Bus Terminal As Cultural Hub

Bus Terminal as Cultural
Hub: The case of

Lamberet Bus Terminal
Advisee- Biruk Admassu Mammo, ETR/1835/09

Adviser-Dr.Zegeye Cherenet(Assistance Professor)
ECL-AA
8/16/2021
Bus Terminal as Cultural Hub: The case of Lamberet Bus Terminal
Contents
Table of figures ............................................................................................................................... 3
Abstract ........................................................................................................................................... 4
Chapter 0ne -Introduction ............................................................................................................... 6
1.1 Problem Statement ................................................................................................................ 6
1.2 Research Objective ............................................................................................................... 7
1.2.1General objective ............................................................................................................ 7
1.2.2 Specific Objective .......................................................................................................... 7
1.3 Research Questions ............................................................................................................... 7
1.4 Research Hypothesis ............................................................................................................. 7
1.5 Significance of the study....................................................................................................... 7
1.6 Limitation Of the Study ........................................................................................................ 7
1.7 Research Methodology ......................................................................................................... 8
1.7.1 Introduction .................................................................................................................... 8
1.7.2 Research Type ................................................................................................................ 8
1.7.3 Area of the study ............................................................................................................ 8
1.7.4Data Collection ............................................................................................................... 8
1.7.5 Research approach/ strategy .......................................................................................... 9
Chapter Two –Litrature review ..................................................................................................... 10
2.1 Bus Terminal ....................................................................................................................... 10
2.1.1 Definition ..................................................................................................................... 10
2.1.2 Historical Development of Bus Terminal .................................................................... 11
2.1.3 Basic Facilities with in bus terminal ............................................................................ 12
2.1.4 Functional Arrangement .............................................................................................. 13
2.1.5 Functional Requirements ............................................................................................. 16
2.2 Culture................................................................................................................................. 25
2.2.1 Introduction .................................................................................................................. 25
2.2.2Cultural Hub.................................................................................................................. 26
2.3 Ethiopian Culture ................................................................................................................ 27
2.3.1 Ethiopian Music .......................................................................................................... 28
2.3.2Ethiopian Cultural Dance .............................................................................................. 32
2.3.3 Ethiopian Art ................................................................................................................ 35
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Chapter Three –Case Study .......................................................................................................... 43

3.1Bus Terminal ........................................................................................................................ 43
3.1.1Interstate bus terminal sector 13 chandigarh(India)...................................................... 43
3.1.2 Merkato Intra-city Bus Terminal(Local) ..................................................................... 46
3.2 Cultural Hub........................................................................................................................ 48
3.2.1 PARKOPERA Cultural Center for Antalya(Turkey) .................................................. 48
3.2.2 Sheikh Abdullah Al Salem Cultural Centre,( Kuwait) ................................................ 51
3.2.3 GAMO GOFA CULTURAL CENTER(Local) ........................................................... 54
3.3 Railway Station Reborn as Striking Cultural Centre -The railway station in Rumia(Poland)
................................................................................................................................................... 63
Chapter Four –Data Collection ..................................................................................................... 66
4.1 Site Location ....................................................................................................................... 66
4.2 Obseravtion ......................................................................................................................... 67
4.3 Users and Sampling ............................................................................................................ 71
4.4 Sample Size......................................................................................................................... 71
4.5 Users Reaction ..................................................................... Error! Bookmark not defined.
Chapter Five –Findings and Recommendation ............................................................................. 72
5.1 Findings............................................................................................................................... 72
5.2 Recommendation ................................................................................................................ 72
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Table of figures
Figure 1 Methodology for using functional arrangement diagrams ............................................. 14
Figure 2 Functional arrangement diagram for Inter-state bus terminal .................... 15
Figure 3 Functional arrangement diagram for Local bus terminal ............................................... 15
Figure 4 Methodology for using functional requirement sheets ................................................... 16
Figure 5 An azmari playing with a traditional singer. .................................................................. 28
Figure 6 Dorze old man with their traditional music instrument. ................................................. 29
Figure 7 An Ethio-jazz band in Addis Ababa in 1971 .................................................................. 30
Figure 8 A krar player. ................................................................................................................. 31
Figure 9 Tigray People Traditional Group Dancing ..................................................................... 33
Figure 10 Ethiopian women dancing Eskista ............................................................................... 33
Figure 11 Sidama People Traditional Couple Dancing ................................................................ 34
Figure 12 Shewa Oromo Traditional Dancing .............................................................................. 34
Figure 13 Great Triptych, Ethiopia, c. 1700, tempera on fabric on wood .................................... 36
Figure 14 woven geometric decoration(telet) ............................................................................... 37
Figure 15 Colorful Basketry in Northern Part of Ethiopia ........................................................... 38
Figure 16 Interior Decoration in harar using Colorful Basketry .................................................. 38
Figure 17 Ethiopian hand woven carpet ....................................................................................... 38
Figure 18 Different kind of pottery in Ethiopia ............................................................................ 39
Figure 19 Ethiopian ‘shema’ Bag ................................................................................................. 39
Figure 20 Jewelry in harar ............................................................................................................ 40
Figure 21 Jewelry in Northern Ethiopia ....................................................................................... 40
Figure 22 Jewelry in South Ethiopia............................................................................................. 41
Figure 23 Bamboo chairs made locally in Ethiopia ...................................................................... 41
Figure 24 Interstate bus terminal sector 13 chandigarh ................................................................ 43
Figure 25 bus terminal site context ............................................................................................... 44
Figure 26 Components of existing terminal ................................................................................. 44
Figure 27 Circulation of the terminal ........................................................................................... 45
Figure 28 Existing Floor Plan ....................................................................................................... 46
Figure 29 Merkato intercity bus terminal ..................................................................................... 46
Figure 30 Merkato intercity bus terminal Bus Bay....................................................................... 47
Figure 31 PARKOPERA Cultural Center .................................................................................... 48
Figure 32 ARKOPERA Cultural Center arrangement .................................................................. 49
Figure 33 PARKOPERA Cultural Center site plan ...................................................................... 49
Figure 34 PARKOPERA Cultural Center Ground Floor plan ...................................................... 50
Figure 35 PARKOPERA Cultural Center Section ....................................................................... 50
Figure 36 PARKOPERA Cultural Center Elevation .................................................................... 51
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Figure 37 Sheikh Abdullah Al Salem Cultural Centre ................................................................. 51

Figure 38 sky line marble clade .................................................................................................... 53
Figure 39 GAMO GOFA CULTURAL CENTER ....................................................................... 54
Abstract
In our country as well as all over the world, the socio-economic and political
changes brought about by industrialization and its consequence-urbanization
have led to the development of socio-cultural environments. Technology-based
education, information, shopping, entertainment recreation and
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communication, backed up by new media such as the television and the PC

have, for the sake of the convenience of participation, inflicted intro-version
and a home-oriented industry, re-shaping the definition of social environment.
On the other hand the transportation industry still brings many people at one
place it is still not backed up like the other sectors it is one of the most important
requirements for the aid of Interaction from one place to other. Road transport is
the most dominant mode of motorized transport in Africa, accounting for 80
percent of the goods traffic and 90 percent of the passenger traffic in the
continent (Africa Review Report on Transport 2009, Economic Commission for
Africa). In Ethiopia Bus transportation are the usual means of transport to travel
from one city to another. Bus Terminals are the main facility that organizes the
bus transportation system on the destination points. These destination points are
large scale facility with in the city which serves large number of people and
have a lot of activity around it. It’s also where passengers board and alight from
vehicles. It also often provides a convenient point where services can be
controlled from. This place are the place at which people from different part of
the country board and alight which means it’s a place in which peoples with
different culture meets at one place.
While the focus/center of social pursuits have shifted from community to home,
the community spirit and social integrity have faced dissolution and social
interactions among individuals have weakened. A healthy society relies on a
social system, sharing and creating together. Today, in developing country,
social interactions among the individuals living in big cities have lessened as a
result of modernization and peoples spiritual, physical and intellectual
constitutions are blunted by individualism.
Man is the best example to meet the definition of a being with the ability to
laugh and socialize. Sociability arises from the urge to mutually fulfill the
biological and physical needs. This urge leads to the formation of certain groups
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(the family, being the primary example), which consequently calls for new
space as a result of the family/housing relationship.
The ultimate and most binding of these centers can be defined as socio-cultural
centers , using the already existing potential of bus terminals societal gathering
ability establishing cultural Hub with in bus terminal is an integral component in
accomplishing the goal to save members of the society from individualism and
to enhance social interaction.
Key words: Bus Terminal, cultural Hub, social interaction
Chapter 0ne -Introduction

1.1 Problem Statement
While the focus/center of social pursuits have shifted from community to home,
the community spirit and social integrity have faced dissolution and social
interactions among individuals have weakened. A healthy society relies on a
social system, sharing and creating together. Today, in developing country,
social interactions among the individuals living in big cities have lessened as a
result of modernization and peoples spiritual, physical and intellectual
constitutions are blunted by individualism and it encountered with a new
problem, the dilemma of rural and urban as a socio-cultural problem, in addition
to the hardships of modernity. The migration from villages and small towns into
big cities has brought together communities with as large a population and an
area as those of villages within the urban area. The adversities and clashes
between the urban citizens and these new-comers who are different in their
social constitution, life style, behavior and way of thinking-have, since the dawn
of migrations until today, given rise to the citizens problems of adaptation to the
city, which can be put down to their relatively smaller size in the urban
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population. As Addis Ababa continues to change and cultural performing

spaces like azmaris disappear in the name of development. Ethiopian culture
performance places are disappearing.
1.2 Research Objective

1.2.1General objective
The general aim of this study concerns is to present spatial design of bus terminal
integrating cultural hub.
1.2.2 Specific Objective

 To define Cultural spaces with in the frame of bus terminal
 To define overlapping programs of Bus Terminal and cultural hub
 To enhance social interaction using cultural spaces
1.3 Research Questions

1. What are the integrating programs for cultural Hub and Bus terminal?
2. How can cultural spaces facilitate Bus Terminal services?
3. How can Cultural Hub enhance social interaction?
1.4 Research Hypothesis

 Using the potential of Bus terminal societal gathering ability integrating
Cultural Hub will be booming reaction to social interaction.
1.5 Significance of the study

 The significance of this study is to use bus terminal’s societal gathering
ability for the formulation of cultural spaces.
1.6 Limitation Of the Study

Ethiopia is a culturally rich country. It cannot be defined as one single culture, as
there are more than 86 variations from region to region. only those cultures , that
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prevail predominately in the Ethiopian subcontinent, are taken into

consideration for designing buildings.
1.7 Research Methodology

1.7.1 Introduction
This chapter explains various methodologies that will be used in gathering
data and analysis which is relevant to the research. The methodologies will
include areas such as the location of the study, Research type, type of data ,
data collection method and its management.
1.7.2 Research Type

This study uses Descriptive Research typology as it focuses on the question
‘how can integrating cultural hub in a bus terminal can be achieved?’
1.7.3 Area of the study

The Study is going to be carried Addis Ababa city , lam-beret bus terminal.
The rational behind this choice is due to the fact that the public transport
vehicles that depart from this terminal incorporate three major regions:
Amhara, Oromiya and Tigray. It provides services for mobility of passengers
from Addis Ababa to some cities located in the northern part of the country
such as: Aleltu, Sheno, Debre-Berhan, Debre-Sina, Shewarobit, Kombolcha,
Dessie, Woldia and Mekele. There are also other small towns in between
these major towns where many passengers travel to.
1.7.4Data Collection
The main sources I am going to use for acquiring data for the thesis were the
primary and secondary sources. In primary source Lam-beret Bus terminal site
visits , video recording and Interviews will be used whereas the secondary
sources comprise of case studies and literature review of publications.
I. Primary Source
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The primary source includes interviews conducted, case studies, photo

recordings and personal observations on the site in order to understand the
daily activity of Lam beret bus terminal beside its usual transportation service,
type of activities and number of people served with in a day
1. Interviews
2.Photo Recordings
3. video record of activities on the site.
4. Information based on personal observation.
II. Secondary Source
4. The secondary source Includes Literature review and case studies in order to
answer the question’ What are the integrating programs for cultural Hub and
Bus terminal? ‘; ’How can cultural spaces facilitate Bus Terminal services ?‘;’
How can Cultural Hub enhance social interaction?.’
1. Vital information was also acquired from journals related to the
research.
2. Case Studies
1.7.5 Research approach/ strategy

The research uses both quantitative and qualitative approach as both the data
of number of people and type of activities are needed for the research.
Questions Research Approach Data source
1. What are the
integrating
programs for cultural Both qualitative and  Literature Review
Hub and Bus quantitative approach  Data from the terminal
authority
terminal?  Case study
2. How can cultural

spaces facilitate Bus
 Literature Review
Terminal services?
Qualitative approach  Case study
 Observation
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3. How can Cultural

Hub enhance social
interaction?. Qualitative approach  Interview
 Literature Review
 Observation
4.How can Ethiopian
culture can be
interpreted in
architecture?.
Chapter Two –Litrature review

2.1 Bus Terminal
2.1.1 Definition
A bus terminal is the point where a bus route starts or ends , And
where vehicles Stop and wait before Departing on their return
journeys. It is also a place where passengers board and alight from
vehicles. Often provides a convenient point where services can be
controlled from. (ppiaf.org)
The Difference of Bus Terminal from a Between Bus stop is bus stop
can be anywhere that the bus stops to pick up or drop off riders but
bus terminal is usually a larger building where Passengers can buy
tickets and it usually the point from which passengers leave on (and
arrive from) longer journeys.( https://hinative.com/)
Public Transport terminals are complex entities ; they are nodes in
transport networks and places in the city; permanently or temporarily
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inhabited with compact and varied collection of uses and forms

accumulated through time. The presence of Transport Terminal
Infuses a change in the travel tradition and culture around it.
(Dipayan Ghosh - Thesis - International Bus Terminal Kolkata)
Bus Terminal is an establishment that provides space for arrival and
departure of busses offering transportation to the public, usually
equipped with accommodations for passengers and for fueling and
servicing of busses.( https://cityoflaramie.org/)
2.1.2 Historical Development of Bus Terminal

When the bus was invented, its use was limited to short haul service. It
ran in small routes through the city or in longer hops to the country. In
the Midwest and west, the distance was considerably greater merely
because of the increased distance between population centers,
large and small. Still, the bus never impinged on railroad business, but
merely went its way in places between the main lines that rails did not
reach. The roads were poor, and the trip slow.
As the automobile became increasingly important, the road system
developed. Soon enough the bus became a more important traveler.
In the late thirties and all through the forties, expansion was slow in
bus transportation. There was the war and further expansion of
railroads to cope with. Besides, one had to wait in an uncomfortable
(if even existent) shanty that was a depot for an often behind
schedule bus that was noisy, bumpy and generally uncomfortable.
By the late forties and early fifties, however, most cities had regular
bus terminals with waiting space and food counters, and the busses
themselves were technologically much improved. At this time the
busses began to first compete with railroads, but so did airplanes.
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While bus terminals became more common and complete, and the
busses became well schedules and increasingly popular, the airplane
grew in leaps and bounds. Short jumps by air were, and are,
common. Air terminals became sophisticated complexes with every
conceivable service. Travel got cheaper while people became
richer. All the time the railroad was collapsing as a passenger mover
because of the new competitors.
Since the airplane is still such a powerful force, most of the bus
travelers are still lower income. Although the service in, and to, major
cities is complete, there is still an image of an uncomfortable
meagerly equipped system. While bus ads claim luxurious service in
sophisticated busses, people still have trouble getting to terminals,
finding anything to like about them, or appreciating any
advancements in their operation.
The bus terminal as we know it today, is essentially the same as it has
been for the last ten to fifteen years. At first only large cities had
terminals with varied facilities, but now many cities with populations
over one hundred thousand have terminals with snack counters,
souvenir stands, and waiting areas, within the complex. (Cambridge,
Massachusetts March 23, 1964)
2.1.3 Basic Facilities with in bus terminal

Primary elements to be considered with regard a bus terminal’s
infrastructure development can be classified for three different user
types. These include passengers, terminal staff and bus staff.
1. Passenger areas
a. Ticketing and queuing
b. Passenger waiting areas
c. Passenger conveniences (drinking water facilities and toilets)
d. Passenger circulation
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e. Boarding/Departing areas
f. Facility entry
g. Tourist information
h. Security, including CCTV cameras
i. Retail, concessions and lease space
j. Dormitories and lodging (if required)
k. Cloak room
l. Railway reservation
2. Areas for terminal staff
a. Revenue office
b. Security and information
c. Ticketing booth
d. Resting room
e. Staff conveniences (drinking water facilities and toilets)
f. Canteen
g. Maintenance staff (chairs and lockers)
h. Control room (CCTV surveillance)
3. Areas for bus staff

a. Canteen
b. Resting areas
c. Lodging areas (if required)
d. Bus staff conveniences (drinking water facilities and toilets)

(www.sgarchitect.in)
2.1.4 Functional Arrangement

How different terminal functions are arranged (as per their operational
relationship) defines terminal planning in terms of circulation design and site
layout. This section includes a graphical representation of how different terminal
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functions are arranged, at both interstate and local bus terminals. This helps
understand the relationship between these functions, which aids conflict-free
planning of circulation (vehicular and pedestrian) associated with different
activities in the bus terminal complex. Figure 4 shows how to read and use the
functional arrangement plates.
Figure 1 Methodology for using functional arrangement diagrams
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Figure 2 Functional arrangement diagram for Inter-state bus terminal
Figure 3 Functional arrangement diagram for Local bus terminal
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2.1.5 Functional Requirements

This section includes information on types (and options) of infrastructural
elements related to different bus terminal functions (represented in the previous
section) at an identified site. It also recommends a suitable infrastructure option
for each function, based on the terminal typology, size, and operation type.
Each page provides information on a single combination of bus terminal
typology (interstate or local), size (small, medium or large), and operation type
(fixed route or dynamic bay). Color coding is used for recommendations - dark
green represents the desirable option, standard green indicates an option to be
selected under given conditions (listed for each function), and light green
represents options which are not suggested for use for the given bus terminal
type. Figure 6 shows how to use this section.
Figure 4 Methodology for using functional requirement sheets
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Feeder Bays provide simultaneous short term parking and pickup facility.
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(Bangare, S.L., Kadam, A.D., Bangare, P.S., Katariya, P.V., Khot, C.A., & Kankure,
N.R. 2013. Solutions Concerning Information Systems for Real Time Bus Arrival .
IJEAT, 2)
2.2 Culture
2.2.1 Introduction
Culture is what makes a place and its people distinctive and unique, and how
that place is etched into people's minds and imaginations. “Culture accounts
for the symbolic forms via which people codify, understand and negotiate their
everyday lived experience” (Van Eeden & du Preez 2005: 224).
Culture is dynamic because ideas and values change, often quite quickly
overtime. Older attitude to culture may be superseded, or they may overlap
with new ideas, or the older values may re-emerge at a later time. Culture is
multiple because it contains the activities of different classes, of different races,
of different age group. (Culture and Technology, Andrew Murphie).
Culture is a reflection of a community or nation. This makes culture a vital and
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important determining factor of how the community reacts, responds, and

grows. (Why Is Culture Important? Impact on People & Society,Sally Painter)
Culture is a sphere revealing the human evolution. A human being cannot exist
in an uncultured environment. Culture as an effective social power has always
come under the spotlight. In specific areas of research the cultural status is
mostly related to creative activities; however it may also be researched in the
sphere of education, promotion and expression of sociality. One of the most
important roles of community centers is developing social intellectuality of
individuals. Culture centers are not formal centers of community education, but
at an informal level they can fulfill their functions successfully. The activities of the
culture centers are needed for communities(Dalia Perkumienė, Kaunas
University of Applied sciences, Lithuania; Danutė Kleinienė, Kaunas University of
Applied sciences, Lithuania)
2.2.2Cultural Hub
What is Cultural Hub?
A clustering of cultural venues such as museums, galleries and performance
spaces with secondary attractions including food and retail. Secondary
attractions such as food and retail, architecture or street performers form an
integral part of the offer. Moreover, visitors see hubs as fluid in their composition
and expect them to be multifaceted. The energy of a hub, its sensorial elements
such as music, food and drink and street art, and a sense of community are all
integral. (art-insights-cultural-hubs)
Arts & Culture architecture brings people together to share in the arts.
8 ways to develop a cultural hub:
1. Focus offers around core venues, e.g. museums, galleries, performing arts
venues
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2. Embrace partners of all sizes and don’t be afraid to reach out to divergent art
forms
3. Be driven by a clear, organic idea that your offer has to measure up against
4. Be as diverse as possible, but communicate as a hub rather than as disparate
entities with a shared logo
5. Be a brand, or at least have a brand name and use it to underpin your offer.
6. Be altruistic: tell audiences what else they can do in the area, beyond the
partners involved in your hub
7. Produce print materials that incorporate a map and practical details
8. Visually communicate a hub that is alive, and write copy with wit and
personality (art-insights-cultural-hubs)
A cultural facility is a building which shall be used for the programming,
production, presentation, exhibition of any of the arts and cultural disciplines.
These disciplines include
-music and dance,
-literature,
-architecture,
-painting,
-sculpture,
-photography,
-crafts,
-visual arts,
-and programs of museums.(Culture Builds Florida, division of art and culture)
2.3 Ethiopian Culture

The Culture of Ethiopia is diverse and generally structured along ethnolinguistic
lines. The country's Afro-Asiatic-speaking majority adhere to an amalgamation
of traditions that were developed independently and through interaction with
neighboring and far away civilizations, including other parts of Northeast Africa,
the Arabian Peninsula, India, and Italy. By contrast, the nation's Nilotic
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communities and other ethnolinguistic minorities tend to practice customs more

closely linked with South Sudan and/or the African Great Lakes region.
2.3.1 Ethiopian Music

There are many varieties of traditional music throughout Ethiopia, but there are
a lot of common features and similar instruments that are used. Most Ethiopian
music is ‘pentatonic’ (using only 5 notes of the scale), and has very similar feel
and lyrics to music from all over the Horn of Africa (including Somalia, Djibouti
and Eritrea). Let’s take a look at some of the unique traditional instruments that
give much of Ethiopia’s traditional music it's distinctive sound.
The masenqo is a single-stringed lute that is played with a bow – it was
developed in the northern highlands Ethiopia but has gained popularity
throughout Ethiopia and Eritrea. Although it looks simple (and only has one
string!), it takes a lot of skill and dexterity to master and can produce an
astounding variety of complex melodies. It is often played by a musician known
as an azmari, who traditionally sing folk songs (or songs filled with sarcastic
comedy!) in Amharic while accompanying themselves with the masenqo - they
can be seen as similar to a ‘minstrel’.
Figure 5 An azmari playing with a traditional singer.
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Traditional love songs are often sung with the softer-sounding krar, a 5 or 6-
stringed lyre that is either plucked or strummed.
Another instrument commonly used by Amharic musicians is the washint, a
breathy-sounding wooden flute that can come in many different sizes and
generally has 4 finger holes.
As well as secular songs, there is also a lot of religious music from Ethiopia – there
is a long history of Coptic Christianity in the country, and this is reflected in the
traditional softly-sung Christian songs known as mezmur.
One-third of Ethiopians are Muslim, especially in the Harar, Somali and Oromiya
regions – an intriguing style of music known as manzuma, that sets Islamic lyrics
or poetry in the Amharic or Oromo languages to distinctive rhythmic and
melodic patterns, is very popular in these areas.
Polyphonic singing
Amongst the southern tribal areas of the Omo Valley, there is a unique style of
traditional polyphonic singing that is particularly worthy of mention and popular
amongst the Dorze and Gamo tribes. They use a rhythmic technique known as
‘hocket’ where several vocal motifs are repeated over each other, producing a
mesmerizing Steve-Reich-like effect!
Figure 6 Dorze old man with their traditional music instrument.
Ethio-Jazz
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Ethiopia’s popular music was largely confined to brass orchestras until the 1950s,
and the advent of the cool, soulful, and funky sounds of Ethio-Jazz. The period
from the 1950s to the 1970s is known as Ethiopia’s ‘Golden Age’ of music and
culture, when Addis Ababa was the exciting cultural hot-spot of independent
Africa and swung to the infectious, cool rhythms of musicians such as Mahmoud
Ahmed and Alemayehu Eshete.
Figure 7 An Ethio-jazz band in Addis Ababa in 1971
(WORLD MUSIC IN FOCUS – ETHIOPIA; https://www.imaginative-

traveller.com/index.php?app=content&controller=article&id=54)
Chordophones
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Figure 8 A krar player.
In the highlands, traditional string instruments include the masenqo (also known
as masinko), a one-string bowed lute; the krar (also known as kirar), a six-
string lyre; and the begena, a large ten-string lyre. The dita (a five-string lyre) and
musical bows (including an unusual three-string variant) are among
the chordophones found in the south. Also "kebero" ( a drum) used by the
religious group like the Orthodox's or other Christian religious group to praise
what they believe in.
Aerophones
The washint is a bamboo flute that is common throughout or in the
highlands. Trumpet-like instruments include the ceremonial malakat used in
some regions, and the holdudwa (animal horn; compare shofar) found mainly in
the south. Embilta flutes have no finger holes, and produce only two tones, the
fundamental and a fourth or fifth interval. These may be metal (generally found
in the north) or bamboo (in the south). The Konso and other people in the south
play fanta, or pan flutes.
Idiophones
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In the Ethiopian Orthodox Church, liturgical music employs the senasel, a sistrum.
Additionally, the clergy will use prayer staffs, or maqwamiya, to maintain rhythm.
Rural churches historically used a dawal, made from stone slabs or pieces of
wood, in order to call the faithful to prayer. The Beta Israel use a
small gong called a qachel as liturgical accompaniment, though qachel may
also refer to a small bell. The toom, a lamellophone, is used among
the Nuer, Anuak, Majangir, Surma, and other Nilo-Saharan groups. Metal leg
rattles are common throughout the south.
Membranophones
The kebero (ከበሮ) is a large hand drum used in the Orthodox Christian liturgy.
Smaller kebero drums may be used in secular celebrations. The nagarit (ነጋሪት),
played with a curved stick, is usually found in a secular context such as royal
functions or the announcement of proclamations, though it has a liturgical
function among the Beta Israel. The Gurage and other southern peoples
commonly play the atamo, a small hand drum sometimes made of clay.
(WORLD MUSIC IN FOCUS – ETHIOPIA; https://www.imaginative-
traveller.com/index.php?app=content&controller=article&id=54)
2.3.2Ethiopian Cultural Dance

There are many different types of Ethiopian dance, which were first recorded in
1964 by Hungarians who studied Ethiopian dances found in Ethiopian tribes and
villages. About one hundred and fifty variations of dance were recorded using
videos and photos. There are three categories of Ethiopian dance: group
dances divided by sex, eskista, and couple dances. In group dances divided by
sex, large groups of either men or women perform dances. While there are both
men and women dances, most are dances performed by men. Group dances
divided by sex usually involve simple repetitive movements like stepping,
stamping, running, or jumping.
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Figure 9 Tigray People Traditional Group Dancing
The second category of Ethiopian dance is the eskista, which involves the
movement of the head, neck, shoulders, and scapula. The eskista is known for its
distinct use of vertical, sagittal, and diagonal shoulder movements. Besides
direction, the shoulders can also jerk, shake, and twist.
Figure 10 Ethiopian women dancing Eskista
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The third category is couple dances, where a man and a woman dance
together without touching. This type of dance includes multiple couples
dancing together as a group and singular couples dancing by themselves.
Figure 11 Sidama People Traditional Couple Dancing
Shoa Oromo is another Ethiopian dance that orignated from the Oromia
Region. This dance typically involes a woman moving her head and neck in fast
motions, creating the illusion of her hair being whipped around.
Figure 12 Shewa Oromo Traditional Dancing
(“Ethiopian Folk –dance”, Journal Of Ethiopian Studies)
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2.3.3 Ethiopian Art

Ethiopian art from the 4th century until the 20th can be divided into two broad
groupings. First comes a distinctive tradition of Christian art, mostly for churches,
in forms including painting, crosses, icons, illuminated manuscripts, and other
metalwork such as crowns. Secondly there are popular arts and crafts such as
textiles, basketry and jewellery, in which Ethiopian traditions are closer to those
of other peoples in the region. Its history goes back almost three thousand years
to the kingdom of D'mt. The Ethiopian Orthodox Tewahedo Church has been
the predominant religion in Ethiopia for over 1500 years, for most of this period in
a very close relation, or union, with the Coptic Christianity of Egypt, so
that Coptic art has been the main formative influence on Ethiopian church art.
("Christian Ethiopian art". Smarthistory. 2016-12-22. Retrieved 2017-07-27.)
-Painting
Church paintings in Ethiopia were likely produced as far back as
the introduction of Christianity in the 4th century AD, although the earliest
surviving examples come from the church of Debre Selam Mikael in the Tigray
Region, dated to the 11th century AD. However, the 7th-century AD followers of
the Islamic prophet Muhammad who fled to Axum in temporary exile
mentioned that the original Church of Our Lady Mary of Zion was decorated
with paintings. Other early paintings include those from the rock-hewn churches
of Lalibela, dated to the 12th century AD, and in nearby Geneta Maryam,
dated to the 13th century AD. However, paintings in illuminated
manuscripts predate the earliest surviving church paintings; for instance, the
Ethiopian Garima Gospels of the 4th-6th centuries AD contain illuminated
scenes imitating the contemporary Byzantine style.
Ethiopian painting, on walls, in books, and in icons, is highly distinctive, though

the style and iconography are closely related to the simplified Coptic version of
Late Antique and Byzantine Christian art. It is typified by simplistic, almost
cartoonish, figures with large, almond-shaped, eyes. Colours are usually bright
35 | P a g e
and vivid. The majority of paintings are religious in nature, often decorating
church walls and bibles. One of the best known examples of this type of painting
is at Debre Berhan Selassie in Gondar (pictured), famed for its angel-covered
roof (angels in Ethiopian art are often represented as winged heads) as well as
its other murals dating from the late 17th century. Diptychs and triptychs are also
commonly painted with religious icons. From the 16th century, Roman Catholic
church art and European art in general began to exert some influence.
However, Ethiopian art is highly conservative and retained much of its distinct
character until modern times. The production of illuminated manuscripts for use
continued up to the present day
Figure 13 Great Triptych, Ethiopia, c. 1700, tempera on fabric on wood
(Teferi, Dawit (2015) [1995], "A Short History of Ethiopian Church Art", in Briggs,
Philip (ed.), Ethiopia, Chalfont St Peter: Bradt Travel Guides, p. 242, ISBN 978-1-
84162-922-3)
36 | P a g e
-Arts and Crafts
Ethiopia has great ethnic and linguistic diversity, and styles in secular traditional
crafts vary greatly in different parts of the country. There are a range of
traditions in textiles, many with woven geometric decoration, although many
types are also usually plain. Ethiopian church practices make a great deal of
use of colorful textiles, and the more elaborate types are widely used as church
vestments and as hangings, curtains and wrappings in churches, although they
have now largely been supplanted by Western fabrics. Icons may normally be
veiled with a semi-transparent or opaque cloth; very thin chiffon-type cotton
cloth is a specialty of Ethiopia, though usually with no pattern.
Figure 14 woven geometric decoration(telet)
Colourful basketry with a coiled construction is common in rural Ethiopia. The

products have many uses, such as storing grains, seeds and food and being
used as tables and bowls. The Muslim city of Harar is well known for its high
quality basketry, and many craft products of the Muslim minority relate to wider
Islamic decorative traditions.
37 | P a g e
Figure 15 Colorful Basketry in Northern Part of Ethiopia
Figure 16 Interior Decoration in harar using Colorful Basketry
-Hand woven Carpet

Two types of carpets are available from Ethiopia; knotted and woven. All
carpets are handmade from the wool of the fat toweled sheeps of the Ethiopian
highlands. The wool is hand spun and is washed and sun-dried before weaving.
Figure 17 Ethiopian hand woven carpet
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-Pottery
There is evidence of early settlement in the Horn of Africa from about 1000B.C.
When South Arabians crossed the Red sea and brought with them knowledge of
agriculture and various arts and crafts. Excavations at Adulis near the cost at a
depth of 18mt (indicates considerable antiquity) have revealed pots and vases
of black clay decorated with red clay or "slip" which has been scratched to
reveal the black beneath.
Today's Potters produce many beautiful shapes of traditional ceramic (water

pots, cooking pots “tela” jars, coffee pots and cups and bowls of all sizes
etc). Objects handed down from generations past are to be preserved, while
the quality of the clay itself, and the firing process has to be improved so that
pots can be transported without fear of breakage.
Figure 18 Different kind of pottery in Ethiopia
Shema Borsa is hand loomed cotton fabric. Designs vary from colorful to plain
fabrics. It can be used as lady bag or children school bag and designs and sizes
vary
Figure 19 Ethiopian ‘shema’ Bag
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-Jewellery
A vast wealth of silver, coarse metal or bead jewellery is produced simply for
personal adornment. The 18th and 19th century travelers to Ethiopia commended
frequently by the amount and variety of jewellery worn by women though
earrings, bracelets and anklets are worn by men as well.
There are several design of jewelry made by Harari (walled city, the center of
intricate silver work in the 16th century) Gonderian, Lalibela and Axum
styles. Each design represents its own symbolic meaning.
Figure 20 Jewelry in harar
Figure 21 Jewelry in Northern Ethiopia
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Figure 22 Jewelry in South Ethiopia
-Bamboo
Bamboo is used to produce assorted bamboo products that ranges from
shelves, telephone tables, bee hives, partitions flower vase, lamp sheds, sofa,
table and chairs, bags, photo frames, baskets, shutters and assorted interior
decorations etc. These products are made from either highland or lowland
bamboos.
Figure 23 Bamboo chairs made locally in Ethiopia
( "Ethiopian Handicraft". Archived from the original on 1 July 2012. Retrieved 22

June 2012.)
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Chapter Three –Case Study

3.1Bus Terminal
3.1.1Interstate bus terminal sector 13 chandigarh(India)
Figure 24 Interstate bus terminal sector 13 chandigarh
Introduction
 Sector 43 ISBT was recently Developed on a 84983.99m² site in in south-
east Chandigarh, between junctions 58 and 59 on Vikas Marg
 The site is adjacent to District Court Complex and near Judicial Academy,
opposite Kajheri Village
 The terminal provides interstate bus connections for Punjab, Haryana,
Uttarakhand, Himachal Pradesh, and Jammu and Kashmir; and intra-city
as well as sub-urban connections.
 The terminal serves over 80,000 passenger trips per day with an average
occupancy of 45 per bus.
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Figure 25 bus terminal site context
The Existing Terminal Components

• The existing terminal premises comprise five sections :-
1- Terminal Building
2- Parking
3- Area for buses
4- City Bus Terminal
5- Depot
• Passenger volume during peak operation hours is estimated at 8,000, based
on average passenger stay duration at 20 minutes.
• Daily, buses ply over approximately 91 routes (37 long, 47 local, 7 suburban).
Figure 26 Components of existing terminal
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Circulation
• For ISBT buses, entry and exit to the terminal is from Vikas marg.
• Vehicular parking can be accessed from the arterial road along the terminal
site’s periphery.
• It comprises parking for : 25 auto-rickshaw 130 car parking 200 - 355 two-
wheeler Circulation in existing terminal
Figure 27 Circulation of the terminal
Floor Plans
• The terminal building comprises four floors with built-up area of
over 8,500 sqm.
• The ground floor houses 11 reservation counters, 28 loading bays, shops,
tourism offices, cloak room, and basic amenities like toilets and drinking water.
• The first floor houses a commuter lodge, consisting of five rest rooms with
attached toilets, and a dormitory with dining hall and kitchen.
• The second and third floors are designated for commercial activity, including
pantry and toilets existing floor plan.
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Figure 28 Existing Floor Plan
3.1.2 Merkato Intra-city Bus Terminal(Local)
Figure 29 Merkato intercity bus terminal
The facility has a capacity to accommodate at least 20 buses at a time and has
a modern transport system infrastructure that monitors the city’s bus operations
system.
Deputy Mayor of Addis Ababa, Adanach Abiebie said the bus terminal will ease
challenges related to public transport in Merkato area – a place considered to
be the largest open-air marketplace in Ethiopia.
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Ambessa Bus and Sheger Bus enterprises will render their services using the
Merkato intra-city terminal. Both will use the facility as destination or departure
points for a total of 52 routes.
The facility is expected to serve more than 6,000 public transport users and a
total of 80,000 passengers per day.
The distinctiveness of the facility
According to Aregawi Maru, the head of communication affairs at the transport
bureau, the Mercato Bus Terminal is different from existing terminals in that it is
not only an arrival and departure center for commuters, but also has two-story
floors that can host up to 20 buses at a time, which is a higher number than
what the already existing terminals could accommodate.
The facility is also more comfortable for customers and has spacious waiting
areas, and ticket shops. Its toilets are also built to cater to all people even those
with disabilities who would require special elevator service.
Figure 30 Merkato intercity bus terminal Bus Bay
Improvement to the transport sector

Designed and built to handle up to 6,000 passengers an hour or a total of 60,000
– 80,000 passengers per day, the new Mercato Bus Terminal will help transport
service providers give efficient and fast services with better security, and address
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the longstanding challenges related to the growing number of service seekers

who are mostly exposed to health and safety challenges
3.2 Cultural Hub

3.2.1 PARKOPERA Cultural Center for Antalya(Turkey)
Figure 31 PARKOPERA Cultural Center
Concept
PARKOPERA, a cultural facility designed by Alper Derinboğaz, Salon, is a center
of attraction that will be situated between apartment buildings and within a
neighborhood park in Antalya, Turkey. Through the development of both the
building and the outdoor spacearound it, the center createsmultiple
opportunities for the community to cometogether and enjoyvarious cultural
events.
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Figure 32 ARKOPERA Cultural Center arrangement
Building is placed in such a way that allows the interior of the building to open
up to the surrounding landscape while simultaneously locating the program
inside with neighborhood park between apartment blocks on a neighborhood
scale giving opportunities and providing equipment to amateur and
professional groups.
Figure 33 PARKOPERA Cultural Center site plan
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The space is organized in such a way that allows for the interior of the building to
open up to the surrounding landscape while simultaneously locating the
program inside.
Figure 34 PARKOPERA Cultural Center Ground Floor plan
The interior building contains a large foyer that doubles as an audience platform
for the various shows housed in the center. Attached to this platform is a
mezzanine floor containing a café, bookstore, and restaurant.
Figure 35 PARKOPERA Cultural Center Section
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The exterior building represents a fragmented volume that connects with the
surrounding activities of the neighborhood because it is permeable Outdoor
activities
Figure 36 PARKOPERA Cultural Center Elevation
3.2.2 Sheikh Abdullah Al Salem Cultural Centre,( Kuwait)
Figure 37 Sheikh Abdullah Al Salem Cultural Centre
Evoking a traditional urban environment common to the Middle East, the

architectural identity of the complex is driven by a central ‘street’ that forms the
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spine of the project. Serving multiple functions, the ‘street’ creates a point of
orientation, transporting visitors from the city entrance from the south of the site
toward the sea in the north-east. It also becomes a space for events, where a
series of blocks are formed on either side of the street.
“Each block creates a unique environment, specific for the distinct functions,
and [with] the use of streets and squares, breaks down the enclosure and
provides physical and visual links between the uses. The positions of the blocks
help activate the street on both sides with the end blocks forming gateways,”
said Simon Dennison, design director at SSH.
The central spine additionally acts as the point of connection between the six
main museum buildings, which are open at ground level and linked by bridges
on the upper levels. These include the Natural History Museum, Science
Museum, Museum of Islamic History, Space Museum and the Fine Arts Centre.
The complex also includes an external sunken courtyard that houses a 300-seat
theatre, café and multifunctional reception area. An additional café and
information Centre stands outside the main museum halls, while enclosed
linear revelators connect from the landscape to the car park in the basement
level.
The buildings and the circulation between them are shaded and partially
climatically controlled by an inverted 200m long solar shade canopy, with
cantilevers of 30m. It consists of a sequence of 2,000 GRP (glass-reinforced
plastic) shingles, each integrated with LED lighting. The orientation of the
shingles creates a downdraft to lower the ambient temperature by 10
degrees, allowing visitors to comfortably explore the museum during sunlight
hours.
The shingles range from 3m2 to 9m2 and each comprises a single piece of
fiber-glass, which reflects ambient temperature, and creates light effects to
celebrate national holidays and events during the night-time.
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Each of the main exhibition buildings are similar in structure and architectural
treatment but vary in height and length according to function, ranging from
single-story areas to double and triple-height spaces.
“Each building consists of a concrete central circulation and service core that
serves fixed functions and provides ingress into the wide-span museum halls to
each side, clad in stone with structural glazed end elevations. The cores for
each building are the same and include vertical transportation, toilets, offices
and MEP requirements,” Dennison said.
The main exhibition spaces are clad in travertine marble called Skyline sourced
from a quarry in Turkey, while the linear wings of the museum spaces are clad
using a mosaic of glass with varied levels of opacity
Figure 38 sky line marble clade
Traditional Kuwaiti architecture…is typically enveloped by a plain façade

masking the inner sanctum of the building that can only be discovered
beyond the threshold of the door. Our proposal realizes the importance and
keeps intact the fundamentals of Arabic buildings, which serve the practical
purpose of climatic control and essential need for privacy, while reinterpreting
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them in a contemporary layout that encourages openness and permeability,

particularly when addressing the main street and other public spaces.
3.2.3 GAMO GOFA CULTURAL CENTER(Local)
Figure 39 GAMO GOFA CULTURAL CENTER
INTRODUCTION
 Found in Arba Minch, Ethiopia,
 It’s been under construction for the last four years and still going on,
 The structure has two main building parts and guest housesfor tourists.
 The first structure was designed to accommodate meetings
or it’s aZone meeting hall. It also has an administrativeoffices & a museum.
The second part with traditional houses which is called the Nationalities
village has supportivefunctions like restaurant, shops, cultural display
areas, officesand workshops
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ZONE HALL
NATIONALITIESVILLAGE
NATIONALITIESVILLAGE
LOCATION
 The cultural centre is found in Arba Minch town, around Sheicha village
near Bekele Mola Hotel.
 It is 3.9km far if one take the shorter route but
It’s5.4km far on the‚ sheicha‛ square route to the south direction
from ‚ Gamo‛ square
ACCESSIBILTY AND VENTILATION
 The main road which goes from ‚Sikela‛ to ‚Sheicha‛
ends in front of the Gamo Gofa cultural Centre as a dead-end. The site
is accessed in this route.
 The wind from the lakes blows from east to west and the conventional
wind comes from the north-east direction.
55 | P a g e
CONCEPT
 As we mentioned earlier, the project has two building parts, the one with
the meeting hall and the other with the vernacular houses.
 The meeting hall is designed in a shape of a Banana leaf.
 The main concept of the Nationalities village is to show that vernacular/

traditional buildings are not below modern buildings in fact they are
better or preferable in construction techniques and sustainability so that
the designers put the vernacular structures above the modern structure.
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 It is a G+1 building with restaurant, shops, offices and workshops as

supportive functions in the ground floor. On the upper floor, there are five
huts representing the five tribes in the Gamo-Gofa region which are
Oyda, Gofa, Zaysie, Gedicho and Gamo.
 Each hut is made just like the hut in the tribes and is built by the local
house maker or a professional from the specific place.
FUNCTION
A.ZONE HALL MUSEUM
 The main building’s purpose is basically for meetings. There are two types
of meeting halls in the main structure. A one with out tables which can
accommodate 220 people and other type with tables for 100 people.
 It also has a museum, shops and administrative offices assupportive
functions.
B.NATIONALITIES VILLAGE
 This building is mainly to display the customary elements or the traditional
materials used in the region. For example, inside the Gofa house, Gofa’s
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traditional clothing, farming instruments, cooking, eating or drinking

materials will be displayed.
Below these vernacular houses, there are supportive functions such as:
 Restaurant: the restaurant can hold about a 1000 people at once, it has
its own big kitchen and four types of stores i.e. dry store, wet store, store for
fish and for meat.
 Workshops: the workshop is for the traditional cloth making technique
called ‚shmena.‛ It helps to understand how the local dress is made.
 Shops: its mainly for the sale & purchasing process of the outcomes from
the workshops.
CIRCULATION
The circulation is of two types; the major circulation giving accessto the site
and the minor circulations creating access betweenfunctional spaces.
 The site have two major accesses, one directly leads to themain
meeting hall and cultural centre building having itsown parking space
on the way. The other major access leadsto the cultural guest houses
for tourists having its ownparking space,
 The circulations between functional spaces are a bitnarrower than it
should be from our point of view.
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MATERIALS
The Gamo-Gofa cultural Centre is one of the projects that integrated the
traditional building system with the modern construction technique. As the
main idea of the project is to show that the vernacular houses should not
be seen less than the modern buildings, the materials used for
construction were the same materials used to build a vernacular house in
the region. The main materials used for construction are:
CONCRETE:
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since concrete is a strong and durable material itis used as the main
building material in this project,
STONE
WOOD
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BRICK
STRAW
HOLLOW BLOCK:
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BAMBOO:
ROPE
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3.3 Railway Station Reborn as Striking Cultural

Centre -The railway station in Rumia(Poland)
Like a phoenix from the ashes, the railway station in Rumia, until recently one of
the most dilapidated and neglected stations in the Pomorskie region, was
reborn as a pioneering hybrid of railway station and modern cultural center.
The small Pomeranian town became looked upon with appreciation and even
jealousy by all of Poland.
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The Stacja Kultura facility officially opened in September 2014. Apart from
serving as a railway station for mostly suburban trains, it now also performs the
functions of a modern and elegant cultural center. Stacja Cultural began
organizing many cultural events such as exhibitions and theatre and film
workshops, as well as meetings with authors. Its premises contain a library and
reading room, conference rooms, workshops for painting, sculpture and
photography, NGO offices, and last but not least, a place for kids.
One could ask how all of this fits in the same space as a small-town station. The
answer is simple: it became possible mainly by building a mezzanine floor,
which effectively increased the usable surface area of the building, as well as
adding other structural elements like additional staircases. The space for the
railway station itself was also diminished to just 20 percent of the whole.
However, this is still enough to hold all the facilities necessary for the station to
operate, such as ticket offices, refreshment stalls and a news-stand. Thus, all
the rest of the building’s space may be easily devoted to the needs of a
higher order.
The architectural design by Jan Sikora constitutes a harmonious synthesis of

modernity and cosiness by combining the frugality and functionality of the
design with the use of warm colours and a wooden finish. The interior's unique
character is also contributed to by various decorative accents referring to
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railway traditions, such as an old railway clock, a megaphone, and the shapes
and proportions of the bookshelves, which clearly but not overtly resemble
railway tracks. The walls, in turn, are adorned with wallpapers depicting
historical views of Rumia and its old railway station. All of the décor is matched
to the modernist character of the 1958 building.
The new face of the station is an example of the contemporary worldwide trend
for linking public facilities that have different purposes into one new social
space. The advantages that a railway station delivers – a convenient location,
the constant presence of many people and the adaptive abilities of the interior
no doubt have helped the cultural center flourish. In turn, the station itself has
significantly increased in attractiveness. This is a truly symbiotic relationship which
has proved itself in practice, much like a similar railway station/library in the
Dutch town of Haarlem that opened in 2011. Clearly, the Rumia railway station’s
metamorphosis has been a similarly successful investment and is part of a
modest nationwide process to alter the face of public space in Poland.
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Chapter Four –Data Collection

Multiple Research Tool were used in the data collection. This Included
Observation, Information from an authorized data and questionnaires of the
focus group as mentioned before. Observation Occur at Lamberet Bus Terminal.
During Observations, users reaction and comments were taken , beside vast
photographic material were undertaken.
4.1 Site Location
Ethiopia Addis Ababa Lamberet Bus Terminal
Lam-beret Bus Terminal is found with in yeka sub city on the northern part of
Addis Ababa. That’s why transport root to the northern part of Ethiopia starts
from there.
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4.2 Obseravtion
Activity Vs time
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From 11:00 pm-3:00 am (Local time)
From 3:00 am-12:00 am (Local time)
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From 10:00 am-3:00 pm (Local time)
Existing Functions with in lam-beret bus terminal

-Boarding and Alighting bus bays
-Lam-beret bus terminal uses fixed rout bay

-Lam-beret bus terminal uses common bus bay allocation
-Lam-beret bus terminal uses angular bus parking system
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-Private vehicle parking

-Lamberet bus terminal uses shared parking system
-Feeder service
Lamberet Bus Terminal have no regular feeder service

but have public bus stations adjacent to it.
-Passenger waiting area

The waiting time with in lamberet bus terminal is
from 20 minute to 2hours which passengers stay in
the waiting spaces .
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4.3 Users and Sampling

The Project target population is represented by Ethiopian citizen. How ever in
order to represent this larger user smaller representative samples were selected.
This include users on the way to their journey in the Lamberet Bus Terminal.
4.4 Sample Size

Currently, the average number of long distance buses that depart from the
terminal are about 121; and the daily long distance travelers are about 7,260
passengers. On the other hand, the small and medium bus category which
transport passengers to their destination per day is about 300. These vehicles
transport about 4,500 passengers to different destinations on daily basis on
average. As a result, the total no of public transport vehicles per day becomes
421 and the average number of daily passenger becomes about
11,760.(Ethiopian Ministry Of Transport)
No of public transport average number of daily
vehicles per day passenger becomes
long distance buses 121 7,260
small and medium bus 300 4,500
Total 421 11,760
Average Number of people waiting 1 bus will be 60 in the case of long distance
bus average number of one mini bus will be 15 in the case of small and medium
bus.
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Chapter Five –Findings and Recommendation

5.1 Findings
After a data collected by observation, Literature review and case study.This
chapter will clearly and simply put the finding and over all conclusions.
 Activities around bus terminals have a probability of a full day
occurrence, activities like
- traditional coffee ceremony
- Shops
- Commodity Vendors
- Food Vendors
- Street kids
- Public transportation
- Hotels
 Bus Terminal and Cultural Hub can have shared service facilities.
 Bus Terminal Offers a constant presence of many people which can be
large enough to be visitors of Cultural Hub.
 Activities are more dense out side the bus terminal compound than inside.
 Bus Terminals are economically active site.
 Waiting area of lam beret bus terminal are not a pleasant space to seat
5.2 Recommendation
The study on lam-beret Bus terminals indicate that Bus terminals are not
only the place for transportation but also different economic activities
and social gathering as spaces around the terminals became
commercial areas , at the same time bus terminals in A.A are not pleasant
place to stay so Integrating Cultural Hub around the periphery of the
terminal can be symbiotic relation, as the cultural hub can use the people
gathering around the terminal as a potential and the terminals also
became attractive place to stay.
72 | P a g e

Bus Terminal As Cultural Hub

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Bus Terminal as Cultural

Hub: The case of

Advisee- Biruk Admassu Mammo, ETR/1835/09

Chapter Three –Case Study .......................................................................................................... 43

Figure 37 Sheikh Abdullah Al Salem Cultural Centre ................................................................. 51

communication, backed up by new media such as the television and the PC

Chapter 0ne -Introduction

population. As Addis Ababa continues to change and cultural performing

1.2 Research Objective

1.2.2 Specific Objective

1.3 Research Questions

1.4 Research Hypothesis

1.5 Significance of the study

1.6 Limitation Of the Study

prevail predominately in the Ethiopian subcontinent, are taken into

1.7 Research Methodology

1.7.2 Research Type

1.7.3 Area of the study

The primary source includes interviews conducted, case studies, photo

1.7.5 Research approach/ strategy

2. How can cultural

3. How can Cultural

Chapter Two –Litrature review

inhabited with compact and varied collection of uses and forms

2.1.2 Historical Development of Bus Terminal

2.1.3 Basic Facilities with in bus terminal

3. Areas for bus staff

d. Bus staff conveniences (drinking water facilities and toilets)

2.1.4 Functional Arrangement

Figure 1 Methodology for using functional arrangement diagrams

Figure 2 Functional arrangement diagram for Inter-state bus terminal

Figure 3 Functional arrangement diagram for Local bus terminal

2.1.5 Functional Requirements

Figure 4 Methodology for using functional requirement sheets

important determining factor of how the community reacts, responds, and

2.3 Ethiopian Culture

communities and other ethnolinguistic minorities tend to practice customs more

2.3.1 Ethiopian Music

Figure 5 An azmari playing with a traditional singer.

Figure 6 Dorze old man with their traditional music instrument.

Figure 7 An Ethio-jazz band in Addis Ababa in 1971

(WORLD MUSIC IN FOCUS – ETHIOPIA; https://www.imaginative-

Figure 8 A krar player.

2.3.2Ethiopian Cultural Dance

Figure 9 Tigray People Traditional Group Dancing

Figure 10 Ethiopian women dancing Eskista

Figure 11 Sidama People Traditional Couple Dancing

Figure 12 Shewa Oromo Traditional Dancing

(“Ethiopian Folk –dance”, Journal Of Ethiopian Studies)

2.3.3 Ethiopian Art

Ethiopian painting, on walls, in books, and in icons, is highly distinctive, though

Figure 13 Great Triptych, Ethiopia, c. 1700, tempera on fabric on wood

-Arts and Crafts

Figure 14 woven geometric decoration(telet)

Colourful basketry with a coiled construction is common in rural Ethiopia. The

Figure 15 Colorful Basketry in Northern Part of Ethiopia

Figure 16 Interior Decoration in harar using Colorful Basketry

-Hand woven Carpet

Figure 17 Ethiopian hand woven carpet

Today's Potters produce many beautiful shapes of traditional ceramic (water

Figure 18 Different kind of pottery in Ethiopia

Figure 19 Ethiopian ‘shema’ Bag

Figure 20 Jewelry in harar