today called the Government

Reserved Area (GRA).

Enugu is the site of the Institute of Management and Technology, the Enugu State

University of Science and

Technology and the University of Nigeria, Enugu Campus. The present city was

founded in 1909 after coal deposits were discovered near the Igbo town of Enugu

Ngwo. Enugu became an administrative center after the railroad to Port Harcourt was

completed in 1912. It was a capital of the secessionist state of Biafra (1967-70).

Population (2006 estimate) 5, 590, 513.

WILKIPEDIA FREE ENCYCLOPEDIA

76
4.1.1 The Economy

Enugu became a major center for the mining of the coal discovered by Albert Ernest

Kitson in the Udi plateau. The Nigerian Coal Corporation has been based in Enugu

since its creation in 1950. The Biafran war brought widespread devastation that forced

a decline in coal production from damage or destruction of equipment. As of 2007,

although coal mining is no longer the major source of income, very small quantities

are transported south by rail to Port Harcourt for export.

The city's economy has diversified in recent years and is largely dominated by

Education, trading, commerce, and small-scale industry.

Many of the people of Enugu sell goods at roadside or in one of many of Enugu's

open markets. Some of the more popular markets in Enugu are Ogbette Market,

Artisan Market, and New Market. The markets sell local foods, produce, clothing, and

fabrics, as well as handmade crafts and jewelry.

4.1.2 Transport

Enugu has a fair network of roads, and due to the advent of the new civilian

Government, the roads are currently being expanded or rehabilitated. The road

network comprises Federal roads which connect Enugu to other States of the country,

and State roads which connect the various Local Government Headquarters in the

State.

Enugu is located on the main narrow-gauge railway line from Port Harcourt. The

main airport in the state is the Akanu Ibiam International Airport. The mainstay of

transportation is by taxi cab buses and recently by okada, which are motorcycles.

77
4.1.3 Energy

Electricity supply is relatively stable in Enugu. The Oji River Power Station (which

used to supply electricity to all of Eastern Nigeria) is located in Enugu State. With the

deregulation of electricity generation in Nigeria, and the proposed privatization of the

National Electric Power Authority (NEPA), the State Government would assist

private investors to negotiate the take over and reactivation of the Oji Power Station.

This is more so with the proximity of the Enugu coalmines to the power station, a

driving distance of about 20 minutes.

4.1.4 Water Supply

Water WaterBoard supplies water momentarily to the people. This helps solve the

problem of water scarcity in the city and water is also sold by private individuals who

own tankers and sell water to the people. Some others dig bore holes There are also

streams and rivers all around Enugu to supply water to the people

4.1.5 Postal Services And Telecommunications

The Mail delivery service is efficient and its dominated by such global players as UPS

and DHL, in addition to the Government-owned Nigerian Postal Services (NIPOST)

and other private local mail delivery companies.

Telephone services are provided by the Nigerian Telecommunications PLC (NITEL),

and with the deregulation of the telecommunications sector, new telecommunications

providers now have facilities and operations in Enugu State. Internet services and

access are also available.

78
4.1.6 Banks And Other Financial Institutions

The Central bank of Nigeria has a regional Office in Enugu. The 25 consolidated

banks in Nigeria all have at least one branch in the State, with many of their regional

offices sited in the capital city. Since the onset of democracy in 1999 and the

attendant private sector-led economic expansion, the number of bank branches has

rapidly grown from five or so to well over 50 and still rising. There is also a good

representation of insurance companies and other financial institutions in Enugu.

4.1.7 Educational Facilities

Each of the communities in Enugu State have at least one primary school and one

secondary school, funded and run by Government. There is also a large number of

private nursery, primary and secondary schools in Enugu State. Presently, there are

about 1743 nursery/primary schools with a total of about 881,102 pupils and 421

secondary schools, with a total of about 232,294 students in Enugu.

Nigeria's first indigenous university, University of Nigeria Nsukka (UNN) is located

in Enugu State. The State also hosts the Enugu State University of Science and

Technology (ESUT), Institute of Management and Technology (IMT), Enugu, Enugu

State College of Education Technical, Enugu, Caritas University, Amorji-Nike,

Renaissance University, Ugbawka, Our Saviour’s Institute of Science and

Technology, Enugu, and the Federal College of Education, Eha-Amufu. There are

also a host of private computer schools and training centres concentrated in Enugu

and Nsukka.The result of this massive investment in education is a well-educated and

affordable labour force. The new government in Enugu State is also planning to

consciously encourage vocational and technical education at the intermediate level

79
between secondary and tertiary levels of education. There is also deliberated policy

for the promotion of computer education at the early stages of formal education.

4.1.8 Medical Facilities

The University of Nigeria Teaching Hospital (UNTH), one of the foremost teaching

hospitals in Nigeria, is located in Enugu. So also is the state-of-the-art Enugu State

University Teaching Hospital and College of Medicine at Park lane, GRA, Enugu. In

addition to numerous private hospitals and clinics in the State, there are seven (7)

District Hospitals at Enugu Urban, Udi, Agbani, Awgu, Ikem, Enugu-Ezike, and

Nsukka and at least one health center or cottage hospital in every one of the seventeen

(17) Local Government Areas and thirty nine (39) Development Centres in the State.

4.1.9 Radio and Television

Radio and television (TV) services are deregulated in Nigeria. Thus, in addition to

local stations, broadcast from interaction satellite and cable TV/radio stations are

received in Enugu, and indeed all over Nigeria.

4.1.10 Communication

The General Post Office has a number of branches within the city. Courier service is

provided by a number of firms, which handle cargo, letters and documents bound for

all over the federation and overseas. Enugu also enjoys direct dial telephone service to

all parts of the country with public telephone booths provided by NITEL and

distributed within the city. These NITEL telephone services however seem to have

been neglected since the arrival of GSM services in the state, although the public

phone booths are only located at the NITEL office.

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4.1.11 Tourism

Enugu is noted for its famous Mmanwu festival, an internationally recognized annual

event which features over 2,000 masquerades from different parts of the State and

beyond.

Enugu State also has many places of cultural interest to tourists. The State's cultural

heritage is preserved through museums, shrines, sacred squares, streams, and art

galleries with collections of art works ranging from paintings, sculpture, ceramics,

pottery, and other interesting works of art.

Other places of interest include parks, and the chain of hills running through

Abakaliki, the city of Enugu, Awgu, and Nsukka, creating one of the most beautiful

landscapes in the African continent. More than 150 standard hotels, guest houses, and

restaurants are located in various parts of the State. The Nike Lake Resort and Hotel is

one of the latest ultramodern hotels located in Enugu, the State's political capital.

4.1.12 The People

With a population of about 5,590,513 million people (census 2006), Enugu State has a

population density two and half times the national average. Enugu, the capital city, is

a home to the Igbo speaking people of South Eastern Nigeria, widely known for their

hospitality, industry, entrepreneurship and resourcefulness.

Economically, the State is predominantly rural and agrarian, with a substantial

proportion of its working population engaged in farming, although trading (18.8%)

and services (12.9%) are also important. In the urban areas trading is the dominant

occupation, followed by services, mostly public services though the private sector is

81
presently receiving tremendous impetus. A small proportion of the population is also

engaged in manufacturing activities, with the most pronounced among them located in

Enugu, Oji, Ohebedim and Nsukka.

4.1.13 Culture

The people of Enugu State are ethnically Igbos, and are very resourceful and

hardworking. The people excel in such cultural industries as metal works, cloth-

weaving, wood carving, ceramics, basketry, and mat weaving. There are many

cultural features common to various parts of the State.

Festivals occupy a significant place in the people's culture. The birth of a child is

graced with an outing ceremony and death even with its sorrows, is marked with

drumming and dancing.

Masquerades are feature prominently in the State. Masquerades are known by

different names: Odo, Omaba and Mmanwu - names which are peculiar to each of the

cultural zones. The Mmanwu festival, held annually has thus become one of the

greatest tourist attractions in Enugu State. It features about 2,000 masquerades from

various parts of the country.

The new yam festival which is common to eleven parts of the State and known by

various aliases such as Joku, Ihe Koku or Njoku, marks the end of the farming season.

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4.1.14 Population

Projected population of Enugu 2000 - 2008

Year Population Year Population

2000 2,751,192 2005 3,193,735

2001 2,836,598 2006 3,289,866

2002 2,923,568 2007 3,389,220

2003 3,012,091 2008 3,501,064

2004 3,102,151

Table 4.1

Source: national population commission, Enugu

4.1.15 The Political System

Government in Enugu State occurs at two levels: the State Government and the Local

Governments. Overall authority is exercised by the Executive Governor, elected by

popular mandate. Political authority is exercised under a presidential system of

government. There is also a popularly elected legislature, the Enugu State House of

Assembly.

Political affairs in Enugu State are conducted in an atmosphere of political freedom

and respect for human rights. A nation-wide multi-party system with State Chapters

governs party politics in the State, as well as in the other 35 States of the Federal

Republic of Nigeria.

The current civilian Governor of Enugu State is Sullivan Chime. He was the former

Commissioner of Justice in Enugu state under the Administration of His excellency,

Dr. Chimaroke Nnamani.

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4.1.16 Topography and Geology

Enugu is situated on the western edge of the Cross River plain and is dominated by

the Enugu escarpment just west of the town. For the first 499 – 500 ft. the escarpment

is steep, but it then rises more gently to about 1400ft, above sea level and about 600ft

above Enugu. Further west, several large but low hills attain an elevation of nearly

1700ft. the escarpment is much intended by deep valleys which have been cut by the

headwaters of Ekulu, Nyaba and atafo streams. Near the sources of some tributaries

intense gulling has taken place and is still in progress. This has led to the choking of

the larger streams with coarse sand up to ten or more miles beyond the points where

they debouch on the plains.

The plain on which Enugu stands is underlain by the Enugu Shales. The lower coal

measures outcrop on the lower and middle slopes of the escarpment, while the less

resistant false bedded sandstones form the gentle upper slopes and crest.

4.1.17 Solid waste management

Environmental and Waste Management Authorities in Owerri maintain a good job of

collection, transportation, processing and final disposal of solid wastes generated

within the area

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4.2 PHYSICAL CHARACTERISTICS OF ENUGU

4.2.1 Climatic Conditions

Fig 11-Map of Nigeria showing the two climatic zones

Enugu is in the hot humid zone 0.8 o north and south of equator. There are two

seasons, namely, the dry season and

the rainy season. The rainy season lasts from April to October; and is brought about

by the prevailing moisture laden southwest winds that blow from the Atlantic. On the

other hand, the dry season is as a result of the North-East Trade Winds. This wind

brought with it dust from the Sahara Desert and is by nature dry. This season lasts

from November to March. However, the demarcation between the seasons is not as

sharp as in the above that is to say that the seasons do not change so dramatically.

85
4.2.2 Sky Conditions

The condition of the sky depends mostly on the season. During the rainy season, the

sky is normally cloudy, hazy and overcast. While during the dry season, the sky is

most of the times, light and covered with white cumulus clouds. Early in the morning

fogs may appear limiting visibility to as low as 100m, this is as a result of the dust in

the wind.

4.2.3 Temperature

Mean temperature values for Enugu State

Temperature ‘C

Daily annual max. mean 29.3 - 32.6

Daily annual min. mean 21.8 - 23.8

Mean annual temperature 25.5

Table 4.2

Source- Department of Meteorological Services, Ibadan

86
. (0C)

Fig 12-Mean monthly temperatures of Enugu State

(Source- Department of Meteorological Services, Ibadan)

Enugu has a high temperature. The annual mean monthly temperature ranges from

27.43 oC to 31.80 oC (81.37 oF to 89.24 oF), within the period 1975 and 1985. The

comfort conditions, as regards temperature, are 21oC to 26.67 oC (70 oF to 80oF) in the

hot humid zones. Therefore for greater part of the year the temperature is above the

comfort zones.

87
4.2.4 Rainfall

Fig 13-Map of Nigeria showing rainfall distribution in Nigeria

Enugu being in the hot humid zone experiences heavy down pour. The annual mean

monthly rainfall ranges from 4.83mm to 317mm. Though January and December

record very low rainfall, there is no month without rainfall. The peak of rainfall

alternates between July and September, in August there is a little break in rainfall,

which is normally referred to as August break.

88
 (mm)

Fig 14-Mean monthly rainfall for Enugu State

Source-Department of Meteorological Services, Ibadan

4.2.5 Humidity

Mean Relative humidity values for Enugu State

Relative Humidity %

Max. annual mean relative humidity 85.3 - 95.4

Min. annual mean relative humidity 52.8 - 77.6

Mean annual relative humidity 77.5

Table 4.3

Source- Department of Meteorological Services, Ibadan

89
Fig 15-Mean monthly relative humidity for Enugu State

The relative humidity is high throughout the year. The mean monthly relative

humidity ranges from 59.97 to 94.23, measured within the period 1975 to 1985.

Consequently, the climate could be uncomfortable because body heat loss is low.

4.2.6 Climatic controls (architecturally)

In a hot humid zone area like Enugu, a comfort condition is achieved in buildings

through proper control of air movements and solar radiation.

90
With proper air movement the body will loose its heat faster to the surrounding air.

While proper control of the solar radiation will ensure that our houses do not get too

heated up.

4.2.7 Orientation of Building

The prevailing wind in Enugu is southwest and northeast trade winds. Therefore,

orienting building in east-west direction will not allow good airflow through it. The

wind will be heating the building at angle 45o, forcing a part of it to go parallel to the

building, while the rest will go through the building. The east or west end of the

building (depending on the direction of the wind) will be without air movement.

The volume of air movement through the building depends upon the force with which

the wind hits the building. If the force (speed) is high, a greater part of the wind will

be deflected parallel to the building, leaving the interior with a minimal air

movement.

Also the part finally finds its way into the building might due to its great speed

continue to move parallel to the building coming out from other windows or the same

wide through which it entered the building. This is generally noticed in building with

double loaded corridor.

Orienting building at 45o to the horizontal, will allow the two prevailing winds in

Enugu pass through them undisturbed. Its being undisturbed means that it will be

moving with its normal speed. (which may be high or low). If the speed is high

it may not be good for people and as well will pass without proper circulation in the

building. However, if the speed is low and acceptable it will be the best orientation for

ventilation purposes.

91
All the same the solar radiation incident on the building will be too much and as such

not a good orientation in the tropics.

The third orientation possibility is at 22o30’ to the horizontal. At this position the

wind speed is lowered causing it to circulate more evenly of sun radiation is lowered

to a manageable quantity.

This quantity of solar energy allowed into the buildings help in deodorizing the

building interiors. It heads up the air inside the building interiors. Which is then

displaced by cooler air from outside – this is most obtainable is the morning hours.

4.2.8 Winds

The two prevailing winds in Enugu are the North East Trade winds and the South

West Monsoon Winds. The North East Trade Winds blows from the Sahara in

Northern Africa, and is characterized by the dryness it causes during the dry season.

The North East Trade Winds brings also with it a great deal of dust and the harmattan

phenomenon. On the other hand, the South West Monsoon Winds blows from the

Atlantic Ocean, and is characterized by the wetness it causes during the rainy season.

These two winds alternate twice every year.

92
 (mm)

Fig 16-Mean wind force in Enugu State

Source-Department of Meteorological Services, Ibadan

4.2.9 Ventilation

Enugu being in the hot humid zone requires relatively high air movement always, for

better ventilation in buildings. Therefore to encourage constant air movement in

buildings, provision for through-air (cross ventilation) should be made.

Moreover, the courtyards should not always be closed in all directions; since trapped

air may create negative pressure, which will not allow through-air in the buildings.

There are some measures, which will be taken to avoid air passing through the

buildings without proper circulation. They are:-

93
 1. The sizes of windows forming the cross-ventilation should not be equal. The

windows should not be positioned directly to each other.

2. The height of windows could be varied

Stack-effect (i.e. using normal windows with high level windows) could be used to

ensure that about (12 – 14) air changes per hour is achieved. This high rate of air

change is required because of the average health conditions of the would be inmates

of the facility. It is a known fact that their health is not comparable to those of normal

human beings; as a result requires constant air changes.

4.2.10 Solar control measures

The location of Enugu being within the tropics suggests that a lot of solar control

measures should be applied in order to reduce to minimum, the amount of solar

radiation reaching the buildings interiors.

Among these control measures are:-

 Provision of long projecting eaves and verandah (in case of two storey

buildings), which will cast shadow on the walls.

 Planting of trees, mostly in the east and west sides of the building, to cast

shadow on the buildings. This deep planting will create an envelop of cool

air around the building. It will as well induce air movement around the

buildings. Also it will absorb reflected sunrays from

 Ground or paved surroundings which otherwise would that open outwards

would have reached the buildings.

 The reversible windows that open outwards will help in reflecting,

deflecting, and absorbing some amount of the sun rays that would have

94
 entered the buildings. Reversible window could be adjusted to achieve the

following:-

1. Get an angle that can reflect a greater proportion of the incident

rays.

2. To improve the illumination of the interiors wit daylight.

3. To improve/control air movement in the around buildings.

The ceiling should be provided with vents so that there will be constant air movement

within. Thus driving away heat penetrating rapture could be maintained in the

comfortable region.

Other sun shading device, such as vertical and horizontal fines, metal sunblind etc.,

could be used. However, in choosing the type of element to use, the architecture of the

center must be considered.

4.2.11 Soil types

The Nigerian soil map polishing in 1967, divides Nigeria into four major soil zones

namely:

 The zone of alluvial soil

 The south forest soils

 The northern zone of sand soils

 The interior zone of laterite soil

Enugu falls into the category of the interior zone of laterite soil. The soil here is well

drained and capable of withstanding intensive development.

95
4.3 SITE ANALYSIS

Fig 17-Ariel view showing proposed site with dimensions

The aim of analyzing the site is to determine its nature with respect to its physical

features; the surrounding geographical and climatic features; and the availability of

infrastructure within the site and its surrounding neighbourhoods. The information

gathered from this study will influence the decisions that will guide the design of the

trade fair and exhibition complex either as a conditional response to the site

conditions or as a response aimed at modifying the conditions on the site.

96
4.3.1 Site Description

The site for the proposed fashion Exhibition center is the former Enugu trade fair

complex site and it’s located near the Polo Park, Government Technical College and

G.R.A i.e. Government reserved area (residential).

The site is fenced round and bare with a few temporary structures here and there and a

Pavilion known as the American Pavilion somewhere near the center of the site.

Access to the site is off Okpara Avenue and Abakiliki road which is at the

Northwest end of the site. The site is recessed a distance of about 15m from the road

to prevent obstruction of the fast flowing traffic along the road.

Plate 4.1-Site showing recess of the site from the road and fencing

Source-Author

97
Developments and construction work carried out on the site include:

 The American Pavilion formerly used for the trade fair exhibitions.

 Make shift structures from the last trade fair exhibition

 A security house

 Public toilets

 Roads and large tarred areas where pavilions were setup during fairs

 There are also a couple of containers left on the site by the contractor that

handled the developments on the site.

4.4 CRITERIA FOR SITE SELECTION

The selection of a site for any purpose should be guided by a set of parameters which

all aim at ensuring that the features of the site are appropriate for its intended usage.

These parameters include location, size, proximity to activity zone; accessibility to

potential users; availability of infrastructure and support facilities, environmental

impact of the development, and the Zoning Ordinance (i.e. Land Use). The selected

site for the Fashion Exhibition Center should fulfil the following criteria:

4.4.1 Location and Proximity to Activity Zone

The project will thrive better in a city centre because city centre locations keep the

centre within the city’s hub of activity bringing in many more visitors.

City centres that are not centrally located have the following advantages:

1. They provide greater choice, and easier acquisition of land at a lower cost,

2. Less traffic congestion,

3. Less disturbance from traffic and city centre noise atmosphere generally

4. The area will be more devoid of all the commotion and hazards of the city

centre,

98
 5. Lastly, more freedom for landscape and vegetation use which is very

important for such a complex.

Fig 4.2-The site showing the existing American pavilion

Source-Author

Studies have revealed that the disadvantages and costs of the use of the city centre

locations greatly outweigh those of less centrally placed sites.

However, it should be located near to major population centres, shopping districts,

educational and cultural institutions etc. because if the complex is near enough to

these places, some people will come in even with little or no time to spare in search of

creative visual entertainment which may need to a decision to patronize the complex

then, or at some other time.

99
More so, the proximity of the complex to its local surrounding populace will

determine the level to which it is used for other purposes especially the Runway

auditorium which could serve as a multipurpose hall and could be rented or hired for

receptions, banquets, congresses and other meetings.

4.4.2 Access

An accessible site in the first instance will ensure the relevance and financial

feasibility of the Fashion and exhibition complex. If it is not within the easy and

reasonable reach of those who will visit the Spas, Salons, boutiques and exhibitions;

attendance to such events will be low and the complex will be patronised by very few

Fashion lovers.

The complex should also be accessible from all parts of the city by public

transportation if possible. Terminals for buses, coaches and trains may be provided

within the site or nearby with direct, covered access provided. Maximum patronage of

the facility can be ensured by making sure that the site of the Fashion exhibition

complexs’ public transport terminals are within easy access by road from various

parts of the State at different times of the day.

A good road network will ensure this, and it should also be located in close proximity

to the activity zone. The site should also lie along the access routes to this zone. This

also means that the residential neighbourhood is situated around the periphery of the

site, ensuring that gaining access to the centre is without undue difficulty.

100
4.4.3 Size and shape

The size of the site required must be checked after calculation of the space

requirements for a Fashion exhibition centre. However, the site must be able to carry

any future expansion

of the original structures or the construction of new ones as fashion houses may tend

to expand due to the growing number of those interested in fashion.

The site is polygonal in shape, having 12 sides. The longest side of the site measures

269.89m and the shortest side measures 42.85m.

4.4.4 Services

The feasibility of the site as a location for the complex depends heavily upon the

availability or otherwise of certain basic services, facilities and amenities. Electricity,

water, sewage disposal and roads capable of handling high volumes of traffic are all

needed for the efficient delivery of the services of the bus terminal. The need for

electricity cannot be overemphasized as the power requirements for keeping the air-

conditioned environments of exhibition halls and using the vertical and horizontal

circulation installations (lifts, escalators and travellators), presentation display screens

and multimedia systems are quite high. Telecommunication facilities are also required

for the high communication requirements involved in marketing and advertising

events.

Electricity is supplied to the site via the 4 phase PHCN power supply cables. There is

supply of pipe borne water to the site by the Enugu water board. Wireless

Telecommunication services are available from all the major telecommunications

companies and fixed lines are provided by NITEL. It is however

clear that upon the development of the complex extra buses and cabs will have to be

placed on these routes to service the complex, especially during major events.

101
4.4.5 Neighbourhood

The site is bound by the Technical College, the Institute of Management and

Technology and a residential Estate on the Northern and Eastern ends; by the Polo

park on the North-western end across the road and by a Government Reserved area

and a Church on the west corner also across the road.

Plate 4.3-The site showing the Technical College at the northern end

Source-Author

4.5 CLIMATIC CONSIDERATIONS

Micro and Micro Climate

Rainfall, sunshine, cloud cover, temperature and relative humidity

The absence of any large hills, depressions, water bodies, dense vegetation, or large

artificial bodies (buildings) means that the microclimate on the site remains largely

the same as the macro climate.

102
The elements of the climate that are under study are rainfall; temperature and relative

humidity.

4.5.1 Rainfall

The site also receives the heavy rainfall recorded in Enugu for the duration of the

rainy season.

 Design Implications

 Need for proper drainage systems which can handle large volumes of water

quickly

 Vegetation should be introduced around the site to prevent erosion,

 The building structure especially the roof should be strong and firm enough to

avoid damage by strong winds,

 The roof should be such as would ensure effective discharge of rainwater,

 Openings on external walls and the walls themselves should be protected from

driving rains by the use of verandas, eaves, etc.

4.5.2 Sunshine and cloud cover

The site is an open field which does not receive any protection from any neighbouring

structure from the abundant rays of direct solar radiation. The tropical sun is

overhead for most of the day and a lot of solar radiation is received during the day.

The morning hours receive low level sunlight that enters normal vertical windows.

This is useful for lighting and is also healthy and refreshing when mild. The low level

evening setting sun can also penetrate windows but is hot and uncomfortable. There is

usually little or no thick cloud cover to prevent or reduce solar radiation form

reaching the site except during the rainy season.

103
4.5.3 Temperature and Relative Humidity

The site inevitably records the same temperature and humidity characteristics

observed for Enugu. Such high temperature and relative humidity values can create

discomfort in occupants of buildings. While high temperatures cause rapid heat gain

in the human body leading to great discomfort and health risks, high relative humidity

reduces the ability of the human skin to cool itself by perspiration.

 Design implications

The essence of tropical design is to as much as possible; reduce the discomforts

caused by the high temperatures and relative humidity in the region.

 Sufficient trees, grasses and shrubs should be planted to provide shade and

reduce the effect of solar radiation

 Rapid movement of air will be needed to be aided by the use of openings of

adequate size and proper positioning and aid by artificial ventilation means to

keep the bodies of the inhabitants at acceptable temperatures

 Ventilation should be adequate to quicken the removal of pockets of hot air,

removing moist air and avoiding condensation in the interior spaces

 Consideration should be given to the use of thermal insulators to minimize the

application of mechanical cooling aids

 Proper planning and design of fenestration to encourage air movement in the

internal spaces and also encouraging stack effects,

 Introduction of vegetation around the building and reduction of paved areas to

reduce the reflection of solar radiation into the building and areas around the

building

 The building should be orientated in a direction where it does not expose

much of the wall surfaces to direct solar radiation

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  Application of solar protection to openings by the use of eaves, verandas, sun

breakers, plants and similar sun shading devices

 Use of plants to reduce glare and penetration of solar radiation,

 Achieving acceptable thermal comfort levels by use of proper cross ventilation

and mechanical aids,

 Use of reflective and poor heat conducting materials as roof covers, and also

use of low thermal capacity materials in order parts of the building structure.

 Placement of water bodies in and round the building to absorb radiation from

the surroundings and provide a general cooling effect especially when they are

flowing.

4.5.4 Topography and Drainage

The site slopes from a height of 235m above sea level in the Northwest end of the site

to height of 230m above the sea level towards the South end of the site. This slope

spreads over 200m of land. It also slopes from a height of 235m above sea level from

the Northwest end to a height of 232m above sea level towards the Southeast end of

the site. This slope spreads over a distance of 200m of land. From the height of 235m

above sea level in the northwest end, the site maintains a level ground towards the far

North of the site extending over a land of about 100m. This slope is minimal and very

advantageous as a level site is generally preferable for such complexes. However, it is

advisable where there is a slope to try and use it to enhance economy in the

construction of stepped floors and in forming sub-basements.

Drainage on the site naturally is in the direction of the slope to the Southeast and

Southwest ends.

 Design Implications

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  Drainage channels on the site should take advantage of this natural drainage

direction

 As much as possible the buildings on the site should not be laid out such that

they obstruct the natural drainage direction

4.5.5 Soil

The soil on the site is lateritic. This soil type has a good bearing capacity. The soil is

well drained especially since the site does not lie in or along a flood plain. The soil

should therefore be able to support a simple strip foundation and indeed most other

foundation types for low rise or medium height buildings.

4.5.6 Vegetation

The developed 3/4 of the site has been cleared of almost all trees and the ground

covered with tar preventing growth of any plant cover. The other of the site is still

largely untouched and is covered with grasses and shrubs with some trees

scattered sparsely.

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Plate 4.4-Site showing temporary structures and vegetation

Source-Author

 Design Implications

 Heavy machinery will be required for the removal of the trees and their roots,

especially those trees that cannot be retained as part of the elements of the

vegetation of the site

 Where possible, as long as the trees do not constitute a hindrance or

obstruction to the usage of the site, some trees should be retained

 New planting will have to be introduced after the tar has been cleared of the

site to make the site more organic and less heat reflective.

4.5.7 Access

Access to the site is off the Abakiliki/Okpara avenue road. The volume of traffic

along this road is quite high especially during the morning rush hours, during school

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run in the day and at the close of work. The site is recessed a distance of about 10m

from the road to prevent obstruction of the fast flowing traffic along the road. The

Ebaeno tunnel road at the South end of the site links the Abakiliki/Okpara avenue

road to Ogui road thereby creating access for those coming from the Ogui area.

Design implications:

 The setback should be increased to separate traffic on the site from that on the

existing road and ease the interchange from the site traffic to external traffic

 Bus stops should be provided close to the Abakiliki/Okpara avenue road to

enable people using public transportation to have easy access to the site.

4.5.8 Views

From the site, the Technical College, the Institute of

Management and Technology and a residential Estate can be seen towards the

Northern and Eastern ends; the Polo park towards the North-western end across the

road and a Government Reserved area and a Church towards the west corner also

across the road.

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Plate 4.5-The Abakiliki/Okpara avenue dual carriage road

Fig 4.6-View of site showing some tarred area

Source-Author

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CHAPTER FIVE

GENERAL DESIGN PRINCIPLES

AND CONSIDERATION

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5.1 FUNCTIONAL SPACES IN A FASHION EXHIBITION

CENTER

The major functional spaces required in a Fashion exhibition centre can be divided

into the following broad categories:

5.1.2 Administrative offices,

Research and Design department, which will consists of a fashion research library,

where academic research for fashion is conducted.

A runway auditorium, which serves as a multipurpose hall and could be leased for

various purposes for long periods by the government, groups or persons intending to

have a permanent exhibition of their items for marketing, socio-cultural or

educational purposes.

An Emporia for the exhibition and sale of clothing and fashion accessories.

A cosmetic store, for the sale of fashion cosmetics such as skin care, hair care

products and make-up accessories.

A beauty drug store, for the sale of beauty solutions and treatments.

A photo shop, with photographers who handle the coverage of the fashion events and

take snap shots of the fashion models and are available daily for fashion shoppers and

lovers who come to shop.

Modeling agencies, consisting of administrative offices and training centers with

practice rooms for modeling agencies

Designers’ outfits for big designers and franchise like Ade Bakare, Dacova owned by

Data Edna Okorodudu, House of Tara owned by Tara Durotoye and others who own

big fashion shops in the country. These outfits will consists of reception and customer

service, sales and exhibition, designers’ office, tailoring shops and stores.

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Image, makeup and costume consultancy center, for experts in image consulting,

makeup and fashion consulting.

A fashion design training centre, containing facilities for training students on

fashion design and tailoring, jewelry making, production of accessories, leather

works, e.t.c.

A spa, with a massage body palour, body facial and skin treatment facilities which

will contain offices for physiologists, dermatologists and hair specialists.

A fitness center, with a gym and provision for indoor sports as well as units for

physical training consultancy

Salons and hair treatment center, with barbershops, salons for hair making and

styling, and hair treatment

Fashion accessory Boutiques, to be rented out to franchises and companies for the

exhibition and sale of fashion accessories

Shops to let, for trading in any fashion related items. Preferably arranged to line

connecting corridors between major spaces in the complex.

Restaurants catering units to provide food, beverage, snacks and drinks for the

complex staff, customers and visitors. There should be clusters of both fixed and

mobile units distributed around the complex. They should cater for individuals

seeking a leisurely time as well as those just seeking a meal after work or while

having a treatment at the centre. The trend is to have restaurants serving ‘diet’ meals.

Restrooms and conveniences for staff and visitors to the complex. There should be

public toilets around the complex circulation areas and self-contained toilets within

some of the facilities.

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5.1.3 Administrative unit

Administrative offices for business management of the complex

Administrative offices for management of the maintenance services in the complex

5.1.4 Support facilities

Catering units to provide food, beverage, snacks and drinks for the complex staff,

exhibitors, guests, and visitors. There should be clusters of both fixed and mobile

units distributed around the complex

Cyber cafes for internet service provision

Media centre to provide media (television, radio and print) coverage of the fashion

events at the centre and aid in marketing the centre and its activities.

Day care centre for the children of customers and visitors who are receiving services

at the centre

5.1.5 Service facilities

Warehousing units should provide bulk storage for the different facilities in the

complex.

Parking facilities for staff, exhibitors and organisers, exhibitors’ cargo, visitors,

VIPs, and visitors.

Security unit for the provision of round-the-clock security services in the complex. It

should also be equipped with public address unit, lost but found section, missing

persons, police units and traffic and parking attendants units.

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5.2 GENERAL DESIGN PRINCIPLES AND REQUIREMENTS

5.2.1 Design of the runway auditorium

The distinction between a purpose designed hall and a theatre or concert hall that may

be used occasionally for conferences and congresses, are often blurred. Many

conference halls provide facilities which allow them to be used for other purposes

often including a stage equipped for drama and musical productions. This is likely to

be the case in a fashion runway auditorium where the auditorium is for fashion

exhibitions as well as a multi-purpose center which can cater for several needs, thus

fostering a wide range of artistic talent as well as cultural interest with increasing

consciousness of the benefits which conference business can bring to a locality, the

“combined” facility will be expected to serve for meetings and their associated social

event. (Fred Lawson, ‘Conference, Convention and Exhibition Facilities)

Plate 5.1- View showing Runway

Source-Google Images

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The maximum distance from the effective center of the stage to the furthest seat in the

auditorium has visual and acoustic limits. It varies according to the kind of activity

and differs for congress, concerts, etc. These are the two most important factors in

auditorium design. Though the desired capacity and the specific function of the hall

goes a long way in the final outcome of the hall, to make an auditorium hall

functional, a balance must be stuck in the acoustics and views of the focus of stage

from every point in the hall. This factors more than others determine the design and

planning of the auditorium.

5.2.2 Sightlines

The focus of an auditorium is always the stage. Whether it is located centrally or at an

end. To achieve a good runway auditorium design, each seated person must have a

clear view of the runway, projection screen and other visual aids, which may be the

focus. The design of the space to ensure it functions involves the adjustment of a

number of variables but not all of them are within the designer’s power to control.

The usually accepted maximum is 20m from the geometrical center. An open stage or

from the setting line of a proscenium stage, for lectures, music etc, in which facial

expression are less important, the distance can be increased up to 30m. In designing

auditoriums, there is a variable, which is beyond the designer that is man. The

variable within the influences of regulation of the designer has to do with the design

of the sitting layout.

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5.2.3 Anthropometrics

In the past dimensions were based on the human body, and man’s daily activities.

Architectural design remains largely about man and his spatial needs. The key

dimensions upon which sightlines calculations depend are the height of the eye above

the ground in a sitting position and the height of the tope of the head above the eyes.

Through mathematical calculations, dimensions that lie within certain limit can be

determined for a particular set of people. Considering the fact

that the facility would be available for users from every way in the world, limits

within approved international standard would be used.

5.2.4 Seat Spacing and Chair Design

The designer’s target is to provide comfort and ease of circulation. In all design,

because of the likely multi-purpose use of the runway auditorium, compromises

would have to be made within the standards set by regulatory bodies. For instance the

chairs should be comfortable for the user to look up in cases where a projector screen

is in use during presentation sessions, or it’s being used for a cinema; and when the

user looks down at the focus on stage. The choice of furniture here, aids clear view.

5.3 SPAS

A body treatment, spa treatment, or cosmetic treatment is non-medical procedure to

help the health of the body. It is often performed at a resort, destination spa, day spa,

beauty salon or school.

Typical treatments include:

 facials — facial cleansing with a variety of products

 massage

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 waxing — the removal of body hair with hot wax

 Body wraps - wrapping the body in hot linens, plastic sheets and blankets,

often in combination with herbal compounds.

 aromatherapy

 skin exfoliation — including chemical peels and microdermabrasion

 nail care such as manicures and pedicures

 bathing or soaking in any of the following:

 hot spring

 Onsen (Japanese Hot Springs)

 Thermae (Roman Hot Springs)

 hot tub

 mud bath

 peat pulp bath

 sauna

 steam bath

 nutrition and weight guidance

 personal training

 yoga and meditation

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5.3.1 A day spa

A day spa is a business establishment which people visit for professionally

administered personal care treatments such as massages and facials. It is similar to a

beauty salon in that it is only visited for the duration of the treatment. In contrast, a

destination spa offers the same services in a hotel setting where people reside for one

or more days.

Medical spa

A medical spa or med spa is a day spa that operates under the supervision of a

licensed health care professional, such as a medical doctor. Medical spas may offer

additional treatments that can only be administered by licensed medical practitioners.

Additional treatments offered depend upon the scope of practice of the licensed

practitioner and may include:

Medical spas offer medical treatments such as botox, restylane, acupuncture, laser

hair removal and other laser and intense pulsed light procedures, medical

microdermabrasions, chemical peels and other procedures that require a nurse and/or

licensed acupuncturist and doctor on staff. While the treatments are relaxing for the

most part, the goal of each treatment is more clinical addressing such concerns as

sunspots, permanent hair removal, wrinkles and scars. Many medical spas offer a

combination of the medical and relaxation treatments such as massage, plastic surgery

and dermatology clinics are also offering these types of treatments.

5.4 MASSAGE PARLOR

Massage is the treatment and practice of soft tissue manipulation with physical,

functional, and in some cases psychological purposes and goals. [Online Etymology

Dictionary, massage] The word comes from the French massage "friction of

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kneading," possibly from Arabic massa "to touch, feel, handle" or from Latin massa

"mass, dough". [Merriam Webster Dictionary Online, massage][Calvert, R. (2002-04-

01). "The History of Massage: An Illustrated Survey from Around the World".

Healing Arts Press.] (In distinction the ancient Greek word for massage itself was

anatripsis ["Massage Therapy as CAM". The National Center for Complementary and

Alternative Medicine (NCCAM) and the Latin was frictio.) An older etymology may

even have been the Hebrew me-sakj "to anoint with oil."

Massage involves acting on and manipulating the client's body with pressure

(structured, unstructured, stationary, and/or moving), tension, motion, or vibration

done manually or with mechanical aids. Target tissues may include muscles, tendons,

ligaments, skin, joints, or other connective tissue, as well as lymphatic vessels, and/or

organs of the gastrointestinal system. Massage can be applied with the hands, fingers,

elbows, forearm, and feet. There are over eighty different massage modalities. (The

Journal of Alternative and Complementary Medicine (2007). Pp.471-475]. The most

cited reasons for introducing massage have been client demand and perceived clinical

effectiveness. ["Massage Therapy". Harvard Men’s Health Watch pp.6-7]

In professional settings massage involves the client being treated while lying on a

massage table, sitting in a massage chair, or lying on a mat on the floor. The massage

subject may be fully or partly unclothed. Parts of the body may be covered with

towels or sheets.

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5.4.1 Equipment

 Tables and chairs

Plate 5.2-Massage table used in Kerala-style Ayurveda Abhyanga massage.

Plate 5.3-Mechanical massage chairs at VivoCity in Singapore.

Specialized massage tables and chairs are used to position clients during massages. A

typical commercial massage table has an easily cleaned, heavily padded surface, and a

horseshoe-shaped head support that allows the client to breathe easily while lying face

down and can be stationary or portable. An orthopedic pillow or bolster can be used to

correct body positioning. Ergonomic chairs serve a similar function as a massage

table. Chairs may be either stationary or portable models. Massage chairs are easier

for the practitioner to transport than massage tables, and clients do not need to disrobe

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to receive a chair massage. Due to these two factors, chair massage is often performed

in settings such as corporate offices, outdoor festivals, shopping malls, and other

public locations.

5.5 SAUNA

A sauna-is a small room or house designed as a place to experience dry or wet heat

sessions, or an establishment with one or more of these and auxiliary facilities. These

facilities derive from the Finnish sauna. A sauna session can be a social affair in

which the participants disrobe and sit or recline in temperatures of over 80 °C (176

°F). This induces relaxation and promotes sweating.

The oldest known saunas were pits dug in a slope in the ground and primarily used as

dwellings in winter. The sauna featured a fireplace where stones were heated to a high

temperature. Water was thrown over the hot stones to produce steam and to give a

sensation of increased heat. This would raise the apparent temperature so high that

people could take off their clothes.

The Finns also used the sauna as a place to cleanse the mind, rejuvenate and refresh

the spirit, and prepare the dead for burial. The sauna was (and still is) an important

part of daily life, and families bathed together in the home sauna. Indeed, the sauna

was originally meant to be a place of mystical nature where gender/sex differences

did not exist. Because the sauna was often the cleanest structure and had water readily

available, Finnish women also gave birth in the sauna.

Although the culture of sauna nowadays is more or less related to Finnish culture, it's

important to note that the evolution of sauna has happened around the same time both

in Finland and the Baltic countries sharing the same meaning and importance of sauna

in daily life. The same sauna culture is shared in both places still to this day.

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When the Finns migrated to other areas of the globe they brought their sauna designs

and traditions with them, introducing other cultures to the enjoyment and health

benefits of sauna. This led to further evolution of the sauna, including the electric

sauna stove, which was introduced in the 1950s and far infrared saunas, which have

become popular in the last several decades.

Under many circumstances, temperatures approaching and exceeding 100 °C (212 °F)

would be completely intolerable. Saunas overcome this problem by controlling the

humidity. The hottest Finnish saunas have relatively low humidity levels in which

steam is generated by pouring water on the hot stones. This allows air temperatures

that could boil water to be tolerated and even enjoyed for longer periods of time.

Steam baths, such as the hammam, where the humidity approaches 100%, will be set

to a much lower temperature of around 40 °C (104 °F) to compensate. The "wet heat"

would cause scalding if the temperature were set much higher. Finer control over the

temperature experienced can be achieved by choosing a higher level bench for those

wishing a hotter experience or a lower level bench for a more moderate temperature.

A good sauna has a relatively small temperature gradient between the various seating

levels.

Good manners require that the door to a sauna not be kept open so long that it cools

the sauna for those that are already in it. Leaving the door even slightly ajar or

keeping it open for more than a few seconds will significantly cool down the

relatively small amount of hot air inside the sauna.

Social and mixed gender nudity with adults and children of the same family is

common in the conventional sauna. Sometimes the sauna is considered not only a sex-

free, but also almost a gender-free zone. In the dry sauna and on chairs one sometimes

sits on a towel for hygiene and comfort; in the steam bath the towel is left outside.

Some hotel sauna facilities and especially cruise ships and/or ferries have an area

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where refreshments (often alcoholic) are served in conjunction with the sauna/pool

area; draping a towel around the waist is generally required in that part of such

facilities.As an additional facility a sauna may have one or more Jacuzzis.

The lighting in a sauna is shady, and some Finns prefer to sit in the sauna in silence,

relaxing.There are a wide variety of sauna options. Heat sources include wood,

electricity, gas and other more unconventional methods such as solar power. There are

wet saunas, dry saunas, smoke saunas, steam saunas, and those that work with

infrared waves. There are two main types of stoves: continuous heating and heat

storage-type. Continuously heating stoves have a small heat capacity and can be

heated up on a fast on-demand basis, whereas a heat storage stove has a large heat

(stone) capacity and can take much longer to heat.

5.6 BEAUTY SHOPS AND SALONS

A beauty salon or beauty parlor (or sometimes beauty shop) is an establishment

dealing with cosmetic treatments for men and women. There is a distinction between

a beauty salon and a hair salon and although many small businesses do offer both sets

of treatments, beauty Salons are based more around face and body treatments. There

are also specialized salons that are experts in various areas such as Theory for hair -

Artistic Cutting & Color Correction Specialists, Human Hair Extensions, GHD

Styling & In-salon rituals contents.

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5.6.1 Beauty treatments

Massages

Massage for the body is a popular beauty treatment with various techniques offering

benefits to the skin (with beauty products applied) and for mental wellbeing and

relaxation.

Facials and skin treatments

Facial stimulate the skin, relax a client and also energize the face back into condition

after exposure to daily weather.

Furniture required for a facial or skin treatment includes a wheeled bed (or reclining

chair for facials only) and a trolley for the equipment and cosmetics. Space

requirements entail clearance of 1200mm around the bed and space for the trolley and

shelving (if the equipment and applications are stored in the room) and a wash hand

basin.

Beauty salons also offer treatments such as waxing and threading for hair removal.

These are done with the same furniture as a facial treatment.

Manicures and pedicures

Manicure is a treatment for nail care, incorporating the cuticle.

Pedicure is a treatment for the feet, incorporating the toe-nails.

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Pedicures and manicures require only a small trolley and are usually carried out while

the customer is having their hair done. However, although it is rare, provisions should

be made for customers who may come in for just this service. Typical space

requirements will be 1.2m x 1.5m for the customer and the pedicurist or manicurist.

5.6.2 Hairdressing

A hair salon (also called 'Hairdresser' and 'Hair Parlour') is a place where one goes to

get their hair cut, as well as styled, highlighted or coloured.

There are many different types of hair salons that. There are the traditional walk-in

salons where you do not have to make an appointment, rather you just walk in and

wait for the next available hairdresser. Another option is to call a full-service hair

salon and make an appointment with a stylist of your choice. Some hair salons

specialize in certain areas such as coloring, up-dos for formal occasions, cutting or

styling. Which salon one chooses will determine the level of expertise being

performed for the service.

Plate 5.4-Hairdresser washing a woman's hair

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5.6.3 Barbershop

A barber is someone whose occupation is to cut any type of hair, give shaves, and

trim beards. Although many barbers may still deal with facial hair when requested, in

American and Commonwealth culture most barbers specialize in the simple cutting of

men's hair. The place where a barber works is generally called a barbershop, or simply

a "barber's".

A hairdresser is a universal term referring to someone whose occupation is to cut or

style hair in order to change or maintain a person's image. This is achieved using a

combination of hair coloring, haircutting and hair texture techniques.

Some barbers prefer to see themselves as hairdressers or hairstylists. There is a

common misbelief that barbers do not perform any service other than hair cutting and

that cosmetologists perform all coloring and perms. In fact, barbers can cut hair, trim

beards, color, perm, provide facials and shave. They are also licensed to work with

artificial hair replacement products (toupées, etc).

Typical space requirement in a hair salon will include: a reception and customer

service desk for payments and bookings, a display area for beauty and hair care

products, barbers chairs and stands which would naturally be in front of a mirror, with

cupboards or hanging table tops at a height of 900mm. The female hair section will

have the hair styling, and drying section. The washing and treatment section will be

unisex and should be equipped with washbowls with water spray nozzles and shelving

at a height of about 1.5m.

A store will also be required for some of the equipment and beauty products and a

janitor’s closet with changing and cleaning equipment for the constant clearing of the

hair covered floor. There may also be provision for a laundry for the towels and

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aprons used in the salon. Most salons however, give this out for paid dry-cleaning or

washing.

5.6.4 Restaurant and Catering unit

For operational reasons, food service areas, bars and kitchens are usually grouped

together to form service modules which can be largely standardized in basic design.

Separate modules should be provided in each main section of the complex to allow

each area to be used independently. It is advantageous to limit the size of each

restaurant or cafeteria in order to provide better individual service, control and

flexibility and to be able to have these clusters of restaurants spread across the

complex to aid in making the visitors tour of the different fashion houses more

interesting and ease exhibition fatigue.

A restaurant with table service and a la carte menu seating up to 50 will take up an

area of about 100m2 and a self service cafeteria with seating capacity of up to 50 will

occupy about 150m2 excluding counter space. Seat utilization during peak periods

should normally be about twice in the restaurants and three or four times an hour in

the cafeteria.

The numbers of places required will depend on many factors such as the location of

the auditorium, proximity to the other facilities in the complex, the alternative

catering facilities available, the number of visitors or customers coming into the

fashion centre per day and any exceptional peaks such as on closing days at fairs

where there are bonanzas and give-aways. The use of restaurants is most likely to

arise from treatments and shopping visits that take a lot of time, or from the children

or other companions of people who come for treatments, consultancy or any of the

other services at the centre and people who visit the centre in search of leisurely or

recreational activities. In most commercial complexes, 30 to 45m2 of floor area will

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require one restaurant or cafeteria place and in addition 1m2 of bar and lounge space.

Also, snack bar and refreshment services may be provided at the runway auditorium

and other areas in the complex by means of permanent bars or portable counters.

Distribution requirements for food and beverages which need to be taken to the

finishing kitchens in service modules and for the disposal of waste must be planned to

separate them from the visitor circulation. Because of the distances involved, final

preparation of food and dish washing usually need to be decentralized.

5.7 FASHION INTERIORS

Most times, the interior statement of these fashion houses actually creates the space

and makes it what it’s supposed to be.

Because the spaces are not entirely demarcated and defined, the interior design of

these spaces should be one that will separate one function from the other.

The requirements for the interior design of a Fashion or beauty shop are the high and

the demands on architect and interior designers for such complexes remain

continuously challenging.

Customers prefer shops with trendy and attractive setups to complement the items

they have on display.

This is especially true of the high fashion or haute couture culture where the demands

do not stop at the appearance of the person. Their carriage, associations and the places

they visit are a principal part of their haute couture requirements. Hence they demand

that the places the shop for the items that make them different be as haute couture.

The interior of a fashion or beauty center should be an artful interpretation of the

brands they sell or the services they offer and these should be rewarded in the

materials, colors, Images, textures and lighting in the stores environment

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(Archtectural record-NIKEgoddess. The store design and merchandizing should be

developed simultaneously to create a harmonious relationship between the product or

service offered and the environment. The design of the interior should be

representative of the trends and styles in the lites of its present and potential

customers.

Hair salons present a trendy, yet comfortable and homely modern environment.

According to Arc Jun Aoki, designer of the Xel-Ha salon in Tokyo’s high fashion

district, ‘A salon must be a little bit theatrical, plus a little bit cozy.’

A harmonious play of natural and artificial lighting should be used creatively to

artistically light the environment and draw focus to the items on exhibition. While

colored lights beautify and enliven the environment, white light should be provided

for customers to see the true color of the items they are interested in.

Mirrors can be used creatively to both enliven the space, help customers testing

apparels and to make the shop seem longer and bushier (if there is a need for that).

The interiors of spas should be relaxing to support the activities within. It is the trend

in the design of spas to use wood, stone and other natural finishes to go with the green

architectural style that now seems a must for spa shops all over the world, if they are

to be visited by a large number of customers.

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Massage chairs in the central lobby/waiting area enhancing comfortability

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Massage Jaccuzzi

Indoor swimming pool for relaxation

131
Outdoor massage tables

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5.8 DESIGN CONSIDERATIONS

5.8.1 Security

By bringing together groups of people who may represent valuable business interest,

professional expertise, political authority, academic excellence and other sectors of

influence, Security must be provided for every user, for the exhibition and display

equipment and for the premises generally16. The main areas to be considered are:

 Car park and road network, which is overseen by security post.

 Controlled access and circulation in and out of the building.

 Staff entry and exit

 Provision of safe deposit boxes and vaults for the keeping valuable articles,

documents etc.

5.8.2 The Disabled

The category of people classified as disabled are those who have physical

impairments resulting in the inability to walk and as such the confinement to a wheel

chair or other aids. In the design of such a facility, provision must be made for such

people to have easy access into the facility and move round making use of the entire

facility as much as possible like others.

133
Provision would need to be made for ramps as an alternative to stairs where they

occur. Special spaces in the parking lot, which are closer to the main entrance lobby,

should also be reserved for disabled persons who may come in vehicles.

5.8.3 Lighting

Lighting is an integral part of architectural design of buildings. It determines, in a

large part, the utilitarian as well as the aesthetic environment provided by the

designer. Consequently, it calls for most careful planning and the highest skill of the

architect. As will all aspects of architecture, lighting may be analyzed and its relative

importance changed depending upon time, the building’s function and its location

(Ham Roderick, theatres. Planning Guidance for design and adaptation, Butterworth

Architecture, London 1998). The perception of a building space is dependent first and

foremost by how lit the space is. Lighting primarily is seen as letting in light into a

space to aid vision. Because light does more than its primary function of brightening

up a building space for the purpose of clarity in vision, extra care most be given in

lighting design to achieve the desired effect of a space. It is a matter of common

observation that up to a point, the more light that is available, the better we see.

During the day, we tend to place ourselves close to a window to obtain the advantages

of daylight, whilst at night we switch on the electric light, and if a means of control is

available we set this to provide a light level appropriate to our visual needs. Lighting,

as mentioned earlier is used for decorative as well as functional purpose; though the

distinction between these two uses is tending to reduce with emphasis on aesthetics.

The level of luminosity and its pattern are important in setting the ‘mood’ of the

interior and of directing attention to appropriate features. (Conference International.

In Encyclopedia Britannica). If the range of luminosity is small, the scene attraction

134
or focus and appears dull; if in addition the level is low, it will appear gloomy. A

brightly lit interior with uniform lighting provides little emphasis or modeling.

Variations in luminance are used to provide interest and compel attention. The bright

features should be most significance to the users: the darker ones those of less

importance or those from which attention may need to be distracted. As mentioned

earlier, the function of a building will determine the amount of light required.

Different building types and different area of buildings require varying degree of

light, some demand.

5.8.3.1 Day lighting

“I can’t define a space really as a space, unless I have natural light… natural light

gives mood as it enters and modifies space”. (Louis Khan 1969)

Day lighting otherwise known as natural light because its source is the sun. It is not

possible, and never has been, to consider the lighting design for a building without

assessing the daylight and its relationship with the entire building. To do these

demands an understanding of variation in amount of daylight, the changing position

of the sun, site orientation, exterior obstruction, climate, the adverse effects of glare

and the means to cope with it. Window design is at the heart of day lighting and to

determine the quality of light admitted into the building, various window types,

sized, placements and orientation are used. The window, and/or other means for

admitting daylight into an interior, can be treated much like any other source, and

effective correlation can readily be achieved between day lighting and electric

lighting. The variations in the amount, the direction and the color of incident daylight,

however, add an interest to the day lighted interior, which no static lighting system

can possibly produce. Daylight, skillfully employed, provides the architect with one

135
of these most effective modes of aesthetic architectural expression. (Encarta

dictionaries, Microsoft Encarta Multimedia Standard Edition 2004).

The introduction of daylight into a building makes relevant its unique qualities as

when there was no viable alternative in artificial sources. One of these factors, which

has shaped man’s development, is:

5.8.3.2 Change and Variety

Daylight is a constantly changing source, varying from time of day, season of the year

and the state of weather, whether sunny or cloudy. Far from being a disadvantage it is

this variety, which provides a dynamic and appealing appearance to an interior.

Change and variety are at the heart of the day lighting, as is the medium through

which it is delivered, the window. As mentioned earlier, the design of the window

with respect to size, type, orientation can bring about different appearances of interest

to a space.

5.8.3.3 Artificial lighting

Just as daylight is a critical design issue, so too are artificial sources. In view of

today’s preoccupation with daylight especially in Nigeria with regards to the epileptic

power supply, it is certain that the initial decision on lighting has to relate to daylight

and its interrelationship with the internal artificial of the building.

Artificial lighting is most widely used. This is because though natural lighting can be

influenced to a certain extent, artificial lighting is completely at the mercy of the

architect as is allows for control in the areas of illumination is a building space. It is

essential; therefore, the artificial light sources are identified with their characteristics.

136
The most commonly used light sources are incandescent, fluorescent and high-density

discharge.

 Incandescent: Incandescent lamps are available in a wide range of variety of

sizes, shapes, and color. Some standard Shade bulbs are available with a

partial coating of silver for the purpose of concentrating the light in one

direction only. More efficient for this purpose, though, are the special inside-

silver reflector lamps, available in spot (concentrated-beam) and flood type

(wide-beam) types. Projector lamps are similar but are of special construction

that permits them to be used out doors,

 exposed to the weather, they are available in spot and flood types5.

The selection of artificial light source is controlled by the desired:

 Color quality

 Total output of light source

 The life expectancy of the source

 Amount of heat produced

 Overall cost.

(Ham Roderick, theatres. Planning Guidance for design and adaptation,

Butterworth Architecture, London 1998)

These different types sizes aid the architect in charge in that he can achieve the

desired lighting effect within a space and outside too.

 Fluorescent: The fluorescent lamp is an electric discharge source in which

light is produced predominantly by florescent powders activated by ultra

violet energy generated by a mercury arc. When the proper voltage is applied.

An ‘arc’ is produced by current flowing between the electrodes through the

mercury vapor. This discharge generates some visible radiation, or light.

137
 Fluorescent lamps are available in a number of colors and in no less than 14

‘whites’ ranging from a very cool blue-white to a warm pinkish-white.

 High-intensity discharge: Discharge lamps include the groups of lamps

commonly known as mercury, metal

 halide, and high-pressure sodium lamps. They resemble incandescent lamps

in that they provide a point source light, but they are more closely related to

fluorescent lamps since they are electric discharge lamps.

138
Table 5.7.2

Source: Neufert’s architects’ data, 2nd edition

A =General purpose lamps

PAR =Parabolic reflector lamps

R =Reflector lamps

QT =Halogen filament lamps

139
QT-DE=Halogen filament lamps, 2 sockets

QT-LV =Low-voltage halogen lamps

QR-LV =Low voltage reflector lamps, acid light

T =Fluorescent lamps

TC =Compact fluorescent lamps

TC-D =Compact fluorescent lamps 4tubes

TC-L =Compact fluorescent lamps long

HME =Mercury Vapour lamps

HSE =Sodium Vapour lamps

HST =Sodium vapour lamps, tubular

HT =Halogen metal vapour lamps

HE =Halogen vapour lamps, elliptical

5.8.4 Acoustics

The designer or the owner of a building does not recognize acoustics problems

explicitly. Everyone knows, for example that the special attention to acoustics is

required for an auditorium, but too few people realize that every room and apartment

building, every office building, hospital etc also has acoustical problems7. Like in the

case of a Fashion exhibition center, acoustic considerations are likely to be

concentrated in the design and planning of the exhibition halls, auditorium and

seminar/lecture rooms. But necessary considerations must be given to other parts of

the facility like the gallery, lobbies and restaurants. Many of these problems can be

handled with little added expense thereby aiding better design of buildings in which

later “correction” will be unnecessary.

140
Every acoustical situation can be described in terms of a source of sound, a path for

transmission of sound, and a receiver of the sound. Sometimes the source strength can

be increased on reduced, the path can be made less or more effective, and the receiver

made more attentive by removing distractions, or he can be more tolerant to the

disturbance. For example, a noisy air-conditioning unit (source) bothers the occupant

of an office (receiver), the problem must be analyzed in terms of reducing the noise at

the source (selection of the quietest available equipment, proper mountings etc), what

can be done about reducing the transmission (path) by way of structure and ducts

(resilient separation, absorbent lining, etc), and what can be done to get the receiver to

tolerate a bit of the noise. Attack on any single aspect of the problem may result in

over design or an unsatisfactory solution. (Lawson F., Conference, Convention and

Exhibition Facilities)

5.8.5 Ventilation

To provide a conducive working environment writhing buildings, there has to be

constant removal of air. This is to expel stale air and replace it with fresh air. There is

more to ventilation than just air exchange, it maintains and moderates the temperature

of the building spaces. Proper ventilation mimics natural outdoor air currents,

reducing levels of indoor air pollutants by continually circulating fresh air. This

process of ventilation can be carried out in two ways – naturally and artificially. Air

movement is caused by pressure differences, i.e., disturbances to the state of

equilibrium, resulting from:

 Temperature differences

 Natural wind

 Ventilators

141
Fig 18-Diagram showing ventilation flow

Source: Neufert’s architects’ data, 2nd edition

142
5.8.5.1 Natural Ventilation

Natural ventilation occurs when advantages of air movement in nature are made use

of. The prevailing winds over the site are admitted into the building through windows

or other air inlets and released through the provided outlets. The resultant in-

equilibrium in air pressure outside the building allows for the extraction or suction of

the air mass that was inside previously. It occurs by stack effect, cross ventilation, or

by air passage through adjacent walls. To achieve this, the building is oriented taking

into cognizance the prevailing southwest northeast winds. Because ventilation is not

the only factor in determining orientation, other means of inducing ventilation should

be provided.

A good understanding of orientation and geography of an area is an asset in

ventilation design. In tropics where the site to this facility is to located, ventilation

cannot be compromised. More so, in Nigeria, for a building to function appropriately,

dependence on the supply of power which is epileptic would make the building not

usable in cases where a back up supply of power is not available. Irrespective of type

of natural ventilation adopted, it often may be defective. This is because the effective

source of control over excessive natural ventilation is to shut out the passage of air.

The relief arising form this control is only momentary before extreme conditions of

this relief set in, thereby causing bodily discomforts. (Lawson F., Conference,

Convention and Exhibition Facilities.)

The desired effect of ventilation within a space can be achieved by the manipulation

of certain determining factors like the size, position, and type of window openings.

143
5.8.5.2 Artificial Ventilation

This involves the use of mechanical devices such as air conditions. Exhaust fans,

ceiling fans, etc to effect of force the removal of air from a space. The use of these

devices is to make effective what natural ventilation could not achieve on its own.

Engineers estimate that for adequate ventilation the

air in a room should be changed completely from one and a half to three times each

hour, or that about 280 to 850 liters (about 10 to 30 cu ft) of outside air per minute

should be supplied of each occupant. Providing this amount of ventilation usually

requires mechanical devices to augment the natural flow of air. (Ham Roderick,

theatres. Planning Guidance for design and adaptation, Butterworth Architecture,

London 1998).

The design should provide for sufficient ventilation of the spaces. In view of the harsh

economic situation in the country and the high cost of building maintenance, the

design of this facility should maximize the use of natural ventilation, which would be

complemented by artificial ventilation. Spaces enclosed by one or more external

walls, where possible, should be naturally ventilated while those that are completely

enclosed would resort or artificial ventilation.

5.9 PLANNING CONSIDERATIONS

5.9.1 Safety

The standards set by the National Universities Commission, Planning Authorities,

published guidelines on the planning and design of Conference Centers is as a

measure to preserve public order and safety. As a result of disastrous occurrences in

previous designs of existing buildings, the relevant authorities in charge of planning

144
and design grant licenses or approvals upon the compliance with the stated safety

requirements. Most times, these guidelines are burdensome and uneconomical, but the

introduction of the safety regulations has a reduction in the disasters in modern times.

The regulations used in Nigeria are as adopted and adapted from the regulations in

Britain. Perhaps the best guarantee of public safety is the efficiency and integrity of

the day-to-day management of the facility, and this can be encouraged if those

concerned have confidence and understanding of the safety arrangements. (A hand

book of Planning, Design and Management by Fred Lawson).

The likely types of hazards in a facility of this nature are:

 Fires

 Panic

5.9.2 Fires

Fire safety in buildings is evaluated by careful examination of the design of the

building to determine whether the building meets the criteria set forth in the building

code. The circulation, construction type, and materials must meet standards for fire

exits, fire resistivity, flame spread, the amount of smoke produced. Failure to comply

in this area can cause fires. Fire exits and corridors may sometimes be used for

storage or activities instead, and wall coverings with a high flame spread can cover

original and safer surfaces. Fire doors are sometimes closed and locked for security

reasons, creating a most dangerous situation. (Ham Roderick, theatres. Planning

Guidance for design and adaptation, Butterworth Architecture, London). To avoid and

prevent spread of fires in event it occurs:

 Use of fire-resistant materials in fire-prone areas of the facility like the

kitchen, auditorium.

145
  The fire authority should be consulted on the scale of provision of fire

appliances and where they should be placed in the building. Compliance with

these requirements is a condition of a grant of approval to build the facility.

 The structural members (example: beams, columns etc) of the building should

be adequately protected from possible fire attack.

 Satisfactory planning of buildings internally and in relation to adjacent

buildings.

 Providing alternative means of escape and clear, direct, short and unobstructed

escape routes

 Short travel distances to outside safe areas, fire fighting gadgets and

importantly to escape means.

 Installation of fire fighting equipment like automatic sprinkler system, fire-

fighting hose real etc. at important locations within the buildings. All

equipment should be recessed so as not t obstruct corridors and any other

routes of escape.

 Installation of fire detecting alarm system. It consists of a sensitive

thermostatic director heads installed inside the ceiling and connected

electrically to a large alarm gong outside the building.

 Conduit electrical wiring should be adopted to prevent fire risk associated with

naked electric wires resulting fro damage to the wires.

5.9.3 Panic

Panic in the audience is by far the most dangerous circumstance, which can occur in

any place of public gathering. It is sudden and unpredictable. It has often arisen

without any real physical danger being present. In most cases, alarm of a fire may stir

the panic situation. Other psychological factors may contribute such as emotional

146
tension created in audiences, disorientating or frightening effect of some lighting and

sound effect.

The borderline between a rapid but orderly evacuating and disastrous panic is

dangerously narrow, and every detail, however insignificant may be important.

Once a crowd of people is in the grip of panic, it is doubtful whether any sort of

control could ever be regained. Public safety therefore depends upon taking

precautions to prevent its outbreak. All possible causes of alarm – fire, smoke or fume

unusual sounds such as fire alarms and bells, photoflashes or the appearance of undue

haste on the part of the staff – must be avoided or reduced to the minimum.

147
 CHAPTER SIX

DESIGN MORPHOLOGY

148
6.1 CONCEPT

The centre is a one stop shop for the renewal of the physical appearance, physical or

physiological health and psychological or mental outlook of the indulgent visitor.

A visit to the clothing or fashion accessory lines gives the customer a renewed

appearance with its subsequent emotional and mental upliftment and antecedent

change in social status and consideration. The customer that adds to that, a visit to the

spa and fitness centre and gets a treatment and healing of his physiological well being

doesn’t just look good but feels good also.

In addition to these is the achievement of creating interesting edutainment and

enlightenment that is received at the exhibition halls and galleries. The fashion design

school provides more serious education to the fashion enthusiast or fashion career

student.

All the facilities at the centre work together to give the visitor a recreation and a

transformation of visual appearance, physical condition and mental state.

The idea of the ‘recreation and transformation’ offered the visitor to this complex will

be the base of the philosophy guiding the evolution of a concept for the design.

The concept of the design will be the architectural recreation and transformation of

the physical space to provide same recreation and transformation to the human, body

and mind through the design of the building and by the services offered within.

6.2 FORM DEVELOPMENT

General Form: With the never ending trends in fashion world both globally and

within the mind of the individual, fashion designers and beauticians, have a never

ending cycle of continuous recreation and transformation of their design philosophies

and designs and styles, so as to be able to keep up with the trends. Same can be said

of the housing units that fashion bodies are located in. The outlook and feel of a

149
fashion center must also follow the fast changing trends of the world and the

individual; if it must remain profitable in the field.

This requires an ever dynamic form, functionality and aesthetic appeal of the building,

just like the fashion and mindsets of the people or activities it houses.

The form and appearance of the building must exude dynamism and by remaining

trendy and appealing over its long years, upper to be following the trends of fashion

world.

To achieve this, a flexible, flowing form and layout will be used in the fashion

exhibition centre (Fashion world).

150
6.3 SPACE REQUIREMENTS

Space program

Administrative unit

Functional Spaces Function/ requirements users Area No total

2
units m .
Administrative Complex Office of head of complex mgt. 1 27 1 27
offices managing Board. Exec. Desk, TV,
director lounge, 4 visitors, private toilet
managers Desk, shelf, With small waiting 4 13.5 1 13.5
secretary room
manager Office of head of complex 1 18 1 18
management Exec. Desk, TV,
lounge, 4 visitors, private toilet
Managers Desk, shelf, With small waiting 4 13.5 1 13.5
secretary room
Public relations Complex public relations and 2 18 1 18
media. Desks for 2 staff, 2
visitors each, shared shelving
Accounting Management board accounting, 4 39.6 1 39.6
desks for 4 staff, 2 visitors each,
shared shelving
personnel Management board personnel 2 18 1 18
office. Desks for 2 staff, 2 visitors
each, shared shelving
Reception Reception into management 1 9 1 9
board offices. Desk
Waiting room Waiting area for visitors 10 12 1 12
Conference Management board conference 30 71.76 1 71.76
room for 30 persons, projector,
beverage servery
Rest rooms For staff and visitors, with urinal 1 1.5 4 6
Source- Author

151
Runway auditorium

Functional Spaces Function/ requirements users Area No total

2
units m .
Runway Seating Audience seating area with 550 315 1 315
auditorium seating for 500 guests at 0.54m2,
and VIP seating for 50 at 0.9m2
per person
Runway Runway for fashion shows. Wide 1 45 1 45
enough for 5 models to stand side
by side. To extend halfway into
hall
Backstage Foyer Congregation and circulation area Max Max
for hall. Min. 1/3 of auditorium 200
area
Changing and Changing and makeup area for 50 100 1.2 120
Make up models, with dressing and make
up crew 1.2m2 per person
Clothes store Store for the clothing items and .3 300 1 300
fashion accessories for the shows
Shelving for 500 items.
Circulation- 1x shelf space
Lounges Lounge for the models, their 30 60 1 60
agents, and the dressing and
makeup crews
VIP suites Lounge for VIPs and designers
whose items are on the show
Sanitary Back stage private sanitary
facilities facilities
Reception/ Reception, ticketing, security 3 12 1 12
tickets/ security stand
Rest rooms Public toilets, W.Cs and urinals, 1 1.5 1 18
with hand wash, powder rooms 2
1 W.C for every 50 persons

152
Events office
Functional Spaces Function/ requirements users Area No total
units m2 .
Events Chief events Office of events manager Desk, 1 18 1 18
organisation officer TV, lounge, 4 visitors, private
unit toilet
Secretary, chief Desk, shelf, With small waiting 4 13.5 1 13.5
events officer room
Deputy chief 1 18 1 18
events officer
Secretary, Desk, shelf, With small waiting 1 13.5 1 13.5
DCEO room

Events office Events scheduling, organisation, 4 28.8 1 28.8

Conference Shared with exhibition marketing 30 71.76 1 71.76
room
Rest rooms For staff and visitors, with urinal 1 1.5 4 6
Emporium

Functional Spaces Function/ requirements users Area No total

units m2 .
Exhibition and Main exhibition and sales gallery
sales halls
Galleries Galleries for art/cultural/ historic Ma 180 4 720
fashion exhibits x
50

Reception Reception into permanent 1 13.5 1 13.5

exhibition hall block
Janitor Janitors’ closet. Shelves, 1 7.2 1 7.2
equipment, changing room
Store Store for exhibit packs, other 1 6 1 6
items
Court Central area for viewing the 1 120 1 120
fashion exhibits. 30 seats,
standing space for 50 people

153
Clothes Shops

Functional Spaces Function/ requirements users Area No total

2
units m .
Clothes shops Shop display Display and shelving for clothing 15 90 5 450
and other sale items
Customer Customer service desk, cashier 2 13.5 1 13.5
service
Changing/ Changing and testing cubicles for 1 1.5 4 6
testing shoppers
Back store Store for packs, and extras of 1 15 1 15
displayed clothing and items
Managers office Desk, TV, 4 visitors 1 13.5 1 13.5
Source-Author
Tailors Shop
Functional Spaces Function/ requirements users Area No total
2
units m .
Tailors shops Shop display Display and shelving for clothing 15 90 5 450
and other sale items
Customer Customer service desk, cashier 2 13.5 1 13.5
service
Head Tailors/ Desk, board, sewing machine, 2 13.5 2 27
designers office TV, 4 visitors, measuring area
Tailors pool sewing machines and seating for 8 3 1 24
8 tailors
Materials Materials display and selection 5 9 1 9
Changing/ Changing and testing cubicles for 1 1.5 4 6
testing shoppers
Back store Store for packs, and extras of 1 15 1 15
displayed clothing and items
Managers office Desk, TV, 4 visitors 1 13.5 1 13.5

Source-Author

154
Beauty shop and salon

Functional Spaces Function/ requirements users Area No total

units m2 .

Beauty shop Reception and Customer service desk, cashier 2 13.5 1 13.5

and salon Customer

service

Shop display Display and shelving for beauty 6 18 1 18

and hair care products

Barbing Barbers chair and stand, in front 1 1.2 6 72

of mirror, with shelving at 1.8m2

Hair dressing 1 1.2 6 72

Hair washing Materials display and selection 1 1.2 6 72

and treatment

Hair dryer Changing and testing cubicles for 1 1.5 6 9

shoppers

Manicure and Manicure and pedicure section 1 1.5 2 3

pedicurist

Skin treatment Skin treatment cubicle with table, 1 4.8 1 4.8

trolley, shelving

Janitor Janitor closet with changing, 1 1.8 1 1.8

cleaning equipment

Back store Store 1 15 1 15

Rest rooms For staff and visitors, with urinal 1 1.5 4 6

Source-Author

155
Spa

Functional Spaces Function/ requirements users Area No total

2
units m .
Spa Reception and Customer service desk, cashier 2 13.5 1 13.5
Customer
service
changing Changing room for visitors and 1 1.8 5 90
lockers 0
Consultancy Consultants’ office. Desk, TV, 4 5 18 2 36
visitors, observation table,
computer
Exercise rooms Fitness and relaxation exercises 20 36 2 72
such as yoga and tai chi.
Minimum area of 1.5m2 per
person
Instruction General instruction and advice 20 15 1 15
rooms room for visitors. 0.6m2 per
person.
Sauna Steam rooms. Separate for male 20 18 4 72
and female
Jacuzzis Therapeutic and massaging
Jacuzzis
shower Shower for visitors 1 2.7 1 32.4
2
Pool Medium sized pool 15 150 1 150
Skin treatment Room for conducting skin, 3 9 2 18
therapy or treatments -
exfoliations, dermabrasions etc.
Medical Room for conducting medical 3 13.5 2 27
Treatment room procedure such as botox
injections
Massage room 3 9 6 54
Mechanical Mechanical massage and 1 3 6 18
massages vibration chairs
Rest rooms For staff and visitors, with urinal 1 1.5 4 6
Source-Author

156
Franchise stores
Functional Spaces Function/ requirements users Area No total
units m2 .
Franchise stores Shop display Display and shelving for clothing 130 180 1 180
and other sale items
Customer Customer service desk, cashier 2 13.5 1 13.5
service
Changing/ Changing and testing cubicles for 1 1.5 8 12
testing shoppers
store Store for packs, and extras of 1 24 2 48
displayed clothing and items
Managers office Desk, TV, 4 visitors, lounge 1 18 1 18

Inventory and 2 Desks, TV, 2 visitors each 1 13.5 1 13.5

accounts
Marketing Marketers offices. 2 Desks, TV, 2 1 13.5 2 27
visitors each
Rest rooms For staff and visitors, with urinal 1 1.5 4 6
Source-Author
Fashion accessories shops
Functional Spaces Function/ requirements users Area No total
2
units m .
Franchise stores Shop display Display and shelving for clothing 15 90 1 90
and other sale items
Customer Customer service desk, cashier 2 13.5 1 13.5
service
Managers office Desk, TV, 4 visitors, lounge 1 18 1 18

Inventory and 2 Desks, TV, 2 visitors each 1 13.5 1 13.5

accounts
Check in Check in with detectors 1 1.8 2 3.6
(especially for jewellers)
Repairs Repair office for fashion 3 15 1 15
accessories
Rest rooms For staff and visitors, with urinal 1 1.5 4 6

157
Support services

Day care centre

Functional Spaces Function/ requirements users Area No total
2
units m .
Day-care centre Reception, Reception, Customer service 2 13.5 1 13.5
security and desk, cashier, and security post.
Customer Child registration and pick-up
service
Heads office Desk, TV, 4 visitors, lounge 1 18 1 18
Play area Play areas for 20 children at 20 18 3 54
0.64m2 per child, with supervisors
desk and toys shelves
Nursing station/ Nursing station with first aid 2 13.5 1 13.5
first aid facilities and a sick bay
disposal Disposal for children’s waste 1 1.8 1 1.8
Sanitary Sanitary facilities for children, 1 1.5 8 12
facilities staff, and visitors. wash bowls,
WCs

Catering: Restaurants and bars

Functional Spaces Function/ requirements users Area No. total
units m2
Catering units Seating spaces, Restaurant seating at 1 space per 50 100 na 100
restaurant 30-45M2 of hall area
Seating spaces, Same as above. Area will include 50 150 na 150
cafeteria self service line areas
Severy/ counter Min. 0.9m counter length for 9 24.3 1 24.3
every 10 seats in a cafeteria

Kitchen ½ of restaurant seating area 6 50 1 50

Offices Offices for restaurant 1 18 1 18
management
10-15% of kitchen area

158
 Storage Cold and dry stores. Not inclusive 1 25 1 25
of kitchen shelving
Washing Washing and preparation 1 9 1 9
Loading bay Loading bay for trucks 1 18 2 36
Sanitary Sanitary facilities restaurant staff, 1 1.5 10 15
facilities showers, wash bowls, changing
rooms, WCs
Rest rooms For male and female and visitors, 1 1.5 6 9
with urinal and powder rooms,
Bars Bar seating 1m2 of bar space to every 30- 1 na
45M2 of occupied floor areas
Media house
Functional Spaces Function/ requirements users Area N total
units m2 o
.
Media house TV/radio media Hall for TV/ radio coverage 30 120 1 120
room production, advertising
production
Store Equipment room 2 24 1 24
Print media Print media journalists 30 72 1 72
workstations
Reception and Reception into block. Registration 7 13.5 1 13.5
registration of media personnel. Waiting
room
Sanitary 1 1.5 6 9
facilities

159
Permanent shopping arcade
Functional Spaces Function/ requirements users Area No total
units m2 .
Shopping shops Shop arrangement with payment 4 18 1 180
arcade desk, side and island shelving, 0
store
Franchise shops Stores for non-fashion 20 150 3 450
international franchise, store
chains, boutiques etc.
ATM ATM hall 1 4.8 2 9.6
court Landscaped court for circulation 300 540 1 540
with sitting areas, portable bars,
kiosks, vendors etc. 0.9m2/ person
Table 7.1. Design space program
Source: compiled by author

160
Structure

The criteria for choosing a structural system include:

 The functional requirements

 Site conditions especially soil type and the bearing capacity

 Durability of the structural system

 Availability of structural materials and the construction technology

 Cost of construction, materials and the cost of maintenance

 The desired aesthetic or visual effect

Walls will be load bearing for stability .The internal walls and subdivision within the

building will be of post and lintel structural systems.

Construction materials and methods

The criteria for choosing a constructional techniques and materials include:

 Flexibility in use of the spaces

 Ensuring a simple system with short constructional period

 The need for a system with little or no constructional complications

 Availability of construction materials and labour in the locality

 Cost of construction, materials and the cost of maintenance

 The desired aesthetic or visual effect

Foundation system

The foundation will consist of pad and simple strip foundations systems. Basements

will be of waterproofed reinforced mass concrete.

161
 External walls

External walls shall be curtain walls constructed with steel, aluminium, glass and

plastic frames and panels. The base of the walls and load bearing areas will be of

reinforced concrete finished with marble tiling, mosaic tiles and oil paint in different

areas.

Internal walls

Internal walls will be of sandcrete blocks. Materials will The walls in the runway

auditorium which is used for meetings and congresses will be fitted with sound

diffusive surfaces to avoid echoes and air resonance.

Internal Structural walls are invariably constructed in situ of reinforced concrete and

usually serve as fire and sound divide as well as providing structural support.

Staircases generally are also in situ or of suspended reinforced concrete to meet fire

requirements.

Windows and Doors

Windows must be provided to lobbies, restaurants, large areas and transitionary areas,

to enable adjustment to be made to and from daylight conditions. Windows are often

of solar reflecting glass to reduce air-conditioning loads, although promenade and

balcony areas enjoying a view may be deliberately designed to increase contact with

the outside environment. Glazing is generally in anodized aluminium frames.

Provision must be made for cleaning windows and fixed glazed panels-particularly.

Roofing system

Roof construction must meet a number of requirements in addition to weather-

proofing, it must:

162
  Allow for different movement over the large spans involved

 Provide sound damping (of rain, aircraft noise etc)

 Support roof-mounted plant, often with concentrated loading

 Allow access for plant and services-including window cleaning were

necessary

 In some cases clerestory light may be provided.

For weight-reduction the main auditorium roof may be metal surfaced (zinc,

aluminium, etc) on decking or boarding and ported by steel trusses. Sound insulation

must be incorporated, in other areas; roofs are generally asphalted surfaced with

concrete paving slabs for access.

163
CONCLUSION

The design of a fashion exhibition centre (fashion world) for the city of Enugu is a

long overdue project which provides a solution to a very pressing need. The success

of the architectural design in itself depends on the proper zoning, functional grouping

and organisation and planning of the different section of the building and the careful

handling of access and circulation in consideration of the large numbers of users

expected.

The fashion exhibition centre (fashion world) will provide

1. An avenue for the promotion of trade and commerce;

2. Expression of national and international art and culture,

3. Demonstration and encouragement of scientific and technological innovation;

4. Leisure and serious shopping;

5. Recreation and relaxation.

The centre will impact greatly on the status and reputation of the city of Enugu, and

diversify and improve its economy as well as provide direct and indirect, permanent

and temporary and employment to the teeming population of the city.

164
 REFERENCES

CHAPTER 1

 www.africanfashions.org/styles.html

 http:/www.weekendafirenze.com

 Neufert, E. Arch Data. London; Oxford BST Professional Books, 1993

 www.wikipedia.com

 Chenoune, Farid A History of Men's Fashion, Paris, Flammarion, 1993

 Lobenthal, Joel Radical Rags: Fashions of the Sixties, New York,

Abbeville Press, 1990

 Lynam, Ruth Paris Fashion, London, Michael Joseph, 1972

 Lee, Sarah Tomerlin American Fashion, New York, Quadrangle, 1975

 Samek, Susan M. "Uniformly Feminine: the "Working Chic" of

Mainbocher." Dress 20 (1993): 33-41.

 Bressler, Karen, and Karoline Newman. "A Century of Lingerie." New

Jersey: Chartwell Books, Inc., 1997. 132-133.

CHAPTER 2

 'Dress As An expression Of The Pecuniary Culture' by Thorstein Veblen.

 ‘Theory of the leisure class’ by Thorstein veblen-1899

 Hawes, Elizabeth Fashion is Spinach, Random House, 1938

 Steele, Valerie Paris Fashion: A Cultural History, Oxford University Press,

1988, ISBN 0-19-504465-7

 Barwick, Sandra A Century of Style, London, Allen & Unwin, 1984

 Albert-Terrou, Histoire de la Presse, Paris, PUF, 1970

165
 Anscombe, Isabelle A Woman's Touch: Women in Design from 1860 to the

Present Day, New York, Viking Press, 1984

 De Osma, Guillermo Mariano Fortuny: His Life and Work, New York, Aurum

Press Ltd., 1994

 Battersby, Martin Art Deco Fashion, London, Academy Editions, 1974

 Stellin, S. (2007-07-15). "Beyond the Body Wrap: What Makes a Spa Stand

Out?". New York Times. Retrieved on 2007-09-20.

 "What you need to know". National Certification Board for Therapeutic

Massage and Bodywork. Retrieved on 2007-09-27.

 Walsh, K.. "Massage craze: Hands-on therapy attracting more patients".

Massage Magazine. Retrieved on 2007-08-31.

 "First-of-its-Kind Center Treats the Whole Person". Massage Magazine (2007-

01). Retrieved on 2007-09-27.

 "Sauna – A Finnish national institution — Virtual Finland".

 Buguet A (2007). "Sleep under extreme environments: Effects of heat and cold

exposure, altitude, hyperbaric pressure and microgravity in space". Journal of

the Neurological Sciences 262: 145. doi:10.1016/j.jns.2007.06.040. PMID

17706676.

 "-How to Use a Sauna". 813: 654–62. doi:10.1111/j.1749-

6632.1997.tb51764.x. PMID 9100952.

 ^ Kauppinen K (1997). "Facts and fables about sauna". Ann. N. Y. Acad. Sci.

166
CHAPTER 3

 www.google.com

 www.wikipedia.com

 Architectural Record Building type study, NIKEgoddess, Architectural Record

May 2008

 Architectural Record Building type study, La maison Unique, Architectural

Record May 2005

 Architectural Record Building type study, Xel-Ha salon, Architectural Record

May 2005

 Architectural Record Building type study, MIX (morden clothes) Architectural

Record May 2008

 www.architecturalrecords.com

 www.architecturaldigest.com

CHAPTER 4

 Department of meteorological sciences, Ibadan

 ‘Conference Center’ Unpublished work by Effanga O, Effanga 2006

CHAPTER 5

 Ham Roderick, theatres. Planning Guidance for design and adaptation,

Butterworth Architecture, London 1998

 Conference International. In Encyclopedia Britannica

 Encarta dictionaries, Microsoft Encarta Multimedia Standard Edition 2004

 Neufert’s Architects data, fourth edition

167
 Ham Roderick, theatres. Planning Guidance for design and adaptation,

Butterworth Architecture, London 1998.

 Lawson F., Conference, Convention and Exhibition Facilities.

 Microsoft Encarta Multimedia Standard Edition 2004

 "Policy for Therapeutic Massage in an Academic Health Center: A Model for

Standard Policy Development". The Journal of Alternative and

Complementary Medicine (2007). Retrieved on 2007-09-26. 13 (4) pp.471-

475

 "Massage Therapy". Harvard Men’s Health Watch (2006-09-01). Retrieved on

2007-09-26. 11 (2) pp.6-7

 "Massage Facts". National Certification Board for Therapeutic Massage &

Bodywork. Retrieved on 2007-09-27.

 Potts, Malcolm, & Campbell, Martha. (2002). History of contraception.

Gynecology and Obstetrics, vol. 6, ch. 8.

 MacGregor, H. (2004-12-28). "Hospitals Getting a Grip: Massage Therapy

Finds Place in Patient Care for FM and More". Los Angeles Times. Retrieved

on 2007-08-31.

 Goodman, T. (2000-12-28). "Massage craze: Hands-on therapy attracting

more patients". CNN. Retrieved on 2007-08-31.

 Bowen Therapists Federation of Australia

 Lim SH, Anantharaman V, Teo WS, Goh PP, Tan AT (January 1998).

"Comparison of treatment of supraventricular tachycardia by Valsalva

maneuver and carotid sinus massage". Ann Emerg Med 31 (1): 30–5. PMID

9437338

168
Bibliography

Books

'Dress As An expression Of The Pecuniary Culture'

by Thorstein Veblen.

‘Theory of the leisure class’

by Thorstein veblen-1899

Neufert, E. Arch Data. London;

by Oxford BST Professional Books, 1993

Planning Guidance for design and adaptation,

Convention and Exhibition Facilities.

by Ham Roderick, theatres. Butterworth Architecture, London 1998

by Lawson F., Conference,

"Facts and fables about sauna".

by Kauppinen K (1997). Ann. N. Y. Acad. Sci

Art Deco Fashion

by Battersby, Martin, London, Academy Editions, 1974

. "A Century of Lingerie

by Bressler, Karen, and Karoline Newman." New Jersey: Chartwell

Books, Inc., 1997. 132-133.

A History of Men's Fashion

by Chenoune, Farid Paris, Flammarion, 1993

‘Histoire de la Presse’,

by Albert-Terrou Paris, PUF, 1970

‘A Century of Style’,

Barwick, Sandra London, Allen & Unwin, 1984

169
Journals

"Sleep under extreme environments: Effects of heat and cold exposure, altitude,

hyperbaric pressure and microgravity in space".

Buguet A (2007).. Journal of the Neurological Sciences 262: 145.

doi:10.1016/j.jns.2007.06.040. PMID 17706676.

"-How to Use a Sauna".

813: 654–62. doi:10.1111/j.1749-6632.1997.tb51764.x. PMID 9100952.

"Policy for Therapeutic Massage in an Academic Health Center: A Model for

Standard Policy Development".

The Journal of Alternative and Complementary Medicine (2007).

Retrieved on 2007-09-26. 13 (4) pp.471-475

Publications

"Massage Therapy".

Harvard Men’s Health Watch (2006-09-01). Retrieved on 2007-09-26. 11

(2) pp.6-7

"Massage Facts".

National Certification Board for Therapeutic Massage & Bodywork.

Retrieved on 2007-09-27.

Potts, Malcolm, & Campbell, Martha. (2002). History of contraception.

Gynecology and Obstetrics, vol. 6, ch. 8.

"Hospitals Getting a Grip: Massage Therapy Finds Place in Patient Care for FM

and More".

MacGregor, H. (2004-12-28). Los Angeles Times. Retrieved on 2007-08-

31.

"Massage craze: Hands-on therapy attracting more patients".

170
 Goodman, T. (2000-12-28). CNN. Retrieved on 2007-08-31.

Fashions of the Sixties,

Lobenthal, Joel Radical Rags: New York, Abbeville Press, 1990

"First-of-its-Kind Center Treats the Whole Person".

Massage Magazine (2007- 01). Retrieved on 2007-09-27.

What Makes a Spa Stand Out?"

.Stellin, S. (2007-07-15). "Beyond the Body Wrap: New York Times.

Retrieved on 2007-09-20.

"What you need to know".

National Certification Board for Therapeutic Massage and Bodywork.

Retrieved on 2007-09-27.

"Massage craze: Hands-on therapy attracting more patients".

Walsh, K. Massage Magazine. Retrieved on 2007-08-31.

Unpublished Works

 ‘Conference Center’ Unpublished work by Effanga O, Effanga 2006

 ‘Fashion Emporium’ Unpublished work by Okoye, 1981

Digital Information

 www.google.com

 www.wikipedia.com

 www.architecturalrecords.com

 www.architecturaldigest.com

 www.african fashions.org/styles.html

 http:/www.weekendafrirenze.com

171
SITE PLAN

1
GROUND FLOOR PLAN

2
FIRST FLOOR PLAN
3
ROOF PLAN
4
ELEVATIONS

5
SECTIONS