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75
International Journal of Scientific Research and Innovative Technology Vol. 6 No. 9; November 2019
IMPACT OF BUILDING MATERIALS ON ARCHITECTURAL
AESTHETICS
Omale Reuben Peters* and Olatunji Adesoji
Department of Architecture, School of Environmental Technology,
Federal University of Technology, Akure, Nigeria
Abstract
Architects designs rarely come to reality until their dreams end up being constructed and
brought to life. One prominent factor that helps in bringing architects dreams to reality is in
the use of building materials. Many building materials exist for construction, from earth
bricks, to sandcrete blocks, concrete, aluminium etc. Building materials have lasting effects
on the final form and visual quality of buildings depending on the type of materials employed
for such construction. In Nigeria however, research has shown that there is the use of generic
materials which have thus become overly repetitive resulting in drabby buildings appearance.
This outcome is mostly as a result of limited attention being paid into the aesthetic
capabilities of materials in this part of the world. Through a comparative literature review and
an examination of existing buildings with distinctive non-generic materials, this paper
elaborates on the need for architects in Nigeria to make informed usage of materials based on
aesthetic abilities and not just on the technical aspects thereof. Drawing inferences from local
and international case studies, it can be deduced that there is a need for architects to decide on
building materials for projects from the outset and work in synergy with other professionals
so as to develop newer and better ways that materials can enhance suitability, adaptive, and
sustainable buildings that have sufficient aesthetic appeal.
Keywords: Aesthetics, architects, building materials, designs, urban environments
1. INTRODUCTION
The pursuit of aesthetics, or beauty, has been one of man's oldest endeavors. This can be
readily observed in man's interaction with the immediate environment, and how in early times
man had always been able to create and appreciate beauty. Researchers agree that although
man’s earliest creations were both crude and utilitarian, but had a certain aesthetic appeal,
even by modern standards (Jennath and Nidhish, 2015). Nature has served as both case study
and tutor for man since prehistoric times; man’s tools were made from materials provided by
nature and aesthetic sense and responses were borne from its diverse patterns, colors and
configurations (Ulrich, 2006).
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The natural cave is unarguably man’s earliest residence. It served as dwelling for mankind's
first families, providing shelter, protection and a supportive framework for the first
civilizations to emerge (Fadamiro and Ogunsemi, 2008). The cave was made use of as it was
delivered by nature with no alterations on the part of man; except for the occasional cave
painting done within the interiors (Fadamiro and Ogunsemi, 2008). Increasing human
population coupled with climate changes caused mankind to expand territories, moving into
places with varied climates and developing house forms and materials suitable to each one,
all the while not losing touch with the aesthetic side of things (Jennath and Nidhish, 2015).
Vitruvius, identified aesthetics as an integral part of Architecture and recognized it to be a
result of well laid out dimensions and proportions according to the principles of symmetry
(Pazooki, 2011). Since Vitruvius' era however, a lot of changes have occurred in the field of
Architecture. One major proof of this being the fact that architectural aesthetics is no longer seen
solely as a function of dimensions and proportions but a combination of many factors (Liu and
Chuang, 2014). The building's overall form, colors, patterns among others contribute to an
individual's perception of beauty (Lodson, Obgegba, and Elinwa, 2018). Aesthetic response is an
aggregate assessment, biased either positively (e.g., beauty or attraction) or negatively (e.g.,
ugliness or repulsion) and not a nuanced multi-dimensional evaluation (Ulrich, 2006). This shows
that when it comes down to the basics, an individual's perception of beauty will be a direct
reflection of his ideology, experiences, backgrounds etc.
In this era, with increasing sophistication in building technology, newer and aesthetically-
pleasing building forms have been achieved through the use of building materials (Fadamiro
and Ogunsemi, 2008). Thus, architects and designers in regions with low technical ability
who want to achieve architectural aesthetics, as born of pleasing forms (usually made
possible by advanced building construction techniques) have to look elsewhere to achieve this
important aim of a good piece of architecture whilst avoiding the repetitive use of materials
(Rikko and Gwatau, 2011).
This research shall concern itself with architectural aesthetics going by the way of building
materials. Wastiels and Wouters (2009) believe that building materials, despite being one of
the many facets of judging a buildings performance, don’t often get the much-desired
attention in research and development.
1.1 STATEMENT OF THE PROBLEM
Within the chosen study area and a host of other locations within Nigeria, there is this general
drabness of the buildings which the residents in turn perceive as a dull and boring built
environment (Lodson, Obgegba, and Elinwa, 2018). This is mostly brought about by the
inadequacy of up to date technological knowhow which in turn informs the overall form of
the buildings. Spectacular and aesthetic forms can mostly be achieved through the use of up-
to-date technological tools (Duggal, 2008). This dour quality of buildings and city as a whole
has always been and will most likely remain so unless an effective solution is sought; usually
by way of building materials. While sufficient research has been carried out as regards
materials in architecture and design as a whole, the aesthetic aspects of materials have often
been overlooked, with more than required focus on the technical properties (Wastiels &
Wouters, 2009).
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International Journal of Scientific Research and Innovative Technology Vol. 6 No. 9; November 2019
1.2 AIMS AND OBJECTIVES
The aim of this study is to highlight the extent to which building materials used in
construction, impact architectural aesthetics and to emphasize the need for thorough material
selection during the design process. This research seeks to achieve the above aim through the
following objectives:
i. Identify and record all common building materials especially as regards form and façade,
ii. Examine the factors responsible for the material selection,
iii. Justify the need for these building materials through the use of case studies,
iv. Assess the perceived aesthetic impact of these building materials also via case studies
2.0 LITERATURE REVIEW
2.1 THE CONCEPT OF ARCHITECTURAL AESTHETICS
Some authors (Scruton (1979); Parker (1920); and Ulrich, 2006) have drawn comparisons between
aesthetics in architecture and in the other arts and seem to come to a common ground that
aesthetics in other arts is the ole end while in architecture; it is part of the total meaning.
Aesthetics in architecture, according to Ulrich (2006), is the immediate feeling evoked when
experiencing a building via the sensory system. Rikko and Gwatau (2011) quote Astrolabe
(2002) opinion that good architecture must satisfy a trinity of requirements in a user, which
are; physical needs (satisfactory body reaction of feeling), emotional needs (aesthetic and
psychological) and intellectual needs (logic, orderliness and flawlessness); hence the appeal
for architecture as being both art and science. This statement further helps to establish the
central role aesthetics play in architecture as an anthropocentric field of endeavor.
Ulrich (2006) opined that meaning in architecture is closely related to aesthetics. This
statement goes to show that aesthetics is the interface that links an observer with architecture
and the environment at large. The need for appealing aesthetics is thus seen in the fact that
boring and drabby environments can cause residents to feel disconnected and dysfunctional
(Smith 2003) as the influence of aesthetics on pleasure is important because happiness, in
turn, has numerous positive effects on human well-being (Lyubomirsky, King and Diener
2005).
Fadamiro and Ogunsemi (2008) identified aesthetics as one of the three fundamentals of
design, alongside the creative and technical aspects. According to (Jennath and Nidhish,
2015), aesthetic appeal of a building, in architecture, has a key concern and is generally
adjudged a subjective feature. Yet, it is common knowledge that some buildings are
appreciated worldwide, while some others are criticized. This phenomenon of universal
criticism or appraise, according to (Scruton, 1979), has always fascinated researchers.
Aesthetics is one of the markers of assessing a building’s success (Scruton, 1979). The
aesthetic value of any piece of architecture is mostly always preconditioned by functionality
(Kászonyi, 1981). From the viewpoint of design and conception, aesthetics in architecture is
heavily linked to artistic creativity on the part of the designers (Omale and Ogunmakinde,
2018). Aesthetics is the aspect of architecture that is directly linked and connected to human
experience (Pazooki, 2011). It is very obvious that aesthetics is the lens through which users can
get to experience architecture; in a way similar to the user interface of modern technological
gadgets.
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Rapoport (1969) wrote extensively on the impact of symbolism on architecture with respect
to the selection of materials, building configuration and aesthetics. (Scruton, 1979) also
shared views on aesthetic value of a building not been understood independently of its utility;
further advancing the theory that architecture is the antithesis of sculpture. Some authors
(Scruton, 1979, Kászonyi and Ulrich, 2006) are of the opinion that a building’s aesthetics
cannot be separated from its function and the conception of what that particular building
should be. In the perception of the beauty of a human form, for example it is always
conditioned by conception of how a human form should look like; hence the often
controversial but logical ‘double standards’ of judging the male and the female form.
In contrast, Parker (1920) observed that the abstract beauty of architecture can be understood
without any knowledge of the purpose of buildings. In Parker’s view, a Hindu who knows
nothing of European civilization may fail to be positively responsive to the Notre Dame, any
more than an European can fail to admire the beauty of the Taj Mahal. This analogy, however
seems to function only on the large scale (often involving monuments) and even then the
symbolic significance is usually lost on the external observer at first sight (Ulrich, 2006 &
(Tekel, Akbarishahabi, Yildirim, and Bande, 2016). On the other hand, aesthetics, like
ideology, provides a culturally specific way of knowing the world, and as such “offers to the
participants in a society a model upon which they may (and by implication should) base their
beliefs, their behavior and their characters” (Tekel et al., 2016). In a more general sense,
aesthetics as a philosophy refers to the study of sensory values. This means the judgment or
evaluation by the senses and through time has come to refer to critical or philosophical
thought about art, culture and or nature.
2.2 ARCHITECTURE AND MATERIALS
In a manner similar to that of sculptors, architects create new spaces making use of materials
to bring conceptions to life. Kászonyi (1981) and (Mishra and Daas, 2014) suggested that
material is the most general concept in philosophy. This implies that the bulk of inquiry into
the nature of concepts (of which architecture is one) revolves around the subject of
materialness. Philosophers such as Engels are of the opinion that the summation of all
consciousness is based on materialness and not on mere existence (Kászonyi 1981). (Duggal,
2008) asserted that although the most important use of materials is in construction activities,
no field of architecture and engineering is conceivable without material use.
Man makes use of materials in shaping the environment which in turn shapes man (Kászonyi,
1981). Man is always projecting nature and ideals onto the materials being used; by way of
choosing the materials that are of symbolic value. The relationship between man and
materials is symbiotic in nature; it is either beneficial or detrimental to both (Mishra and
Daas, 2014). Materials exist objectively (irrespective of an external observer) and building
materials are fundamental to the shape (Kászonyi 1981). This statement is echoed by Wastiels
and Wouters (2009) opinion that building materials are the tools for bringing the architect’s
idea to life. Materials even possess the visual and sensory essence and memory of man’s
progenitors (Kászonyi 1981). This expands on the well-known idea that technologies and
materials alike are passed from one generation to the other since mankind’s first progenitors,
International Journal of Scientific Research and Innovative Technology Vol. 6 No. 9; November 2019
with paradigm changes birthing newer and newer epochs. Rapoport (1969) gave examples of
different cultures drastically changing their way of life which in turn affects their building
materials e.g. when the Cheyenne Indians of North America acquired horses giving up an
agrarian lifestyle for hunting, their building materials changed from rocks and stones to fabrics
for making tents.
Works, such as those by MVRDV, Tadao Ando, Kengo Kuma, Herzog and de Meuron, Zaha
Hadid, explicitly show that the choice of materials used do not only determine what can be
built but also the building’s overall character spaces (Wastiels and Wouters, 2009). The
above named architects and architecture firms are able to execute their architectural visions
strictly with the aid of materials. Tadao Ando for instance creates masterful pieces making
use of special mixes of concrete; Kengo Kuma, in continuing with the Japanese traditional
aesthetics weaves wood into livable spaces; Zaha Hadid is noted for making use of composite
materials (such as glass-fibre reinforced concrete) in her works; Herzog and de Meuron are
known for their creative and intuitive use of materials to weave reductivist and parametric
spaces alike.
Materials clearly influence the user’s perception of the spaces (Wastiels and Wouters, 2009). This
signifies that architects do not design spaces for utility purposes alone, but also with user
experience and emotions in view. It is a well-known fact that different materials possess
different emotive characteristics. Plates 1-4 below are examples of architectural forms and
aesthetic building character and compositions that can be achieved by use of different
building materials during construction.
Plates 1- 4: Achieving distinct forms and aesthetic compositions through various building
materials in architecture (concrete, wood, metals, and composite concrete) Source: ArchDaily.com, 2012
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2.3 FACTORS CONSIDERED IN SELECTING BUILDING MATERIALS
Materials selection is a very complex process (Wastiels and Wouters, 2009). It is not just
about choosing the strongest or cheapest materials (which is logical from the technical
standpoint). This goes to say that since each piece of architecture is unique, specific users in
specific buildings in specific locations will react to the materials used differently. While
technical considerations take a central place in architecture, the selection of building
materials also involves careful thought on factors such as appearance and sensory behavior,
availability, technical know-how, structural formations and behavioral properties and nature
of the materials (Wastiels and Wouters, 2009). Duggal (2008) identified three major factors
affecting the selection of building materials. i. Climatic background - Obviously, different
materials and forms of construction have developed in different parts of the world as a result
of climatic differences. Another factor is the economic aspect of the choice of materials. The
rapid advancement of construction methods, the increasing introduction of mechanical tools
and plants, and changes in the organisation of the building industry may appreciably
influence the choice of materials (Fadamiro and Ogunsemi, 2008). Wastiels and Wouters
(2009) had an improved view of Duggal (2008), by identifying the factors involved in the
selection of building materials as: material properties, experience, manufacturing process, and
context.
2.4 BUILDING MATERIALS AND AESTHETICS
Idi and Khaidzir (2015) asserted that material is an essential component of artistic creation.
Aesthetically speaking, material is a medium with visual & sensory form that helps to record
the creation of architects and designers. Different architects achieve aesthetics unique to their
architectural and artistic vision through the use of different materials. For example, some
architects favor the use of metals (e.g. Frank Gehry), some timber (e.g. Kengo Kuma), yet
some concrete (e.g. Tadao Ando). Wastiels and Wouters (2009) affirm that building materials
are one of the facets of any architecture project imbuing it with character. Kászonyi (1981)
opine that a form is good and aesthetically appealing if it is in perfect harmony with the inner
regularities of the material, discloses the natural beauty of the material, and does not deceive
but exhibits forces and reactions. Kászonyi (1981) further explain that aesthetic analysis of
materials point out two fundamental factors from the aspect of construction: particulars (inner
structure, color, texture etc.) and decision over the structure (strength, physical
characteristics). A contrast is given of steel being dominant in structure due to its workability
and strength while timber, glass and plastics are preferred more for facades or general
lightweight construction (Idi and Khaidzir, 2015).
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International Journal of Scientific Research and Innovative Technology Vol. 6 No. 9; November 2019
2.5 Smart Materials
The term smart materials, intelligent materials, active materials or adaptive materials,
describe a group of material system with unique properties (Duggal, 2008). Generally these
materials respond with a change in shape upon application of externally applied driving
forces. In addition some material systems do not exhibit a shape change but rather have other
significant properties such as being color-changing, self-cleaning, photo-reactive, memory-
possessing etc. (Duggal, 2008). Consequently, the term smart materials is not very well
defined and frequently used to describe different systems and their behaviors. Other examples
of smart materials that are presently being used in practical situations include transparent
wood, light-generating concrete, biodegradable furniture to mention but a few (Uribe, 2016).
Research, however is still ongoing as regards smart materials towards the making and use of
newer and better materials in the construction industry.
3.0 RESEARCH METHOD
3.1 CASE STUDIES
Case study approach was used as the method of enquiry for this study. Case studies are viable
ways to conduct qualitative studies (Creswell, 2009). The case studies used within this study
were designed to cover two local and two international examples. The case studies were
selected for their creative use of the inherent properties of materials to create visual
appeal/aesthetics in edifices both on a small and a large scale. Based on earlier literature and
referenced studies, a set of visual aesthetic judgment parameters of maximum significance on
building form were selected based on Wastiels and Wouters (2009) studies, the parameters
for adjudging a building’s aesthetic value include:
i. Shape or Geometry which defines the form’s silhouette.
ii. Composition of architectural elements which defines the form’s complexity.
iii. Material Usage which defines the form’s texture, age and structural character.
iv. Color which defines the intensity of façade finishes, level of cleanliness and the theme
of building’s setting.
v. Functional character which defines the expected functional quality of the interior space
The fifth point can only be possible when the buildings spaces are experienced firsthand, but
the first four factors can be adjudged by just seeing the buildings without necessarily
experiencing the functions.
The focus of this research however shall be the effects of building materials on aesthetic
perceptions. In the integrated framework four themes of material selection considerations
were identified (Wastiels and Wouters, 2009). The four case studies selected for this research
are listed below:
i. Chief Bode Akindele School of Management Technology Building, Akure, Nigeri
ii. The Dome International Events Centre and Glass Hall, Akure, Nigeria
iii. Asakusa Culture and Tourism Centre, Tokyo, Japan
iv. Heydar Aliyev Cultural Centre, Baku, Azerbaijan.
ISSN: 2313-3759 www.ijsrit.com
3.1.1 CHIEF BODE AKINDELE SCHOOL OF MANAGEMENT TECHNOLOGY
BUILDING, AKURE
The Chief Bode Akindele School of Management Technology building is located at the
Obanla main campus of the Federal University of Technology Akure Campus. It was
commissioned in 2012. The structure houses departments under the School of Management
Technology: the departments of project management, transport management and
entrepreneurship management to mention a few. The structure is being studied for its creative
use of space, materials and unique forms compared to most buildings on campus.
3.1.2 Building Materials Used
The building materials used include reinforced concrete, hollow sandcrete blocks, timber panels,
laterite brick facing, fully vitrified clay tiles and danpalon panels. The frame structure of the
building was achieved through the use of reinforced concrete (R.C) and 225mm sandcrete block
walls. The R.C design enable the building to cover relatively large spans especially at the
entrance and the atrium. The atrium is of exposed steel truss system (painted black to prevent
deterioration and improve aesthetics) covered with danpalon panels to introduce sky lighting (see
plate 6). Electrical works covered with plywood with an off-white paint finish. All floors within
the building are of fully vitrified clay tiles. The building’s exterior façade involved the heavy but
coherent usage of laterite brick facing finish amidst emulsion painted wall finish.
The overall massing of the buildings forms (where emphasis plays a major role) coupled with the
careful and coordinated use of materials all serve to achieve the great aesthetic appeal that the
Chief Bode Akindele School of Management Technology is known for on campus as shown on
plate 5.
Plate 5: Front view of the building showing the massing of forms and the materials used
(Author’s field work 2019).
International Journal of Scientific R
Plate 6: Atrium showing
Sou
Plate 7: Seating area of the atri
application
Sou
Research and Innovative Technology Vol. 6 No. 9; N
g exposed steel trusses and danpalon panels cove
urce: (Author’s field work 2019).
ium showing the floor tiles used (Note the color
n using contrast, clarity and cleanliness)
urce: (Author’s field work 2019)
November 2019
ering.
choices and
ISSN: 2313-3759
Plate 8: Fairly large spans cove
facing bric
3.1.2 THE DOME INTERNAT
CENTRE, ALAGBAKA, AKU
The Dome International Event
The Dome Event Space is situate
built in a drive to push the sta
especially going into the future
service bar area, full warming kit
contemporary fine art décor, whi
Plate 9: Pictorial map
w
ered at the entrance using R.C construction finis
cks. Source: (Author’s field work 2019).
TIONAL EVENT CENTRE AND GLASS HA
URE.
t Centre
ed in Alagbaka, Akure, the capital city of Ondo
ate into a more technological stance among it
e. Rental features of the building includes: 350
itchen, full sound system and iPod/mp3 player d
ich includes set up and break down (Johnson, 20
of the buildings’ location. Source: (Google Map
www.ijsrit.com
shed laterite
ALL EVENT
o State. It was
s peers, most
00 sq. ft. full-
dock, beautiful
016)
ps).
International Journal of Scientific Research and Innovative Technology Vol. 6 No. 9; November 2019
The ripple effect of this centre, whose conception started in 2010, is the new wave of urban
renewal activities in the city. For instance, the location of Shoprite in Akure was said to have
been influenced by its proximity to The Dome complex (vanguardngr.com, 2016). The Dome
international Event Centre has a capacity of up to 5,000 guests and three events
simultaneously in its main auditoriums and it also offers its gallery as a solution for smaller-
scale events (including a reception space for big events). There is a fine array of original fine
art and fine furnishings displayed in vignettes, creating a warm mood and atmosphere for all
in attendance (vanguardngr.com, 2016).
Plate 10: The dome during construction (Nairaland.com).
Plate 11: Cobble-stone facing used on the steps into the podium of the geodesic domes are
covered using ETFE (Nairaland.com).
ISSN: 2313-3759
Plate 12: Finished domes wi
Materials used in The Dome p
blocks, R.C, steel, aluminium a
appears to be as a result of the co
The Glass Hall Event Centre
Plate 13: Front view of The G
The Glass Hall Event Centre, loca
piece of architecture, at least in th
monetary value, the architectura
enormous (pulse.ng, 2017).
w
ith good landscaping surrounding them (Nairala
project include but not limited to; ETFE, holl
and glass. The outstanding aesthetic appeal o
oherent use of the various materials involved in c
Glass Hall Event Centre, Akure (schoolofestate.c
ated within the 36.05 ha The Dome complex, is a r
his part of the world. With over N10 billion inve
al and economic ramifications of the building
www.ijsrit.com
and.com).
low sandcrete
of The Dome
construction.
com, 2018).
ather daring
estment in
g are certainly
International Journal of Scientific R
The Glass Hall Event Centre wa
Besides, it consists of two galler
and the other with a 420- sitting
park that can accommodate 1,00
detectors, sprinklers and toilet fa
2018). When fully operational, t
monthly from hall rentals alone
revenue (ogavenue.com.ng, 201
Centre is bringing about a dom
improved amenities (vanguardng
Plate 14: the cantilevered roof of
wa
Plate 15: showing th
The Glass Hall Event Centre w
cement works. Plastic cladding
façade (guardian.ng, 2017). Als
possible only by the materials us
Research and Innovative Technology Vol. 6 No. 9; N
as designed and built by Messrs Groupo System
ries, with the bigger gallery having a capacity o
g capacity; large screen for multi-media purpo
00 vehicles at a time; fire-fighting equipment, s
acilities are installed at strategic locations (ogav
the centre is expected to generate an average of
e, this is outside the use of other facilities tha
18). Like The Dome project before it, the Glas
mino effect by way of better infrastructure p
gr.com, 2016).
f The Glass Hall Event Centre before the alumin
as done (Nairaland.com, 2017).
he building under construction (Core TV, 2016)
was built of combined steel and glass materia
of different shades of brown and yellow were
so, the aesthetic appeal of the overhanging ro
sed: steel trusses and aluminium cladding.
November 2019
mso of Spain.
of over 2, 000
oses and a car
such as smoke
venue.com.ng,
f N45 million
at will attract
ss Hall Event
provision and
nium cladding
.
als, with little
e used on the
oof was made
ISSN: 2313-3759 www.ijsrit.com
3.1.3 ASAKUSA CULTURE AND TOURISM CENTER, TAITO, TOKYO, JAPAN
Plate 16: Street view of the building within the city scape (ArchDaily, 2018).
The Asakusa Culture and Tourism Centre is located on a corner lot of just 326m2 across
Kaminari-mon Gate, Tokyo, Japan. The building, designed by Kengo Kuma and associates,
was required to accommodate plural programs such as tourist information center, conference
room, multi-purpose hall and an exhibition space (ArchDaily, 2018). The center, adapting
ancient Japanese principles of form and design and materials selection, extends Asakusa’s
lively neighborhood vertically and piles up roofs that wrap different activities underneath,
creating a “new section” which had not existed in conventional layered architecture
(ArchDaily, 2018). Equipment are stored in the diagonally shaped spaces born between the
roof and the floor, and by this treatment large air volume could be secured despite its average
height for high-and medium-rise buildings. Furthermore, the roofs not only divide the
structure into 8 one-storied houses, but also determine the role of each floor. First and second
floor has an atrium and in-door stairs, creating a sequence from which you can feel the slope
of the two roofs (ArchDaily, 2018).
International Journal of Scientific Research and Innovative Technology Vol. 6 No. 9; November 2019
Plate 17: Entrance hall and reception area highlighting the creative blend of steel, wood and
glass; wood being the centre of attraction (ArchDaily, 2018).
A terraced floor was set up on the 6th floor with which the entire room can function as a
theater. As angles of the roofs inclined toward the street and the heights from the ground vary
from floor to floor, each floor relates differently to the outside, giving a unique character to
each space (ArchDaily, 2018).
3.1.4 HEYDAR ALIYEV CULTURAL CENTRE, BAKU, AZERBAIJAN. Background
Information
The Heydar Aliyev Cultural Centre is both an architectural marvel and historical statement.
As part of the former Soviet Union, the urbanism and architecture of Baku, the capital of
Azerbaijan on the Western coast of the Caspian Sea, was heavily influenced by the planning
of an era immediately following the country’s independence on the wave of the collapse of
the Soviet Union in 1991 (ArchDaily, 2018). Azerbaijan has invested heavily in modernising
and developing Baku’s infrastructure and architecture, departing from its legacy of normative
Soviet Modernism.
Zaha Hadid Architects was appointed as design architects of the Heydar Aliyev Center
following a competition in (Heydar Aliyev Cultural Centre, 2013). The Center, designed to
become the primary building for the nation’s cultural programs, breaks from the rigid and
often monumental Soviet architecture that is so prevalent in Baku, aspiring instead to express
the sensibilities of Azeri culture and the optimism of a nation that looks to the future
(WikiArquitectura, 2013).
ISSN: 2313-3759 www.ijsrit.com
Plates 18: Front view of the building. The graceful curves were achieved strictly with a space
frame and composite materials (Heydar Aliyev Cultural Centre, 2013)
Materials Used and Geometry
The single most critical yet challenging elements of the project was the architectural
development of the building’s skin (Heydar Aliyev Cultural Centre, 2013) Our ambition to
achieve a surface so continuous that it appears homogenous, required a broad range of
different functions, construction logics and technical systems had to be brought together and
integrated into the building’s envelope (WikiArquitectura, 2013).
The Heydar Aliyev Center principally consists of two collaborating systems: a concrete
structure combined with a space frame system. In order to achieve large-scale column-free
spaces that allow the visitor to experience the fluidity of the interior, vertical structural
elements are absorbed by the envelope and curtain wall system (WikiArquitectura, 2013).
The particular surface geometry fosters unconventional structural solutions, such as the
introduction of curved ‘boot columns’ to achieve the inverse peel of the surface from the
ground to the West of the building, and the ‘dovetail’ tapering of the cantilever beams that
support the building envelope to the East of the site (Heydar Aliyev Cultural Centre, 2013).
International Journal of Scientific Research and Innovative Technology Vol. 6 No. 9; November 2019
Plate 19: The building during construction making use of steel space frame and R.C (Heydar
Aliyev Cultural Centre, 2013).
The space frame system enabled the construction of a free-form structure and saved significant
time throughout the construction process, while the substructure was developed to incorporate a
flexible relationship between the rigid grid of the space frame and the free-formed exterior
cladding seams (Heydar Aliyev Cultural Centre, 2013). These seams were derived from a
process of rationalizing the complex geometry, usage, and aesthetics of the project. Glass
Fibre Reinforced Concrete (GFRC) and Glass Fibre Reinforced Polyester (GFRP) were
chosen as ideal cladding materials, as they allow for the powerful plasticity of the building’s
design while responding to very different functional demands related to a variety of
situations: plaza, transitional zones and envelope (WikiArquitectura, 2013).
Plate 20: Gilded cladding material used in the interiors (Heydar Aliyev Cultural Centre,
2013).
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Plates 21: Sinuous curves of the interior achieved with R.C, GFRC and the glazing system of
the façade.
4.0 FINDINGS AND DISCUSSIONS
4.1 CASE STUDY ONE: CHIEF BODE AKINDELE SCHOOL OF MANAGEMENT
TECHNOLOGY BUILDING.
General Material Overview
The Chief Bode Akindele School of Management Technology building made use of a
number of materials such as reinforced concrete, steel, glass, danpalon panels, vitrified clay
floor tiles, paint but it is the laterite brick facing on the façade that best defines the aesthetic
appeal for which the building is known for on campus.
Reinforced concrete allowed for considerable horizontality to be achieved. This was
done in a unified manner and is easily perceived in the structural and aesthetic aspects of the
building. Exposed steel trusses in the atrium support the curved opaque danpalon panels
allowing daylight to stream in ushering in a sense of wellbeing. White PVC gypsum ceiling
material at the entrance foyer helped convey a feeling of loftiness.
The red brick facing, being the dominant façade material, was applied to better define
the form and massing of the building and this was done so masterfully. The dark brown color
of the red brick facing coupled with the dominant off-white paint finish helped create an
organic color scheme that agrees well with the building.
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Table 1. Summary of materials used and their properties in order of visual dominance, with
notes on the perceived impact on the building’s aesthetic appeal.
S/N MATERIALS PROPERTIES AESTHETIC IMPACT
1. Brick Facing • Dimension:150×75×15mm The horizontality of the brick tiles
• Colour: Dark Brown itself helped to accentuate the
• Good Thermal Absorption building’s scale and proportion. The
• High Durability dark brown colour gives a suitable
• Good Fire Resistivity organic appearance to the building.
2. Reinforced • High Durability Allowed for structural and visual
Concrete • Responsive to a wide balance, resulting in a wholesome
range of finishes and unified design. This ensures that
• Considerable Tensile the building stands out among others
strength on FUTA campus.
3. Steel Trusses Hollow steel truss of the The steel truss is coated with a
Bowstring variety durable black pigment to prevent
corrosion and to contrast with the
dominant off-white paint render.
4. Danpalon • Translucent Allow a consistent stream of natural
panels • Good Heat Conductivity light into the building ensuring that
the atrium and the rest of the building
have sufficient day lighting. This
creates a sense of well-being for
occupants of the building and
interaction with nature as well
5. Vitrified Clay • Glossy finish The floor tiles glossy finish is as
Tiles • Good Heat Conductivity practical as it is aesthetic. It also
• High Durability stands in stark contrast to the dark
brown of the brick wall cladding and
other elements like the dark brown
color doors.
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4.2 CASE STUDY TWO: THE DOME INTERNATIONAL EVENT CENTRE AND
GLASS HALL EVENT CENTRE, ALAGBAKA, AKURE.
General Material Overview
A variety of building materials were used in the construction of The Dome Event Centre; the
dominant ones being reinforced concrete, (ethylenetetrafluoroethylene) ETFE, glass, stone
facing, vitrified floor tiles. The defining material for The Dome are the hollow steel
components of the geodesic dome and the ETFE roof covering; as these two combine to give
the building its definitive form and overall aesthetic appeal. The dominant materials at the Glass
Hall Event Centre are steel, glass and Aluco panels. The steel was used to create a cantilevered roof
system that seems to defy gravity. The glazing system was also a bold structural and aesthetic
statement as it offers a visual watershed between the exterior and the interiors.
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Table 2. Summary of materials used in order of visual dominance with notes on the perceived
impact on the buildings’ overall aesthetic appeal. S/N MATERIALS PROPERTIES AESTHETIC IMPACT
1. Steel • High Durability The cantilevered truss system of the
• Highly Ductile Glass Hall creates an interesting visual
• High tensile strength appeal. The geodesic frame system of
• Highly Versatile the Dome is also made possible by the
use of hollow steel components that are
light yet structurally stable.
2.ETFE roof • High Durability ETFE is highly transparent to light
covering • Highly Ductile from the whole visible light spectrum
allowing large amounts of natural light
into the building (without glare) and
creating a bright and open space that
can emulate the outdoors’ unified
design. Thus solving lighting issues and
exuding aesthetic appeal with ease.
3.Aluco panels • Weather Resistant Aluco panels as used in The Dome
• Good Heat Conductivity helped to keep up with the austere
• Glossy finish color scheme (light gray panels to
• Availability in a wide achieve visual balance with the
variety of colour dominant white of the ETFE covering).
In the Glass Hall, orange and yellow
panels were employed to contrast with
the transparency or translucency of the
dominant
glazing system.
4.Glass • Highly Brittle Glass was extensively used in the
• Fairly versatile Glass Hall as evident in the large
•Available in a wide glazing system. The event centre made
range of colors and use of clear fast glass offering a view
panel shapes and sizes
into the majestic interiors. This allows for visual
impact within and without the building for
internal & external viewing
5.Vitrified Clay • Weather Resistant Floor tiles with exquisite patterns on
Tiles • Good Heat Conductivity the interior has great aesthetic appeal
• Glossy finish on buildings. They also efficiently
• Availability in a wide reduce heat gains into the building
variety of colours and
• Wear resistant
resulting in a cool and relaxed
atmosphere. Color varieties help in
complimenting/contrasting other colored
building elements resulting in high visual
impacts
6.Stone Tiling • Weather Resistant Used on the entrance steps onto the
• Great Heat Conductivity platform of the Dome; it helps to
• Rough cut finish convey a sense of stability all the while
being in unison with the overall color
palette of the building. The rough cut surfaces
create great visual texture that is pleasurable to
the eyes.
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4.3 CASE STUDY THREE: ASAKUSA CULTURE AND TOURISM CENTER,
TAITO, TOKYO, JAPAN
General Material Overview
The Asakusa Culture and Tourism Centre is yet another glorious example of innovative use
of materials in architecture. The edifice so deftly merges the old and the epoch of Japanese
architecture with a design that reflects the past all the while elucidating modern design
sensibilities. The dominant building materials are timber, glass and steel as evident in the
unified, stacked exteriors and the exquisite and minimal interiors. The design, by renowned
architect Kengo Kuma, made explicit use of timber on both the façade and the interiors in a
way that echoes traditional Japanese architecture. The timber (cedarwood) as used on the
exterior, serves as vertical shading device that rhythmically downplays the building’s visual
dominance within the neighborhood all the while resulting in an interesting façade. In the
interiors, oak flooring, custom-made timber furniture, timber panel walls all combine to
create a serene interior environment for visitors.
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Table 3. Summary the materials used in order of visual dominance with notes on the
perceived impact on the building’s overall aesthetic appeal.
S/N MATERIALS PROPERTIES NOTES ON AESTHETIC IMPACT
1. Timber • Readily available Cedarwood used on the exterior is a
• Great sound absorption stong and vibrant building material.
• Thermal insulator The rhythmic spacing of the vertical
• Shock absorbing element creates a very unique façade
• Fairly versatile causing the building to stand out within
• Responsive to a wide the neighbourhood.
range of treatment to On the interiors however, oakwood
enhance its strength , flooring and timber wall paneling were
durability and used to give an organic outlook to the
appearance interiors. On the façade too, lacquered
composite timber conceals piping and
other mechanical works. The dominant
black colour on the exterior contrasts
beautifully with the organic look of
cedarwood and the transparency of
glass. This has great visual impact on
observers
2. Reinforced • High Durability The ‘stacking’ evident in the building’s
Concrete • Considerable Tensile overall form is made possible by
strength reinforced concrete. The result is what
looks like a stack of seven buildings
• Responsive to a wide one atop the other with great visual
range of finishes impact.
3. Glass • Highly Brittle The glazing system while positioned to
• Fairly versatile reduce heat gain (a brilliant technical
• Available in a wide consideration) also offers exquisite
range of colours and views to various landmarks around the
panel shapes and sizes cultural centre combined with the
aesthetic appeal it has on a viewer on
the exterior. Glass was also used to a
great extent in making the stairs’
balustrades and barriers on the
building’s observation decks.
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4.4 CASE STUDY FOUR: HEYDAR ALIYEV CULTURAL CENTRE, BAKU,
AZERBAIJAN
General Material Overview
The Heydar Aliyev Cultural Centre can be referred to as the most daring piece of
Architecture in the 21st
Century. With graceful, free flowing forms reminiscent of water
waves; the edifice is truly a beauty to behold. Beyond the audacious design however came the
technical considerations of what materials are best to create the sinuous curves of the exterior
and the sublime aesthetics of the interior. Steel, concrete, glass and glassfibre-reinforced
concrete (a composite material) were the major materials required to execute the above-stated
quest. All three combined as structure and cladding, on the exterior, helped to create the
graceful curves for which the building is famously known for.
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Table 4. Summary of the materials used in order of visual dominance with notes on the
perceived impact on the building’s overall aesthetic appeal S/N MATERIALS PROPERTIES AESTHETIC IMPACT
1. Steel • High Durability Steel, noted for its high tensile strength
• Highly Ductile and ductility enables the building warp
• High tensile strength and defy the norms of modern
• Highly Versatile construction through an intricate steel
space frame system.
2. Reinforced • High Durability Reinforced concrete is well-known for
Concrete its workability and yield strength. In
• Considerable Tensile conjunction with the steel framework
strength
of the exterior, R.C skillfully creates
graceful
• Responsive to a wide entrance interior spaces within the
range of finishes
Building that gives users a feeling of
warm welcome
3. Glass • Highly Brittle Glazing on the approach façade was
• Fairly versatile both an aesthetic and an allegorical
• Available in a wide statement. It reflects the neighbourhood
range of colours and while also balancing with the structure
panel shapes and sizes (the lightness of glass compared to the
weight of the steel and reinforced
concrete)
4. Glassfibre- • High Durability In the interior spaces GFRC efficiently
reinforced • Dirt-repellant traces out the contour of the building. It
concrete • Responsive to a wide is interspersed with lighting panels to
(GFRC) range of finishes augment daylighting. And since the
• Relative ease of basic colour palette is white, there’s
maintenance. enough ambient lighting within the
building ensuring that visitors have a
rich visual architectural experience
within the building.
5. Glassfibre- • High Durability The material for the building’s external
reinforced • Dirt-repellant skin is made entirely of GFRP. The
plastic (GFRP) • Available in a wide external cladding is made of an intricate
variety of colors. network of specially GFRP tiles made
• Relative ease of to fit and follow the complex curves of
maintenance. the building’s exterior.
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5.1 RECOMMENDATIONS
Building materials have a huge, but often overlooked role to play in determining the aesthetic
appeal of any building. It has been deduced that it is an important factor in bringing about
success in a building’s design and construction. Therefore, there is the need for a paradigm
shift in the way architects and other stakeholders approach the nature and essence of building
materials. Since many enquiries have been carried out into ensuring standards as regards the
technical requirements of building materials, with the aesthetic and symbolic aspects being
largely overlooked and subjugated, designers, now more than ever, need to look intricately
into the aesthetic aspects of materials as concerns form making, facades and finishes.
Choices of materials need to be decided at the outset of designs by using a standardized
framework, architects and interior designers alike will be better equipped to select the ideal
materials for any project and apply them to suit the aesthetic needs of the building in view.
This is in a manner similar to the standardized approach used in selecting building materials
based on technical considerations.
Architects and designers also need to look more into context when selecting and using any
building materials. This enables them to put everything into perspective and choose the right
building materials when working in any geographical location, especially as the world is
becoming a global village. However, symbolism in architecture varies from place to place
and building materials that may be greatly appreciated by a group in a region or location, may
not be by another group.
5.2 CONCLUSION
The coherent and practicable use of building materials in design and construction is necessary
if appealing aesthetics must be achieved in buildings. To effectively achieve this, architects
and other professionals in the built industry must work together in synergy to ensure the
development of newer and better materials to better meet the aesthetic, structural and
technical requirements of a building.
This study has proven that early choice decisions on different building materials at design
stage helps in the overall aesthetic appearance of any project. This study has shown that
structural form, massing and color are design elements and principles that were employed to
achieve aesthetics in case study one. For case study two: shape, texture, fluidity and
translucency were used to achieve beauty in the overall form of the dome building. Cultural
symbiosis, scale and proportion alongside staggered effects were employed to alter the urban
silhouette and morphology of the Japanese tourism center. Finally, Zaha Hadid once again
influenced innovation by combining structural stability with fluidity of design to achieve a
Neo-futuristic style that exemplifies grace and splendor.
The case studies that were carried out in this study show how far building materials go in
determining a building’s aesthetic appeal. Different materials evoke different responses on
first contact and after prolonged interaction with the buildings. As such, some buildings tend
to remain aesthetically appealing for a long time due to the manner in which the materials are
combined. The materials used also determine the aesthetic value of the building. The feeling
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evoked in an observer by exposed concrete is different from that of red bricks or timber or
even steel.
It is thus needful for designers and other professionals in the built environment to work in
synergy to ensure considerable research and development is focused on the aesthetic aspect
of building materials to help achieve better and cost-effective aesthetics both on any scale of
building design and construction.
Future research may focus on smart materials and their benefits to users, professionals and
the built environment where these buildings will eventually be constructed; hence the works
of Duggal, (2008) concerning smart materials can be expanded further in relation to this piece
of work.
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