turning to the democratic space narrative, a similar promise, shaped by the reciprocal relationship between identity and representation, emerged in ancient Africa approximately 6,000 years ago. The Nubian arch, defined by its inverted catenary curve, served as a symbol of collective culture.
Reciprocity in Nubian society governed interactions and exchanges. Over time, it fostered trust, cooperation, and affection, generating social capital that allowed individuals, families, and groups to find their niche in the broader social and ecological network.
The Nubian arch or vault, based on reciprocity of its mud bricks, generated spaces and forms that reflected the society’s social determinants.
These architectural spaces and forms functioned as guided imagery and gestalt, symbolizing the community’s values and commercial achievements to external observers.
The Nubian arch achieved its greatest acceptance as an expression of social capital, particularly among potters and kiln makers who valued access to networks. Their solidarity facilitated the global dissemination of in-group knowledge, influencing ceramics, sculpture, housing, storage facilities, and burial chambers.
The potential of compass-and-straightedge construction has reached its practical limits, whereas the full realization of physical reciprocity in buildings remains incomplete. Historically, the Nubian arch or vault was relatively obscure due to material and construction limitations. These obstacles have now been largely addressed.
Now is the time to bring structural reciprocity and reciprocal causation back into our spaces, forms, and cities. We need to move beyond the halo effect of competitive capitalist culture and support a new story that rethinks ideas like family, freedom, play, gender equality, democracy, and our physical surroundings.
Note:
In an effort to bring these ideas to life, I had the opportunity to work with LPA Architects while serving as Mission College’s Director of Facilities and Operations. I was impressed with LPA’s interview. They explained their design intent using wood blocks.
Still, even more impressive was that they were the only group among the six firms interviewed to incorporate a curve. Some days after they were selected, I sent an email to their team leader saying, go with the curve.
When they finally presented their design concept, I knew immediately we were in the same flow.
