The origins
The mountains and hills of Fiji are well worth the effort! On their summits, you'll discover the remains of citadels and fortified hills, particularly to the west of Viti Levu. Protected by ditches, these citadels consisted of stone platforms on which surveillance posts were built; the whole establishment was protected by stone walls following the ridge lines. The fortified hill of Vatutaqiri, with its series of five concentric stone walls and its 12 m-high, flat-topped artificial mound serving both as a refuge and a guard post, is without doubt the most impressive remnant. The fortified hill of Seseleka is another perfect example of a fortified settlement, with its flat summit serving as a platform for residences and temples. In these troubled times, as the fortified hills demonstrate, protection and security were the main objectives. Villages were often surrounded by wooden palisades pierced by fortified gates and protected by ramparts and ditches. Sometimes, village communities opted for certain types of crops requiring wet soils to make the area marshy, and therefore more difficult for potential enemies to cross. Villages were organized around the rara, a central square whose shape and size varied according to the topography. Bure Levu was the chief's home. It was recognized by the fact that it stood on a higher platform than the other buildings, and was surrounded by stone stelae. Its interior was also more elaborate and lavishly decorated. At the opposite end of the spectrum was the Bure Ni Kalou, the house of the spirits, also built on a high platform and recognizable by its high roof. It, too, was the object of much decorative attention, with the joints between beams and posts covered in elaborate patterns, as well as coconut cords in a variety of colors. But the most astonishing decoration was to be seen on the roof crest, where porcelain shells were placed to symbolize... the number of victims sacrificed in honor of the gods!
In the south-western highlands of Viti Levu, another form of religious architecture was abundantly used before the arrival of the settlers: the nagas, places of worship used for ceremonies. These consisted of three rectangular zones enclosed by low stone walls or a perimeter of stone stelae. At the end of the third zone was the Vale Tembu, a forbidden house dedicated to the ancestors and reserved for the initiation of members of the various cults. Each zone was reserved for a particular clan or social rank, as societies of the time were extremely hierarchical. The very narrow passage between each zone showed that the final space was reserved for only a chosen few. This hierarchy of space was also reflected in the houses, whether circular in plan, like the Were Rausina of Viti Levu, with their thatched roofs even covering the walls (earning them the nickname "straw bales") and their astonishing frameworks combining a system of beams and rafters with structural rings made of intertwined lianas; or rectangular in plan. Fijian houses were originally divided into three spaces: the private rear, reserved for the family, called Loqi; the public space, most often containing the home, called Soliqa; and the semi-public space reserved for high-ranking people, called Loma Ni Vale. The latter passed through the Katuba Lailai, the door on the longest side of the house facing the village square; while ordinary people passed through the Katuba Levu, the door on the shortest side. Some houses were reserved for men only, or for bachelors, with each house having its own private, fenced-in area. Using only natural, local materials (bamboo, reeds, foliage, wood...), these houses were also built without any nails or carpenter's joints, all parts of the structure being round pieces of wood, with only the ends cut to receive the beams and pillars, thus ensuring perfect stability. And all this was done using only stone or shell tools! This was the great power of the Mataisau, the traditional carpenters whose teachings are still passed down today. In coastal regions, some even built astonishing shelters called Vale Leka, with no walls at all. The roof was laid directly on the ground, giving the whole structure a characteristic triangular shape... and extremely resistant to the earth's assaults!
Colonial period
During this period, European architecture was not simply transposed by British settlers, but was very soon transformed and adapted to the climate and genius of the place, consciously incorporating elements of Fijian culture. Generally speaking, the European presence coincided with the growth of urban centers (Suva, Levuka) and the development of a tropical architecture recognizable by its balconies, galleries and verandas, and its colorful facades with gables of various shapes. The historic port town of Levuka, a UNESCO World Heritage Site, boasts some of the finest examples of this hybrid architecture. The central element of this port settlement is the stone and concrete breakwater from which the town's streets radiate, following the contours of an often irregular topography. Single-storey or two-storey maximum, with hipped or gabled roofs, the commercial buildings demonstrate the interest shown in the façade, which becomes an object of theatricality, the first floor being reserved for commercial spaces, and the second floor for housing. Other key features of colonial Levuka include factories and workers' housing, as well as educational and religious establishments located close to nearby native villages. Nasova House (the former main building of the British colonial regime) is a perfect example of this era. Its dazzling whiteness, its beautiful arcades revealing shaded galleries make it the quintessence of tropical colonial architecture, but if you look closely at the organization of this government complex, you'll discover that the whole echoes the layout of Fijian villages, with the importance given to the chief's house, the protective ditches and roads, and the presence of nature with this large garden. It's also worth noting that the kitchen and sanitary facilities are separate from the main house, a contribution made by European settlers who feared fire and insalubrity. The same hierarchy of spaces can be seen at the Veiuto Parliament, which boasts the highest roof in the government complex to underline its pre-eminent position. In the villages, the rara or central squares grew in size, generally with a rectangular plan, and the chief's house now faced not the house of the spirits, but churches with resolutely Victorian accents (meaning neo-Romanesque or neo-Gothic styles, giving pride of place to modern materials, brick and concrete in particular). At the turn of the 20th century, the islands began to attract tourists, and the Union Steamship Company of New Zealand decided to build a hotel for its guests visiting Suva. This was the birth of the Grand Pacific Hotel Suva, with its high ceilings, large louvered double doors and verandas typical of colonial architecture... but behind it all lies a great deal of modernity. The hotel is built on a floating foundation, a sort of reinforced concrete raft, to better withstand the onslaught of the sky and the earth. Ingenious! Modernity is also evident in the play of straight and curved lines, symmetry and geometry, reminiscent of a style that was also to develop on the islands: Art Deco. Notable examples of this modern style include the Regal Theatre in Suva, or the Governement Buildings Complex in the capital, with its clock tower and facade punctuated by columns of simple, unadorned geometric lines. The colonial period was also marked by the presence of foreign workers, particularly Indians, who left their mark on the islands. So it's not uncommon to come across an elegant mosque with its simple architecture, or superb Hindu temples full of color and ostentation. Don't miss the Sri Siva Subramaniya Temple in Nadi, where you can't fail to admire the superb multi-storey pyramidal tower adorned with hundreds of niches and statues, or the hypostyle structure (surrounded by columns) of the sanctuary set on a high platform. Dazzling!
Between tradition and innovation
In 2016, nearly 30,000 homes were destroyed or severely damaged by Hurricane Winston. In the aftermath of the disaster, it became clear that many modern concrete and corrugated iron constructions were not strong enough to withstand such assaults, or worse, could prove extremely dangerous, especially when blown by debris. Exsanguinated, Fiji first turned to international aid with programs like the UN's Build Back Better, or by calling on companies like Framecad, known for its strong, resilient prefabricated metal frame systems, used here to rebuild schools. But attention soon turned to one village in particular, Navala, where many of the traditional houses (made of reeds or grass) had withstood the cyclone. To understand their astonishing resistance, we need to go back to the way they were designed. These bures are built on rectangular or square earth foundations, reinforced with stones and pebbles to prevent them from being washed away. Wooden pillars are then firmly embedded to support the roof structure. Whether a central pillar or a system of pillars placed at the ends, these variations give the bures their unique silhouettes. Each element of the framework is interconnected with the others, creating greater stability. Similarly, thatched bamboo roofs with four steep slopes and no protrusions offer greater resistance to cyclones. With only a small wooden door pierced through bamboo lattice wall panels, and no windows, these houses leave little to the wind. Natural materials, protected from infestation by interior fumigation, offer far better insulation than any modern materials. Even floors made of compacted earth or clay, then covered with ferns and mats of palm or coconut trees, offer more lasting comfort than the board and corrugated iron houses that are springing up all over the place. In Fiji's vernacular architecture, there is an instinctive understanding of the climate that explains the variety of dwelling forms, as evidenced by the low-lying houses near the Taveuni volcano. So it's easy to see why these bures have become a benchmark for contemporary architects seeking to imagine sustainable, resilient architecture. Loata Ho, the only indigenous woman on the islands to have been trained as an architect, founded the firm WomenBuild, which aims to give women back their place in the creative process. In partnership with Architectes sans Frontières, Loata Ho created the Cakaudrove Women's Resource Centre, an elegant and vast contemporary bure, which won the Australian Good Design Award in 2020. Many luxury resorts have also opted for sober, eco-responsible architecture, drawing on the lessons of vernacular architecture. Examples include the superb Likuliku Lagoon Resort, with its palm-thatched houses and wooden jetty; the Laucala Island resort, with its 25 villas/bures; and Jean-Michel Cousteau's astonishing ecological seaside resort, organized like a traditional village and featuring local materials and ecological innovations (solar panels, water treatment, etc.)sobriety and sustainability are also the watchwords of the Caukin studio, responsible for the elegant Naidi Community Hall and Urata Lookout Cafe, two wooden structures offering a superb interplay of textures, light and volumes, while creating magnificent perspectives on the surrounding nature. Even the skyscrapers springing up in the capital often seek to maintain a link with Fijian tradition, such as the Reserve Bank of Fiji and its traditional horn-pole motifs on the façade. Fiji is a modern country, but its feet are firmly planted in a tradition that has proved its worth over the centuries!
