into different shapes. Further, for squatter settlements zinc can be easily moved from place to place. Nevertheless despite their inability to afford exquisite fencing materials, they use their creativity and talent to bring a sense of beauty to the zinc fencing. On his trip to the inner city communities in Kingston, Jacob Voorthuis, a lecturer in architectural history and theory at Rotterdam School of Architecture, Netherlands, commented in his article ‘Poverty and the Picturesque: Shantytowns and Architectural Quality’ on the artistic quality in Trench Town. Enjoying the visual texture of the shantytowns requires us to assume an inclusive view of societal progress, in which the poor are seen as an asset and where economic poverty is not denied its right to express a cultural wealth. We should find beauty wherever we can find it.32 (Voorthuis 1996)
Figure 13: Image showing the artistic and vocal expression of the community on the zinc fencing in Allman Town. Source: Author
The fabric of the inner city communities “... are like books, recording their concerns and events of their residents...” 33 adding to the definitive cultural identity of the low income people, further
32
‘Songs of Poverty and the Picturesque: Shantytowns in Jamaica’, Axis No. 5 Issue, (The Caribbean School of Architecture: 2001) pg. 43 33 Jacob Voorthuis, pg.45, ibid
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