The shape of roofs differs greatly from region to region.

The durability of a roof is a matter of concern because the roof is often the least accessible part of a building for purposes of repair and renewal, while its damage or destruction can have serious effects. Drainpipes also remove the need for a sloping roof.Ī person that specializes in roof construction is called a roofer. In regions where there is little rain, an almost flat roof with a slight run-off provides adequate protection against an occasional downpour. Other types of roofing, for example pantiles, are unstable on a steeply pitched roof but provide excellent weather protection at a relatively low angle. Some types of roofing, for example thatch, require a steep pitch in order to be waterproof and durable. So the pitch is partly dependent upon stylistic factors, and partially to do with practicalities. Although modern construction elements such as drainpipes may remove the need for pitch, roofs are pitched for reasons of tradition and aesthetics. Most US domestic architecture, except in very dry regions, has roofs that are sloped, or pitched. The pitch is the angle at which the roof rises from its lowest to highest point. The construction of a roof is determined by its method of support and how the underneath space is bridged and whether or not the roof is pitched. Other roofing materials include asphalt, coal tar pitch, EPDM rubber, Hypalon, polyurethane foam, PVC, slate, Teflon fabric, TPO, and wood shakes and shingles. In many parts of the world ceramic roof tiles have been the predominant roofing material for centuries, if not millennia. The material of a roof may range from banana leaves, wheaten straw or seagrass to laminated glass, copper (see: copper roofing), aluminium sheeting and pre-cast concrete. The elements in the design of a roof are: 'English alone has retained the word in a general sense, for which the other languages use forms corresponding to OE.

There are no apparent connections outside the Germanic family. Dutch roef 'deckhouse, cabin, coffin-lid', Middle High German rof 'penthouse', Old Norse hrof 'boat shed'). In morphing to activate various spaces, they challenge long-held views of sculpture as something rigid and insistent, which opens up his work to exist on its own terms.Old English hrof 'roof, ceiling, top, summit heaven, sky', also figuratively, 'highest point of something', from Proto-Germanic * khrofam ( cf. One of the conceptual underpinnings of much of the work is that the sculptures takes different forms each time they are installed. His intricate works are both luminous and weighty, meticulously fabricated yet malleable. Much of his work interrogates the legacy of colonialism, drawing connections between consumption, waste and the environment, but at the core is his unique formal language that distinguishes his practice.Īnatsui is particularly well-known for his large-scale sculptures composed of thousands of folded and crumpled pieces of metal sourced from local recycling stations and bound together with copper wire. His style combines the world history of abstract art with his local aesthetic traditions. Anatsui’s choice of these materials reflects his interest in reuse, transformation and an intrinsic desire to connect to his native continent of Africa while transcending the limitations of place. His typical material palette includes discarded resources such as liquor bottle caps, printing plates and cassava graters to create sculptures that defy categorization. 1944 Ghana lives and works in Nigeria) transforms simple materials into complex assemblages that create a distinctive visual impact.

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