Site
Peace Pavilion is located in the central part of the Sedhiou’s shore. In the area, often flooded by the Casamance
river, which plays an important role in the regional economy and enables Sedhiou the access to Atlantic. Nevertheless,
the city is not oriented toward the river but, rather introvertly, generates social life away from water.
The reason behind it could be the limited space that the shore offers and the frequent flooding. All this makes the
site of the Peace Pavilion special, set between city and river. The site is defined by Casamance and the road that
curves around the tree in the southern part and breaks the rectangularity of the field. With no built context in
its immediate surrounding, it opens itself to the river while maintaining the visual connection with the city on
the west and rice fields on the north.
Peace Pavilion is located in the central part of the Sedhiou’s shore. In the area, often flooded by the Casamance
river, which plays an important role in the regional economy and enables Sedhiou the access to Atlantic. Nevertheless,
the city is not oriented toward the river but, rather introvertly, generates social life away from water.
The reason behind it could be the limited space that the shore offers and the frequent flooding. All this makes the
site of the Peace Pavilion special, set between city and river. The site is defined by Casamance and the road that
curves around the tree in the southern part and breaks the rectangularity of the field. With no built context in
its immediate surrounding, it opens itself to the river while maintaining the visual connection with the city on
the west and rice fields on the north.
Intention
Besides the important role in the discourse about truth and reconciliation, Peace Pavilion should actively work on
bringing the community together. Its focus should be placed on functional generosity rather than metaphorical
capacity. It is envisioned as an inviting space that looks familiar and offers an opportunity for a peaceful retreat.
On the other side, the site also asks for an ecological awareness that would be able to tough climatic conditions
such as flooding, heavy rainfall, temperature rise, etc., and turn them into design agents.
Besides the important role in the discourse about truth and reconciliation, Peace Pavilion should actively work on
bringing the community together. Its focus should be placed on functional generosity rather than metaphorical
capacity. It is envisioned as an inviting space that looks familiar and offers an opportunity for a peaceful retreat.
On the other side, the site also asks for an ecological awareness that would be able to tough climatic conditions
such as flooding, heavy rainfall, temperature rise, etc., and turn them into design agents.
Site Analysis
Situation Plan
Design
The project revolves around three massive walls that are drawn in relation to the shape of the site and the
visual connections to the Casamance river, the urban area, rice fields, and the old tree. The walls are gently
guiding the way while defining the space between them. The overall image should recall a familiar vernacular
roofscape and a domestic setting, that blends itself into the environment.
Through the narrow entrance point where the walls almost touch each other the visitor is welcomed by the
patio and the view over Casamance. From here the walls are curving and demarcating roofed spaces: the meditation
sphere, exhibition area, and gathering pit. The isolated rooms are parts of the functional arrangement
that orients itself toward important site axes, namely the city, rice fields, and the river.
With materials that are regionally sourced and familiar to the locals, future visitors are planned to be
involved in the construction process of the pavilion. The main construction material is rammed clay and it is
mixed with cement in a different ratio depending on the architectural element. This offers a color scheme that
integrates the pavilion in the environment and provides a feeling of belonging. While the walls and socle appear
heavy and earthed, the roof and dividing elements are light and should stand as a strong contrast to the main
structure. The cloistered areas are enclosed with revolving elements, made from braided palm leaves. They
serve both as a permeable boundary and a connection with surroundings. The rooms are covered light wooden
structure that evokes the vernacular reed roof. It evolves from almost horizontal into an upward aspiring
structure that cantilevers over the building and protects from the strong sun. This chimney form forces natural
ventilation and grants a symbolic piece of sky. At the end t is this image of sky and clay that will not be forgotten,
that is older than pavilions, wars, nations, Lucy...
The project revolves around three massive walls that are drawn in relation to the shape of the site and the
visual connections to the Casamance river, the urban area, rice fields, and the old tree. The walls are gently
guiding the way while defining the space between them. The overall image should recall a familiar vernacular
roofscape and a domestic setting, that blends itself into the environment.
Through the narrow entrance point where the walls almost touch each other the visitor is welcomed by the
patio and the view over Casamance. From here the walls are curving and demarcating roofed spaces: the meditation
sphere, exhibition area, and gathering pit. The isolated rooms are parts of the functional arrangement
that orients itself toward important site axes, namely the city, rice fields, and the river.
With materials that are regionally sourced and familiar to the locals, future visitors are planned to be
involved in the construction process of the pavilion. The main construction material is rammed clay and it is
mixed with cement in a different ratio depending on the architectural element. This offers a color scheme that
integrates the pavilion in the environment and provides a feeling of belonging. While the walls and socle appear
heavy and earthed, the roof and dividing elements are light and should stand as a strong contrast to the main
structure. The cloistered areas are enclosed with revolving elements, made from braided palm leaves. They
serve both as a permeable boundary and a connection with surroundings. The rooms are covered light wooden
structure that evokes the vernacular reed roof. It evolves from almost horizontal into an upward aspiring
structure that cantilevers over the building and protects from the strong sun. This chimney form forces natural
ventilation and grants a symbolic piece of sky. At the end t is this image of sky and clay that will not be forgotten,
that is older than pavilions, wars, nations, Lucy...
Construction process
The aim to bring the pavilion closer to visitors by constructing a building with local materials and handcrafts
would help make the construction a communal event, where everyone can contribute and leave a mark. A
couple of experienced local experts would help lead the construction process, which would consist of:
1. Construction of three main walls out of rammed clay.
2. Construction of socle out of rammed clay with higher cement content
3. Placement of structural wooden columns
4. Placement of wooden beams
5. Production and installation of fixed and rotating elements, out of wood planks and palm leaves, decorated
with local textile.
6. Construction of wooden roof structure that would support reed roof.
7. Thatching reed roof
The aim to bring the pavilion closer to visitors by constructing a building with local materials and handcrafts
would help make the construction a communal event, where everyone can contribute and leave a mark. A
couple of experienced local experts would help lead the construction process, which would consist of:
1. Construction of three main walls out of rammed clay.
2. Construction of socle out of rammed clay with higher cement content
3. Placement of structural wooden columns
4. Placement of wooden beams
5. Production and installation of fixed and rotating elements, out of wood planks and palm leaves, decorated
with local textile.
6. Construction of wooden roof structure that would support reed roof.
7. Thatching reed roof
Plan
Axonometric Drawing
West elevation
Section
Entrance to the Pavilion
