Fashion Exhibition Center
Fashion Exhibition Center
Fashion Exhibition Center
By
OTU-UDOFA IMA ABASI .B.
PG/MSC/O6/45942
OCTOBER, 2008
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TITLE PAGE
FASHION EXHIBITION
CENTER,
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CERTIFICATION
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
PREPARED BY CERTIFIED BY
-------------------------------------- --------------------------------------
(Supervisor)
ACCEPTED BY
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(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.
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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
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
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
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
To my Msc Class mates, never thought I’ll blend in this much, thanks a lot for making
it much easier.
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
-OTU-UDOFA, I.B.
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TABLE OF CONTENTS
TITLE PAGE i
CERTIFICATION ii
DEDICATION iii
ACKNOWLEDGEMENT iv
TABLE OF CONTENTS vi
ABSTRACT xi
1.6 Motivation 7
vi
CHAPTER 2: LITERATURE REVIEW
4.1.2 Transport 76
4.1.3 Energy 77
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4.1.8 Medical facilities 79
4.1.10 Communication 79
4.1.11 Tourism 81
4.1.13 Culture 82
4.1.14 Population 83
4.2.3 Temperature 86
4.2.4 Rainfall 88
4.2.5 Humidity 90
4.2.8 Winds 93
4.2.9 Ventilation 93
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4.4.2 Access 100
CONSIDERATIONS
Requirements 114
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5.2.4 Seat Spacing and Chair Design 116
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6.3 Space requirements 151
References 165
Bibliography 169
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LIST OF PLATES
Source-author
Source-author
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
interiors
xii
Plate 3.3.2 View showing the use of mirrors to double space at 78
interiors
record interiors
record interiors
record interiors
record interiors
architectural records
records
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Plate 3.7.1 View showing clothes display area at MIX(modern clothes), 99
Plate 3.7.3 View showing lounge at MIX (modern clothes), Source- 100
Plate 4.1 View showing recess of site from the road and fencing, 132
source author
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 4.6 The site showing some tarred area, source author 149
LIST OF FIGURES
xiv
FIGURE NO FIGURE NAME PAGE
records
records
records
records
Figure 9 Map of Nigeria showing study area, source- world atlas, 103
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Figure 15 Mean wind force in Enugu, Source-Department of 126
LIST OF TABLES
Table 4.2 Mean temperature values for Enugu state, Source- 118
Table 4.3 Mean relative humidity values for Enugu state, Source- 121
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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
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
PG/MSc/06/45942
xvii
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 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
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
CENTER- According to The Oxford Dictionary, the word Center is a Noun which
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
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
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
attitudes to physiognomy. The accepted beautiful female form that Rubens painted is
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.
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
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
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
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can belong to any tribe. It is the sense of belonging marked by how we fashion
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
times as well as of their class, of their financial status and of the local weather.
rapidly smaller.
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
In the past, only a small privileged class was interested in Fashion. Today what once
like it or not, everyone has to wear clothes. This also applies to all fields of
sociology to every area of modern sciences. Human beings tend to always keep
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
someone or something fits in with the current or even not so current, popular mode of
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
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
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
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reactions of modern fashion trends, fashion is one of the principal factors in bringing
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
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
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
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There is also a need for a center that is at once a social and community centre with
It will also provide a conducive environment that can make the choice of fashion
Finally, the Fashion Exhibition center (fashion world) will cater for the needs of
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
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
The project aims at creating variety and style in the pattern of fashion and also
manufacturers, the financial institutions, the Nigerian Government and the general
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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.
3. To bring to the present and coming generation the history of fashion and its
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.
This project is geared at examining the prevailing fashion sector of Nigeria with
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
expected that fashion designers, policy makers and even private developers will make
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good use of such an opportunity to amend or develop in the future fashion
The fashion Exhibition center (fashion world) is a center of commerce which will
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
Unisex salons and hair treatment center, Fashion accessory Boutiques, shops to let,
The outdoor spaces are as important as the indoor spaces; therefore, the landscape is
both primary and secondary sources. Primary sources of information include personal
at random to people). Case studies of existing fashion shops with emphasis on their
journals, thesis reports, etc. The internet will be visited immensely for foreign case
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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
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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
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
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George Barbier - drew exquisite fashion plates for these publications, which covered
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
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
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
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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
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
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
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
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
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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
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,
Heels, at the time, were often over two inches high and Coco Chanel helped
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
1920s gradually came to halt after the [Wall Street Crash of 1929], and succumbed to
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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
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
term 'ready-to-wear' was not yet widely used, but the boutiques already described
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
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
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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
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
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
influenced by Elsa Schiaparelli. Men's fashions continued the informal, practical trend
that had dominated since the end of the First World War.
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-
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
In the West, the traditional divide that had always existed between high society and
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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
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.
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
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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,
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
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
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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
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
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
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 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
Despite being a high fashion designer, American born Mainbocher also designed
military and civilian service uniforms. In 1952, he redesigned the Women Marines
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
invention of Lycra (originally called "Fibre K") in 1959 revolutionized the underwear
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
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
actress in a Hollywood movie would have a much bigger audience than the
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
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
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
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
27
Two notable and influential designers in the '60s were Emilio Pucci and Paco
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
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
helped support the less profitable areas of his work, while his utopianism assured him
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
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
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
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.
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
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
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-
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
did not exist. Because the sauna was often the cleanest structure and had water readily
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
32
Modern saunas
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
Under many circumstances, temperatures approaching and exceeding 100 °C (212 °F)
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"
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
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
Infrared saunas are growing in popularity, using far infrared rays emitted by infrared
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
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.
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
35
2.3 HISTORY OF BARBING
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
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,
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
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
The barbers of former times were also surgeons and dentists. As well as haircutting,
leeching, enemas, and the extraction of teeth. Thus they were called barber surgeons
37
THE NIGERIAN PERSPECTIVE
Roles
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
Role Set
Roles and activities are closely linked to what people wear. People are affected by
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
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.
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
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
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
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
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.
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
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
Occupational Uniform
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
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,
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
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
42
CHAPTER THREE
CASE STUDIES
43
3.1 GOSSIP BEAUTY SHOP
Founded: Unknown
Founder: Unknown
The Gossip beauty shop is a must stop for fashion lovers. It is a combination of a hair
It’s packed full with hair attachments, hair wigs and beauty products which are up-to-
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
Critical Appraisal
Attributes
Being a small shop, the customer is able to see at a glance what he/she wants
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
Short Comings
For the form of fashion solution this place gives, it has insufficient space.
The interior layout of the shopping area is not functional therefore customers
For a fashion accessory shop, the entrance facade is not as attractive and
Source-author
45
Plate 3.1.2- View showing display area of wigs
Source-author
Source-author
46
Plate 3.1.4- View showing display of beauty products
Source-author
Source-author
47
Plate 3.1.6- View showing display area of hair attachments
Source-author
48
3.2. THE OAK TREE FASHION SHOP
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
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
Finishes
49
Critical Appraisal
Attributes
The changing room although within the sales and exhibition area, is
Short Comings
The convenience door opens into the display area instead of a lobby and thus
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
Source-author
51
Plate 3.2.3- interior view showing display of fashion accessories
Source-author
Source-author
52
3.3. MONTEREY FASHION HOUSE
Founded- 2006
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
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,
Critical Appraisal
Attributes
The nature of this design allows for advertisement of the contents of the
53
All forms of fashion are existing in one building for a change and customers
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
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
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
55
Plate 3.3.3- View show clothes display area
56
3.4. LA MAISON UNIQUE
La Maison Unique is a three-story fashion retail facility in New York City’s SoHo
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
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
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
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.
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
59
Plate 3.4.3- Interior showing leather display area
60
Fig 2-Architect’s sketch of section
61
Fig 4-Section showing levels of display areas
62
3.5. XEL-HA SALON
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
washi, a bleached-wood pulp paper, commonly used for lampshades in Japan. Each
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.
63
The decision to highlight the ceiling came in response to practical and aesthetic
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
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
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Fig 5- Floor plan of Xel-ha saloon
65
3.6. NIKE GODDESS FASHION HOUSE
customers by featuring their footwear, apparel, and equipment. With its emphasis on 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.
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
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
67
Plate 3.6.3-view showing fashion accessories display area
68
Fig 6- Concept diagram
69
3.7. MIX: (MODERN CLOTHES)
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
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.
authenticity.
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
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.
71
Fig 8-View showing perspective of display area
72
Plate 3.7.2-View showing secluded display area
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CHAPTER FOUR
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
rainfall, high humidity levels, almost uniform weather throughout the year and high
temperatures. Architectural design in the tropics must take into consideration the
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
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
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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
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
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
Enugu is the site of the Institute of Management and Technology, the Enugu State
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
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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
although coal mining is no longer the major source of income, very small quantities
The city's economy has diversified in recent years and is largely dominated by
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
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.
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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
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
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
The Mail delivery service is efficient and its dominated by such global players as UPS
providers now have facilities and operations in Enugu State. Internet services and
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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
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
in Enugu State. The State also hosts the Enugu State University 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
affordable labour force. The new government in Enugu State is also planning to
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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.
The University of Nigeria Teaching Hospital (UNTH), one of the foremost teaching
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.
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
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
80
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,
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.
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
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
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
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
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
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
2004 3,102,151
Table 4.1
Government in Enugu State occurs at two levels: the State Government and the Local
government. There is also a popularly elected legislature, the Enugu State House of
Assembly.
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
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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
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.
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4.2 PHYSICAL CHARACTERISTICS OF ENUGU
Enugu is in the hot humid zone 0.8 o north and south of equator. There are two
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
Temperature ‘C
Table 4.2
86
. (0C)
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
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,
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(mm)
4.2.5 Humidity
Relative Humidity %
Table 4.3
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.
In a hot humid zone area like Enugu, a comfort condition is achieved in buildings
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.
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
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
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.
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(mm)
4.2.9 Ventilation
Enugu being in the hot humid zone requires relatively high air movement always, for
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
93
1. The sizes of windows forming the cross-ventilation should not be equal. The
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
The location of Enugu being within the tropics suggests that a lot of solar control
Provision of long projecting eaves and verandah (in case of two storey
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
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:-
rays.
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
The Nigerian soil map polishing in 1967, divides Nigeria into four major soil zones
namely:
Enugu falls into the category of the interior zone of laterite soil. The soil here is well
95
4.3 SITE ANALYSIS
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
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
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
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.
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
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.
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:
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,
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
Source-Author
Studies have revealed that the disadvantages and costs of the use of the city centre
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
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
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
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.
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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
of the original structures or the construction of new ones as fashion houses may tend
The site is polygonal in shape, having 12 sides. The longest side of the site measures
4.4.4 Services
The feasibility of the site as a location for the complex depends heavily upon the
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
and multimedia systems are quite high. Telecommunication facilities are also required
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
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
Plate 4.3-The site showing the Technical College at the northern end
Source-Author
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
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
The building structure especially the roof should be strong and firm enough to
Openings on external walls and the walls themselves should be protected from
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
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
Design implications
Sufficient trees, grasses and shrubs should be planted to provide shade and
adequate size and proper positioning and aid by artificial ventilation means to
reduce the reflection of solar radiation into the building and areas around the
building
104
Application of solar protection to openings by the use of eaves, verandas, sun
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.
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
advisable where there is a slope to try and use it to enhance economy in the
Drainage on the site naturally is in the direction of the slope to the Southeast and
Southwest ends.
Design Implications
105
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
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
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.
106
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
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
107
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
enable people using public transportation to have easy access to the site.
4.5.8 Views
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
108
Plate 4.5-The Abakiliki/Okpara avenue dual carriage road
Source-Author
109
CHAPTER FIVE
AND CONSIDERATION
110
5.1 FUNCTIONAL SPACES IN A FASHION EXHIBITION
CENTER
The major functional spaces required in a Fashion exhibition centre can be divided
Research and Design department, which will consists of a fashion research library,
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
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
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
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,
works, e.t.c.
A spa, with a massage body palour, body facial and skin treatment facilities which
A fitness center, with a gym and provision for indoor sports as well as units for
Salons and hair treatment center, with barbershops, salons for hair making and
Fashion accessory Boutiques, to be rented out to franchises and companies for the
Shops to let, for trading in any fashion related items. Preferably arranged to line
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
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5.1.3 Administrative unit
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
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
Warehousing units should provide bulk storage for the different facilities in the
complex.
Parking facilities for staff, exhibitors and organisers, exhibitors’ cargo, 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
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5.2 GENERAL DESIGN PRINCIPLES AND REQUIREMENTS
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
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
5.2.2 Sightlines
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
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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
that the facility would be available for users from every way in the world, limits
The designer’s target is to provide comfort and ease of circulation. In all design,
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
help the health of the body. It is often performed at a resort, destination spa, day spa,
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,
aromatherapy
hot spring
hot tub
mud bath
sauna
steam bath
personal training
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5.3.1 A day spa
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 offered depend upon the scope of practice of the licensed
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
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
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
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
cited reasons for introducing massage have been client demand and perceived clinical
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
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
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
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
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
did not exist. Because the sauna was often the cleanest structure and had water readily
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
Under many circumstances, temperatures approaching and exceeding 100 °C (212 °F)
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
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
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
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
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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.
Facial stimulate the skin, relax a client and also energize the face back into condition
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.
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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
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
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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".
style hair in order to change or maintain a person's image. This is achieved using 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
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
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.
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
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
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
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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
Most times, the interior statement of these fashion houses actually creates the space
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
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.
brands they sell or the services they offer and these should be rewarded in the
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(Archtectural record-NIKEgoddess. The store design and merchandizing should be
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.’
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
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Massage chairs in the central lobby/waiting area enhancing comfortability
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Massage Jaccuzzi
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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,
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:
Provision of safe deposit boxes and vaults for the keeping valuable articles,
documents etc.
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
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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
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
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
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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
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
“I can’t define a space really as a space, unless I have natural light… natural light
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
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
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of these most effective modes of aesthetic architectural expression. (Encarta
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
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
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.
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
Artificial lighting is most widely used. This is because though natural lighting can be
essential; therefore, the artificial light sources are identified with their characteristics.
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The most commonly used light sources are incandescent, fluorescent and high-density
discharge.
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-
(wide-beam) types. Projector lamps are similar but are of special construction
exposed to the weather, they are available in spot and flood types5.
Color quality
Overall cost.
These different types sizes aid the architect in charge in that he can achieve the
violet energy generated by a mercury arc. When the proper voltage is applied.
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Fluorescent lamps are available in a number of colors and in no less than 14
in that they provide a point source light, but they are more closely related to
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Table 5.7.2
R =Reflector lamps
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QT-DE=Halogen filament lamps, 2 sockets
T =Fluorescent lamps
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
concentrated in the design and planning of the exhibition halls, auditorium and
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
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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
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
Exhibition Facilities)
5.8.5 Ventilation
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
Temperature differences
Natural wind
Ventilators
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Fig 18-Diagram showing ventilation flow
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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.
ventilation design. In tropics where the site to this facility is to located, ventilation
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,
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.
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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.
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
requires mechanical devices to augment the natural flow of air. (Ham Roderick,
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
walls, where possible, should be naturally ventilated while those that are completely
5.9.1 Safety
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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
Fires
Panic
5.9.2 Fires
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
Guidance for design and adaptation, Butterworth Architecture, London). To avoid and
kitchen, auditorium.
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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
The structural members (example: beams, columns etc) of the building should
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
fighting hose real etc. at important locations within the buildings. All
routes of escape.
Conduit electrical wiring should be adopted to prevent fire risk associated with
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
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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
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.
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CHAPTER SIX
DESIGN MORPHOLOGY
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6.1 CONCEPT
The centre is a one stop shop for the renewal of the physical appearance, physical or
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
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
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.
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
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
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fashion center must also follow the fast changing trends of the world and the
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
150
6.3 SPACE REQUIREMENTS
Space program
Administrative unit
151
Runway auditorium
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
153
Clothes Shops
Source-Author
154
Beauty shop and salon
units m2 .
Beauty shop Reception and Customer service desk, cashier 2 13.5 1 13.5
service
and treatment
shoppers
pedicurist
trolley, shelving
cleaning equipment
Source-Author
155
Spa
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
157
Support services
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
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Structure
Walls will be load bearing for stability .The internal walls and subdivision within the
Foundation system
The foundation will consist of pad and simple strip foundations systems. Basements
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
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 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
balcony areas enjoying a view may be deliberately designed to increase contact with
Provision must be made for cleaning windows and fixed glazed panels-particularly.
Roofing system
proofing, it must:
162
Allow for different movement over the large spans involved
necessary
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
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
expected.
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
164
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CHAPTER 2
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CHAPTER 3
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171
SITE PLAN
1
GROUND FLOOR PLAN
2
FIRST FLOOR PLAN
3
ROOF PLAN
4
ELEVATIONS
5
SECTIONS