Work in Progress

Architecture in the Making

Artisans and the Restoration of Fez, Morocco

What role does decoration play in architecture? As architects we are taught to think beyond surface, to create space using solid, void and threshold. We are encouraged to use an abstract or limited representation of materials so that models and drawings express the third dimension. But what happens when materials that make up the ‘skin’ of a building, transcend the role of surface to become ‘something that adorns, enriches, or beautifies’ [1] — and does the act of decoration matter?

While on a Fulbright research grant to Fez for one year, I have been exploring the role of artisans in the recent effort to restore the 1200-year-old city. Known as the spiritual and cultural capital of Morocco, Fez has a vibrant architectural crafts tradition. Colorful tile, intricately carved woodwork, and detailed plaster relief fill the medina and its more than 3,000 monuments and 10,000 traditional courtyard spaces. Artisans are important keepers of the time-honored craft tradition, and their knowledge of how to manipulate local materials plays an important role in keeping the city in-tact. The decorative architectural elements they create are not merely ornamental, but reflect values of Moroccan society and important religious tenets of Islam. The spaces they define are emblematic of the way people live and how the city has functioned since its founding in 789 AD.

The courtyard space is the dominant building form used in Fez. While responding to climate, the form is used for a variety of programs, including dwellings, mosques, madrassas (schools), and funduqs (caravanserai hotels). “An Islamic building need not be designed to serve a particular purpose, but is, in most cases, an abstract and ‘perfect’ scheme that can be used for a great variety of functions.” [2] In addition to flexibility of program, the struggle for perfection in architecture is also displayed by the floral, geometric, and calligraphic textures that permeate building surfaces. Artisans use visual principles of repetition, symmetry and continuous generation to achieve visual harmony within a façade and create the illusion of depth of field. Consequently, the load-bearing earthen walls and cedar beams beneath are often concealed. “Space is defined by surface and, since surface is articulated by decoration, there is an intimate connection in Islamic architecture between space and decoration. It is the variety and richness of the decoration, with endless permutations, that characterizes the buildings rather than their structural elements, which are often disguised.” [3]

The emphasis of architectural decoration in Fez is also revealed by its elevated rank in the building design process. A maalem, or master craftsmen, visits the site during the design phase of a project to determine finish patterning, composition and color. Tiles are drawn, carved, and placed one-by-one to fit the dimensions of a room. Plaster artisans carve patterns directly into gypsum before it dries, and wood artisans paint elaborate motifs in situ. This hand-made, custom-built process is being threatened, however, by the replacement of traditional building materials and methods with mass-produced facsimiles. While imported materials are cheaper and faster to install, their use has led to a declining artisan population, whose wisdom is in danger of being lost.

The integral relationship between Fez and its artisans can be seen throughout the medina not only in monumental architecture but in the thousands of small workshops that line the narrow streets, where craftspeople of all types can be seen working. One of my favorite things to do when out exploring is to visit workshops and ask people what they are making. My curiosity is always graciously received and I am shown how the latest goods are made, from leather slippers to metal teapots. Keeping the hand-made craft tradition alive is essential to the survival of Fez’s architectural legacy as well as its economy. Fez’s artisans must continue to pass down their knowledge future generations so that their heritage can continue to be celebrated. Their contributions prove that architectural decoration is not an afterthought, but a way to link Fez’s historic past with its future as a sustainable 21st century city.

[1] Merriam-Webster Dictionary, definition of ‘decoration.’

[2] Michell, George  Architecture of the Islamic World: Its History and Social Meaning (London: Thames and Hudson Ltd. 1978), 12.

[3] Michell, George  Architecture of the Islamic World: Its History and Social Meaning (London: Thames and Hudson Ltd. 1978), 162.