PROPOSED CULTURAL CENTER FOR

ZARIA LOCAL GOVERNMENT, KADUNA STATE

PROJECT SUBMITTED TO THE

DEPARTMENT OF ARCHITECTURAL TECHNOLOGY
NUHU BAMALLI POLYTECHNIC, ZARIA

TITLE PAGE

BY

MUSTAPHA ABDULMALIK
N/ARC/20/02010

IN PARTIAL FULFILLMENT OF THE AWARD OF NATIONAL

DIPLOMA (ND) IN ARCHITECTURAL TECHNOLOGY

JULY, 2023.
i
 DECLARATION

I hereby declared that this project is a product of my research and was written by me, all
references and sources are indicated adequately acknowledged.

___________________________ ________________
MUSTAPHA ABDULMALIK Date
N/ARC/20/02010

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 APPROVAL PAGE

This is to certify that this project is an original work undertaken by MUSTAPHA

ABDULMALIK N/ARC/20/02010 and has been carried out in accordance with the regulations

governing the preparation and presentation of the project work for the award of National

Diploma in Architecture, School of Environmental Studies, Nuhu Bamalli Polytechnic Zaria.

______________________ ________________
LUKMAN MU'AZU Date
(Project Supervisor)

___________________________ ________________
DANIEL YUNANA Date
(Project Coordinator)

____________________________ ________________
ABDUSSALAM YUSUF Date
(Head of Department)

iii
 DEDICATION

This research work is dedicated to Almighty Allah for his grace and blessings of life to carry out

this project and also to my parents Alh. MUSTAPHA YUSUF MAIGORO and Dr. Mrs.

FATIMA MOHAMMED who have toiled hard to give me a silver spoon education and whose

moral and fervent succor has been a sustainable influence in my educational career.

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 ACKNOWLEDGEMENT

Thanks be unto Allah Almighty, the all sufficient for his blessings, grace and mercy that led me

throughout this academic exercise.

My profound gratitude goes to my supervisor, LUKMAN MU'AZU for his kindness and support

and his vast professional knowledge to bear heavily on this project.

I owe a dept of gratitude to my parents for initiating and instilling the love to achieving

education in me and for their love, understanding and above all their prayers and support, to my

siblings for their constant good will and prayers.

My sincere acknowledgement goes to my mentor, Arc Suleiman and my friends Shehu Isma'il

Gamagira, Muhammad Abdullahi, Ja'afar Bashir, Musa Sabitu Bala Umar Ibrahim, Sadiq Umar

Faruk, Zailani El-Yaqoub and the rest of my classmates, my lecturers and all those who in one

way or the other contributed to my success in this project.

I thank you all and may Allah bless you abundantly.

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 ABSTRACT

The lack of a dedicated cultural hub in our community has led to a void in artistic and
educational opportunities for residents. There is a pressing need to create a dynamic space that
fosters cultural exchange, artistic expression, and community engagement. This architectural
project aims to design and develop a modern cultural center that serves as a vibrant hub for
artistic, educational, and social activities. The center will not only address the cultural deficit
but also provide a platform for diverse interactions and experiences.The project will begin with
an in-depth analysis of the community's cultural needs, demographic profiles, and existing
cultural infrastructure. A comprehensive architectural design process will follow, involving
stakeholder consultations, historical and cultural research, as well as innovative design concepts
that integrate sustainable practice through precise research and design, the proposed cultural
center was achieved. The facility boasts state-of-the-art exhibition halls, versatile performance
spaces, interactive workshops, and dedicated areas for cultural preservation. The design
harmoniously blends modern aesthetics with elements that pay homage to the community's
heritage. The cultural center project presents a transformative solution to the lack of a dedicated
cultural space in the community. By providing a platform for artistic expression, cultural
exchange, and educational opportunities, the center becomes a catalyst for community cohesion
and growth. It is poised to invigorate the local cultural scene, promote creativity, and contribute
to the overall enrichment of the community's quality of life.

Keyword: Community, History, Design, Cultural Centre, Culture.

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 TABLE OF CONTENT

Tittle page………………………………………………………………………………………....i

Approval page……………………………………………………………………………………..ii

Declaration………………………………………………………………………………………..iii

Acknowledgement………………………………………………………………………………..iv

Abstract……………………………………………………………………………………………v

Table of content…………………………………………………………………………………..vi

CHAPTER ONE
1.0 Introduction……………………………………………………………………………………1

1.1 Definition of terms…………………………………………………………………………….1

1.1.1 Cultural center……………………………………………………………………………….1

1.1.2 Culture……………………………………………………………………………………….2

1.1.3 Center………………………………………………………………………………………..2

1.2 Historical development………………………………………………………………………..2

1.3 Aim and objectives……………………………………………………………………………3

1.3.1 Aim………………………………………………………………………………………….3

1.3.2 Objectives…………………………………………………………………………………...3

1.4 Needs and motivation/ problem statement…………………………………………………….3

1.5 Architectural significance of the project………………………………………………………3

1.6 Scope and limitations………………………………………………………………………….4

1.6.1 Scope………………………………………………………………………………………...4

1.6.2 Limitations…………………………………………………………………………………..4

1.7 Methods of research…………………………………………………………………………...4

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 CHAPTER TWO
2.0 Literature review………………………………………………………………………………5

2.1Theoretical framework :-Factors necessitating the idea of configured adaptable space………5

2.2 The concept of culture………………………………………………………………………...6

2.3 The elements of culture………………………………………………………………………..8

2.4 Manifestation of culture……………………………………………………………………….8

2.5 Acculturation…………………………………………………………………………………..9

2.6 Cultural development………………………………………………………………………...10

2.7 Types of cultural institutions………………………………………………………………...10

2.8 Space and Physical Requirements For Cultural Center……………………………………...11

CHAPTER THREE
3.0 Case studies…………………………………………………………………………………..12

3.1 Case study one……………………………………………………………………………….12

3.1.1 Ahmadu Bello University drama village…………………………………………………..12

3.1.2 Functional units…………………………………………………………………………….12

3.1.3 Materials used (Finishes)…………………………………………………………………..12

3.1.4 Critical appraisal…………………………………………………………………………...15

3.2 Case study two……………………………………………………………………………….16

3.2.1 Kano state cultural center (Gidan Dan Hausa)…………………………………………….16

3.2.2 Functional units…………………………………………………………………………….16

3.2.3 Materials used (Finishes)…………………………………………………………………..16

3.2.4 Critical appraisal…………………………………………………………………………...18

3.3 Case study three……………………………………………………………………………...19

3.3.1 Gidan Makama museum and cultural center………………………………………………19

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3.3.2 Functional units…………………………………………………………………………….19

3.3.3 Materials used (Finishes)…………………………………………………………………..19

3.3.4 Critical appraisal…………………………………………………………………………...21

3.4 Case study four (International case study)…………………………………………………...22

3.4.1 Quinta Montes Molina cultural center……………………………………………………..22

3.4.2 Functional units…………………………………………………………………………….22

3.4.3 Materials used (Finishes)…………………………………………………………………..22

3.4.4 Critical appraisal…………………………………………………………………………...24

3.5 Approach to demerits………………………………………………………………………...24

3.5.1 Conclusion…………………………………………………………………………………25

CHAPTER FOUR
4.0 Design report…………………………………………………………………………………26

4.1 Site location………………………………………………………………………………….26

4.2 Site analysis………………………………………………………………………………….27

4.2.1 Northeast trade wind……………………………………………………………………….27

4.2.2 Southwest trade wind………………………………………………………………………27

4.2.3 Topography………………………………………………………………………………...27

4.2.4 Vegetation………………………………………………………………………………….27

4.2.5 Infrastructures……………………………………………………………………………...27

4.2.6 Accessibility………………………………………………………………………………..27

4.2.7 Neighborhood……………………………………………………………………………...27

4.2.8 Rainfall……………………………………………………………………………………..28

4.2.9 Temperature………………………………………………………………………………..28

4.2.10 Topography……………………………………………………………………………….29

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4.2.11 Sunshine…………………………………………………………………………………..29

4.2.12 Relative humidity…………………………………………………………………………29

4.2.13 Soil type…………………………………………………………………………………..30

4.2.14 Vegetation………………………………………………………………………………...30

4.2.15 Services…………………………………………………………………………………...30

4.2.16 Electricity supply…………………………………………………………………………30

4.3 Site zoning…………………………………………………………………………………...30

4.4 Site development concept……………………………………………………………………31

4.5 The building form……………………………………………………………………………31

4.6 The building plan configuration……………………………………………………………...31

CHAPTER FIVE

5.1 Design brief…………………………………………………………………………………..32

5.2 Functional relationship diagram……………………………………………………………..32

5.3 Bubble diagram………………………………………………………………………………32

5.4 Design concept……………………………………………………………………………….33

5.5 Proposed Design……………………………………………………………………………..33

CHAPTER SIX
6.0 Summary……………………………………………………………………………………..37

6.1 Conclusion…………………………………………………………………………………...37

Reference………………………………………………………………………………………...38

List of Appendixes……………………………………………………………………………….39

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 LIST OF FIGURES
Figure 3.1: Case Study Four, Plan View…………………………………………………………23

Figure 4.1: Average Rainfall……………………………………………………...……………...28

Figure 4.2: Average Temperature………………………………………………………………..28

Figure 4.3: Relative Humidity…………………………………………………………………...29

Figure 1: Site plan………………………………………………………………………………..39

Figure 2: Ground plan……………………………………………………………………………39

Figure 3: Roof plan………………………………………………………………………………40

Figure 4: Section A~A…………………………………………………………………………...40

Figure 5: Front Elevation………………………………………………………………………...41

Figure 6: Back Elevation………………………………………………………………………...41

Figure 7: Left Elevation………………………………………………………………………….42

Figure 8: Right Elevation………………………………………………………………………...42

Figure 9: Interior perspective…………………………………………………………………….43

Figure 10: External perspective………………………………………………………………….43

Figure 11: Site plan………………………………………………………………………………44

Figure 12: Roof plan……………………………………………………………………………..45

Figure 13: Section A~A.…………………………………………………………………………45

Figure 14: Front Elevation……………………………………………………………………….46

Figure 15: Details………………………………………………………………………………...46

Figure 16: Finishes Schedule…………………………………………………………………….47

Figure 17: Doors and Windows schedule……………………………………………………......48

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 LIST OF PLATES

Plate 3.1:Case Study One, Entrance View……………………………………………………….13

Plate 3.2: Case Study One, Side View…………………………………………………………...15

Plate 3.3: Case Study One, Interior View………………………………………………………..15

Plate 3 4: Case Study Two, Internal View………………………………………………..……...17

Plate 3.5: Case Study Two, Interior View……………………………………………………….18

Plate 3.6: Case Study Two, Store View………………………………………………………….18

Plate 3.7: Case Study Three, Entrance View…………………………………………………….19

Plate 3.8: Case study Three, Gallery View………………………………………………………20

Plate 3.9: Case Study Three, Interior View……………………………………………………...21

Plate 3.10: Case Study Four, Interior View……………………………………………………...22

Plate 3.11: : Case study Four, Side View………………………………………………………..24

Plate 4.1: The Proposed site……………………………………………………………………...26

Plate 1: Physical Model………………………………………………………………………….44

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 CHAPTER ONE

1.0. INTRODUCTION

Due to the great diversity of people and culture, Nigeria has distinguished herself over other

countries in the field of arts. Nigeria's versality in art is so great that is generally felt that African

nations should view Nigeria as the principal trustee of the most durable fruitiest bleach artistic

genius. It is not precisely known when the first works of Nigerian art reached the outside world,

but 1879 following British punitive expedition to Benin ore. 2000 Benin bronzes and worries

were shipped to England and later diversed all over European and American countries. (Silvanto,

et al., 2008). Nigerian culture heritage is woven from threads if history and diversity legend and

conquest. Tourists visiting the country will gain insight to a glorious past as well as a promising

future set amid the natural beauty of this diverse country. (Edward Taylor, 1998). Nigeria offers

a remarkable range of physical beauty in her and land hospitality of her people, ready to enjoy by

the tourists fortunate enough choosing this land of ancient empires as their destinations. Every

society no matter how small it is it deserves a forum of social and cultural interaction in absence

of this, we see people living to themselves and creating disorderly avenues for social and cultural

interaction which are sometimes chaotic in nature (De Chiara, et al., 2001).

1.1 DEFINITION OF TERMS

1.1.1 CULTURE

Culture can be defined as all the ways of life including arts, beliefs and institutions of a

population that are passed down from generation to generation. Culture has been called "the way

of life for an entire society. (Oxford Dictionary 3rd edition)

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1.1.2 CENTER
Center is a building or space especially the one where particular activity, occasion, conference,

business, workshop e.t.c. takes place. It is a point from which an activity is directed or focused. It

have differing names in different countries, such as the performing arts centers in North America

(Lambert & Williams, 2017). Any big venue arguably could function as a cultural center, and

that most likely was the case earlier. Generally, cultural centers do not have any artistic

personnel of their own and mostly focus on productions (Silvanto, et al., 2008). Public cultural

centers commonly describe their primary mission as to producing (by prioritizing and

coordinating) exclusive cultural offerings to the community (Ruusuvirta, et al., 2012). Cultural

centers are often seen as a tool for the municipality’s cultural planning and development efforts

(Lambert & Williams, 2017). A vast majority of cultural centers are located in urban areas

(Ruusuvirta, et al., 2012). The buildings of the centers vary a lot, and can cover both renovated

former industrial, religious,

1.1.3 CULTURAL CENTER

Cultural Centre is an organization, building or complex that promotes culture and arts. Cultural

centers can be neighborhood community arts organizations, private facilities, government-

sponsored, or activist-run.(Oxford Dictionary 3rd edition)

1.2 HISTORICAL DEVELOPMENT OF CULTURAL CENTER

France opened the first Cultural center in "1883" The "alliance franchise" or "French alliance". A

new "tool" of Culture was introduced as a portal point of dialogue between countries and regions,

as a resource for peace and equitable development and, last, as a tool of public diplomacy too.

It's goals are to teach French, promote French and francophone culture as well as advocate for

2
cultural diversity and encourage intercultural exchanges between France and other French

speaking countries. (Philip kottak,1997)

1.3 AIM AND OBJECTIVES

1.3.1. AIM

The aim of this project is to design a good and functional cultural center.

1.3.2. OBJECTIVES

1. To conduct research from publication

2. To conduct site analysis

3. To conduct space analysis

4. To conduct a case study of some existing similar projects

5. To use a conceptual analysis

1.4. NEEDS AND MOTIVATION/ PROBLEM STATEMENT

The motivating factor of the project undertaking is as a result of the absence of a cultural center

in Zaria local Government which is a social need for the people of that region. Many children are

gradually forgetting their own culture and traditions because they have no idea about their

culture but rather, they are adapting the western cultures and traditions.

1.5. ARCHITECTURAL SIGNIFICANCE OF THE PROJECT

The architectural significance of this project is the ability to design a modern cultural center that

will house a complex function of the public. Such structure will create functional spaces for

3
cultural artifact delicacies, acquire more about culture and the likes. They will enlighten the

cultural values through infrastructural development within Zaria local Government.

1.6. SCOPE AND LIMITATIONS

1.6.1. SCOPE

The scope of this project is restricted within Zaria local Government area.

1.6.2 LIMITATIONS

1. Security of materials on the chosen project topic

2. Limited financial power to carry out the case study
3. The uncooperative attitude of some Cultural center workers met one-on-one interview
4. Bad weather conditions on some days making it difficult to meet up with some
appointments

1.7. METHODS OF RESEARCH

The following are the methods used to make a comprehensive research about my design. These

methods include primary and secondary data. The primary data include:

1. Case study
2. Site study
3. Dictionary
4. Architects data

The secondary data has to do with an oral interview.

4
 CHAPTER TWO

2.0 LITERATURE REVIEW

The concept of space configuration in the cultural center design was actually drawn from vast

multifunctional benefit and ability of space to adapt to wide range of operation in the modern

cultural center. Therefore, the idea of configurability and massing of space in this study has been

shaped by the architectural need of adaptability for changes of functions in a wider space of

cultural center in satisfaction, due to constant needs of new activities, year in and year out. More

so, establishing space identity in one hand, and observations of dynamic spatial relations of

design materials as an important aspect of design practice on the other hand. The analysis,

illustrations and case study hope to further widen our understanding, (Brown, 2014).

2.1 THEORITICAL FRAMEWORK: FACTOR NECESSITATING THE IDEA OF A

CONFIGURED AND ADAPTABLE SPACE FOR CULTURAL CENTER DESIGN

This type of study represents the starting point for a cultural center building project in its

functional adaptable state. Cultural service needs, service area demographics and other related

information that are projected and translated into cultural center space requirements. Then, the

available alternatives are evaluated and a course of action selected. The development of a

cultural center building program, selection of architects and the design of the selected building

alternative can then follow. (Silvanto, et al., 2008). This framework addresses cultural centers as

facilities, how cultural center facilities undergo changes as a result of changes in the environment

in which they find, how those changes sometimes affect cultural centre organization, and how

changes in cultural center organizations affect cultural center space. In attempt to balance the

usefulness of configuring a space for adaptability of purpose and functions in various aspect of

5
cultural center design, this framework must be comprehensively itemized and simplified. To

achieve this, various modes through which the formation and integration of space within the

cores and center of cultural center must be configured to justify and satisfy the needs of Public in

the use of a cultural center. (Ruusuvirta, et al., 2010). The methodology for study of this

theoretical framework, identify the below factors:

1- An existing and projected gross square foot requirement.

2- Locally defined cultural center criteria.

3- Functional operation of the facility.

4- User accessibility and ease of access.

5- Capacity for seating and staff requirements.

6- Expansion potential, present and future.

7- Cultural center building Program Space Summary.

2.2. THE CONCEPT OF CULTURE

Sociologist, Anthropologist and social psychologists hold different views and definitions of

culture. In whichever way it is viewed or defined, when analyzed, maintained the elements of its

original Latin meaning of soil cultivation. Culture as defined by the Oxford advance learner’s

dictionary is the advanced development of the human powers; development of the body, mind

and spirit by training and experience. Or evidence of intellectual development (of Arts, Science

etc). Or all the Arts, beliefs, social institutions etc. Exhibiting the characteristics of a community

or race. Similarly, Ayangaor (2003) defined culture as a pattern of life, ways that man has

evolved in his attempts to understand, use and control his social and natural environment. The

variety of cultures seen all over the world is the result of man's varied creative efforts in taming

6
nature. It is, therefore what man adds to Godgiven nature. It is, therefore what really makes man-

the-animal human. Moreover, Taylor (2003) stated that Culture is that complex whole which

includes knowledge, belief, arts, morals customs and any other capabilities and habits acquired

by man as a member of society. Furthermore, Liman (2001) defined culture as the sum total of

everything that contributes towards the formation of practical, physical and mental dimensions of

a people's way of life. It is clear from this definition thus, that cultural considerations do not stop

at social gatherings, dancing and singing in the same way like our forefathers did in the

preceding centuries of the existence of black peoples in Africa south of the Sahara. Any

meaningful consideration of culture must seriously include the economic, social and religious

aspects of the society in question. One could go on, with varied definitions as viewed by

individuals. Though in whichever way, it is meaning the same thing. To the layman therefore,

culture could be explained to him as he's or his ethnic group's mode of dressing, eating habit or

types of food, traditional dance types, trading, etc. It’s His general way of life. A more related

definition to this thesis of culture is that by Malinowski (1945) which says culture is an organic

unity with four dimensions of social organization, belief, material, outfit and language. This

meaning views society as dynamic yet harmonious. The change is of transformation of the

existing order, in terms of social, spiritual and material civilization from one type to another. It

can be within the community (evolution) or through contact of different cultures (diffusion).

Similarly, the uncontaminated native of any place does not exist. Culture is there transmitted to

generations through socialization as their behaviors internalized.

2.3. THE ELEMENTS OF CULTURE

The elements of culture as stated by Lee (1989) are the language, Signs, symbols, values, norms

and social control of a society that are used generally all over. Hofstede (1991) added that the

7
elements of culture are the tools, artifacts, technology, language, religion, education, attitudes,

values and social organization that make up a community. Similarly, Brown (1995). viewed the

elements as beliefs, attitudes, artifacts, architecture, stories, ceremonies and symbolic actions. In

a nut-shell, the elements of culture can be classified into:

I. Material and non-material; and

II. Core and peripheral elements. John (1996)

2.4. MANIFESTATION OF CULTURE

- Cultural differences manifest themselves in different ways and differing levels of depth.

Symbols represent the most superficial and value the deepest manifestations of culture, with

heroes and rituals in between. Symbols are words, gestures, pictures, or objects that carry a

particular meaning which is only recognized by those who share a particular culture. New

symbols easily develop, old one disappear. Symbols from one particular group are regularly

copied by others. This is why symbols represent the outermost layer of culture. Heroes are

persons, past or present, real or fictitious, who possess characteristics that are highly prized in

culture. They also serve as models for behaviour. Rituals are collective activities, sometimes

superfluous in reaching desired objectives, but are considered as socially essential. They are

therefore carried out most of the times for their own sake. (Ways of greetings, paying respect to

others, religious and social ceremonies, etc.).

- The core of culture is formed by values. They are broad tendencies for preferences of certain

state of affairs to others (good-evil, right-wrong, natural-unnatural). Many values remain

unconscious to those who hold them. Therefore they often cannot be discussed, nor they can be

directly observed by others. Values can only be inferred from the way people act under different

8
circumstances. Symbols, heroes and rituals are the tangible or visual aspects of the practices of a

culture. The true cultural meaning of the practices is intangible; this is revealed only when the

practices are interpreted by the insiders.(historyplex, 2023)

2.5. ACCULTURATION

Acculturation is a process in which members of one cultural group adopt the beliefs and

behaviours of another group. Although acculturation is usually in the direction of a minority

group adopting habits and language patterns of the dominant group, acculturation can be

reciprocal--that is, the dominant group also adopts patterns typical of the minority group.

Assimilation of one cultural group into another may be evidenced by changes in language

preference, adoption of common attitudes and values, membership in common social groups and

institutions, and loss of separate political or ethnic identification. Cultural modification of an

individual, group, or people by adapting to or borrowing traits from another culture; also

merging of cultures as a result of prolonged contact. Hence, it is the process by which a human

being acquires the culture of a particular society from infancy. Helsinki (1995) In addition,

Kottak (2007) stated that Acculturation is the exchange of cultural features that results when

groups of individuals having different cultures come into continuous first hand contact; the

original cultural patterns of either or both groups may be altered, but the groups remain distinct.

Despite definitions and evidence that acculturation entails two-way processes of change,

research and theory have continued with a focus on the adjustments and changes experienced by

minorities in response to their contact with the dominant majority. Thus, acculturation can be

conceived to be the processes of cultural learning imposed upon minorities by the fact of being

minorities. If enculturation is first culture learning, then acculturation is second-culture learning.

9
This has often been conceived to be a one-dimensional, zero-sum cultural conflict in which the

minority's culture is displaced by the dominant group's culture in a process of assimilation.

Goodall (1999).

2.6 CULTURAL DEVELOPMENT

The need to integrate cultural activities and values in all spheres of life has been very loudly

pronounced in the post-independence development of Nigeria. General ideas on Nigerian

development were linked to the authentic cultural values. However, the class between

modernization (westernization) on one, and the traditional cultural values on the other side could

not have been avoided. Brown (2010). The traditional culture have been more or less left to the

local limitation. In the context of rather radical developed changes, they have generated different

types of pop-culture, pop-music based on the strong authentic tradition, pop-literature (market

literature) produced for they barely literature audience and expensively the general popular

concerns, performing arts and group inheriting the status of traditional performer (like of

instance popular theater performance by more than 100 Yoruba professional popular ambulant

group) etc, culture industries and new technologies by enabling fact communication and creation

of internal (music, literature, etc) markets. (John,1988) The most important issue of cultural

development is certainly the issue of creating either national Nigerian, or affirmation of ethic.

Cultural identify the while process of resmenturation and adjustment is in fact the process of

defining the identity of Nigerian people and individuals.

2.7 HELSINKI, (1995 )TYPES OF CULTURAL INSTITUTION

Ministry of culture and social welfare has two departments responsible for administering and

implementing Culture policies. The federal department of culture is responsible for the

10
formulation and execution of the national Cultural of all national Cultural relation. The national

council for arts and culture encourages and develops all aspects of Nigerian culture and interacts

with private or public organization other federal bodies partly involved in Cultural life and

politicians at the federal level such as the following:

a. National library of Nigeria

b. Natural commission for museum and monument

C. center for black and Africa arts and civilization

d. National Gallery of Modern Art

e. federal Radio Co-operation of Nigeria

f. Nigerian Television Authority

The federal Ministry of culture and social welfare is in charge of corporation and national state

and local government levels. The promotion and development of culture is the executive

responsibility of each Nigeria state, although the federal government of finance and offers

administrative support for culture to each state art council set up by law. These art councils have

the responsibility to develop administer and promote state cultural policies.

2.8 SPACE AND PHYSICAL REQUIREMENTS FOR CULTURAL CENTER

Brown,(2014) list the space and physical requirement for cultural center as follow:

1- The project should be an urban oasis and a vital link between existing communities

and future urban development.

2- The ground floor can be used for cultural and recreational plaza, accessible from

every direction.

3- The library and museum can be unified into a single articulated mass,the building

design can be done in such way so that different public activities can take place in

11
 shared public spaces located in the building. Museum and library; the two main

functions provide spaces independent from each other while sharing the lobby which

can be used as a special exhibition space.

4- Sustainable design with natural ventilation system and construction process can be

done.

5- The building should be expanded to include a public courtyard.

6- The pedestrian path should be defined and well designed.

7- The inner courtyard can be used as an outdoor venue for exhibition and festival

events.

8- The concept of the design should be to utilize the city's philosophy of combining

nature and innovative technology.

9- Creating a strong relationship between the exterior and interior public spaces.

12
 CHAPTER THREE

CASE STUDIES

3.1. CASE STUDY ONE

3.1.1 AHMADU BELLO UNIVERSITY DRAMA VILLAGE

CLIENT: Ahmadu Bello University Zaria

LOCATION: Behind A.B.U Business School, Ahmadu Bello University, main campus,
Samaru, Zaria.

YEAR OF ESTABLISHMENT: 1976

Plate 3.1: Case study one, Entrance View

Source: Researcher’s work, (2023

3.1.2 FUNCTIONAL UNIT:

- Entrance.

- Art gallery.

13
 - Administrative section.

- Courtyard (Temporary theater)

- Stage.

- Toilets

3.1.3 MATERIALS USED (FINISHES)

WALLS: Yellow coated emulsion paint on 5mm thick sand and cement mortar applied on
225mm hollow sandcrete blocks.

FLOOR: Cement and sand screed floor finish in theater and terrazzo tiles finish in galleries
placed on 150mm concrete floor.

CEILING: Soft board suspended ceiling nailed to hardwood ceiling noggins at interval of
600mm c/c.

ROOF: Hip roof finished with aluminium roofing sheet nailed to the rafters.

DOORS: Steel flush doors at galleries and solid core wooden flush doors at other functional
units.

WINDOWS: Aluminium sliding windows in offices and steel panel windows in other functional
units.

3.1.4 SERVICES

- Pipeborne water supplied to various parts of the building for utility.

- Electricity from electric poles around the building.

14
3.1.5 CRITICAL APPRAISAL

3.1.5.1 MERITS

- Good orientation of the building.

- Well designed drainage system.

- Adequate lighting and ventilation.

3.1.5.2 DEMERITS

- Undefined parking space.

- Absence of some functional spaces in the building.

- No provision of enough conveniences.

- poor landscaping.

- Plate 3.2: Case study one, Side View

- Source: Researcher’s work, (2023)
-
-

15
 Plate 3.3: Case study one, Internal View
Source: Researcher’s work, (2023)

3.2 CASE STUDY TWO

3.2.1 KANO STATE CULTURAL CENTER (GIDAN DAN HAUSA).

CLIENT: Kano emirate council.

LOCATION: 1301, hausawa, sabon titin, Kano.

YEAR OF ESTABLISHMENT: 1907 and renovated in 2014.

3.2.2. FUNCTIONAL UNITS

- Entrance

- Reception

- Gallery

- Administrative section

- Museum

3.2.3. MATERIALS USED/ FINISHES

16
WALL: Conical brick wall.

FLOOR: Sand and cement screed floor finish and terrazzo tile floor finish in offices.

CEILING: Palm wood with mud plaster finished with emulsion paint.

ROOF: Mud flat roof.

DOORS: Solid core wooden panel door.

WINDOWS: Steel casement windows.

3.2.4. CRITICAL APPRAISAL

3.2.4.1 MERITS

- Adequate lighting and ventilation.

- Well defined approach to structure.

- Proper orientation of building with provision of shading devices.

Plate 3.5: Case study Two, Internal View

Source: Researcher’s work, (2023)

17
-
Plate 3.6: Case study Two, Store View
- Source: Researcher’s work, (2023)

3.2.4.2 DEMERITS

- Poorly designed drainage system.

- No provision of administrative unit.

- Improper arrangement of toilets for male and female gender.

- Lack of space mend for crafting to aid cultural arts display.

Plate 3.6: Case study Two, Internal View

Source: Researcher’s work, (2023)

18
3.3. CASE STUDY THREE

3.3.1 GIDAN MAKAMA MUSEUM AND CULTURAL CENTER

CLIENT: National commission of museum and monuments.

LOCATION: Emir's palace road, Wudilawa Kano.

YEAR OF ESTABLISHMENT: 1440

Plate 3.7 Case study Three, Entrance View

Source: Researcher’s work, (2023)

3.3.2 FUNCTIONAL UNITS

- Entrance

- Reception

- Gallery

- Administrative section

- Museum

19
3.3.3 MATERIALS USED/ FINISHES

WALL: Conical brick wall.

FLOOR: 300×300mm ceramic tiles floor finish.

CEILING: Concrete ceiling

ROOF: Thatch roof and concrete flat roof.

DOORS: Solid core wooden panel doors and steel flush doors.

WINDOWS: Jalousic windows.

3.3.4 CRITICAL APPRAISAL

3.3.4.1 MERITS

- Aesthetically appealing facade.

- Adequate circulation space.

- Good location.

- Good materials used for construction.

Plate 3.8: Case study Three, gallery View

Source: Researcher’s work, (2023

20
 Plate 3.9: Case study Three, Internal View
Source: Researcher’s work, (2023)

3.3.4.2 DEMERITS

- Poor landscaping

- Inadequate lighting and ventilation.

- Undefined parking space.

- Poorly constructed drainage system.

3.4 CASE STUDY FOUR (INTERNATIONAL CASE STUDY)

3.4.1 QUINTA MONTES MOLINA CULTURAL CENTER.

CLIENT: Mexican government.

LOCATION: Merida, Mexico.

YEAR OF ESTABLISHMENT: 2022.

21
 Figure 3.1: Case study Four, Plan View
Source: Researcher’s work, (2023)

Plate 3.10: Case study Four, Internal View

Source: Researcher’s work, (2023)

3.4.2. FUNCTIONAL UNITS

- Entrance

- Reception

22
 - Gallery

- Administrative section

- Museum

3.4.3. MATERIALS USED/ FINISHES

WALL: Hollow sandcrete block.

FLOOR: Ceramic marble tiles floor finish.

CEILING: Soft board ceiling finish.

ROOF: Concrete flat roof.

DOORS: Glazed aluminium sliding doors and solid core wooden panel doors.

WINDOWS: Glazed aluminium casement windows.

3.4.4. CRITICAL APPRAISAL

3.4.4.1 MERITS

- Proper allocation of functional spaces.

- Adequate lighting and ventilation.

- Good building orientation.

- Good materials used for construction.

23
 - Plate 3.11: Case study Four, Side View
- Source: Researcher’s work, (2023)

3.4.4.2 DEMERITS

- Undefined approach to structure.

- No provision of space for refreshment.

- Roof not flexible enough to ease maintenance.

3.5.1. APPROACH TO DEMERITS / CONCLUSION

Demerits will be properly examined and preventive measures will be taken to ensure a more
functionally, structurally pleasing and aesthetically appealing structure in the proposed design.

3.5.2. CONCLUSION

The cultural center was designed based on the nature of activities, for example where Mayor had

welcomed President and royalty diplomats and community leaders. Also for function such as

24
featuring more than 1000 programs and exhibition covering a wide range of the performing

visual and literally art.

25
 CHAPTER FOUR

DESIGN REPORT

4.1 SITE LOCATION

The proposed Cultural center is to be located inside Alhudahuda College, Kofar Doka Zaria City,

Kaduna State Nigeria.

Plate 4.1: The proposed site

Source: Google Earth (2023)

4.2 SITE ANALYSIS

4.2.1 NORTH EAST TRADE WIND

This wind comes from the Sahara Desert and it come with dust, openings in building should be

well oriented, buffers should be planted to reduce its effect and also shading devices should be

used.

26
4.2.2 SOUTH WEST TRADE WIND

This wind comes from the Atlantic Ocean with moist, landscape should be provided on the site

to reduce the effect.

4.2.3 TOPOGRAPHY

The topography of the site is relatively flat toward the road.

4.2.4 VEGETATION

There are lots of trees, shrubs and grasses within the site some of which will be retained and

some that may obstruct the erection of the structure should be removed.

4.2.5 INFRASTRUCTURES

There is electricity, telecommunication and water available around the site, all that is needed is

for electricity and water to be tapped after approval from the authority.

4.2.6 ACCESSIBILITY

The site has a good accessible road.

4.2.7 NEIGHBORHOOD

The site is neighbored by some institutional buildings such as classes and hall

27
4.2.8 THE RAINFALL

Fig 4.1: Average Rainfall

Source: Climatedata.org, (2023)

Rain start late in March with little drip and increases gradually to its peak in the month of August.

Shading devices should be provided and buffers should be planted.

4.2.9 TEMPERATURE

Fig 4.2: Average temperature

Source: Climatedata.org, (2023)

The temperature is low in the month of January and increases in the month of March; buffers

should be planted to reduce the effect of high temperature.

28
4.2.10 TOPOGRAPHY

The topography of the site is relatively plane the site has very gentle slope that is hardly

noticeable with the naked eye and has no hill or out crops. There are no depression on the site the

gradient slopes towards the South of the site.

4.2.11 SUNSHINE
The site experience considerable amount of sunshine in the month of January, February, March

and increase to its peak in the month of May which later drops gradually drops the month of

December.

4.2.12 RELATIVE HUMIDITY

Fig 4.3: Relative humidity

Source: Climatedata.org, (2023)

The relative humidity is low in the months of January-August and increase to its peak in

September to November.

29
4.2.13. SOIL TYPE

The soil is predominantly sandy mixed with clay soil.

4.2.14 VEGETATION

This site consists of low grass and trees typically of terrain forest region (NOSIR). While some

will be cleared others will be retained as landscape and buffers against noise from glare.

4.2.15 SERVICES

There is a public power supply network of overhead power lines within the school. There is a

network of water mains too. However, Water can be source nearby from an existing borehole

and stream near the site. There is also functional telephone network but there is network

coverage of G S M telephone by different service providers.

4.2.16 ELECTRICITY SUPPLY

The existing site has electrical poles with electricity of 11kv passing along the main access road.

This will be convenient to tap electricity to the site.

4.3 SITE ZONING

Zoning of the site was based on the noise surrounding the site and areas which will be proposed

for various activities ranging from public areas to private areas.

Zone A is suitable for the proposed building because of its distance from sources of noise. It is

positioned on the central point of the site to avoid any form of external wind effect. Zone suitable

30
for functional outdoor activities and for meetings as well as walk ways. Zone C is suitable for

landscaping, parking lots and security post.

4.4 SITE DEVELOPMENT CONCEPT

The topography of the site informed the placement of facilities within the site. This considered

the ease of circulation and water drainage due to the undulating nature of the site. The climatic

conditions were also considered in positioning the building in terms of building orientation.

4.5 THE BUILDING FORM

The building adopts compact planning and forms that expose minimum area of the buildings’

envelope to solar radiation. In order to generate and accumulate heat exchange (by conduction

between the building and the ambient air, thus reducing the energy demands of the buildings

(especially when mechanically cooled or heated).

4.6 THE BUILDING PLANS CONFIGURATION

Generally, the more spread out a building is and the more irregular its shape, the better is its

potential for cross ventilation.

The building is designed to switch between compact and ‘spread out’ plans. The floors

arrangement consist atrium and unobstructed floors. Thus the atrium of the Cultural center and

the operable openings provided along the center of the building to increase channels for

ventilation and natural day light into the commercial building.

31
 CHAPTER FIVE

5.1 DESIGN BRIEF

History and culture is gradually facing away to the acclaimed civilization. For cultural

identification, preservation and sustainability, the Federal Ministry of Culture and Tourism in its

2023, Budgetary provision is willing to partner with interested communities to revitalize culture

and tourism.I have been commissioned by my community to design a befitting facility for the

collection, exhibition, learning, storage and preservation as condition for accessing the funds and

project execution. Additional Requirements:-

1. Select a suitable site within the community for the project.

2. Propose a befitting design of a cultural center that have, but not limited to the following

- Administrative Unit

- Exhibition Unit

- Picture Gallery

- Library

- Multipurpose Hall

- Photo Studio

- Café/Business Center

- Canteen

- Meeting Room

- Workshop/Production Facilities

32
5.2 FUNCTIONAL RELATIONSHIP DIAGRAM

This shows the relationship between various spaces as well as the services and most convenient

linkage between various units and places in the building. The proposed Cultural center is been

related with these concept and it is been properly taken care of in the design.

5.3 BUBBLE DIAGRAM

The design with bubble diagram significant important in the architectural world it show the

relationship between each part of the building. The bubbles are in the form of interlocking circle

showing various units of the designed.

5.4 DESIGN CONCEPT

The resultant plan is due to the arrangement of the site zoning concept is itemized

5.5 SPACE ANALYSIS

The space analysis is in the tabular form which shows the total space of any space in the

building that is require and the length of any space and total length per m2 and the

percentage of circulation of any space in the building.

5.6 PROPOSED DESIGN

5.6.1 SITE PLAN

The site layout is arranged in cluster from which the set back is made in other to check the

problem of congestion and to regulate effective parking spaces, in other to create an

organized space for pavement and landscape element. Site plan is the product of the site lay

out, all the building on the site are well oriented from solar radiation and paveling wind. The

33
shortest sides of the building faces the east direction in other to reduce he effect the solar

radiation into the interior of the building. The longest side of the building faces the south and

north as much as they are inclined to the prevailing wind, this is to ensure adequate cross

ventilation into building.

5.6.2 FLOOR PLAN

The floor comprises of three different types of room which are single client room, double client

room, Triple client room that will accommodate 50 clients.

5.6.3 FOUNDATION

The type of foundation to be used depend on the structural engineer because the bearing capacity

of soil has to be calculated.

5.6.3.1 HARD CORE

The hard core is laid after literate have been laid and compacted then the igneous rock is to be

laid to the required level as specified in the drawing.

5.6.3.2 OVERSITE CONCRETE

Mass concrete is casted after laying the hard core and rammed to reduce void on the concrete

with recommended ratio, where damp proof membrane materials should be used.

5.6.3.3 WALLS

All the walls are constructed with 225mm hollow block both the substructure and the

superstructure.

34
5.6.3.4 LINTEL, ARCES AND HEAD COARSE

All the lintel, arches and head coarse shall be required to be the thickness with the block wall,

reinforced and cast in situ to the engineer specification.

5.6.4 ROOFING

The roof members such as rafters, purlins, tie beam, king post, trusses, noggins shall be

constructed with treated hardwood. The cover ois long span aluminum.

5.6.5 SECTIONS

Section is a view or representation of something, cut through to show its internal structure or

workings. The section shows how the building is cut off from roof to the foundation showing

the type of materials used with their dimensions.

5.6.6 ELEVATIONS

Elevations is an exterior vertical planar surface of a building, which shows the view of each side

of the building which could be front, back, left, and right elevation.

5.6.7 PERSPECTIVE

The optical phenomenon in which objects in the distance are perceived as smaller than object

in the foreground perspective comprises of two point exterior and one points interior

perspectives. The exterior sows the whole elevation of features, such as the landscaping, the

main structures, walkway, cars, trees etc, the interior perspective shows interior of the central

courtyard.

35
5.6.8 WORKING DRAWINGS

Working drawing gives all the necessary detail and makes specifications on the proposed

structure and all other needed materials, also provide detail dimensions on every part of the

structures to maintain accuracy during construction.

5.6.9 DOORS AND WINDOWS SCHEDULE

This gives the detail on the type, quantity, specification and position of doors and windows

needed in the building.

5.7 SCHEDULE OF FINISHING

The final covering, facing treatments, or coating for surface and component. This shows detail

information and specification on the type of material needed to be used on the building e.g wall,

ceiling, floor.

36
 CHAPTER SIX

6.0 SUMMARY

The proposed cultural center will serve as befitting environment through well planned orientation

of the structure and landscaped area.

Also, these works applaud a structure that encompasses functional spaces that relates

harmoniously with environment condition.

Finally, this is an attempt to maximally utilize the available local and modern building materials

in order to display a better cultural exhibition around the site.

6.1 CONCLUSION

The purpose of this design proposal of cultural center is to evolve a concept with a maximum

approval on functionality before the evolution of form.

It has been confirmed and identified that the culture of any society or people is live wire of

nucleus of activities within and out of that society as such the proposed design has taken care of

the fact of seeing the preserving and exhibition of the rich culture of Zaria local government.

37
 REFERENCES
Ayangaor (2003) & Taylor (2003) historypix.com

Building Types (4th edition). McGraw- Hill International Book, Company.

Center in Hot-Dry Climate of Nigeria. International Journal of Energy Conrad Philip kottak,
(1997) Anthropology the exploration of human diversity.

De Chiara, J. (Ed.) & Crosbie, M. J. (Ed.) (2001). Time-Saver Standards for Building Types (2nd
edition) New York. McGraw- Hill International Book Company, 1980.

De Chiara, J. (Ed.) & Crosbie, M. J. (Ed.) (2001). Time-Saver Standards for Entertainment

Edward Taylor(1998). Primitive cultural. (Ruusuvirta, et al., 2012).

Joseph (1980) and Oyewale (1988) (housing.com, 2023)

Mark, D., & G. Z. Brown. (2014). SUN, WIND AND LIGHT Architectural design strategies.
New Jersey: John Wiley and sons Inc.

Neufert, E (2000). Neufert Architects Data. Blackwell Science Ltd. Oxford

Ralph Linton. Libraries and cultural change. (Silvanto, et al., 2008). (Lambert & Williams, 2017).

Singapore. Environmental Research (IJEER), 2(1),55-74.Retrieved from www.ea-journals.org

38
 LIST OF APPENDIXES

FIGURE 1: SITE PLAN

Source: Studio Work (2023)

FIGURE 2: GROUND FLOOR

Source: Studio Work (2023)

39
 FIGURE 3: ROOF PLAN
Source: Studio Work (2023)

FIGURE 4: SECTION A-A

Source: Studio Work (2023)

40
FIGURE 5: FRONT ELEVATION

Source: Studio Work (2023)

FIGURE 6: BACK ELEVETION

Source: Studio Work (2023)

41
FIGURE 8: RIGHT ELEVETION

Source: Studio Work (2023)

FIGURE 9: LEFT ELEVATION

Source: Studio Work (2023

42
FIGURE 10: INTERIOR PERSPECTIVE

Source: Studio Work (2023)

FIGURE 10: EXTERIOR PERSPECTIVE

Source: Studio Work (2023)

43
PLATE 1: PHYSICAL MODEL

Source: Studio Work (2023)

FIGURE 11: SITE PLAN

Source: Studio Work (2023)

44
Source: Studio Work (2023)

FIGURE 12: ROOF PLAN

FIGURE 13: SECTION A-A

Source: Studio Work (2023)

45
FIGURE 14: FRONT ELEVATION
Source: Studio Work (2023)

FIGURE 15: DETAILS

Source: Studio Work (2023)

46
 FIGURE 16: DETAILS

Source: Studio Work (2023)

FIGURE 17: FINISHES SCHEDULE

Source: Studio Work (2023

47
FIGURE 18: DOORS AND WINDOWS SCHEDULE

Source: Studio Work (2023)

48