In Yemen, there's a city full of 500 year old skyscrapers made of mud

Shibam, Yemen's "mudbrick Manhattan". Image: Jialiang Gao/peace-on-earth.org/Wikimedia Commons.

Deep in Yemen’s most remote valley lies the city of Shibam. Surrounded by palm groves, and flanked by the steep cliffs leading up to the Yemeni highland on both sides, the city of 2,000 inhabitants hardly seems impressive. Just a handful of high-rise residential buildings, not so different from the Soviet-style blocks found across the Arab world.

Yet  these buildings don’t date from the 20th century, or even the late 19th century. They were built almost five centuries ago, and have remained largely unchanged since.


On a dustless day, the white finish of its walls can be seen from miles away. The city, one of the few to be designated a UNESCO World Heritage site in its entirety, appears to rise from the plains. Its 500 houses reach an astounding 100 feet in height, almost as high as Chicago’s  first skyscrapers. Perhaps most remarkable of all is the fact that the city was built using nothing but mud.

From a historical point of view, this is an incredible piece of engineering. But does the city also hold the key to a more sustainable architecture? Salma Damluji, the world’s foremost expert on Arabia’s traditional architecture, thinks the city’s use of mudbrick – bricks that have been dried in the sun rather than fired – is a key technique developed to cope with challenges posed by the harsh climate.

A close up of the "skyscrapers". Image: Aiman Titi/Wikimedia Commons.

Mudbrick has a higher heat capacity and lower conductivity than concrete, which means it slows the rate at which the temperature within the building changes. It’s also cheap to produce - labour costs are the only real costs involved - and it’s eco-friendly. Not only does the production of sun-dried bricks involve no polluting emissions, the bricks are also reusable.

And, unlike fired bricks, the physical structure of dried bricks does not change during the drying process. Without its white protective layer, a wet brick simply becomes mud.

In Shibam, climatic considerations manifest themselves in more than just the building material. Wooden windows provide privacy, refract glare and promote air circulation with their low placement, and small ventilation holes near the ceiling. Narrow streets and open plazas further enhance this air circulation on a city level. Thus, the architecture of Shibam reveals a complete approach to urban planning, fine-tuned to the city’s climate and social structure.


Although Shibam’s skyline probably forms its pinnacle, mudbrick architecture is widespread in the Middle East. One of its greatest champions was the Egyptian architect and intellectual Hassan Fathy (1900 – 1989), whose architectural philosophy took great inspiration from the socialist politics of Egypt’s anti-colonial hero: Gamal Abdel Nasser.

James Steele, in his biography of the architect, writes that, “On the one hand, Fathy respected and admired European traditions, while on the other hand he resented them as part of a colonial legacy that had threatened Egypt’s identity.”

Spurred on by discomfort with European models of architecture and urban planning, Fathy researched a wide range of architectural traditions native to Egypt. Though he was greatly impressed by both Pharaonic and Islamic monumental architecture, he was more directly influenced by the vernacular architecture of rural Nubia, an area covering the south of Egypt and the north of Sudan.

It was in Nubia where he first encountered mudbrick. “Once convinced of the long history, durability and cultural applicability of mudbrick, as well as its low cost and environmental advantages,” Steele writes, “Fathy saw no reason why it should not be used on a wider scale.”

Towards the end of his life, he was widely recognised for his development of an architectural philosophy that integrated modern technology with the demands of local culture and nature, winning the Aga Khan Award for Architecture in 1980.

And yet it appears that his work failed to make a lasting impact on architecture in the Middle East. No large scale projects involving traditional building methods exist, and even Shibam is under threat.

While decades of political instability and the current war between Houthi rebels and the Saudi-backed government forces have largely passed by the remote valley, Shibam’s architecture has been in decline since the nationalisation of many of its buildings. Although the buildings are rented out to their original owners, a lack of ownership has made their inhabitants reluctant to invest in the considerable maintenance costs. Without regular maintenance, crucial experience with traditional building methods risks being lost forever.

In close up. Image: Jialiang Gao/peace-on-earth.org/Wikimedia Commons.

And local tradition is crucial. When Oxfordshire organic farmers Lutfi and Ruby Radwan, inspired by the mud brick architecture of Saudi Arabia and Senegal, built Willowbrook Farm, they decided to use similarly eco-friendly methods. However, Britain’s climate is, unsurprisingly, not quite dry enough for sundried bricks.

“Instead, we built using the traditional British method of mixing the cob and building up directly in a continuous lump,” Lutfi says. “We admire Hassan Fathy’s work, but it didn’t influence us greatly. More importantly I had visited a number of mud buildings in Britain to see how local issues were dealt with.”

“Mudbrick architecture is more sustainable and cheaper if one factors in the environmental costs,” he continues. “Materials and labour can usually be sourced locally, so it benefits a local economy rather than relying on inputs from outside, which also affects energy costs involved in transportation.

"Plus, its environmental impact is minimal. These traditional methods are certainly a viable alternative to less environmentally sustainable modern methods.”

Sustainable, local architecture. With a shortage of 3.5m affordable homes reported in the Middle East and North Africa, perhaps an affordable, durable and eco-friendly solution lies in the traditions of a forgotten Yemeni valley.

 
 
 
 

Vanilla Skybus: George Romero and Pittsburgh’s metro to nowhere

A prototype Skybus on display near Pittsburgh. Image: BongWarrior/Wikimedia Commons.

The late director George A Romero’s films are mainly known for their zombies, an association stretching from his first film, 1968’s Night of the Living Dead, to his last as director, 2009’s Survival of the Dead.

But many of them are also a record of Pittsburgh, the city he lived and worked in, and other locations in the state of Pennsylvania in the late 20th century. Martin (1978), for example, isn’t just a movie about a kid who thinks he’s a vampire: it’s a moving portrayal of the post-industrial decay of the Pittsburgh borough of Braddock.

Though born in New York, Romero studied in Pittsburgh and stayed in the city after graduation, shooting commercials as part of the successful Latent Image agency. It was in collaboration with advertising colleagues that he shot his debut Night of the Living Dead. On both that movie and subsequent films, Romero and his colleagues used their experience and connections from the agency to secure cheap and striking locations around the city and state. 

It’s in Romero’s little-seen second film, 1971’s romantic drama There’s Always Vanilla, that a crucial scene touches on a dead end in the history of urban transport in Steel City.

In the scene Vietnam vet Chris, only recently returned to town after a failed music career, sees his father off on a train platform, after an evening where Chris got his dad stoned and set him up with a stripper. (It was the early 1970s, remember.) An odd little two-carriage metro train pulls up on an elevated concrete platform, Chris’ father rides away on it, and then Chris literally bumps into Lynn, whom he then both gaslights and negs. (It was the ‘70s.) You can see the scene here.

A screenshot from There's Always Vanilla, showing the Skybus through a chain link fence.

If you don’t live in Pittsburgh, you might assume that funny little train, still futuristic forty years on, is just an everyday way of getting around in the exciting New World. Who knows what amazing technology they have over there, right?

In fact, the Transit Expressway Revenue Line, more snappily referred to as the Skybus, not only doesn’t exist today: it hardly existed at all, beyond what we see in that short scene. In the 1960s there were plans to replace Pittsburgh’s street car system with a more up to date urban transit system. The Skybus – driverless, running on rubber tires on an elevated concrete track with power provided with an under rail system – drew enough support from the Port Authority and Federal Government for them to fund a short demonstration track at the Allegheny County Fair, at that point a local institution.

It’s this demonstration track and train that appears in There’s Always Vanilla. Film makers love isolated systems like this, or the UK’s many heritage railways, because they allow for multiple takes and a controlled environment. So it made sense for Romero to use this local curio rather than seek access to an in-use station.


The sequence in Vanilla shows that the Skybus system worked, and as a potential metro system it looks quite striking to this day with its curved windows and distinctive logo. But the proposed system wasn’t popular with everyone, and cost concerns and political wrangling stalled the project – until it was finally rejected in favour of a more conventional steel wheel on steel rail transit system.

The demonstration track was pulled up in 1980, although the small station and platform seen in the movie remains: Romero expert Lawrence Devincentz narrates a photo tour of the building on the blu ray of There’s Always Vanilla.

Vanilla was renamed and barely seen on release, but is now available as part of a boxset of Romero’s early works from Arrow Video, in ridiculously pristine 2K digital transfer. The Skybus is there too, a curio of Pittsburgh history caught on a few short minutes of film. Neglected back then, both seem considerably more interesting now.

‘There’s Always Vanilla’ is available on blu ray as part of Arrow’s ‘George A. Romero: Between Night and Dawn’ box set, and will receive a standalone release later this year.

Mark Clapham used to work in rail regulation, but now writes things like this. He tweets as @markclapham.