Tantalizing Aromatic Observance A Sensory Boutique of Historical Significance on Changuu Island, Zanzibar Muller Ferreira 2015007061 Figure 1.1: (Author,2021). “Perfume is the art that makes memory speak” (Kurkdjian, n.d.) Figure 1.2: A traditional dhow sailing towards Stone Town (Author,2021). Figure 1.3: Inside the Changuu Tortoise Sanctuary (Author,2016). Muller Ferreira 2015007061 2021 Masters Dissertation Comments ii Comments iii Tantalizing Aromatic Observance A Sensory Boutique of Historical Significance on Changuu Island, Zanzibar This dissertation is submitted to reach the specified requirements for the degree M.Arch. (Prof). All the work contained within this document belongs to the author, apart from work and research otherwise ref- erenced or acknowledged. I hereby declare that “Tantalizing Aromatic Observance” is my own work. Department of Architecture, Faculty of Natural and Agricultural Sciences, University of the Free State. Muller Ferreira mullferr@gmail.com 0715044494 2015007061 Supervisors: Prof. J.D. Smit, Mrs. P. Smit, Prof J. Noble, Mr. D. van der Merwe Date of Submission 15 October 2021 Declaration of Original Authorship: This dissertation, along with all the work submitted within the document, has not been submitted prior to obtain any rewards; nor has this dissertation been submitted to any other institution of higher education. This disser- tation contains no previously published written or graphic material, apart from where adequate referencing is made. I can therefore state that this publication is purely my own. iv I want to make use of this opportunity to thank my parents, Wilmer and Tania. They have provided me with the opportunity to pursue a dream, which inevitably led to the development of the man I am today. Without their love, support and constant sacrifice; all of this would not have been possible. They have been and are a crucial ingredient of my vision towards success and they truly sculpted the foundation grounding me today. Furthermore, I would like to thank Professor Jan Smit and Petria Smit, for all the time and endless hours spent on developing my dissertation. Without your wonderful ideas and solutions, I would not have devel- oped the confidence I have today. I dedicate this dissertation to my family. Their inspiration, love and support has given me strength, in moments of doubt. Lastly none of this would be possible without God walking this road with me. I appreciate everyone’s input and I thank you all for walking this challenging journey with me. Walk on through the wind Walk on through the rain though your dreams be tossed and blown Walk on, walk on with hope in your heart and you’ll never walk alone Gerry and the Pacemakers (Lyricfind, 2021; online) Acknowledgements v Figure 1.4: A narrow corridor in Stone Town (Author,2021). vi abstract Islamic culture is rooted deep within the heart of Zanzibar. This picturesque Island has become a cultural commemoration of the past and a religious celebration of the present. The significance of fragrances in the Islamic culture becomes evident when one explores the traditions and heritage of the culture. It incorporates the use of aromas/fragrances on a weekly and even daily basis - as a means of evoking emotion or expressing gratitude when presenting an individual with a gift. The most pivotal characteristic of fragrances is that they can associate with or portray groups, races, genders, classes, ethnicities, and nationalities. Fragrances, therefore, play an intricate role in who we are and becomes an expression of identity. The essence of the project provokes the historical and cultural qualities associated with the significance of fragrances within the Islamic culture. By integrating the historical and mythological use of Islamic architecture and through the spiritual qualities associated with fragrances, a new introduction to the architectural approach within Zanzibar arises. One that arouses the sensory organs and allures the dweller to take part in the narrative. The proposed design will thus focus on underpinning fragrances, in the development of a sensory boutique, where the user will learn to understand and reminisce in the quality and meaning of aromatics. The dissertation questions the significance of the role that fragrances play within the Islamic culture - as a means of portraying the quality of an intrinsic, sensory ex- perience. It also develops a distinct understanding of the historical use of fragrances. The Changuu Fragrance Boutique will allow the outside world to experience the sensory quality of the Islamic culture. This experiential narrative will further act as a method of preserving the culture for the Islamic community and will also allow the visitor to create and preserve memories and connections established through sensory interplay. vii PREFACE (I - VII) Title Page I Moderators Comments II - III Declaration IV Acknowledgements V Abstract VI - VII Part 1: Project Rationale Project Rationale (Structure) 4 - 5 1.1 Dissertation Framework 6 - 7 1.2 Project Rationale (8 - 13) 1.2.1 Statistical Underpinning of Changuu Island 8 1.2.2 Relating Statistics to Changuu 9 - 13 1.3 Introduction 14 - 15 1.4 Research Methodology 16 - 17 1.5 Proposed Programme and Project Aims (18 - 23) Project Limitations and aims: 1.5.1 Typology 19 1.5.2 Topology 20 - 21 1.5.3 Morphology 22 - 23 (i) Clients (ii) Users (iii) Issues and aim Part 2: exPeriencing changuu islanD 2.1 Marco Analysis of Stone Town, Zanzibar 26 - 41 2.1.1 The Story of Stone Town and traditional craftsmen 29 - 32 2.1.2 Zanzibar analysis (33 - 37) -Climatic conditions 33 - 34 -Soil conditions 35 -Wind speed and wind direction 36 -Drainage systems 37 -Land usage 37 2.1.3 The Stone Town of Zanzibar 38 - 39 - Conservation of a difficult heritage 2.1.4 Deep Mapping of Stone Town and Suicide 40 Alley Analysis 2.1.5 Suicide Alley Micro Analysis 41 2.2 The Identity of Changuu Island 42 - 46 2.2.1 Changuu Island Nodes 47 2.2.2 Deep Mapping of Changuu Island 48 – Site Experience 2.2.3 Deep Mapping of Changuu Island 49 – The Sensory Experience viii Part 2: exPeriencing changuu islanD 2.1 Marco Analysis of Stone Town, Zanzibar 26 - 41 2.1.1 The Story of Stone Town and traditional craftsmen 29 - 32 2.1.2 Zanzibar analysis (33 - 37) -Climatic conditions 33 - 34 -Soil conditions 35 -Wind speed and wind direction 36 -Drainage systems 37 -Land usage 37 2.1.3 The Stone Town of Zanzibar 38 - 39 - Conservation of a difficult heritage 2.1.4 Deep Mapping of Stone Town and Suicide 40 Alley Analysis 2.1.5 Suicide Alley Micro Analysis 41 2.2 The Identity of Changuu Island 42 - 46 2.2.1 Changuu Island Nodes 47 2.2.2 Deep Mapping of Changuu Island 48 – Site Experience 2.2.3 Deep Mapping of Changuu Island 49 – The Sensory Experience 3.1 Design Inception Phase 56 3.1.1 Tantalizing Aromatic Observance 56 - 57 3.1.2 Concept Models 58 – 65 3.1.3 Construction Touchstone 66 – 69 3.2 The Sensory Experience 70 – 71 3.3 The site: Prison Island Zanzibar 72 – 73 3.4 Site: Reasoning behind the site and design 74 3.5 The history of fragrance and its significance within the Islamic culture 75 –76 3.6 The identity of fragrance within Zanzibar 77, 80 - 82 3.6.1 Theoretical Identify (framework) 78 3.7 The significance of the East African coastal trade 83 - 85 3.8 The traditional Arabian Dhow 86 – 87 3.9 Introduction 88 – 92 3.10 The theoretical underpinning of fragrance in Zanzibar 93 3.11 Critical Regionalism and its Significance towards an Islamic Island design 94 – 97 3.12 The Sandscape of Changuu Island 98 – 99 3.13 The smellscape of Zanzibar 100 – 102 3.14 Conclusion 103 3.15 Theoretical precedent study 104 - 107 3.15 Design materiality investigation 108 - 109 Part 3: theoretical exPoloration anD grounDing Part 4: Design & technical synthesis 4.2 Spatial Development of Proposed Fragrance Boutique 4.2.1 Programme Development 131 - 133 4.2.2 Initial Spatial Development of Fragrance Boutique 134 - 137 4.2.3 Farmlands and Traditional Bath 138 4.2.4 Spatial development of Boutique Shop 139 4.2.5 Existing Jail 140 - 142 4.2.6 Construction Precedent Study towards the design 143 - 154 implementation on Changuu Island 4.2.7 Towards a Tantalizing Fragrance Boutique on Changuu Island, Zanzibar (final design) 155 - 173 Part : reflection 5.1 Reflection 176 - 177 ix Part Figure 1.5: Traditional Arabian Dhow 2 Part 01 Project rationale 3 Part 1 - Project Rationale (Structure) 1.1 Dissertation Framework 1.2 Project Rationale 1.3 Introduction In this part of the document the relevant goals and aims will be outlined. Through the implementation of a structural framework system, the framework will allow the reader to easily orientate themselves within the document. This support route provides a clear understanding to WHY this proposed design will flourish within the current surrounding environment 1.2.1 This part of the document illustrates the necessity of such an architectural intervention, through the use of existing infrastructure and trade nodes. 1.2.2 How heritage plays a significant role in the formulation of the built environ- ment. This then gives way to how the proposed project will utilize heritage to portray a familiarized connection with place and space. The topic discussion is undertaken, as it focusses on formulating a response or a re- action on the proposed design mentioned within the project rationale and why this project would succeed. 4 1.4 Research Methodology 1.5 Proposed Programme and Project aims fin Outlines the research methods utilized to address the main issues of the project, with the goal of achieving a significant outcome on a design front. The design can only be deemed successful if the goals and aims stipulated within the dissertation framework are carried out correctly. This proposed program will structure the outline for the development of a fragrance boutique on Changuu Island. 5 1.1 DISSERTATION FRAMEWORK Part 2Part 1 Project rationale exPeriencing changuu islanD Sections 1.1 Dissertation Framework 1.2 Project Rationale 1.3 Introduction 1.4 Research Methodology 1.4.1 Phases of investigation: 1.5 Proposed Programme and Project Aims Project Limitations and aims: 1.5.1 Typology 1.5.2 Topology 1.5.3 Morphology (i) Clients (ii) Users (iii) Issues and aim Sections 2.1 Marco Analysis of Stone Town, Zanzibar 2.1.1 The Story of Stone Town and traditional craftsmen 2.1.2 Zanzibar analysis Climatic conditions Soil conditions Wind speed and wind direction Drainage systems Land usage 2.1.3 The Stone Town of Zanzibar - Conservation of a difficult heritage 2.1.4 Deep Mapping of Stone Town and Suicide Alley Analysis 2.1.5 Suicide Alley Micro Analysis 2.2 The Identity of Changuu Island 2.2.1 Changuu Island Nodes 2.2.2 Deep Mapping of Changuu Island – Site Experience 2.2.3 Deep Mapping of Changuu Island – The Sensory Experience 6 Part 3 Part 4 Part 5 theoretical exPoloration anD grounDing reflection Design & technical synthesis 7 Project rationale 1.2 Project rationale Understanding Changuu Island The following section aims to orientate the reader in understanding the essence of Changuu Island. This section will justify questions regarding the proposed design, as the project rationale create an interconnected net between crucial factors and information grounding the project. 1.2.1 Statistical Underpinning of Changuu Island The proposed development of a Fragrance Boutique needs to be justified through a statistical analysis. This analysis needs to investigate the use of fragrances for cultural and religious purposes, as well as tourists’ demand. The first step towards the justification, would be to investigate the religious landscape or demographic of Zanzibar. One of the latest studies show that out of roughly 1.3 million residents, currently residing on the island, 99 percent have confirmed to be Muslim, according to a United States of America government estimate (U.S. Department of State, 2019: online). This information therefore clarifies that most of the residents in Zanzibar form a part of the Islamic community. Although there are multiple mosques and religious gathering spaces located all across the mainland of Zanzibar, these nodes are located some distance away from the nearest spice farm. As stipulated in the theoretical part of the document, the Islamic culture incorporates multiple fragrances into their daily lives as well as religious practices. It is therefore of utmost importance to investigate the availability of fragrances, which will allow these religious institutions to practice and teach in an inter- active manner. The way of practicing will inevitably establish a clear connection between the smell and its cultural use, in order to develop its cultural significance. Spice farms may seem to be a major asset to the Zanzibar mainland, but due to a lack of funding and infrastructure, formality in this trade sector appears to lack. I have personally experienced this on my visit to some of the spice farms on the island. Some of the well renowned farms on the island are: Tangawizi spice farm, Kizimbani spice farm, Kindichi spice farm, and Zanzibar Spices and Heritage Centre. These farms are major tourist attractions, allowing visitors to experience the locally grown plants and spices. There is, however, no formal space dedicated to teaching the user on the significance and historical background of their sensory encounter. It would benefit both the locals and tourists, if a space is dedicated to informing and educating on the historical significance of each smell, as well as for each participant or traveller to engage with the surrounding context, as a means of understanding the origin and use of each fragrance (Flightlink, 2018). Figure 1.6: Image of the main islands of Zanzibar (Of- fice of Chief Government Statistician-Zanzibar,2020). Figure 1.6.1: Image of the Swahili coastline (Prendergast, M.E. et al., 2017). 8 1.2.2 The issue addressed in the previous sub-section, can be seen as an opportunity to generate jobs for the local community in Zanzibar. To further structure an argument for developing a fragrance boutique, a site had to be identified that illustrates both the heritage of the Island in terms of materiality as well, as present the opportunity to attract tourists. Such a location would therefore include a lush and diverse natural landscape, which will have ideal soil types and conditions for growing plants. Changuu Island located just off the coast of Zanzibar, presents exact- ly this, as it already functions as a major tourist attraction. The Island, functioning as a tortoise sanctuary, attracts multiple groups of people from all over the world to experience the natural beauty the mosaic-like canopy has to offer. The island also presents tourists the opportunity to explore the ruins of a historical prison, currently functioning as a restaurant. The way in which an adequate design will be erected in this environment will be to use the materiality of both the existing infrastructure on the island, together with basic Islamic design principles. Implementing and adapting to these design guidelines will allow the proposed site to seamlessly integrate with the design of a fragrance boutique. In the theoretical section of this dissertation an investigation concluded that the design is to utilize the methodology of Critical Regionalism as interpreted by Kenneth Frampton (Frampton, 1973). Along with this theory, the work of Tadao Ando influences the use of defamiliarization, which is an evident characteristic in his designs (Frampton, 1973). Figure 1.7: Zanzibar’s Demography (Office of Chief Government Statistician-Zanzibar,2020). 9 Mining and Quarrying Heritage plays an important part in the archi- tectural development of Zanzibar. When analys- ing the materiality of Stone Town, the material incorporated within the construction of almost every building is Limestone. As discussed in the technical analysis, limestone is one of the materials accentuating the identity of Zanzibar. As the table in figure 7 illustrates, the mining of limestone has increased drastically since 2016, but decreased immensely in value. For Zanzibar, the value of this material has how- ever remained priceless as new structures are erected year-round, due to the availability of the stone, its structural properties and to fur- ther develop the unique identity of Zanzibar. Figure 1.9: Mining statistics and the value of limestone (Office of Chief Government Statistician-Zanzibar,2020). Figure 1.8: Sketch of man weaving a crown (Author,2021). Figure 1.10: Zanzibar tourist statistics (Office of Chief Govern- ment Statistician-Zanzibar,2020). 10 Manufacturing and Processing For this dissertation to be deemed relevant, a dependent factor can be the production value of fragrances. Zanzibar is well renowned for its historical spice trade and the significance of fragrances within the Islamic culture. The value of Essential Oil Products as illustrated in figure 9 and figure 10 allows us to under- stand how the quantity, as well as the value of these products have increased over the past years. It can therefore be stated that the existing mar- ket for fragrance trade is in a flourishing and ever developing state. These numbers signify exponential growth, and for Zanzibar to make use of the opportunity would be of benefit for the island. This opportunity would mean an influx within the tourism sector, which can be profitable for both the informal and formal trade sectors within Zanzibar as the increas- ing demand in products rises. Figure 1.11: The production value of fragrances in Zanzibar (Office of Chief Govern- ment Statistician-Zanzibar,2020). 11 Figure 1.12: The production value of fragrances in Zanzibar (Office of Chief Government Statistician-Zanzibar,2020). conclusion This statistical investigation generates many perspectives and possibilities towards the introduction of a fragrance boutique. Although the private sector plays a substantial role in the production of fragrances, incense, oils and cosmetics, the true catalyst in Zanzibar’s aroma trade lies in the public sector (figure 10). The government rules this trade and due to the increase in production numbers, jobs are created. As the market continues to grow, the demand and interest in aromas increase. More tourists will stream towards the lush island for an eyewitness, personal experience - Leaving Zanzibar with the opportunity to tell the story of smell. 12 Figure 1.13: A whiff of a spice market in Zanzibar (‘Zanzibar spice tour’,n.d.). 13 Figure 1.14: Image of Author on a traditional dhow with Changuu Island in the distance (Au- thor,2021). 14 1.3 introDuction I sit staring out over the open water. The wind brushing through my hair. The old wooden hull of the dhow rocks to and fro as we plough through the tropi- cal waters. In the distance lies a resting landmass, caressed in a blanket of flora. A sense of euphoria plays on my heartstrings as we edge closer and closer to Changuu Island. This jewel hidden just off the coast of Zanzibar is a heavenly environment with breath-taking sights. For Zanzibar this Island does not only serve as a major tourist attraction, it also is home to the many Giant Aldabra Tortoises. As I step off the dhow my feet are kissed by the warm, soft sand. The bright sunlight beams down from above, reflecting off the white sand. Ahead lies a sensuous place, bustling with life. A smell of moisture fills my nostrils as the gentle sea breeze cools the island. As I walk up the mangrove timber steps located on the fringe of the sandy beach, I look up and realize: This is where my adventure begins... For as long as a man can remember smell has always been a crucial part of understanding our surroundings. The limbic system can dictate mood, memory, behaviour and emotion. This system found within the brain has been around for centuries, as studies have identified this system to be present within the earliest of mammals. The sense of smell latches itself onto memory. Different smells evoke particular memories of experiences from the past. A smell can recall memories even if they are long forgotten. What makes smell such a powerful sense is the fact that every person experience smells differently. One person can for example describe a smell to be pleasant or powerful, whereas another might experience the same smell to be overpowering. From an Islamic perspective, smells play an important part in the performing of rituals and honouring traditions. In the absence of smell, both cultural identity and historical significance can be lost. To Zanzibar’s advantage, the fertile soil and favourable climatic conditions serve as the perfect incubation system to grow the plants interlinked with all the cultural activities related to fragrance. This dissertation questions the mediation of both tradition and sensory interplay to create and develop a stable environment- one where man and nature are harmoniously integrated. This proposed development will function as a fragrance boutique, gathering inspiration from the works of Kenneth Frampton and Tadao Ando, to create a design that includes defamiliarized elements and reconnecting them in a critical regionalist fashion. The design will offer a sensitive solution with regards to Islamic traditional values and inevitably aim to become an identity of culture through the incorporation of fragrance. The design will connect the user with the significance of each smell, as the landscape choreographs a story both the locals and tourists can relate to. This dissertation does not question the methods implemented in the teaching of Islamic culture. Rather it raises awareness towards implementing a sensory approach when the experiential quality of an occasion is of utmost importance. If the experience taught does not have any lived experience or connection by those receiving the form of education or knowledge, he or she might not understand the quality and importance of the lesson. This does however not focus purely on the Islamic community, as the dissertation also leans towards educating the outsider on the quality of the Islamic culture and the fragrances utilized in the performing of cultural activities. As a means to establish the importance of the Islamic cultural activities and practices, a discussion develops to allow the key elements of Islamic architecture to express its true identity and complexity within the context. The information gathered and portrayed within the document stems from multiple resources, together with my personal experience of the architectural style implemented within Stone Town, Zanzibar and Changuu Island. 15 1.4 research MethoDology This dissertation has a variety of exploratory methods in order to actively adapt and generate solutions for the main concerns surrounding the project. The meth- ods approached within this dissertation have the common goal of successfully achieving the proposed architectural project. A strategic set of goals had to be es- tablished which act as beacons in the process of design development. These goals had to reinforce the structural backbone of the dissertation and will allow any challenges and complexities that may be problematic for the sufficient and poetic development of the Changuu Fragrance Boutique, to be dealt with without negative repercussions. This proposal first needs to establish a solid grounding within the surrounding context of Zanzibar to establish whether such a dramatic insertion would be deemed relevant. As the findings with the statistical analysis (p. 14-19) illustrates, such a development will thrive given the analysed numbers. This next step is identifying the appropriate setting or location to introduce a designed space. This involved searching for a location that will accentuate the narrative, whilst simultaneously reviving the landscape. Changuu Island presented the qualities required to introduce a sensory development that would give back to the landscape, the local com- munity and will continuously strive towards proclaiming cultural significance. iMPleMented research Methodology for this dissertation: The research methodology is established to achieve the ultimate goal of a successful and innovative architectural solution. This will be done through a structural investigation consisting of four design phases, which will inevitably interlace. These phases are the; design inception phase, the typology phase, the topology phase and the morphology phase. Phases of investigation: Design Inception Phase A touchstone is designed to become a sensory expression of the project. This artistic representation highlights the fundamentals of the proposed project as it explores the sensory realm. From this a conceptual adaptation comes to light, allowing the visual expression of both materiality and consciousness to intertwine with the sensory expression of the touchstone. The product was an array of sketches, functioning as abstract depictions of each of the three conceptual models. From a structural perspective, the construction touchstone was built to express the Islamic style of architecture present within Zanzibar. This structural represen- tation simultaneously incorporated materiality evident within the construction of Stone Town. The final product was a model illustrating the quality and significance of Zanzibar’s architecture. 16 Typology Phase An investigation was launched to identify a relevant intervention within Zanzibar. This method identifies a programme, with the aim of expressing the cultural and historical significance of the island, along with being a beneficial insertion for both the local community and the proposed client. Topology Phase An introduction of topology is launched with the aim of attaining research surrounding the proposed location of Changuu Island. This phase analytically identifies the beneficial factors as well as the shortcomings of the proposed site. Along with this, the construction systems of the existing urban fabric are investigated to gain clarity on structural quality and characteristics of available historic materiality. Morphology Phase During this phase a theoretical essay was written stipulating the historical significance of Zanzibar and identifying the correct theoretical approaches towards developing the proposed dissertation. The next step towards deriving the applicable form created for the design, was to conduct precedent studies. This section aids the decision-making process of the design as the precedent studies, incorporate both theoretical and construction examples. All the above paved the way towards a culturally integrated design, as the next step was to start the documentation process and to produce a technical report on the proposed development. 17 1.5 ProPosed PrograMMe and Project aiMs This prescribed programme for the proposed design of the Changuu Island Sensory Boutique is developed to generate a cultural ambience of place. A multisensory design transpires, incorporating fragrances with cultural significance and historical value. This displays the importance of the island’s heritage. Together with this, a formal approach to the fragrance industry is established. A blossoming fragrance sanctuary is designed to educate both community and tourists on the trade and history of perfumes and scents. The designed space serves the purpose of generating job opportunities for local community members and members who previously relied on the informal trade of perfume. The Olfactory design is developed on the northern edge of the site to underpin the history of the previous coral farm and connects the history of the site to a contemporary design approach - creating a multisensory design that functions as a fund generator for the current, neglected tortoise sanctuary. Figure 1.15: Swahili woman in traditional clothing (Author, 2021). 18 1.5.1 Project liMitations anD aiMs -tyPology Fragrance is implemented over a broad spectrum and has multiple uses, however, in this specific study, the relevance of fragrances is investigated in the context of Zanzibar and will only deem suitable for the impact it has on the Islamic culture. The study is also limited due to the site-specific implementation of certain fragrances and the devel- opment of trade within the surrounding area. External factors such as technology and manufacturing methods may have altered the traditional routes of this process, but the cultural value of fragrances still remain, along with the holistic use of these scents. An investigation needs to be conducted to specify the variety and significance of fragrances within Zanzibar. This research allows a process of adaption to emerge, with the goal of attaining valuable cultural insight towards the formal and informal application of fragrances within the Islamic culture. The process of adaptation does not question the relevance of the specified fragrance, rather it utilizes the application process as a means to incorporate it within the narrative. This investigation is available within; The history of fragrance and its significance within the Islamic culture (p. 75 –76) and The identity of fragrance within Zanzibar (p. 77, 80 - 82). In addition to these limiting factors, the dissertation addresses the typology of the site. This becomes clear within, 1.2.1 Statistical Underpinning of Changuu Island. In this section, it is mentioned that the fragrance industry is gradually experiencing an increase in demand. With this increasing demand, it raises the issue of increasing production of fragrances, along with adhering to the identity of place2, without neglecting the values of the Islamic culture. The typological aim is to utilize this economic opportunity to gain interest in the cultural qualities of the produced fragrances. This creates the opportunity to revitalise the dilapidating Island of Changuu with a culturally and environmentally sensitive approach. This approach will stimulate growth within the fragrance industry and will provide Zanzibar with job opportunities. 2. ‘identity of place’- This refers to the character of the place (what the space/place is renowned for) and what the space/place aims to become. Figure 1.16: Swahili woman in traditional clothing (Author, 2021). Figure 1.17: The significance of fragrance (Author, 2021). 19 1.5.2 Project liMitations and aiMs -toPology (i) Clients: The clients for the proposed design are The United Nations Educational, Scientific and Cultural Organization (UNESCO) and the Zanzibar State Trading Corporation (ZSTC). Zanzibar’s heritage status binds it within the guidelines of UNESCO. This organization outlines the historical signifi- cance of Zanzibar and Changuu Island. It is therefore of utmost importance to adhere to the set principles and policies, whilst expanding the commer- cial trade of fragrances in Zanzibar. This commercial aspect is regulated by the ZSTC as they aim to provide market-orientated products and services (ZSTC, 2018). This corporation conducts all the business concerning the supply and distribution of essential oils and other agricultural products (ZSTC, 2018). These separate entities will allow a connection to be established between heritage and produce, to generate a business that encapsulates the identity of Zanzibar. The United Nations Educational, Scientific and Cultural Organization (UNESCO) The proposed design will generate an alternative source of income for Changuu Island, which will in turn supplement the existing tortoise sanctuary. This additional income gained through tourism, will be used to maintain the existing infrastructure, such as the old prison found on Changuu Island. This will benefit UNESCO due to Stone Towns’ historical significance embedded within its materiality. The use of materials in Stone Town generates a cultural ambience and harmoniously intertwines the cultural background the town is renowned for (Centre, U.W.H., 2021). The proposed design will allow UNESCO to raise awareness towards the structural and cultural qualities persevered over the years, thus emphasizing the significance of the proposed design as it will incorporate regional design methods to portray the quality of its surrounding context. (ii) users: The proposed development aims to cater for the cultural and educational purposes of the Islamic community located all over the world. The design will also focus on attracting multiple tourists to experience the cultural quality of Zanzibar through the use of fragrances. Lastly, the proposed design aims to encourage the local com- munity to participate, and to gain deeper insight into their cultural heritage. Figure: 1.18 Figure: 1.19 20 (iii) Issues and aim: Topology on Changuu Island has underlying issues that need to be addressed. The site is of historical significance (Centre, U.W.H., 2021) and has a diversity of plant and animal life. The proposed design project will encourage more tourists to visit the island. This may have a negative impact on the natural environment as human interaction can lead to the disturbance of this tranquil haven. The project can also be seen as an intrusion if the natural landscape is demolished. The topological aim is to establish a narrative, utilizing the classical elements on the eroding edge of the island rather than removing the tree canopy within the romantic landscape. This intervention aims to educate the tourist on both the importance of preserving the natural landscape and biodiversity of our planet as well as optimizing the use of vernacular styles - to classify the project as a harmonious insertion, rather than an intrusion. Respectively, the island already functions as a tourist attraction and will have a supplementary source of income and funding to safeguard the preservation of the existing tortoise sanctuary and the historic prison. Figure: 1.20: Locally grown produce (Author, 2021). 21 1.5.3 Project liMitations and aiMs - MorPhology The morphological issue the architectural development exploits are the connections between historic and contemporary. The nature of the project questions the use of defamiliarized elements to reestablish the meaning of the place. As elements are utilized straying from their designed intent, the proposal may be classified as foreign or stitched together. This will spill over in misinterpreting the experiential quality of Changuu and may be misleading in educating the user on the Islamic culture. Due to the theoretical methodology of Critical regionalism (see p. 94-97), which the design aspires to successfully incorporate, a cohesive flow of architectural elements and nodes are required. The veracious utilization of Zanzibar’s architectural language evokes an exciting solution towards rejuvenating the island. Figure: 1.21: An alleyway in Stone Town (Author, 2021). 22 Figure: 1.22: A journey made possible through fragrance (Author, 2021). 23 Part 24 Part 02 exPeriencing changuu islanD 25 Part 2: exPeriencing changuu island Part 2: exPeriencing changuu islanD 2.1 Marco analysis of stone town, ZanZibar 2.2 The Identity of Changuu Island fin The purpose of this section is to illustrate the importance of Zanzibar and the sig- nificance of architectural heritage. This section takes the reader on my experiential journey of the place, in order to generate an image in their mind. Thus, creating a co- herence of place, architecture and construction. The next step is analyzing the impact of natural conditions on the surrounding context. This will raise multiple questions relating to the proposed design and will establish a sensitive solution when spatial development is undertaken. Changuu Island is a unique environment with an exuberant personality. The many different elements contributing to this identity can be experienced through nodes located across the green island. This section of the dissertation focusses on under- pinning the working of this tropical paradise, by incorporating my own sensory ex- perience. The method of deep mapping comes into play, working as a filter for the thought process. What remains is small sensory details, capturing the significance of the place. exPeriencing changuu islanD 26 exPeriencing changuu islanDPart 2: exPeriencing changuu islanD Figure 2.1: Dhow heading to Changuu Island (Zanzibar tanzanie archives, n.d.). 27 2.1 Marco analysis of stone town, ZanZibar Figure 2.2: map illustrating important nodes in Stone Town (‘Light box’, n.d.) adapter by author. 28 2.1.1 the story of stone town anD traDitional craftsMen The luscious East African Town, with its naturally sculpted harbour served as a gateway for multiple cultures. Sailors, merchants, explorers and conquerors came from distant lands in search of treasures such as spices, adding value to this tropical paradise (Malisius, 1987). Among these groups of travellers, the Arabians had a notable impact on the architectural development of Stone Town. They brought their unique architectural style, but paid respect to the land by incorporating locally sourced materials (Malisius, 1987). As I walked down the dimly lit alleyway, I heard the flopping of sandals on the stone walkway. In the distance I saw a little boy running. He ran with such intent, as if he was ordered to fetch something. To my surprise he stopped in front of our group, waved his hand and said; “Come, come start”. Flustered by his act, we proceeded in the direction of the silhouette now hurriedly shuffling down the corridor. We came to a halt midst a group of tourists ready to explore a building known as Stone Town’s Hamamni Bath complex or the Persian Baths. Although this was not part of our initial plans, I tagged along to find out more about this historic bath house. Built in the 19th Century, this space served as the first public baths in Zanzibar (Malisius, 1987). Incorporating multiple techniques from the previously mentioned Arabian architectural style, as well as the locally sourced materiality, such as coral stone and limestone (Malisius, 1987). This building consisted of walls of coral stone, built into masonry structuring. The walls are covered in a limestone mortar and whitewashed with lime. Some of these walls are as thick as 600mm, allowed a cool climate to be established within this historic space (Malisius, 1987). As I continued through the building, multiple elements of this specific architectural style became evident. Elements such as arches and niches, allow the building to portray a feeling of holiness or purity as all the rough edges and corners are washed away leading me deeper into the chambers. These elements generate a specific atmosphere within the bath house, which contribute to quality of the space that I could describe as a very pure and reflecting environment. 29 Figure 2.3: Public Bath House in Stone Town. 30 As for other notable elements, the use of sand and red earth is also incorporated into walls, to further add both strength, colour and texture. When analysing the roofing and slabs, there is a use of mangrove poles, topped with a layer of stones covered in mortar (Malisius, 1987). Decolonization in 1963, led to Zanzibar’s dilapidation as the Arabian landlords and Indian merchants were ban- ished from the land, leading to abandonment and con- fiscation of many houses and buildings. Together with this order cast by the British, the new ruling government failed to maintain the historical significance and cul- tural heritage that Zanzibar was so well renowned for. The government did however acknowledge the state of Stone Town and made multiple attempts to remediate the issue. These attempts however led to no avail (Malisius, 1987). Soon the negligence became visible as poles showed signs of rot, water damage made walls crackle and slabs started crumbling (Malisius, 1987). Figure 2.4: Entrance to public Bath House in Stone Town. 31 As time passed the Government established an institution, with the aim to purely cater towards the con- servation of Stone Town. The institution known as “Stone Town Conservation and Development Authority” (STCDA) of 1985 set forth to uplift the current conditions within fallen Stone Town (Malisius, 1987). One of the implemented actions was to educate the community on the importance of traditional craftsmanship techniques and methods. This helped to rebuild the aesthetic quality of Stone Town whilst simultaneously rediscovering the cultural and historical significance of the lost town. This would deem to be a profitable implementation as the government at this stage in time changed the policy towards economic liberalization, leading to an increase in building activities (Malisius, 1987). Figure 2.5: Bathhouse interior (DestiMap.com, n.d.). 32 Figure 2.6: Map illustrating the global site positioning, starting with the location of the country with Africa and moving towards the Island of Changuu, located on the edge of Zanzibar (Snazzy Map, 2021) adapted by author. 2.1.2 ZanZibar analysis Changuu Island forms a part of the mainland of Zanzibar, also referred to as Unguja. This area is around 1600 square km. The main city within these boundaries, known as Stone Town, has a population of around 170 000 inhabitants. cliMatic conDitions Climatic conditions in Zanzibar can be deemed mostly hu- mid, with high temperatures averaging around 31°C. During colder months, such as September temperatures average at 29°C. Rainfall in Zanzibar averages around 1900mm annually, with major storms and flooding commonly occurring during the month of April (Weather Spark, 2021). Unguja and the other main island know as Pemba, have a bimodal rainfall pattern, which gives Unguja an average rainfall of 1800mm per annum in the northern parts and a 1500mm per annum rainfall in southern parts of the island. The main season for rain in Zanzibar is usually between the months of March and May, where the island accounts for around half the annual rainfall. This season is also known as “Masika” and together with the season “Vuli” (between October and December), is known as the rainy seasons of Zanzibar. Growing season, water temperature and wind direction played an im- portant role in the development of the design. Taking into consideration that Changuu Island is home to the renowned Galapagos Tortoise, which is a major icon within the community. The surrounding environment or habitat needs to be at a degree of comfort to ensure the survival of the species. Optimum climatic conditions are required to grow vegetation, which starts from May to the end of October, when the humidity drops (Weather Spark, 2021). 33 Figure 2.7: Abstract illustration of heritage (Author, 2021). Figure 2.8: Figure 2.9: 34 Figure 2.10: Image illustrating the islands in close proximity to Changuu Island, with their natural sandbanks and seaz levels (Google Earth, 2021) adapted by author. Figure 2.11: The third and final type known as the M3 on the stratigraphic plane, has a grey and blue appearance and is made up of marls clay and sandy clays. This type of limestone eventually turns to a heavier and dense coarse sand, which are found beneath the M2 layer (Hettige, 1990). soil conDitions Two of the most iconic rivers which shaped the main islands of Zanzibar are known as the Rufuji and the Rufu rivers. Due to the flow of these rivers the limestone layer making up these islands was affected, which led to the creation of landform patterns still apparent in areas of Unguja. Together with this sea levels in early times (1-2 million years ago) led to marine erosion, creating the fringing reefs as seen at Changuu Island. Unguja consists mainly of three different types of Miocene limestone. The first of the three called the M1 on the strati- graphic plane, is notably made up of crystalline, reef and de- trital limestone. This specific limestone was one of the first sediments on the island (Hettige, 1990). The M2 limestone is a grey and white limestone of a sandy consistency and is also characterized due to its easily “weath- erable” quality. This type of limestone, is more exposed than the M1 and weathers into sand or sandstone (Hettige, 1990). 35 winD sPeeD anD winD Direction June to September are the months known for trade winds. Winds that would normally affect areas such as Changuu blow from the South east- erly region and these winds average around 1.8 m/s to around 2.3m/s, especially during dry periods of the year, which occur during the months of November up until the end of February (Hettige, 1990).. water teMPerature This together with the average water temperature of 26°C creates a pleas- ant environment to maintain and develop a functional environment where natural growth is of major importance to facilitate the function of the de- sign (Hettige, 1990). Figure 2.12: Wind and noise analysis (author, 2021). 36 Drainage systeMs Water in Zanzibar is supplied to Stone Town, rural areas and villages through springs, limestone caves and manmade wells. The surface layer of soil in Zanzibar does not have the capability to store a large amount of water. Limestone layers such as M1 and M3 as previously mentioned also act as ground water storage systems, which contribute to the industrial and irrigation use of water in Zanzibar. Most of the water encountered on the island is safe for domestic use due to the characteristics of the limestone to purify groundwater (Hettige, 1990). Drainage in Zanzibar and areas such as Changuu Island is mostly subsurface draining. This is due to peripheral coralline and miocene limestone, which have sinkholes and caverns to transport the water away from surface areas. Although drainage does not pose a problem in most areas of Unguja, there are, however, areas on the island where heavy clay soil poses a problem of flooding during heavy rains (Hettige, 1990). lanD usage Due to human impact on the island of Zanzibar the tropical mosaic pattern3 has been altered to some extent, but still the majority of the land can be seen covered in a high tree canopy. In other areas where dense woodland is absent coralline is visible. These coralline areas are in most cases located closer to the coastline. These coastal areas also have less humidity than more tropical areas or woodland areas located inland. When analysing the swampy areas within Zanzibar, valu- able timber resources can be identified such as the mangrove tree. These areas are heavily influenced by the movement of the tides, together with the presence of fresh water, which contributes to the growth of the trees. Some of these trees grow to around 20 meters in height, which make them perfect for construction use, such as poles. Settlers such as the Omani Arabians, contributed massively to deforestation as they cleared land for plantations used to plant coconuts and cloves. Over the years these plantations located in Unguja have been neglected and show signs of poor cultivation systems, but most plantations are currently undergoing reha- bilitation in an effort to salvage the land. This rehabilitation processes would profit the island of Zanzibar greatly seeing that agriculture makes up for around 55 percent of foreign exchange earnings, as well as allowing more job opportunities in coastal areas (Hettige, 1990). Majority of the land in Zanzibar is the property of the government. The Ministry of Agriculture is however, fighting a battle to encourage farmers to make use of the land available to increase the production of crops. Due to the scarcity of land every person in Zanzibar with sufficient farming land is required to utilize this land for the growing of crops either for personal use or to sell to products grown on their soil (Hettige, 1990). 3. ‘tropical mosaic pattern’ - The island allows the visitor to experience the true beauty of nature. From a personal point of view, the tree canopy of Changuu Island allows light to filter and penetrate through the luscious leaves. This penetration of light gave the experience a feeling of expression, as if the island was telling a story through the artistic filtering of light. 37 Zanzibar and Stone Town still pride themselves on the incorporation of traditional construction techniques, in order to portray cultural history within the contemporary development of Zanzibar. It would therefore not be an uncommon feature to see methods such as con- crete blockwork and laterite-sand masonry used together in the erec- tion of modern structures. This allows a form of authenticity to come to light within the historic town, whilst simultaneously catering for the functionality of the building. For a traditional craftsperson or specif- ically a mason the above-mentioned construction method comes al- most naturally as they are expected to build in both of these styles. During the 19th century the Omani traders settled within Zanzibar and started to take their place as plantation owners amongst the lo- cal community. Furthermore, these newcomers projected their own unique architectural style as new multi-storey buildings of coral stone rose from the ground. Together with this, a problem arose concern- ing the climatic conditions, as these new buildings had to adapt in order to overcome the wet conditions of Zanzibar. The initial Arabian flat roofs, had to be changed to corrugated pitched roofing, which in certain cases caused a lot of quarrels due to traditional features, such as crenelated parapets being obstructed. Although this new feature deemed to be a downfall for tradition, this specific method of roof construction has been around in Zanzibar for over a hundred years and has since become a traditional construction material within Stone Town (UNESCO Centre, 2000). 2.1.3 the stone town of ZanZibar - conservation of a Difficult heritage Figure 2.13: Stone Town, Zanzibar vernacular (Author, 2021). 38 Although the Omani people had an immense impact on the architectural development of Zanzibar the traditional Swahili architecture was main- tained and adapted to develop the Swahili House (refer to figure 2.13). This house with its entrance porch and traditional seating known as barazas, de- veloped from a mud hut with a thatched roof to a plastered stone house, with corrugated iron sheet roofs. Another design aspect of these buildings is the corridor leading to an open courtyard, which allowed for an aspect of privacy. This internal courtyard is wrapped with balconies, allowing woman to perform daily tasks out of sight of those who pass by. Another aspect of the Swahili House that personally had me searching ev- ery street, is the carved wooden doors (refer to figure 2.14). I recall walking up and down the narrow corridors searching for these iconic doors, as if I would be awarded with a prize if I was to find all of them (refer to figure 2.15). These fascinating doors of teak wood told a tale of those who once occupied the dwelling and allowed the dull facades to come to life. They encapsulate history and identity and display carved features or patterns such as fish, which is a symbol of fertility and incense, illustrating wealth. These pieces of art display the creativity and skills of traditional craftsmen and is just another example of the skills this culture possess (UNESCO Cen- tre, 2000). Figure 2.14: Stone Town, Zanzibar handcrafted mahogany doors (Author, 2021). Figure 2.15: A clash of materiality in Stone Town (Author, 2021). 39 Figure 2.16: Although the streets are narrow they can still accommodate pedestrian traffic (Author, 2021). Figure 2.17: Multifunctional streetscape, serv- ing residential and business (Author, 2021). Figure 2.18: Informal trade takes place within buildings as well as in street. Thus, spilling from semi-public into public zone (Author, 2021). Figure 2.18: Map highlighting Suicide Alley in Zanzibar (Author, 2021). 2.1.4 DeeP MaPPing of stone town anD suiciDe alley analysis 40 1 2 3 4 2.1.5 suiciDe alley Micro analysis Figure 2.19: Mapping and analysis of Suicidse Alley Zanzibar (Author, 2021). 41 2.2 The Identity of Changuu Island figure 2.20: Micro context analysis of changuu islanD (site anD Materiality investigation) Author, 2021. 42 Changuu Island Tide Fluxuation Figure 2.21: 43 1 2 3 4 5 6 7 8 9 10 11 12 Figures: Changuu Island Site Images Limestone walls of prison. Image of Changuu Island Hotel from above. Corroding edge of island Home of the Giant Aldabra Tortoise Image of proposed site Wooden doors located all over Zanzibar (iconic elements) Ablutions of prison carved away by erosion Traditional Arabian Dhow at Changuu Island Image of the hotel located on Changuu Island Image of blue wooden doors located within prison courtyard Image of Changuu Island dock Image of Changuu Island limestone walkways See liSt of figureS for SourceS 44 1 4 7 10 2 5 8 11 3 6 9 12 45 Changuu Island is protected from strong waves and currents by the surrounding sand embankments. The island has a fringing reef that shows evident signs of damage inflicted by boats anchoring as well as overfishing, which leads to the degrading of the natural reef. The reef has a ten-meter slope up to the shoreline and consists of medium cor- al cover, soft coral cover, which has has a unique structural complexity. Monsoons: The northeast monsoon winds blow from anytime in November to March. The southwest monsoon winds blow from June to October. influence of Dhow on Design The traditional Arabian Dhow4 was the catalyst in the East-African trade. These historical ships travelled the seas to share different spices and fragrances with oth- er countries and continents. Through this process, the single mast became an iconic eye-catching element that brought with it the excitement of travellers and goods. The design approach will therefore focus on re-establishing this iconic element. The mast will now become an indication of physical presence or attendance on the Island and will utilize the south east- ern winds allowing a mist to cast over the visitor, which will act as a cooling mechanism. islaMic baths See Construction precedent analysis (p.143- 146) seasonal fluxuations in tiDes Figure2.24: Image illustrating the tidal flow during monsoon season Figure2.22 : Dhow analysis as the structure developed (Sanches, 2005) edited by author. 4 ‘dhow’ - A lateen-rigged sailing vessel with one or two masts, used especially along the eastern coast of Africa (YourDictionary, n.d). In this specific case crafted by hand out of mangrove timber. Figure 2.23: Sketch of public Hamma- ni Bath House in Stone Town Zanzibar illustrating the bath and surrounding functions 46 islaMic baths See Construction precedent analysis (p.143- 146) seasonal fluxuations in tiDes 2.2.1 Changuu Island Nodes Figure 2.25 Figure 2.26: Neglected environment. Figure 2.29: Node analysis Changuu (author, 2021). Figure 2.27: Tortoise Sanctuary Figure 2.28: Image of boat traffic at Changuu Island. 47 2.2.2 Deep Mapping of Changuu Island – Site Experience 48 2.2.3 Deep Mapping of Changuu Island – The Sensory Experience 49 Part 50 Part 03 theoretical exPoloration anD grounDing 51 Part 3: theoretical exPoloration anD grounDingPart 3: theoretical exPoloration and grounding 3.1 Design Inception Phase 3.2 The Sensory Experience 3.1.1 The touchstone serves as an introduction to the development of the Chan- guu Island Fragrance Boutique. The model in an abstract fashion proposes the desired outcome and captures the significance of a sensory experience. 3.1.2 A visual expression is used to showcase both materiality and consciousness towards the proposed design. The 3 concepts portray the opportunities the island of Changuu has to offer. By incorporating the vernacular architectural style of Zan- zibar; new possibilities are created, which in essence led to the development of the proposed design. 3.1.3 The construction touchstone explores the structural identity of Zanzibar. This abstract model incorporates the sensory character displayed in the touchstone and the materialistic quality of the concept models. This construction touchstone places emphasis on the topographical identity of Changuu, which contributes to the approach displayed in the concept models. This section of the document becomes a sensory narrative; as a sensory experience is shared to connect the reader to the space. The use of a narrative or telling a story, can in essence allow the reader to relate to the author’s experience. Narrative toPology tyPology MorPhology Th is s em io ti c ke y is u se d to in d ic at e th e st ru ct ur al c la ss if ic at io n of e ac h se ct io n in th e th eo re ti ca l e xp lo ra ti on : Each time a specific color of incense (symbol) is visible, the section relates to either one of the mentioned methods of investigation. 52 Narrative 3.3 The site: Prison Island Zanzibar 3.4 Site: Reasoning behind the site and design 3.5 The history of fragrance and its significance within the Islamic culture This section focuses on reinforcing the analytical site analysis conducted in part 2 (p. 52-57) of the document. As a means to further the topological understanding of the context of Changuu Island, it is discussed from a personal perspective. The aim of this section is to place the reader within the journey and make him/her walk in the footsteps of the author. This section explores some of the advantageous out- comes the proposed design may inspire. Together with this a short insight is given into the current conditions of Changuu Island. The historical significance of fragrance is brought to light with the aim of orientating the reader on the background surrounding the use of fragrances in the Islamic culture of Zanzibar. This section explores the different rituals connected with fragrances and serves as the introduction for the section (The identity of fra- grance within Zanzibar) that follows. toPology 53 3.6 The identity of fragrance within Zanzibar 3.6.1 Theoretical Identiy (framework) 3.7 The significance of the East African coastal trade 3.8 The traditional Arabian Dhow MorPhology tyPology UNderstaNdiNg history This section focusses on the way in which fragranc- es communicate. The quality of fragrance is discussed and how specific fragrances as used within the Islamic community of Zanzibar to convey specific religious or cultural expressions. The way this section is approached again focusses on the authors personal experience, as a means of connecting the reader with each aroma. For the island of Zanzibar trade is one of the main sourc- es of income. This section focusses on the significance of Zanzibar’s trade history and why trade plays, such an important role in the identity of the ‘Spice Island”. The traditional Arabian Dhow4 , is a catalyst in the mor- phological development of the proposed fragrance boutique. For this iconic hand-crafted structure to show it true historic colors this section investigates the ori- gin, use and materiality of the vessel. As discussed, in section 3.12 of the theoretical discourse, elements of the dhow are stripped from its original functionality and refamiliarized to illustrate the significance of the vernacular craftsmanship of Zanzibar. 54 tyPology UNderstaNdiNg history 3.9 Introduction 3.10 The theoretical underpinning of fragrance in Zanzibar 3.11 Critical Regionalism and its Significance towards an Islamic Island design 3.12 The Sandscape of Changuu Island 3.13 The smellscape of Zanzibar 3.14 Linking fragrance and form within Zanzibar 3.15 Theoretical precedent study and design materiality investigation Fin discoUrse: groUNdiNg for seNsory desigN 55 3.1.1 tantaliZing aroMatic observance The essence of the touchstone provokes the historical and cultural qualities associated with the significance of fragrances within the Islamic culture. By integrating the historical and mythological use of Islamic architecture - and utilization of the spiritual qualities associated with fragrances, a new introduction to the architectural approach within Zanzibar arises. One that arouses the sensory organs and evokes a sense of interaction within the dweller. The proposed design will thus focus on underpinning fragrances in the development of a sensory boutique, where the user will learn to understand and reminisce in the quality and meaning of aromatics. The inception phase of the document implements the results and informa- tion gathered in previous sections of the document to establish a theoretical framework based on the issues and goals established in this document. This framework will aid the development process as multiple theoretical stances and perspective will be formulated to manifest the design methodology. The touchstone, therefore, creates an abstract, symbolic representation of the proposed fragrance boutique and how the island plays the catalyst in the stimulation of senses. The conceptual expression of the complexity of Changuu and its heritage allows us to comprehend how Sight, Sound, Smell, Taste, and Touch are inter- connected to create an optimum understanding of the importance of culture and the heritage that has accumulated throughout the years. a Physical exPerience acts as an eDucational tool. Part 3: theoretical exPoloration anD grounDing 3.1 Design incePtion Phase Figure 3.1: Abstract image illustrating the fuctioning and history of Changuu Island (Author, 2021). 56 A mass of land, a spot of soil Within my roots I start to boil. My history unfolds through a whiff or smell Leaving the dweller with a story to tell ... A tiny seed he dared to sow, Little knowing how culture would grow However, it appears to the naked eye The heavy architecture covers the sky Shadows collide with water and soul, Allowing the mind to filter the flow With a crank of the pipe and a crack in the earth The essence of fragrance commences rebirth … What lies in its wake is pleasant odour A scent from the past portraying the rotor (Interested in being of service to other) From a drop of its brawn to splatter of expression This marks the tale of an infatuated fragrance regression. Figure 3.2: Image of touchstone (Author, 2021). Rusted bicycle wheel - symbolic of vernacular architecture A poem for Changuu Arabic Calligraphy Bamboo pens filled with different smells and colors of incense Cord and washers - symbolic of lateen sail of dhow being hoisted PVC pipe used to transport rosewater to the pens (traditional well hand pump) Greenery – symbolic of flourishing island Canvas – As colors drip from pens new life is washed over the already existing context and absorbed byn the roots within the soil. 57 introDuction The conceptual stage of the document serves as a guideline in structuring the main issues of the proposed development of a fragrance boutique. How this part of the project aims to aid the development of the design, is purely conceptual. This conceptual understanding or underpinning of the issues then gathers influence from historical principles in Islamic architecture to justify the final conceptual approach. 3.1.2 concePt MoDels Figure 3.3: Sketch of local man on traditional hand-crafted fishing vessel (Author, 2021). 58 Conceptual illustrations: 1. the sensory and historical essence of fragrances. The quality of the sensual experience. A smell can influence or alter any situation. It encapsulates the past and gives us hope for the future. The concept of fragrances establishes an opportunity to unlock the past through the different smells and scents that make up the identity of Changuu Island. These fragrances are embodied within the natural landscape and can be utilized to develop a sensory architectural style that connects the user to the past. Fragrance, therefore, unlocks the latches of our memory banks to create a nostalgic experience that assists the body to ease into the surroundings. The terms, dispersion and diffusion also relate to fragrance as it creates possibilities for the design to work from a central space and spread or distribute over a wide area, to generate and display the different functions. The concept model manifests the significance of the sensual environment of Changuu. This dramatic concrete bridge, illustrates the subtle stereoto- mic quality of the coral reef in contrast to the romantic canopy, as a subtle breeze filters through its midst. As a means of expressing the quality of the sensual experience, the model relates back to the traditional Islamic dhow, which functions as the catalyst in the design development stage. This iconic dhow, with its lateen sails, creates a visual depiction of the movement and the power that wind possesses. As wind filters through a sail, it creates the opportunity to move more than just the passengers on the ship. These sails can now transport the Islamic fragrances in between spaces, to portray the history and significance of fragrance in the Islamic culture. Figure 3.4: Concept 1 -The quality of the sensual experience (Author, 2021). 59 Figure 3.5: Concept 1 -The quality of the sensual experience analytical review (Author, 2021). Figure 3.7: A sketch illustrating the unlatching of memory (Author, 2021). Figure 3.6: A sketch illustrating dispersion/diffu- sion which is an important part of how fragrances conquer thresholds (Author, 2021). Fishing sinker – as tides move up and down the sinker pulls the sails (When sinker drops - more exposure to wind) Connection of materials – illustrating the significance in joining materials as coconut fibre is used in Zanzibar to articulate the connection. Mangrove timber – historical significance and structural quality Lateen sail – refamiliarized to serve alternative purpose Arches in bridge – depiction of coral mines located on Changuu Island Floating bridge – initial approach to- wards suspended walkways 60 Figure 3.8: A sketch illustrating the tantalizing ef- fect of the ‘Spice Island’ (Author, 2021). 61 2. Bath, Mosque, garden. The progression of ritual. The Islamic culture of Zanzibar plays an important role in the development of its architecture. Progression through ritual, therefore, allows the proposed design to be grounded within these cultural pillars. The ritual of Bath, Mosque and Garden plays an important role in progression as they are separate actions, which in due course merge into one entity. The theme focuses on emphasizing the larger-than-life experiences or grandi- ose delusions -to connect the spirit of the place and the user, which will leave the user with a sense of belonging. (Author, 2021). Figure 3.9: Figure 3.10: Concept 2 – Bath, Mosque and Garden illustrating the progression of ritual (Author, 2021). Sculpted in the image of traditional Arabian Dhow Cracks – symbolic of water and aroma combining as a means to transport cultural fragrances Bridge – the proposed location for the design (corroding edge of Changuu Island) Copper wire – illustrating the process of mining as Island served as a coral mine Reinterpreting the vernacular to attain a contemporary intervention to display cultural significance 62 This conceptual model illustrates the intricacy of Islamic architecture as derived from my ex- perienced in Stone Town, Zanzibar. The model does not only focus on the aesthetic quality of the building, it also emphasizes the structural quality that the materials possess. The structural quality is defined clearly within the construction documentation segment of the document, but from a conceptual perspective, these materials allow a sense of progression to develop on the conceptual model. The model illustrates how ritual plays an important role in the progression between different thresholds to enhance the experiential quality of the user. Figure 3.11: A sketch illustrating grandiose delusions (Author, 2021). Figure 3.12: A sketch illustrating progression (Author, 2021). 63 3. PercePtual constancy through tessellations Figure 3.13: (Author, 2021). Figure 3.14: Concept 3 – Perceptual Constancy through Tessellations (Author, 2021). Tessellations are elaborate interlacing patterns formed of standardized shapes. This form of art was developed in the 15th century and has become an ornament in the decorative design methods of the Islamic culture. The island is renowned for its mosaic-like canopy, which allows light to subtly penetrate its midst. Together with this the island previously functioned as a coral farm. Coral has its unique reoccurring pattern that also becomes a mosaic (Bonner, J.F., 2016). This theme focuses on interconnecting the site with the evident patterns, through the utilization of different levels to experience the interwoven patterns from differ- ent perspectives. 64 conclusion The conceptual approach serves as a basis in the developmental stage of the design process. This part of the design structured the foundations of form giving as it becomes visible throughout the design development stage and inevitably anchors the final design proposal within the roots of the Islamic background it strives to portray. Figure 3.15: A sketch illustrating the mimicking of elements evident within patterns (Author, 2021). Figure 3.16: A sketch illustrating the resting fossil- ized pattern of the coral reef (Author, 2021). Connection of materials – illustrating the significance in joining materials as coconut fibre is used in Zanzibar to articulate the connection Lateen sail – refamiliarized to serve alterna- tive purpose – provide shading Patterns – Islamic patterns on floor of limestone 65 3.1.3 construction touchstone Zanzibar has a unique architectural style with an array of sculpted elements contributing to the elegant identity of the ‘Spice Island’. For structural purposes the three conceptual mod- els are reinterpreted as one entity. The new model evokes the essence of the materialistic quality of Zanzibar, in a manner that expresses both the intricacy of connecting elements and the harmonious flow between different thresh- olds. This section elaborates on specific Islamic architectural elements within the heart of Zan- zibar in order to develop a conceptual struc- tural approach that will transpire into the final design. Figure 3.17: Image of construction touchstone (Author, 2021). 66 Figure 3.18: Image illustrating the patterns of the coral reef below the proposed site (Author, 2021). Figure 3.19: Image illustrating the intricate con- nections of the masts and sails (Author, 2021). Figure 3.20: Image illustrating the use of coconut fibre to connect the sails to the mangrove timber (Author, 2021). 67 Islamic architecture is renowned for its narrow corridors, which lead into heav- enly (beautiful) courtyard spaces. The design will make use of loadbearing coralline ragstone walls, leading to open courtyards lined with mangrove timber, embedded within a thick limestone mor- tar. In addition to the loadbearing walls a lightweight wooden structure will be connected by means of nut and bolt or planted within the walls. The roofing of the proposed design will be constructed us- ing thatch and will be supported by CCA treated gum poles. Figure 3.21: Sketches illustrating utilization of elements from dhow to generate structural form giving of touchstone (Author, 2021). Figure 3.22: Sketch of narrow corridors evident in Zanzibar’s architectural style (Author, 2021). Figure 3.23: Conceptual expression of how space heals the dweller as he/ she filters between thresholds (Author, 2021). Figure 3.24: Section through construction touchstone to illustrate the weight hanging within the coral (Author, 2021). 68 Methods of construction will primarily be influenced by the traditional Arabian Dhow, which was of crucial importance in East African trade. The Dhow was originally built with mangrove wood and tied down with coconut fibre. This method will be utilized in the designing of wooden structures in the proposed design and will incorporate multiple elements of the Dhow, such as masts and sails to help with ventilation and to allow the smells and scents to travel effortlessly between different thresholds. The sails on the construction touchstone illustrate how the tides will determine the raising or lowering of the masts and according to the water level (illustrated by the anchors dangling within the arches) these masts will then be raised or lowered allowing wind to scoop the sails and blow the strongly scented odor of the sails (sails will be drenched in specific fragrances according to the designed spatial function) through different spaces. These structures will also be tied down or connected using coconut fibre since the local community believed magnets under the ocean will suck the nails from the vessels (Africa Geographic, 2016). Figure 3.25: Longitudinal section through construction touchstone (Author, 2021). 69 Narrative 3.2 the sensory exPerience exPeriencing changuu islanD The subtle creek of the timber bunk bed washes me from the arms of Morpheus. Before I get to open my eyes, the musty smell of the thatched roof places me within my surroundings, in my home away from reality, the ‘Struisbaai1 Vissershok’. The sun piercing through a slit in the curtains floods the room as its rays bounce off the chalky white walls. As my feet touch the cold quarry tiles, I already smell the salty sea breeze blowing through the corridor. I hear the toing and froing movement of my mother in the kitchen as she begins her day with a cup of Joko tea. On my way to the kitchen, I hear the squeaking and creaking of floorboards above. Undeniably my father’s heavy footsteps, as I can clearly distinguish the sound from any other member of my family. As I move outside the sun caresses my neck, raising Goosebumps on my skin. In the distance, I hear the crackling of guinea fowl in the fynbos... As I walked along the limestone path, through the dense mosaic-canopy on Changuu Island, it trans- ported me back to Struisbaai1 in the Western Cape. Most certainly the quality of light and the texture of the pathway played a role in my subconscious awareness, placing me within the context of our beach house. Above all the trigger unlocking this childhood memory was the smell of the soil and the timber. The power of sensory experiences is something that has fascinated me for many years. The ability to relive a scene from the past is mesmerizing, be it pleasant or unpleasant. As a child, I struggled from a very young age with my eyesight. I was diagnosed with astigmatism at the age of three and amblyo- pia caused my vision to decrease even further. Due to this, I have always been attentive when it comes to caring for my eyes. There is so much to be grateful for when it comes to the ability to experience our surroundings. The experiential quality of space is a truly amazing aspect that makes every moment different. Our emotional responses towards our environment would never have such a euphoric es- sence without the addition of our senses. 1Struisbaai, a small coastal village on the East Coast of the Western Cape, South Africa. 70 In the blink of an eye, time passes. It is therefore a matter of utmost importance to establish meaningful connections and make the most of every moment because we never know when time turns this moment to dust. My goal is to propose a space, where immediate and memorable connections between dweller and space can be established. A design that connects the individual to the surroundings in a way that he or she can develop lasting memories through the utilization of the senses. What a better way to do this than to focus on the sensory attribute that is directly related to emotion and memory. Smell or olfactory2 is transported to our limbic system where our emotional responses are formulated (“The limbic system - Queensland Brain Institute - University of Queensland”, n.d.). Smell may be a very important sense when it comes to the creation and the recalling of memory, but how is the significance of smell relevant within the proposed design? To understand the magnitude that smell within architecture bestows, the site and its unique history need to be understood. 2Olfactory, is a manner in refering to the sensory organs dealing with smell. The system used for smelling 71 3.3 the site: Prison islanD ZanZibar Located off the mainland of Tanzania, the island of Zanzibar appears to be a completely different realm. The inhabi- tants have their unique history and culture, which stems from the Portuguese, Omani and raiders, who settled over the centuries (“Prison Island”, 2018). Tradition forms a large part of Zanzibar’s cultural heritage as multiple cultural groups make up the archipelago. Zanzibar has over one million inhabitants across Unguja and Pemba, which are the main islands. The majority of the inhabitants follow the Islamic religion, therefore making Zanzibar predominantly Muslim (Boswell, 2008). The muezzin’s call to prayer resonates from dawn to dusk. Zanzibar becomes a celebration of the Islamic culture. Community members celebrate the coming of Eid and Ramadan together with the enthusiasm amongst the youth to learn more about this unique culture (Boswell, 2008). It was a humid morning on the 7th of July 2016, when we embarked on an adventure to explore the unique paradise known as Changuu Island. The clattering pebbles underneath the tires of the old van, together with the smell of petrol took me back to the flight from Dar es Salaam to Zanzibar, where we flew with a small mail aircraft, with its rattling single propeller. This was enough to get my heart racing as multiple gusts of wind played a game of tug of war with the frail machine. Upon arrival at the Stone Town harbour, multiple opportunistic street vendors came barrelling down on us to sell their hand-crafted goods. However, exciting this may seem we were clearly instructed by Solomon, our tour guide to watch out for pickpocketing, as it soon became clear these street vendors are not as innocent as they may appear. There she was, the vessel I’ve been so eager to see. The traditional Arabian Dhow, one of Tanzania’s most iconic contributions to the East African trade. In modern-day times this hand-crafted vessel is used on the coast of Zanzibar to conduct fishing excursions, as well as transport tourists along the picturesque coastline to explore gems like the island of Changuu (Lowman, 2014). Figure 3.26: Sketch of hand-crafted fishing dhow (Author, 2021). 72 The Dhow carved through crystal-clear water sailing towards Changuu Island, an archipelago incredibly unique and diverse in marine and plant life. Located 5.6km northwest of Stone Town this mass of land covers around two hectares and is about 800m in length and 200m in breadth (Lowman, 2014). To me what imakes this site so unique is the prison located on its eroding edge. This site was initially designed to serve as a prison, but was never used for this purpose as it was used for a place to quarantine people suf- fering from yellow fever before they were allowed to access the Island of Zanzibar (Lowman, 2014). This is however not the only reason we came to explore this wonderful dreamland. Changuu or Prison Island is also well renowned for the giant Aldabra tortoises. These tortoises are among the longest-living animals on the planet, with some of these reptiles exceeding the age of 200 years (Lowman, 2014). These majestic beasts first came to Zanzibar in the year 1919, as they were gifted to the Sultan of Zanzibar at the time, by the British governor of Seychelles (Lowman, 2014). These creatures rule the island. With their teasingly sluggish movement, they patrol the ruins of old coal mines. Besides the numerous tourist attractions Changuu has to offer, the site grants a breakaway from the hassle encountered within Stone Town and allows the exploration of a variety of plant life used to create the dif- ferent fragrances that make up the Islamic culture. 73 The Covid-19 pandemic has led to the space being neglected and as time passes the financial income gained through tourism disappears. During the lockdown reports from multiple sources stated that the island is being neglected as litter is becoming a major problem and the health of tortoises is at risk. A Fragrance Boutique will therefore create the opportunity to support the local com- munity through the creation of multiple jobs. These jobs will range from the planting of different flora species to making perfumes and cosmetic products to enrich the cultural and/or religious experience, for the locals together with those exploring the beauty of the island (Boswell, 2008). A fragrance boutique will emphasize the religious connection between fragrance and culture as 90% of the inhabitants of Zanzibar form part of the Muslim community. 3.4 site: reasoning behinD the site anD Design Figure 3.27: Image of giant tortoise (Knowlton, 2020). 74 As previously stated, fragrance and different odours play a significant role within the Islamic culture (Eschenmoser, n.d.). A fragrance is a distinctive medium, which is created through an intricate blending of flowers, stems, and barks. A smell can unlock a million memories and has a miraculous impact on how we experience our surroundings. Originally scents were associated with powerful gods. In multiple religions, such as Christianity and Islam, angels and martyrs are described to have a holy scent (Evans, 2002). Scent is an important method of communication which, on a religious level, allows a stronger connection to be established between a being and deities (Eschenmoser, n.d.). Religious traditions such as gatherings and offerings are renowned for the burning of incense or the spray of perfumes, which is a symbolism of respect for the holistic entities. Avicenna, the Arabian physician, was able to make a breakthrough in the study of smell as he successfully managed to extract floral smells. These smells he managed to maintain through alcohol distillation. Scents also aided in diagnosing illness, as well as the application of fragrances to battle infections. It was only in the late 18th century where fragrances became a popular medium in aesthetics. Fragrances became a trend for women to emphasize natural body odour through the application of fragrances like musk5 (Drobnick, 2000). Sensory use plays an important role in the understanding of the past. Muslims make use of a variety of different aromatic products when performing religious rituals. These products initially consisted of musk, ambergris, and saffron, but later the focus shifted to a variety of other fragrances as the use of aromatic products became a part of everyday living (Thalal, 2020). As the popularity of different smells and odours rose, the demand drastically increased. This led to a vast export of products such as, frankincense and myrrh, which possess the functional quality of removing unpleasant odours and repelling insects (Thalal, 2020). 5 ‘musk’ - is a fragrance used in the Islamic culture. It symbolized the perfection of a human into an incorruptible, immortal form (King, 2017). 3.5 the history of fragrance anD its significance within the islaMic culture ` Figure 3.28: Conceptual skyline of Zanzibar and the Island of Changuu (Author,2021). 75 Fragrances have been a part of the Islamic culture for as long as man can remember, but the true significance of aromatics was only incorporated when Muham- mad PBUH (“peace be upon him”) reached prophethood. Muhammad incorporated the importance of fragrances within his principles. Fragrances served both a hygienic and therapeutic purpose, because of the ability it possesses to build and develop the sensory capability. Together with this fragrance was incorpo- rated within the principles of Islam to establish the dominance of gender, as well as, the ability to distinguish the Islamic religion from other religions through the power of specific smells. These aspects allowed Islam to have a unique identity within the cultural realm (Thalal, 2020). Along with the religious identity, each aroma is also connected to time-specific use and practice. The most iconic and important fragrance within the Islamic culture goes by the name of musk. This is due to its purity and its religious connections. Musk identifies as one of the most valuable items within Islam, as men- tioned in the Qur’an, and is said to be a reward given to a Muslim when entering paradise (Thalal, 2020). This fragrance is said to hold the power to increase one’s attractiveness and charm and is used by males, especially on a Friday when going to the Mosque to attend prayers (Thalal, 2020). The importance of cleansing one’s body was a critical part of performing the ritual of prayer. All members of the Muslim community are required to clean and wash their bodies if they want to attend prayer or any formal gathering. With the act of cleansing, Muslims are required to wash their bodies, together with the application of perfume, as well as wear their best garments as a symbol of respect for Muhammad and cultural values (Thalal, 2020). There was a clear distinction between the role of the male and the female within the Islamic principles as a female was prohibited to wear any strongly scented aroma, due to its ability to evoke desires and emotion from the opposite sex. Women were therefore required to incorporate colour, rather than smell as men were allowed to wear strongly scented perfumes. “The perfume used by men should have fragrance but no colour, and the perfume used by women should have a colour but no odour.’’- Prophet Muhammad (Thalal, 2020) Within the early Islamic period, fragrance and religion were inseparable. The fragrance has the power to connect spirit and body, in a process that allows any Muslim to connect with their cultural values on an elevated level (Boswell, 2008). Figure 3.28: Conceptual skyline of Zanzibar and the Island of Changuu (Author,2021). 76 Zanzibar is the paradise of fragrance, with a plethora of aromas stemming from across the world. The East African Island is a complex organization of tantalizing aromatics, encapsulating the identity of Islamic Zanzibar. Fragrance roots Zanzibar to its historical importance of aroma, which is evident within, identity and social norms. Within the Islamic culture, fragrance serves more than just the purpose of giving smell to a place or scent to one’s body. Fragrance in Islam creates purity and provides a form of communication. Aromatics, therefore, honour rituals, portraying an idea of the individual status. It gives clarity to social interactions and shows solidarity (Boswell, 2008). For a short period, fragrance communicates one’s identity, age, and gender. Furthermore, fragrance addresses religion, one of its main purposes on Zanzibar Island. It allows a connection with the spirits of Islam and serves as a barrier or guarding method in removing evil or unwanted spirits (Thalal, 2020). The proposed design focuses on important Islamic occasions as they are interlinked with a cultural ritual. These rituals incorporate the use of different fragranc- es to enhance the experiential quality of each event, allowing the participant to form a stronger connection to his or her surroundings. The first cultural event investigated is the wedding. Weddings in the Islamic culture celebrate the togetherness of family, as well as prosperity. As a girl matures and develops, she is exposed to numerous fragrances and cosmetics. With the help and guidance of a female family member, she is educated on menstruation (Boswell, 2008). This occurrence is deemed to be an impurity on a spiritual and physical level, therefore prohibiting the girl to fast during the month of Ramad- han and to partake in prayers. As a way to remediate or to cleanse this monthly occurrence, the girl is allowed to make use of ‘udi’. This fragrance is solid, and consists of ingredients such as sandalwood, sugar and lemongrass (Boswell, 2008). For this investigation, lemongrass is the main ingredient, as its quality to cleanse and perfume impurities contribute to the narrative in the proposed design. 3.6 the iDentity of fragrance within ZanZibar ` 77 3.6.1 theoretical iDentity (fraMework) 78 Figure 3.29: Sketch of Tatata Spice Farm in Zanzibar (Author, 2021) original photograph by Heather Mason (Heather Mason, 2015). 79 It was a cloudy afternoon on the 9th of July 2020, when we arrived at ‘Big Body with Tatata, Spice Farm’ on our way to Stone Town. At first, I did not expect to learn much, as this ‘farm’, as it can be referred to as such, appeared to be a farrago of flora plant- ed on a patch of soil. What followed, was probably one of the most euphoric sensory experiences of my life. This seemingly chaotic land told the tale of a celebrated spice trade, which brought together cultures from all walks of life. Mohammed, our spice ‘connoisseur’, as he called himself, educated us in comprehensive detail. This man, whose powerful voice appeared a mismatch for his slender body, spoke with such fluency and knowledge, explaining the East African trade in a manner that made me feel like I was part of it. He started off with the significance of lemongrass. Mohammed said to me; “Young fellow, you look a little sweaty man, come here”. He gave me some long leaves and said; “Soap, my friend”. He then started rubbing his hands together and told us how this plant is used for its pleasant smell to cleanse the body. Lemongrass is made into bars of soap and also perfumes, incense and medicine. In Zanzibar, the soap from lemongrass is called uvumba (Boswell, 2008). As I rubbed the leaves together Mohammed poured water over them. A foam started developing and a strong citrus smell graced my nostrils. leMongrass Figure 3.30: Sketch of lemongrass plant and products (Author,2021). 80 We continued walking through the tree canopy in search of cinnamon. Along the way Mohammed explained to us that, when a child is born their bodies are of its purest form (Boswell, 2008). In the Islamic culture it is therefore of the utmost im- portance to protect the child from any forms of impurities and evil spirits that may seek to hinder this vulnerable child. The bodies of children are sprayed and perfumed as a means to retain such purity. Perfumes used on babies contain rosewater and in certain cases hints of cinnamon, as mentioned by Mohammed. This perfuming of a baby’s body is subtly done, due to the perfume’s ability to project purity and holistic qualities (Boswell, 2008). Another use for cinnamon is for the performing of massage therapy. Cinnamon is used in massage oils to help with the cir- culation of blood and also serves as incense in these massage spaces or parlours - to evoke pleasant emotions and to create a relaxing environment for patients (Boswell, 2008). As Mohammed finished his intriguing explanation, we arrived at the cinnamon tree. “Cinnamon, the queen of the spices my friends’’, Mohammed said. He told us that the entire tree is used and each part has its unique function and carries a smell different from other parts of the tree. The leaves of this tree are used especially during the month of Ramadan in Zanzibar. Before breaking the fasting, tea is brewed, which makes use of crushed cinnamon leaves. The bark, he went on to explain, is used to create cinnamon sticks. These sticks are important ingredients when preparing meals, to give food a sweet-smelling aroma. Therefore, cinnamon is used as a seasoning to add flavour to meals. Lastly, Mohammed pointed towards the roots of the tree. ‘’Here in Zanzibar, we use the roots of cinnamon as med- icine’’; he said. One of his companions came around and presented us with a piece of a root. He then instructed us to close our eyes and to take a whiff. ‘’ Vicks VapoRub. Yes, my friends here in Zanzibar we have our own natural Vicks VapoRub”, said Mohammed. As I recall he went on about its qualities to help to relieve cough and chest irritation if boiled and inhaled. cinnaMon Figure 3.31: Sketch of cinnamon sticks (Author,2021). 81 ylang-ylang As our tour came to an end Mohammed took us into an opening in the tree canopy. A divine light broke through the densely populated plantation. The humming of insects became louder and louder. From a small hand-crafted veranda three men came bearing gifts for men and women. Mohammed smiled and said; “Welcome to your dream Zanzibar wedding”. A wedding in the Islamic culture as previously mentioned is an incredibly memorable occasion and is, therefore, an event to look forward to. This event is renowned for all the different smells that make up a singular event. In Islamic culture, the wom- an wears brightly coloured garments, which are perfumed and smell like sandalwood, cloves coconut oil, etc. (Boswell, 2008). At the venue, strong smells of rosewater, and cloves are noticeable. The different array of spices is also one of the many things to look forward to at an Islamic wedding (Boswell, 2008). The array of sugars and spices will set your tastebuds off on a sensory journey, which becomes an experience of its own. Mohammed held in his hand a small yellow flower. According to him, this flower is a smell all of the ladies adore. His com- panions then continued to give every male member of our group a tie weaved of bamboo leaves and every woman a small handbag of the same weaved leaves. He then chose the bride and groom for the occasion as they received woven crowns and they were perfumed with a fragrance called, Ylang-ylang. Mohammed asked; “Friends, who knows the perfume the rich refer to as Chanel no. 5? Well, this (holding up a small vile) is Zanzibar’s very own Chanel no. 5, but we refer to it as Chanel no. 0 as it is hundred percent natural.’’ he continued to explain how its identical scent is used to perfume the body when attending events. In modern society where our experiences are usually visually dominated, the significance of smell can easily be neglected. Zanzibar in essence places emphasis on stimulating our sensual experiences, through the utilization of fragrance within ev- eryday life. The island is an expression of our interwoven relationship with our senses and allows the dweller to experience the holistic temptations of the power of a smell. Figure 3.32: Sketch of Ylang-Ylang flower (Author,2021). 82 Zanzibar is nestled within a well-established mercantile civilization, which consisted of multiple coastal cities and islands across East Africa. The trade ranged from the Somalian coast back to the mouth of the Zambezi River. This prominent trade route sustained within the Indian Ocean served as the channel for merchant’s vessels to conduct the prolific trade. The trade attracted many adventurers and pirates from India, Persia, Arabia, Japan, and Russia (Boswell, 2008). The merchants arrived on Zanzibar’s coastline at the start of the monsoon season which varies between the southwest monsoon (December to March) and the northeast monsoon (April to November), making this wind dependent trade possible. Merchants quested after trade goods, such as perfumes and oils, ivory, and slaves, which were exchanged for metal tools, weapons and jewellery (Boswell, 2008). The coming together of cultures during monsoon seasons led to the development of languages and art. The East African trade led to the development of a unique race, namely the Swahili (Boswell, 2008). Islam politically and legally connected merchants to the Islamic world, which during the 19th century was con- sidered a global powerhouse all across Europe and Asia. The established connection allowed merchants great access to a functioning system which brought commercial advantages by providing the Swahili people with a written alphabet (Boswell, 2008). 3.7 the significance of the east african coastal traDe ` Figure 3.33: Image of different spices relating to East African trade (Iwuoha, 2014) adapted by author. 83 Zanzibar became a rich trading community through the im- porting of raw materials, such as ivory, iron, wood and the slave trade. These items were exchanged for luxury items from abroad, which included silk and pottery. The Swahili merchants and sultans possessed many treasures and skills but did not possess enough natural materials, such as stone to erect the desired infrastructure. This shortage in re- sources led to the exploration of alternative building methods and materials. They, therefore, studied the coral reefs, which led to the development of skills in crafting with quarried cor- al (Boswell, 2008). It steered them towards the mining of cor- al reefs (Boswell, 2008). The significant number of coral reefs lining the coastline of Zanzibar are the fundamental source of building material for infrastructure such as mosques, palaces, and castles. The buildings are decorated with carved inscriptions, minted silver coins and Syrian perfume bottles. Mosques and personal dwellings have