THE BOND AMONG ARCHITECTURE AND FASHION THROUGH SOMALI CULTURE

CYPRUS INTERNATIONAL UNIVERSITY INSTITUTE OF GRADUATE STUDIES AND RESEARCH DEPARTMENT OF ARCHITECTURE

FINAL PAPER SUBMISSION

(ARCH 501)

Graduate Studio I Fashion and architecture

21907285 MOHAMED HAJI MOHAMED THE BOND AMONG ARCHITECTURE AND FASHION THROUGH SOMALI CULTURE

LECTURER Assoc. Prof. Dr. PARASTOO POURVAHIDI

1friday may 2020

Abstract This paper aims to explore the bonds among fashion and architecture such definition of culture, other branches that have relation to this research, like religion, also bonds of Architecture and Fashion through Somali culture at past like building, clothes, the similarities among them according to the culture.

Also at the present, how are the bonds among architecture and fashion in this time, by displaying situations and describing the factors behind separation such as migration, clash, modernity, the conclusion will be at the end.

Shortly will be studying what was in the past, exploring the bond among them in the past, how is it at this time, and what are the factors behind disengagement.

Somali has a long-lasting relationship with fashion and architecture in the past; it has been so simple and has come along with Somali culture in many respects, while in the present, the bond between fashion and architecture has shifted and separated from one another due to external factors that have changed Somalia's entire fashion and architecture.

Despite the scarcity of information about fashion and architecture and the relationship between them through Somali culture, separately; it talks about Somali architecture or fashion, other than a few pages from here and there.

The paper is based on literary research conducted according to the following method, through database-based research, libraries, and written books on Somali culture and comprehensive research are carried out by Cambridge and Minnesota universities, as well as from the media and remaining objects, clothing, building, and images that have survived Destruction. Finally, the current method for people living in Somalia with indirect and direct observation, regarding architecture and fashion.

(At the past) It is clear that there was a strong relationship between architecture and fashion in the past, This appears clearly in the similarities between them in colors and patterns, and the form and criteria that each of them takes into consideration, such as privacy, comfort, and flexibility, and efficiency, others.

(At the present)Today, the link between architecture and fashion has been broken, as each of them in a different direction from others, because of the irrigation change that occurred the absence of good and fruitful awareness and the transfer of other cultures that replaced the Somali culture in terms of fashion and architecture.

Key Word Culture, fashion, architecture, Somali

1.INTRODUCTION Somalia is in the Horn of Africa. From the east, the Indian Ocean, and Ethiopia from the west, Kenya from the southwest, and Djibouti from the northwest. Somalia has a unique culture and is one of the most homogenous countries in Africa.

The official languages are Somali, Arabic, and English.

Modern history in Somalia is a tale of democracy, growth, and peace in the 1960s, military rule in the 1970s and 1980s, followed by a tragic breakdown of civil war and destruction almost since then...

The outcome of the war was the dispersion of Somali people into their millions to refugee camps and neighboring countries – and hundreds of thousands to the United Kingdom, Canada, and the United States.

Somalia once was called; "Africa's Switzerland" celebrated almost a decade of independence.

The first elected president of Somalia was Adam Abdullah Othman, who ruled for seven years, uniting the former British and Italian territories.

Abdul Rashid Ali Sharmarke, safe and happy, replaced it. In 1969 one of his guards killed Sharmarke.

Whatever its shortcomings, the 22-year rule of Bari effectively established modern Somalia, created one of the strongest armies in Africa, and significantly increased citizens' literacy.

1991 After the fall of the Somali government, the ongoing civil war caused severe damage to infrastructure and the economy. Everything is destroyed including the archives and everything belongs to the state.

In this paper, I will try to do it from existence and the visible elements that have been spared destruction. And through books and reports were written on Somali. However, in the last two decades, Mogadishu has been the scene of much death and destruction caused by the civil war that started in 1991.

Unfortunately, Mogadishu's grandeur and glory were lost during the 30 years of civil war and instability, which reduced many of the city's famous monuments to bullet-ridden ruins. However, with the establishment of a new government in

2013, it is hoped that Mogadishu would recover some of its former glory, once recognized as the (White Pearl of the Indian Ocean"), Because of the loss that occurred due to the destruction and collapse of the government. All archives and records were lost, including culture and traditions.

To address this issue, this paper was, to be a useful start in this matter, and to highlight the relationship between architecture and fashion across Somali culture, and its importance, which is the essence of the topic of the paper...

Some similarities between architecture and fashion will be listed, as well as demonstrating the most popular traditional fashions in Somalia, and their shape, intensification, and ease of understanding will be described and discussed, summarized by the table, defining similarities among architecture and fashion through Somalia culture, at the end of this paper, the conclusion will be reached, and references.

2.Literature review A culture is a particular group of individuals ' characteristics and awareness that include language, religion, food, social activity, music, and the arts... The word culture derives from the French term "colere." Which means to turn towards the earth, grow, and nurture. The word "colore" is also a Latin term(Kawamura, 2005, p. 3).

Somali people have a common language, Somali, and all of them are Muslims. Despite national boundaries, all Somalis believe themselves to be one citizen.

Somali is one of the largest ethnic groups in Africa. Camel is the most widely known symbol because it provides the majority of Somalis travel, milk, meat profit, and reputation. The five-point, white star on the Somali flag and crescent representing the new moon and is a universal symbol of the Islamic faith are other symbols of Somalia. Each part of the star is a country where the Somali people live: the part within national borders. Somalis hope that one day all these war-provoking territories will become a united Somali nation.

Cultural heritage plays a fundamental role in national identity and is proud of its diversity, particularly during social changes. In essence, architectural heritage is of vital importance to the cultural history of a nation.

The created heritage works as the spirit of the Country, its cultural spirit is tangible. No nation will look to the future with confidence without preserving its history through arts poetry architecture and fashion.

Religion has an important impact on Somali. In all Somali cities and towns, mosques can be located and men and women worship and read the Quran separately.

The main types of traditional houses are the modern African house and the house in Arabic style with its ground or stories. Since the atmosphere is hot in Somalia, most people cover the body from the sun shining and use clothes with natural materials. Women often wear loose clothing to prevent overheating.

Men wear such a dress like shaal, qamis, kofiyad, macawis, which is (a long piece of cloth tied around the waist). Somali cultural dress survived the civil war and the loss of the nation. With the collapse of the central government in Somalia, traditional culture has become more important than ever to preserve and record. This paper will continue to assemble and carefully gather culture to become a review of Somali literature.

Unlike the Somali cultural dress, architecture did not survive the civil war and the collapse of the government. It faced significant devastation, particularly traditional buildings, homes, plans; many valuable archives. They were created as an antique architectural masterpiece, some of which date back to the Middle Ages from castles, places of worship, and antique buildings.

Thus, the dressing of an individual could be said to describe personal space as architectural constructs even if they are larger. Fashion and architecture have many connections: both work at "making" the human being's shelter and representing our taste. With this definition, the connection of fashion and architecture with the earliest people who used the same material for clothing and housing/homes is widely accepted. That we can see it through Somali tradition were early people using simple shelter and wore a simple dress just to cover less part of their bodies. This connection has led to closer ties between the two professions, for example, both fields have commonalities in the process of design so that both architects and fashion designers have the same borders: they seek to develop ideal, relaxed and elegant structures for a human being.

“The culture of the country is developed by many cities with the architecture of buildings. So when you see the most famous buildings in the world, s, museums, and universities, while in other areas, shopping centers are the most famous buildings you can see the culture of this region. Therefore, each community's culture determines the identity of society and architecture as a social phenomenon arising from and reflecting on culture. Art and architecture represent each nation and historical period, one of the most important symptoms and features that always indicate human lives in the environment "(Ettehad et al. 2014). In Somalia there many building was representing Somalia's culture before it vanished during the war.

Architecture and fashion vary in many ways, for instance, in a shorter period, fashion eventually dies than architecture, it is small, and most notably style relies more on advertisement and sales, while architecture is monumental and timeless. Those holes create a network in architecture's commodification and promotion.

Despite what popular known about the shortage of fashion, I believe anything ties to the culture like fashion in a certain nation will last exist as long the tradition continues. Somalian fashion had survived from the collapse of the government, civil war, destructions, and it keeps existing among Somali where ever they are unlike the architecture.

Architecture serves as a shaper of space, i.e. as an agent of the cultural values of society and a symbolic metaphor. As the outer space represents our inner sphere, this commodification and promotion may lead to the loss of architecture's social life mission. Architecture and fashion consider both subjective experiences and spatial constructs in the philosophical context.

There are many things in common with design and fashion, including the use of fabrics and textiles, technological development, and, internationally, arts and artists have the opportunity to interact directly with each other in a socially aware, environmentally sustainable, and economical manner.

The two arts are representation – artistic point-view and represent the taste of the individuals in these spaces and the sense of materiality. Concerning the relationship between A&F, we are investigating the synergistic and interplaying connections between the two fields in the sense of the intellectual, theoretical, and contemporary age of globalization.

The philosophic thesis examines the concepts of beauty and its relation to architecture to find out about the increasing fashion and design that aims to create a beautiful or perfect home for a human being.The philosophical view is that both Architecture and fashion, represent the individual and society's interests, personalities, and cultures in a given period. However, in contrast to infinity in art, the time is very short for fashion.

“If the form is the language of architecture, fashion is the broad – and shifting – cultural forces that describe and direct it, "says Rybczynski," The status of design and architecture comes under the influence of fashion. “Thus, the role of architecture is to use a style in space to reflect our taste," the fashion system is a "visual result of its original structure and probably a new one." By the terminology that now takes over, on the personality side, fashion is narratives Barthes (1983, 277) explains. So, fashion manipulates the visual language to represent the identity of people in specific and the culture of a society in general while architecture goes beyond manipulating the visual language, in a broader sense but is more advanced in manipulating the idea of the entire space.

Fashion is somewhat a representation of a certain group's collective identity, such as the same race, group, and so on; for everyone in a particular society; Architecture shapes the environment by spatial processes, while individuals create fashion. In short, fashion can be represented as the body wall, while architecture is the body itself and the residence that surrounds this body. It shows a clear calm about the traditional Somali fashion become only traditional It shows a clear about traditional Somali fashion. Became the only thing that Somali recognizes in this time, in museums, exhibitions, and events.

Fashion produces desire, and it is a momentary process, On the other hand, architecture does not simply create or shape a structure, as Colomina defines it as "the perception of space" by architecture. It is a product of thought, interpretation, and criticism. Thus, architecture is a momentary process of design, theory, and theory that correlates with the visual aspect of fashion. Despite the lack of literature of bonds among architecture and fashion to Somalia, culture. They both have many combinations, using shapes, colors, designs, types, lighting, etc. The purpose of this study is to understand the relationship between past and present architecture and fashion in Somali culture. The goal is to examine the connection between architecture and fashion through the Somali culture this paper suggests that architecture can not be performed apart from the fashion in today's increasingly globalized world as the arts are

sensitive to personal and social culture and environment. This research also indicates that Architecture and fashion should become interested in the physical, environment, immortality, and entire human environments, customs, and cultural value rather than profits financially.

3. Analysis and discussion Somalia has a very unique culture, particularly the art of poetry, architecture, fashion, woodcarving, and other artistic traditions. There is little knowledge about the Somali fashion of the women before the European colonists arrived that left dispersed images, drawings, and written descriptions behind.

The Horn of Africa has a tradition of trade within the region, with the Arab Peninsulation, Persia and the whole Countries and was probably affected by the jewelry and fabrics from the market–at least in the coastal cities that were settled in pre-colonial times by Yemenis, Omanis and Persians–as it is today. (Cassanelli 1982: 25–6).

Somali art is distinguished by its aniconism, partly as a result of vestigial devastation after the overthrow of the regime in 1991 and during the civil war, while in 1970 the military government tried to create the traditional arts used in ancient times and to conserve them by arts such as drawing sculpture, building, festivals, permanent memorial, for preserving tradition. This paper is to explore the role of culture in fashion and architecture from the point of view, through survey literature, visual resources, interviews, and personal interpretations.

This review, although there is not a lot of literature that discusses the relationship between fashion and architecture in Somali culture, and which I suggest, with further work on it, is important to protect it from the deterioration and destruction we are witnessing in these years.

This paper will be a good starting point for those who will continue to explore with greater accuracy. In this paper, we will only talk about architecture and fashion in Somali culture now and in the past. Despite the lack of details and l sources. I cannot talk about people's culture in a few leaves but I will try to limit them to what is left and what is popular.

Therefore, what was in the past?

3.1.1Frist:-TRADITION OF SOMALIA in fashion The human body is to be at the heart of the experiential world. It has to be seen just as much in architecture as in fashion designers.

Communication with the environment occurs in our bodies and our movements; the world and people constantly remind and redefine themselves. It is then the task of fashion to make the body know the position with the most convenient and comfortable covers.

As of architects who work around the turn of the last century, were specifically interested in clothing, as an attempt to change the contemporary appearance, or as a part of interior design.

Because they had the temporal question of constructing a modern style profoundly, their debates exposed a fascinating combination of artifact and form in other fields as the method.

Somalians use their domestic costumes. In comparison to Europeans who only pull garments out of their closets for holidays and special occasions, Somalis use such clothing daily.

For both men and women, Somali clothing is special. The influences of ethnicity, community, and age vary from other African clothes. There are also various ways to wear clothes such as wedding religious, day to day life, dress in work, house-dress. Somalis have adhered to their beliefs and used them everywhere.

(Akou, 2001, pal 12). Therefore, the Somali women of the Diaspora can choose the Westernized scarf covering their hair, the hijab that covers the head and upper part of the body, leaving only the face to reveal, and the Garbasar to cover the entire body. (Akou, 2001).

As it turns out, design culture has ideally placed itself in working with the double connotation of fashion as the history of clothes and the particular implementation of fashion for the change process.

In the following sentences, I will identify some of the most popular of these traditional dresses.

 Women fashion Women from Somalia are very conservative and cover their bodies. Through their clothes, they are even nobler and humble. Women typically wear Jalbab through different styles. The designs are quite traditional.

While fashion is mostly used to express clothing trends, especially, women’s clothing, there is a lot of Somalian fashion dress full of color and patterns.

While fashion is mostly used to express clothing trends, especially, women’s clothing, there is a lot of Somalian fashion dress full of color and patterns.



Guntino:

It is a long piece of cloth that's wrapped over the neck and draped around the waist.

It can have several different styles, colors, and fabrics. Traditionally, it is white with a decorative line, but today women wear all other colors of this dress. Often wear in the house working /staying or in special occasion such a wedding, etc.



Dirac:

Dirac is a Somali dress used by women, thin, usually loose, and usually two colors. In the 1970s and until a few years ago, its population began to grow and during those decades, Dirac began replacing rifles that were popular with women, usual for sleep or relaxation and had never been used outdoors. Dirac made from cotton, polyester, or linen and used during sleep or relaxation.

It is worn directly on the body. Dirac is similar to the Arab caftan dress with short sleeves. It is very beautiful and beautiful.

Dirac is long clothes that look like sweaters, except that it is an elegant way for Somali culture to sleep comfortably. In traditional Somali society, the Somali women were mostly wearing baatis, inside in house, rarely went out. In the last decades, this has changed.



Garbasar:

While Somali women are conservative women, they not only use scarves, but also the veil to cover the face as well, and often use it with Dirac and hide her hair, the Garbasar is made from a cotton garment, a classic Garbasar from her ancestral home in Somalia.



Shash

It is piece of cotton, that the Married women of Somalia always cover their heads. The ( only women) come to visit after honeymoon which is the day 7 of marriage, the visitors going to put a Shash on her head, to show joy and express her new condition, the Shash continues to be placed on her head, until it becomes full, from her feet to her head. The Shash type should be one of the finest styles of silk, with precious gifts and precious perfumes.  Jalbab: Jalbab is a traditional dress in Somalia. The bodies are hidden except for the face and hands. The face has a scarf, to cover it. This garment is mostly for Muslim women. They also use the "burqa", a garment that covers the entire body from head to toe. Jalbab are usually used in public places or outside the home.

Women from Somalia have a heritage of jewelry. They also wear gold and silver jewelry: necklaces, bracelets, anklets, and others.

Somali wedding dresses decorated with gold, with different patterns and colors, and there are many diamonds in the bride.

Traditionally Somali women's dress involves a stunning Dirac , Guntino, a Garbasar head covering, and a Gogoro underneath the dress. Gold and cosmetics can be used and henna can be applied to traditional hair and fingernails.

People can dress in traditional clothing or in western suits lately.

People in the present usually wear western-style tops or west-style and macawis. Girls wear dresses, Dirac a long, sweet dress, a Guntino, a four-yard fabric tied to the hips and wrapped about the waist, Toob, most frequently seen in the entire of Africa, Hijab, and headscarves.

Women from Somalia have a heritage of jewelry. They also wear jewelry of gold and silver: necklaces, bracelets, anklets, etc. Somalia's wedding dress is adorned with gold; there are also a lot of diamonds on the bride.

 MEN fashion Somalis have a strong sense of collective identity, through clothes to keep their memories and aspirations alive and shape the future of a new Somali country through fashion.

 Macawis:Somali men wear sarong clothes (a long dress surrounded by a waist) called macawis. It is usually white cotton, but it can also be colorful, Somali men wore Macawis daily life, at home and special occasions, including ‘Eid and Jum’ a, and events. Macawis replaces African trousers, which they see as much more convenient and efficient.  Shaal It is a colorful piece of cloth used by men to cover the upper part of their bodies. It Is used sometimes with Macawis and Khamis.  Khamis It is a long shirt with long sleeves, an ankle-long dress made from natural materials. Khamis clothing is popular in Somalia.

Somali men wear Khamis (daily living not inside the house), but for meeting and special occasion in events and attend to masjid –It looks like this garment helps men survive in a very Sami-hot climate. Somalia is located near the Arab Peninsula That's why Khamis is very popular in Somalia.

However, in public places, events, weddings, and public life, you see most people wearing Khamis. The coalition of culture with religion, because Somali culture is close to the tradition of Islam. In a world where Muslims are active, religion dominates the culture. For many years, and even, lately, almost it changed, a new style in living emerged, alien to culture and religion. Somali men wear bright turbans and caps as headdresses (called "kofiyad" and "taqiya").

3.1.2Architecture IN SOMALIA Architecture in Somalia is the design and construct of many buildings, consists of many building, forms, such as stone cities, castles, forts, mosques, churches, canals of the rivers, lighthouses, towers, and cemeteries, during ancient and medieval time. Throughout modern early days in Somalia, Somalis absorption into Islamic architecture due to cultural similarities and certain places inhabited by Somali architecture.

Islam was brought to Somali culture by Muslim movements from Arabia in the early middle Ages. This also contributed to a transition from the use of crystalline and other associated construction materials to the use of dry brick coral stones and the extensive usage of limestone in Somali architecture. Most modern architectural styles, including mosques, have been constructed on the foundations of ancient structures, a process that will continue for decades to come.

Somalia, particularly in major cities, recently dominated by western architecture in the contemporary era in design and construction and modified several principles and considerations, including the inclusion of an outside courtyard, the gender separation and simplicity, with less commission and keeping society in contact with its traditions and cultural values.

Islam introduced this country almost at the beginning, and Islam imposes allegiance that distinguishes Somalis from many of their neighbors who rely on indigenous traditions and beliefs. Many Somalis are Sunni Muslims, and Islam determines their daily lives, sexual relationships, and many aspects of their behavior such as handshakes, clothes, food, and national holidays.

Two main types of traditional houses are the traditional African (Mundul) room home, which is mostly indoor, and the Arab style, which is common in coastal areas and northern Somalia. Most of the coastal districts, such as Mogadishu, are noticeable in the background of the historic city due to the strong influence of Arabia, Persia, and India, as well as British and Italian colonial architecture.

Powerful coral and bamboo building, timber, stone, natural materials, distinguish broad coastal communities from inland districts and provincial capitals, where the predominance of traditional wooden houses with roofs with iron and Zinc sheets.

There are some famous traditional houses in Somalia:



Mundul / Aqal: The nomadic houses are built specifically so that families can dismantle the building, pack it on the camels ' back and re-establish it in a new home.

The only aqal mobilization. There are few nomads and every object has useful practical applications. The family's only house-made products are kitchen appliances, storage boxes, stools, knit mats, and water bottles.

A nomadic camp can have a fence with spiny bushes protecting it to prevent predators. In corrals constructed from thorn bushes, livestock is also mat.

The inspiration is a typical Somali building, usually constructed on the ground to preserve its stability. 

Cariish

Farmers create permanent homes next to aqal. Round huts called Mundul, or Cariish, which are made of poles and brushed, or vines covered with a wide cone-shaped roof of clay, animal dung, and ashes.

Cariish is rectangular huts, sometimes with flat tin roofs. Other houses are constructed of logs, stone, concrete, or cement. Farmers include several bits of wooden furniture, pottery, gourds, or textiles.

On the other hand, the urban courtyard house is permanent, and fixed; it is rectilinear; and it is constructed from hired labor and materials like stone and brick, although concrete is now becoming fairly common (Abdullahi, 2001).  Villa City dwellers mostly live in whitewashed Arab-style houses constructed of plaster or mortar with cement, made of stone and brick. These are houses with a flat roof on one or two levels. Lower windows are protected by bars and seldom have glass or screens, windows (Mashrabiya) used on the upper floors. Rich Somalis, Europeans, and others may have typical homes in western style, with roofing tiles and walled courtyards.

The large coastal villas are clearly distinguished from the district and the provincial capitals, which have traditional wooden houses with stucco and corrugated iron roof. There are also large buildings in traditional coral and new concrete, bricks.

Somalia is one of the Arab countries and has an Islamic culture, and it is inspired by Arab culture. Islamic architecture and Somali culture are distinguished by the following criteria must be focused:Privacy.

Aqal can only be accessible to members of the family and is not open to male guests. Visitors at end assemble at the men's corner, a place within the typical nomadic community, because of the gendered zone.

The reception in their home compounds of full strangers is an important cultural value through which Somali collectivity is formed. In the city, the patio (Ada) became an inner court, which was covered by high fences and walls from the outside by the view. Men meet in the court with strangers as women spend time inside the house in the dining room (Abdullahi, 2001).

The villa has a separate area for guests near to the men's door, also any house had a door for man and door for women, any of them leads you in the guest room also separated according to gender...

Courtyard.

The courtyard house is one of the most famous, regional, historical, and cultural forms. The correlation between quick, efficient architecture, sustainable development, and social interaction and family structures in Somalia.

The courtyard's importance in Islamic architecture earned it the nickname of "veil architecture," as it emphasizes on interior spaces (courtyards and rooms) that are not visible on the outside.

The shaping of the courtyard house was played by social, cultural, and religious factors in Islamic civilization.

Accessibility The homes are normally entered through a small space that leads to a large courtyard with stunning landscaping. The entrance is made up of one or two wooden door frames, covered with steel nail plates. The small size of exterior doors is modest, as is shown by the lack of external window decorations. The house's level of wealth is therefore very difficult to judge from its external look.

The front door usually leads to a narrow passageway, where another door or curtain blocks out the courtyard entry, which allows the courtyard to be completely private and visible, The courtyard structure, because it maximizes shade and enhances the creation of a comfortable environment, is suitable to hot dry climates, and The presence of plants and water in the garden should allow the inner environment to cool and humidify.

In the lives of Somalian families, entertaining guests and relatives were and are still significant. There were very common courtyard weekend parties. Guests were invited to dinner and had fun with folk groups in the courtyard.

Women parties were also in their separated, very common every week, reinforcing the bond between the families and neighboring.

Both housing arrangements promote Somali ideals of a home as an oasis from outside the city, a place where families can be safe from seeing passers-by.

Building material and construction techniques The locally available building materials had a strong effect on the construction and design of the courtyard house. The limestone and abundance of stones in the area became the primary construction material for the courtyard houses.

Layers of white and black stones also form walls.

It has led to the shift from the usage of crystalline and other associated building products to the use of dry brick coral stones, and the widespread use of limestone in Somali architecture. Women mostly staying inside the Aqal or villa, as it forms part of its duty (Prussin, 1995). On the other side, the urban courtyard house is compact and durable, rectangular and is built of construction and stone and brick materials–but now it has been very widely used to concrete (Abdullahi, 2001). Both structures, though, encourage Somali culture.

The idea of an oasis is architecturally built, with the means of improving the conception of the environment, sanctuary and protection. One of these concerns light control with few windows, Somali dwellings have quiet, gloomy interiors.

Dwellings have a small garden inside, trees planted in every house, and often walls painted with bright colored and naturally use local material to construct.

The early modern period has seen continuous use of materials such as coral stone, dry bricks and calcareous in Somali architecture, which is now growing with new building materials, such as cement under the rising European influence in the Somali There were soma famous architecture building such As Parliament building: The construction of the Old Parliament was built in the early 1970s when Siad Barre was in close alliance with the Soviet Union. The structure of the 15 m tower together with some exterior walls is today only built-in triangular shape and has a façade of a brick.

Araba Rukun, commonly known as the Four Pillars Mosque, has been built in 1260 and is one of Mogadishu's oldest and most central mosques. With the aid of Turkey, it was recently restored.

The church of Mogadishu, planned by the Italian artist, Vandone di Cortemilia, was a monumental Catholic church constructed between 1925 and 1928. Nearly 70 years before the civil war forced its closure the cathedral maintained its staff. By 2008, only one side of the two Norman-inspired towers remained on the exterior, destroying the rest of the structure.

The four-story Al-Couruba Hotel was once a major landmark in the city and was used in the early to mid-1980s by Italian visitors and dignitaries. Today, only three of the four floors remain standing, and most of the building has been reduced to rubble. The pointed arches that characterize the façade of the hotel still represent the design of the former palatial structure.

Mogadishu Lighthouse, a century-old building, is located on the edge of Old Port overlooking the wide Indian Ocean.

The collapsing structure once stood at the foot of the economic prosperity of the town, which was a major harbor town for years, before its eventual disregard in recent decades.

The Islamic Solidarity Mosque was opened officially in 1987 with the financial support of Saudi Arabia, and served the city of Mogadishu as the main mosque four years, before its closure in the civil war. In 2006, the Mosque was reopened and significant repairs were undertaken in 2015.

In its classical wings perforated by Moorish arches, the central administration building on two floors once housed the administrative arm of the regional government. Both wings flanked a central square and a wide gateway, which the mayor of Mogadishu currently occupies.

3.2. Bonds among architecture and fashion through culture.

Architecture and Fashion could be closer to creating the "absolutely beautiful structures and spaces for the organism.

To understand space, one should experience it as an architect, and the human body is at the center of the experiential universe. We are constantly communicating with the environment, and the universe and the person are continuously telling and redefining each other.

Architecture and design take the conceptual sense into account subjective experiences and spatial constructions. There is a great deal in common with architecture and fashion, including the use of textiles and fabrics, technological development, and the worldwide probably socially conscious, environmentally sustainable and economically beneficial relationships between arts and artists.

These arts reflect–artistic point-of-view and serve the taste and material sense of the person in these spaces. Therefore, even if they are bigger, the dressing can be defined as architectural buildings for one person. Mode and architecture have many connections: both work to "make" and represent the shelter of human beings. This idea is widely accepted by the earliest people who use the same material for clothes and houses.

Both professions have commonalities in the design process so that both architects and fashion designers have the same limits: they work at constructing fine, calming and beautiful human structures. This connection led to closer ties between the two careers.

By comparison, the fashion effect was not only inspired by design and architecture, but also by all kinds of colors of various styles and deterioration. Definition of color and movement, style through fashion is an art that adds to the building’s sense of creativity and elegance. This is what we see a lot in Somalia and it is the most characteristic that explains the relationship between architecture and fashion in Somalia’s culture.  

It notices the use of colors and their variety, both in fashion and in architecture, and uses to explain the specific relationship between them in Somalia.

The clear connection between architecture and fashion also refers to the use of the same material for the body and for the design of the oldest homeland such aqal.

Somali homes are known for their wide area, neighborhood, and courtyard are committed to maintaining family relationships. Dresses are also lightweight and large, and comfortable, for example, according to the clothes they are

made for, silky, smoother, coverings from neck-to-leg covers that are slightly plain, called Dirac. Somalis do not wear tight or short clothes which are being happened recently, and people began to have very little living space. 

Comfortable, spacious clothing, spacious courtyard houses, the common denominator of comfort between Somalian architecture and fashion.

Because of their tight social relations, the houses of Somalis are supposed to be open to family, friends, and community members for impromptu visits.

Privacy: Interaction between Somali cultural community and gender separation is another development in both types of construction: the two ways use places that promote relations with the community while at the same time being sensitive to the needs of women. For example, equality is only available to family members and is not accessible to people. At the corner of the men's fire or the Ardaa (courtyard), the region of the traditional Nomadic. Because of the gender-based climate, visitors come together to welcome them. 

Both architecture and fashion are very sensitive to the privacy.

Pattern (Such patterns are seen as a strong preface to later introduce another Arab dimension as an architectural heritage and as popular as Mashrabiya, leather, with its excellent fashion patterns. On the walls, doors and cloths can be seen designs of different colors and pattern). Color, Simplicity, space, and locally and Natural material Simplicity: The concept is simplicity and clarity lead to high-quality design. The spaces are designed to a simplistic idea of life, the solid walls, and the smooth textured floors and, throughout, the interesting structure.

The virtue is lack of decoration, the absence of unnecessary details and the feeling will improve. at present, Being fewer elements mean fewer options, it is harder to achieve perfection with minimalist architecture.

Thus, the esthetics of silence, a cultural space are represented. The roles in space build a practice and separate from outside.

“Many cities with the architecture of buildings establish the culture of the country. So when you see the most famous buildings in the world are libraries, museum and colleges while in other communities shopping centers are the most famous buildings you can see the culture of this country. (Ettehad et al., 2014).”

“As a consequence, each community's culture determines the identity of society and architecture as a social phenomenon arising from and reflecting on culture. Art and architecture represent each nation and historical period, one of the most important symptoms and features that always indicate human lives in the environment "(Ettehad et al. 2014).

There were a lot of Somalia architecture built before centuries, but destroyed and demolished during civil war, “Architecture reflects and deeply affects a nation's culture blended with every aspect of human life. Architecture is the product of society's history” (Parvizi, 2009).

At the present fashion in Somalia Architecture and Fashion interaction starts in a way of displaying the identity of an individual and creating the perfect spatial surface. and structure, both fields share the idea of “the human body and on ideas of space, volume, and movement” and as well because both are a layer that communicates between the environment and body with the ability to convey identity on the personal, political, cultural and other levels within life and society”. with that definition no longer exist in Somali culture, which is going to adept other culture, At the present Somali doesn’t use tradition clothing often rather then they wear western dress such jeans etc.

Linguistically speaking, fashion can be described as "visualizing the identity of the image that users want to reverse in society". This identity is not necessarily the true identity of a person; rather, it is what we want society to think about us, but not really what we are in real life. Taking architecture as a language defined by Jencks, in a contemporary

fashion, architecture can be defined as visualizing our true identities, and identity does not change as fashion trends change. Changing and breaking the link between culture and architecture, and causing identity transformation and the emergence of a new culture, a mixture of different cultures.

Fashion changed very quickly. Women wore western fashion in events and the house, and sometimes jilbab (abaya) but are now in bright colors–purple, luminosity, green, and blues. women had a more diverse mix of various styles.

The women worked with, many of them spent time overseas, combination features of Somali culture with Westerners (such as loose-fit jackets). This garment is uniquely made of a variety of colors and textures that had not been seen in Somalia before.

Women’s are also use western dress even in wedding and events accept independency day, mostly they use western.

At the present architecture in Somalia Somalis find themselves dealing with new architectural styles, putting behind a traditional way of life, and entering into the western world. Building styles range across Somalia from the aqal, the nomadic hut that is prevalent in rural areas (Prussin, 1995), to urban-type courtyard housing (Abdullahi, 2001).

In addition, in terms of not only form but also even considerations such as the criteria for designing homes were completely ignored. The house in Somalia now does not differ from homes in western countries, and some of it does not have an expression and an idea translated from the culture of the country and society, as well as fashion, also imported, from abroad.

3.2.1This table are summarizing the bond of fashion and architecture through Somalia culture.

N 1

Fashion Form

Architecture

Similarity

Interpretation

They have a same look, because of tradition of that time,

Architecture and fashion have same look, the hair of men similar to aqal.

The hat also has same similarity to aqal.

2

Pattern

Cleary seen among them with different styles.

3

Locality

Natural and locality.

The pattern of fashion and architecture brought to the texture of the building a feeling of creativity and attractiveness

Bricks, stones, Also fabrics called ALINDI. They were used local Somalia material material. Both fashion used for dress and architecture. making

4

Color

The color added a sense of feeling creativity and beauty.

Color, Most, strongest, element, can be seen among architecture interiorly, and dress

5

Privacy

To avoid aye penetration

Architecture use big tall wall, and gender separation, while fashion provide same function

6

Simplicity, and

Simple for design and construct. Simple to use.

Simplicity, for both dress and architecture, both share flexibility.

And mobility in homes especially in rural.

Space widening.

Multiple function,

1-Form: aqal traditional house has strong similarity to the men at that time, the hair of the men are look like aqal.

The hat (kofiyad), also look like aqal at the top...

2-pattern: Such patterns are seen as a strong preface to later introduce another Arab dimension as an architectural heritage and as popular as Mashrabiya, (Mashrabiya is the popular window that overlooks the typical Arab houses street or courtyard), leather used as chair, with its excellent fashion patterns.

Walls, chairs, doors, dresses all have patterns.

3-locality: Somali uses natural material garments. They wear loose clothing often to avoid overheating. The same as architecture also use natural material such as brick, stones, limestone, woods.

4-color Fashion and architecture also use primary colors that explain the greatest links to Somali tradition; you see colors in houses and walls, and interior space, as well as clothes, clothes that are essential to the events. Such a design style interprets things by color, and the colors indicate the event through it, such as sadness or joy and others. This is what is common in Somali culture.

5-privacy Somalian house and their fashion have similarities in security and privacy, the house with a tall wall around it and separation inner basic of gender to provide privacy, similar to the Jalbab, which covers the body also, in this case, house and body, considered as one. Somalian at the past was so conservative about privacy.

5-simplicity and space widening.

Somali clothes characterize simplicity, it has not complicated and easy to make and use, it is a square, soft, wide sleeves, and large spaces for comfort, like Somali homes, there are large patios and large spaces in the rooms, and they share a desire to rest and enjoy. Somali clothes are flexible and have many uses. Dirac can become a bed sheet after leaving its owner and may become a blanket. Same as Somali houses known as large rooms and a large courtyard, the house sometimes becomes a place for parties or meetings, or it may change completely and functionally to something else.

3.3. The factors behind disengagement.

People scattered after the collapse, loss of archives, and destruction of the General Museum, trade, and export of antiquities abroad. About a million Somalis were born in the diaspora. Thus happened a clash between the various cultures as they returned to Somalia. The Somali faced unknown new architectural forms and stranger fashions. And ignoring the traditional way of living and, moving to the Western world, keeping up with fashion and the pursuit of openness. All of these things and the absence of the central government were behind the separation of architecture and fashion in Somali culture.

4. Conclusion Cultural heritage plays a fundamental role in national identity and is proud of its diversity, particularly during social changes. In essence, architectural heritage is of vital importance to the cultural history of a nation.

Religion has an important impact on Somali. In all Somali cities and towns, mosques can be located and men and women worship and read the Quran separately.

Somalians use their domestic costumes. In comparison to Europeans who only pull garments out of their closets for holidays and special occasions, Somalis use such clothing daily.

Somalis had a strong sense of collective identity, through clothes to keep their memories and aspirations alive and shape the future of a new Somali country through fashion.

Traditionally Somali women's dress involves a stunning Dirac or Guntino, a Garbasar head covering, and a Gogoro underneath the dress. Gold and cosmetics can be used and henna can be applied to traditional hair and fingernails.

People dress in western fashion lately.

Somalia, particularly in major cities, recently dominated by western architecture in the contemporary era in design and construction and modified several principles and considerations, including the inclusion of an outside courtyard, the sex separation and simplicity, with less commission and keeping society in contact with its traditions and cultural values.

In the past, there were clear bonds among architecture and fashion through Somalia but in the present, there are no bonds anymore, everything imported from abroad, neither architecture nor fashion has any relation to the culture.

References: 1-https://fidelitygroup3somalia.wordpress.com/traditional-clothing/ 2-https://www.jstor.org/stable/j.ctt1gxxpc6 3-https://issuu.com/macaanow/docs/mogadishu_-_lost_moderns_catalogue 4-https://www.everyculture.com/Sa-Th/Somalia.html 5-https://www.tandfonline.com/doi/ref/10.1080/00377996.1993.9956240?scroll=top 6-https://www.hisour.com/ar/somali-architecture-31112/ 7-https://weddings.lovetoknow.com/wiki/Somali_Wedding_Dress 8-https://en.wikipedia.org/wiki/Culture_of_Somalia#cite_note-5 9-https://pdhacademy.com/2016/03/28/architecture-reflects-culture/ 10-https://www.britannica.com/place/Somalia/Revolt-in-British-Somaliland 11-https://www.theguardian.com/commentisfree/2015/sep/13/somali-buildings-nomadic-huts-somalia-heritage 12-http://inreview.org/khadija-charif-kaamil-a-haider-yasmin-yassin-spearwave-v3-n1-12/ 13-https://spark.adobe.com/page/ahr7l32dQR0f3/ 14-http://nationalclothing.org/africa/29-somalia/33-traditional-clothing-of-somalia-sarongs-for-men-and-virtuous-attire-forwomen.html 15-https://www.quora.com/What-are-some-characteristics-of-Djiboutis-traditional-clothing 16-https://blog.aassttiinn.com/en/1397/09/26/%D9%8Fskin-and-bones-the-relationship-between-architecture-and-fafhion/ 17-https://www.antiessays.com/free-essays/Fashion-And-Architecture-403792.html 18-https://freebooksummary.com/just-mercy-chapter-keys-essay 19-https://books.google.com.cy/books?id=LZZ5AgAAQBAJ&redir_esc=y 20-https://www.jstor.org/stable/2489287 21-https://www.pioneernetwork.net/wp-content/uploads/2016/10/The-Power-of-Language-to-Create-Culture.pdf 22-https://issaabdull.wordpress.com/2013/07/16/urbanism-architecture-and-use-of-space-somali-cultural-houses/ 23-Cahill, K M (1980) Somalia A perspective Albany, NY: The State University of New York Press 24-Abdullahi, M D (2001) Culture and customs of Somalia Westport, CT: Greenwood Press 25-Adiukovic, M (1998) Displaced adolescents in Croatia: Sources of stress and posttraumatic stress reaction Adolescence, 33( 1 29), 209-217 26-Afrax, M D (1994) The mirror of culture: Somali dissolution seen through oral expression In Ahmed i Samatar (Ed ), The Soma/' challenge, From catastrophe to renewal? Boulder, CO: Lynne Rienner Publishers, Inc , 233 -251 27-Akou, H M (2001) Rethinking fashion' The case of Somali women's dress in Minneapolis -St Paul as an evaluation of Herbert Blumer's theory on fashion University of Minnesota Master of Arts thesis

28https://books.google.com.cy/books?id=tuVFN5VmkjcC&pg=PA240&lpg=PA240&dq=what+is+bati+in+somali+culture&source=bl

&ots=vjzXDRnfmH&sig=ACfU3U0G0uphMvETgEoLh66IoWhLw_v8MA&hl=en&sa=X&ved=2ahUKEwi1tu70_uDoAhU4wMQBHYxj DVUQ6AEwDnoECA0QKw#v=onepage&q=what%20is%20bati%20in%20somali%20culture&f=false .

29-https://www.jstor.org/journal/africatoday?refreqid=excelsior%3A49c5d57deaba1cb3eda70ca169bf1fb8

30https://www.bau.edu.lb/BAUUpload/Library/Files/Architecture/Publications/THE%20INTERRELATIONSHIP%20BETWEEN%20FAS HION%20AND.pdf 31- Nelson, H. D., ed. 1982. Somalia: A country study, Washington, D.C.: U.S. Government Printing Office.

32https://books.google.com.cy/books?id=1z2zDwAAQBAJ&pg=PA48&lpg=PA48&dq=what+is+bati+in+somali+culture&source=bl& ots=OKmnhu8SYs&sig=ACfU3U2q1vFaWZa1XxEashM7qfD53_pig&hl=en&sa=X&ved=2ahUKEwi1tu70_uDoAhU4wMQBHYxjDVUQ6AEwCnoECA0QJg#v=onepage&q=what%20is% 20bati%20in%20somali%20culture&f=false

33https://books.google.com.cy/books?id=Z64pdJftGAEC&pg=PA62&lpg=PA62&dq=Samatar,+State+and+Rural+Transformation,+3 8.&source=bl&ots=lRj1f92io1&sig=ACfU3U3sCNVMYAnKIi6kv0VYgyk762MA5g&hl=en&sa=X&ved=2ahUKEwjny4U8O3oAhXWw8QBHdhnARgQ6AEwAHoECAsQJg#v=onepage&q=Samatar%2C%20State%20and%20Rural%20Transformation%2C %2038.&f=false 34- Area Handbook for Somalia, Volume 550