Traditional architecture
Traditional Malagasy architecture still bears the imprint of the island's earliest inhabitants, most of whom came from Borneo and Indonesia. They built rectangular houses on stilts, with steeply-pitched thatched roofs supported by a central pillar (sacred and often anointed with blood at the time of construction), whose beams intersected to form roof horns, most often sculpted. The use of natural, local materials, which vary from region to region, is also part of this original architecture. On the east coast, the star material is ravinala, better known as the traveler's tree. This species, a symbol of the country, is used for the load-bearing structure and 2-slope roof framework of these stilt houses. The framework is fixed using mortise and tenon joints, while the rafters are attached using liana or raffia. Still in the East, the inhabitants of Tanala country prefer bamboo. For the floor, the largest elements are split, stripped of their knots, crushed and dried before being laid on the joists. The walls, meanwhile, are made from lightweight panels of interlocking planks, while the roofs are made from layers of crushed bamboo, folded at the ridge purlin and secured with splints (wooden strips). In the Tuléar region, Vezo fishermen and Masikoro farmers use vondro, a very light rush ideal for securing reed structures. Their villages are often protected by wooden palisades. In the Grand Sud, the Antandroy's dwellings are protected by impenetrable thornwood fences, most of them on stilts, square in plan, low to the ground and composed of a single room. Their structure is made of planks of fantsiholitra (a small thorny tree) fixed to a wooden frame using a system of mortise and tenon joints. Originally, these dwellings had no windows, but three wooden doors (front door for the women, back door for the children, last door for the men). In the Antandroy tradition, young girls decorate the walls with fine multicolored braided mats. Among the Mahafaly, dwellings are more basic, with walls made of a tangle of aloe or sisal stalks, the gaps between which are filled with dung. In the north, dwellings on stilts showcase the properties of raffia, whose tails and ribs are used to make panels for floors, walls, doors and roofs. In the west, square-plan, elevated dwellings with peripheral verandas are protected by sloping palm roofs and cob walls (mud mixed with straw and glued to a bamboo or palm-rib trellis). In the Highlands, it's hard not to be charmed by the chromatic effects created by the encounter of light and the red-shaded lateritic earth used by the Betsileo and Imerina peoples. These pisé dwellings (masonry made from clay and pebbles, compressed on site in a mold) provide excellent insulation. Among the Imerina, as in the rest of the country, the dwelling is never simply a shelter; on the contrary, it takes on a strong symbolic and cosmological dimension, due to the application of Vintana principles.
Whether organized concentrically around the chiefs' huts, or stretching lengthwise from the founder's hut, Malagasy villages are organized according to key principles that reveal the hierarchical organization of society. The chiefs reserve the northeast corner, symbolically the strongest. This direction marks that of the ancestors, and it is in this sacred space that ceremonial areas are placed. The North symbolizes growth, the East, authority and wealth, and the South and West are reserved for the profane. The same layout can be found in every family compound and home. Before any construction, an astrologer is consulted to secure the heavens' favor. This symbolic dimension is brought to its zenith by the Zafimaniry, instigators of the tradition of sacred woods. In the remote, high-altitude forests of the East, this people of skilled craftsmen has developed an unparalleled mastery of woodworking. Their villages consist of houses arranged from east to west, built of rosewood and bamboo, with structures assembled without a single nail. The central pillar, the corner posts and the outside of the walls feature elegant grooves, while the doors and windows are engraved on both sides with geometric or nature-inspired motifs borrowed from the country's ancestral traditions. The gables of the houses are also topped with two carved birds. The Zafimaniry have developed an astonishing craftsmanship, taking advantage of local woods that lend themselves perfectly to cabinetmaking and fine woodwork. The combination of geometric incisions in the wood gives the illusion of mosaics, and can be seen in their elegant, carved granaries on stilts and in their furniture, which is as beautiful as it is ingenious (rosewood chairs, honey pots and other utensils adorned with carved friezes, lighting fixtures). Unfortunately, the country is suffering from dangerous deforestation, which is reducing the number of local species every day (often replaced by manufactured timber)... a phenomenon that makes Zafimaniry know-how even more precious and sacred.
Funerary art
Ancestor worship is one of the founding principles of Malagasy society. Originally, the remains were left in the very heart of the natural elements (rocky outcrops, hillsides...), or placed in coffins made from hollowed-out logs left in caves or groves, and sometimes covered with wooden planks held together by a pile of stones. In the Highlands, ancient earthen tombs and primitive burial sites were often indicated by large upright stones. Betsileo stone tombs were often built into the rocky crevices of cliffs, and could therefore only be reached by imposing ladders. It is said that, for the funeral of the last king of the ancient Kingdom of Isandra, it took workers 15 days to build a 24 m-high ladder to hoist the sacrificial ox and then the body of the deceased into the burial cave! The first solid tombs were partially or entirely underground, rectangular in plan and made of stacked stones or cemented with masonry. In the south of the country, the Mahafaly developed monumental funerary structures that stand out all the more for their lack of high-reliefs. These large square edifices, measuring 10 to 15 m on each side and 1 to 1.50 m in height, are made up of rough-cut stones on the outside and rough stones piled up on the inside, covering the funerary compartment; standing stones in the middle of the main façade and at each corner of the edifice; and octopus trees planted against the edifice on either side of the main façade. These tombs are surmounted by astonishing decorative elements: aloalos, wooden posts 1.50 to 1.80 m high, carved on their shafts with geometric motifs and, at their summits, with figures facing east, evoking the personality and life of the deceased; and the skulls of zebus sacrificed during funerals. The number of skulls on the tomb is thus proportional to the wealth of the deceased. This explains why many of these tombs are located along roadsides or in busy places... the deceased wants to assert his social rank and prosperity. In fact, some do not hesitate to prominently display the total cost of construction! Some tombs are surrounded by a cement wall that families decorate with brightly coloured, naive frescoes, sometimes with surprising subjects. Sakalava-Vezo funerary art, on the other hand, opts for a little less ostentation, as witnessed by the fasambezo (cemeteries) where wooden tombs are surrounded by sculpted totems, notably erotic motifs, symbols of life and fertility, and motifs recalling the life of the deceased. Whatever the region, "the home for eternity constitutes the rooting in the land of the ancestors".
Power of the Kingdom of Madagascar
Of all the great kingdoms that ruled the country, the Kingdom of Madagascar or Royaume Merina undoubtedly left the strongest architectural imprint, particularly during its heyday in the 19th century. Its architecture was defensive, as evidenced by the ruins of Fort Hova and Manda Fort, astonishing circular edifices built with cement made from coral, sand, shells and eggs. But the most obvious (and oldest) witnesses to this royal power are the rova, sacred, fortified areas enthroned proudly on the hilltops of the Highlands. The Rova d'Ambohimanga, a Unesco World Heritage site, is the most famous example. Its elevated position offers panoramic views of the surrounding area, while its fortification system of moats and 14 stone gates reflects its strategic importance. The link with nature is permanently maintained thanks to the presence of large sacred and royal trees, and the proximity of large terraced fields to the north and south of the city. Some plots are still lined with tamboho walls, while the main wall is made of an earthen core covered with a thick coating of egg-based cement. It is said that over 16 million eggs were needed to build the fortifications of the royal city! The other famous rova is, of course, the Rova (Queen's Palace) in Antananarivo, then known as "the city of 1,000 warriors". In the 17th century, King Andrianjaka built a fortified village protected by numerous circular moats and 7 gates closed by imposing laterite stone discs. The idea of a city-landscape and urban agriculture can also be found here, as can be seen from the rice and watercress fields surrounding the city. At the heart of the rova were royal cities comprising palaces, pavilions, royal fountains and pools, places of worship (sacred groves, royal trees, sacrificial stones) and royal tombs, all linked by a multitude of staircases and footbridges. The public square played a central role. The Rova d'Ambohinga is home to the King's Palace, dating from 1788, whose roof rests largely on a single piece of rosewood brought from the island's east coast by 2,000 slaves. The top of the carved plank represents a pair of breasts, symbolizing the king's polygamy... and therefore his power! Alongside the palaces, the tombs were also great symbols of power. It was during the reign of Andrianampoinimerina that a system of symbolic distinctions was established. Sovereigns and members of the royal family were the only ones to benefit from a "sacred house" (trano masina) placed above their tombs. Nobles are entitled to "cold houses", so called because, unlike sacred houses, they have no hearth. These cottages are built in the style of small log houses by carpenters.
In terms of style, Merina architecture was influenced early on by the Westerners present on the island. In the early 19th century, Radama I introduced a policy of open trade with Great Britain. This treaty had a major impact on architecture. Roads, factories and schools were built. But it was above all the missionary craftsmen of the LMS (London Missionary Society) who revolutionized the Merina style. It was they who introduced the use of brick, the typical shade of which became known as "missionary red". Missionary houses are characterized by the simplicity of their square plan... a shape that inspired the name given to these houses. Trano Skera is a Malagasy derivative of the English word square, which itself means right angle! The temple itself is made of stone, a symbol of its sacred nature.
Merina architecture is also marked by French influence. In the early 19th century, Louis Gros introduced the first Franco-Creole elements to the island: 4-sided roofs covered with shingles, storeys, columns and arcades, covered galleries and varangues, and the systematic use of brick and stone. These elements influenced the architecture of royal palaces and tombs, and were taken up by the most famous architect of the period: Jean Laborde, a native of Gascony who won the favor of the great queen RanavalonaI. The monumentalization of buildings continued, as witnessed on the Antananarivo hill by the Palais Manjakamiadana ("where one reigns without worry"), also known as the Queen's Palace, with its impressive proportions: 30 m long, 18 m wide, 41 m high. This vast wooden edifice was supported by an enormous central rosewood pillar 39 m high. The wooden structure was then clad in stone by LMS architect James Cameron. Jean Laborde's influence was also felt in the architecture of the tombs. He was responsible for introducing masonry walls with stone beds to house the deceased. Built in mud or baked bricks (baked bricks are more resistant and allow the creation of more pronounced decorations and reliefs), and sometimes, for the wealthiest families, in cut stone, the most impressive tombs feature two levels with arcades, balusters and cornices. This evolution of funerary art is in fact modelled on the evolution of merina houses, the famous trano gasy. From a simple, modest mud house, the Merina house grew in size, now rising to several storeys, with verandas (open to the east, closed to the west) supported by external columns. Double-sloped roofs now had attics, and thatch was often replaced by clay tiles. Gradually, elegantly sculpted wrought-iron gates, French glass panels and concrete renderings were applied to the bricks to protect them and allow for decorative work. The upper town of Fianarantsoa is home to some fine examples of this domestic architecture. These include brick houses with fish-scale tiled roofs, painted wooden mantling, colorful shutters and window frames, and elegantly crafted balconies. Rounding off this tour of Merina power is the former industrial site of Mantasoa, built by Jean Laborde. At the time, it was the first city in Madagascar to produce iron, cast iron, powder, glass, soap... With its 4-sloped roof overhanging a wide veranda, Jean Laborde's house brings a touch of Gascony to the site! Also not to be missed: the Bassin Royal built with dry stone and lime mortar, and the square-shaped Soamandrakizay ("eternal beauty") tomb, with 10 rounded pillars supporting impressive balusters, and adorned with beautiful carved stone facings.
Colonial era
In the early 20th century, French colonial power radically transformed Antananarivo. Until then, all activities had been centralized in the upper town, while the lower town was almost entirely covered by rice paddies. But anxious to free themselves from the Merina royalty, whose stronghold the upper town was, the French decided to drain some 20 hectares of marshland and rice paddies and create a new district called Analakely. Two steep staircases with 160 steps were built to adapt the site to the uneven topography, while a network of covered sewers, public fountains and electrical installations brought the new district into the modern era. The colonial architecture that developed all over the island had different facets. The first is religious. Ambodifotatra's monumental church (35 m long, 10 m wide and 12 m high) was the country's first solid Catholic church. The original structure is made of ashlar and granite rubble, using laterite mixed with gravel and sand as a binder, and was later reinforced by the addition of an iron framework. Its altar, made of cast-iron plates cast in the arsenals of the French Navy and featuring rosette motifs and sculpted bas-reliefs, is a must-see. Generally speaking, temples and churches are characterized by a certain stylistic sobriety. Colonial architecture is also military, but with a decidedly eclectic accent. Diego-Suarez (Antsiranana), in the north, retains some of its atmosphere of a former French garrison, with its arterial streets, arsenal, barracks, neoclassical courthouse and Hôtel de la Marine, with its elegant neo-Moorish arcades, patios and passageways. And don't miss the Alliance Française. The latter is housed in the former covered market, whose metal structure was built by the famous Ateliers Eiffel. The army administration building in Mahajanga is another fine example of military architecture combining eclecticism and adaptation to the climate. Take a look at its wide veranda, its insulated attic space, its slender cast-iron columns and, above all, its lace-sculpted railings. The same kind of decorative work can be found in spa towns. Antsirabe, nicknamed "Madagascar's Vichy", is the finest example. TheHôtel des Thermes is an immediate eye-catcher, with its decorated ridge purlins, marquises, belfries, finely chiselled mantling and elegant columns. In terms of residential development, towns, and especially the capital, are seeing the rise of merchants' houses whose columned first floors support large verandas, while creating protective galleries for passers-by. Mahajanga is without doubt the most interesting city in terms of residential architecture. In addition to colonial influences, you'll also find Indian and Muslim influences in the city's carved doors, louvered balconies and mosques. Finally, the colonial period is indissociable from major civil engineering works, starting with the railways. The FCE (Fianarantsoa-Côte Est) line includes 21 tunnels, 42 bridges and 17 stations. The Antananarivo station, with its pediments, arches and geminated windows, and the Antsirabe station, with its oriental accents, were the focus of much decorative attention.
Since Independence
From the 1960s onwards, the country experienced a massive rural exodus, leading to unstoppable urban growth and the emergence of numerous shantytowns, particularly around the capital. These difficulties were masked by various governments with massive construction projects, particularly in the industrial sector. These were quickly dubbed "white elephants", meaning ill-conceived, oversized and often useless infrastructures, such as the Toleana Textile Unit or the Diego-Suarez Tannery. Once re-elected, Marc Ravolamanana did indeed launch the MAP (Madagascar Action Plan) 2007-2012, which aimed to "transform the country's economic, social and material structures in a realistic and positive spirit"... but it soon became clear that this plan essentially favored the Hautes Terres region, where the president hails from. However, his desire to attract foreign investors was largely fulfilled, as evidenced by the many skyscrapers that are springing up in the capital. The 33-storey Redland Tower, the 100 m-high Sipromad Tower and the Little Manhattan Residence are among the tallest. Glass and concrete architecture that seems far removed from Malagasy tradition, just like President Andry Rajoelina's Colisée project. To celebrate the country's 60th birthday in 2020, the president has commissioned the construction of a vast concrete arena to host shows on the country's history. This architectural aberration is still causing a stir today, not least because it completely alters the appearance of the city's original rova and even threatens its Unesco protection. Fortunately, some contemporary projects have chosen to respect tradition. The former French Consulate in Ambohidahy is a large-scale transposition of the traditional house of the Hautes-Terres; while the Antananarivo Prefecture is a reinterpretation of the noble Merina houses, with its handsome brick façade, columns supporting the eaves and gables proudly displaying missionary red. Inaugurated in 2021, Antananarivo's new international terminal is an ode to Madagascan nature. The key elements of this glass and steel terminal are its canopies. Their load-bearing structures and the slatted frames of the false ceilings are made of sohihy, a local hardwood also used in the construction of pirogues; the complementary frames are made of pine; while the entire forecourt is planted with endemic trees and flowers. It's a connection with nature that the country's various ecolodges emphasize. Faced with ever-increasing climate challenges, WWF, Barefoot College Madagascar and the Ministry of Housing launched the1st ecological architecture competition in 2020. The aim was to design a university building in Ambatolampy, south of the capital. The AMA firm took1st prize with its project clad in the region's lateritic red earth, but with modern, bioclimatic forms. The competition gave a number of Madagascan architects the opportunity to reflect on the issue of sustainability and the need to return to the roots of traditional bioclimatic architecture before its time!
