WINNER OF A 2023 CANADIAN ARCHITECT STUDENT AWARD OF EXCELLENCE
This is an incredible project—the kind that’s usually done by a big firm of people, rather than a single student. It takes on the issue of violence in landscapes that appear bucolic, and tries to understand where a centre should be, and what it should be. This is twinned with an understanding of the area’s material culture and the experience of how people make things. It’s impressive to see a larger-scale mapping of what the problem is, followed by an exploration of what’s possible, and what kind of architectural vocabulary is appropriate. It’s very hard to get from these big subjects to an argument that works down to the specificity of a brick module, and it’s even rarer to see a student getting to this level of development.
— Claire Weisz, juror
In the eastern Democratic Republic of Congo, sexual violence against women and children is rooted in a long history of political, security, cultural, economic, and educational vulnerability. The Kushirikiana Architectural Guide explores how architecture—specifically the building process—can help transform the image of women to support the prevention of sexual violence in Eastern Congo.
In Swahili, “kushirikiana” means to share and collaborate. Gender-based sexual violence can only be resolved if all disciplines commit to a collective effort. Factors that can prevent gender-based sexual violence include gender collaboration, the economic and educational empowerment of women, and the promotion of their leadership skills. The Kushirikiana Architectural Guide offers a platform for cooperation between architects, clients, end users, and organizations working to combat sexual violence against women. The guide follows a development project diary model, which presents guidelines based on the three pillars of prevention and an analysis of the region for each stage of the project.
Organized in three parts—pre-construction, construction, and maintenance/evaluation—the guide is applied to the proposal of a women’s construction and agricultural centre in Businga, South Kivu province. The guidelines would be applicable for each stage of projects carried out by Non-Governmental Organizations (NGOs) in eastern Congo. Collaboration between social workers and architects also is relevant.
The construction process, through participatory design, can empower women by expanding on these factors. The construction industry can offer new hands-on skills, introduce women to a new trade, and endorse higher responsibilities—all of which multiply their revenue streams. Collaborations between genders during the construction process can elevate the image and social status of women in a male-dominated trade.
An in-depth material exploration embraces innovation while being grounded in vernacular principles and local resources. This informed the conception of the centre’s envelope tectonic as well as its aesthetic. Programs and landscaping strategies were developed synergistically to extend those impacts beyond the community it is serving. The proposal itself is inspired by wax-printed loincloth, a colourful fabric with printed patterns, produced in Holland. In the province of South Kivu, the loincloth is used by women to transport their goods from one town’s market to another. It is a symbol of pride and a channel for creative expression for women.
By focusing on a new training model that adapts to pedagogical and gender-specific needs, institutions will achieve better student retention and promote gender equality. The greater inclusion of women in the economic sector will contribute to generational wealth and encourage a new social mentality on education and gender.
FACULTY ADVISOR Émilie Pinard