Since the outbreak of Covid-19, I, like most of the world, have spent the last few months quarantined at home, perturbed and uncertain about the ramifications of it all. I will spare you my predictions for the Post-Pandemic Future of the African City (there’s presently no shortage of those), but instead, I want to offer up some observations about our current situation. As an African, my perspective is both unique to our continent and universal to everyone. It is, afterall, a global pandemic.
https://www.archdaily.com/945667/letter-from-nigeria-coronavirus-and-the-african-cityMathias Agbo, Jr.
I recently viewed a public art commission at Dubai's foremost cultural district - Alserkal Avenue: it was an installation by an artist collective - METASITU, who had transformed a warehouse on the Avenue previously known as Nadi Al Quoz, into a 21st-century ruin. The work titled: 'we were building sand castles_but the wind blew them away', was inspired by the perennial demolitions that have become an integral part of contemporary placemaking around the world. Through this piece of work, METASITU reflects on the extractive city-building processes, while contextualising them within different human and ecological timelines. The long-term vision of the artists was to deconstruct the building and return its constituent materials to their ‘original state’. Later this year, they plan to further deconstruct the installation into a public landscaped environment.
As 2019 winds down, the media has started its annual ritual of taking stock, compiling lists, looking back. In the architecture world, the year’s biggest news story was arguably the Notre-Dame fire. The image of the cathedral’s burning roof—a wrenching sight—filled TV and computer screens around the world and occasioned an outpouring of grief, especially in France, where the building holds a central place in the nation’s collective consciousness. It was an architectural tragedy as well as a cultural one. No doubt: the April inferno struck at the very heart of France.
https://www.archdaily.com/931699/why-the-fire-at-notre-dame-elicited-few-tears-in-africaMathias Agbo, Jr.
For the past decade, Nigeria has lived under the crushing specter of attacks by the terrorist group Boko Haram. From Maiduguri to Abuja, bombs have exploded intermittently, killing hundreds, destroying thousands of homes, and crippling public infrastructure. In recent years, the Nigerian military has liberated several captive communities and begun reconstruction work in a number of them. Sadly, the aftereffects of these violent convulsions have profoundly reshaped our cities. The attacks utterly upended lives: shattering basic civic amenities, disrupting livelihoods, and forcing residents to rebuild from scratch while still grieving for family and friends.
https://www.archdaily.com/923533/rebuilding-nigeria-when-architecture-is-about-restoring-cultureMathias Agbo, Jr.
In the past three decades, Dubai has grown from a dusty desert town to a strategic hub for international business and tourism. As a result, several cities in the developing world have been competing to outdo one another in the race to replicate this development model—an urbanism largely built around the automobile, luxury villas, gleaming skyscrapers, massive shopping malls, and ambitious “smart” cities, designed and built from scratch. Across Africa, these new developments go by different names: Eko Atlantic City Nigeria, Vision City in Rwanda, Ebene Cyber City in Mauritius; Konza Technology City in Kenya; Safari City in Tanzania; Le Cite du Fleuve in DR Congo, and several others. All are mimicries of Dubai.
https://www.archdaily.com/910933/what-urban-africa-needs-to-learn-from-dubaiMathias Agbo, Jr.
Last September, Nigerian Afrobeat musician Wizkid played to a sold-out house at the Royal Albert Hall in London, joining a growing list of illustrious African musicians, such as Selif Kaita, Youssou Ndour, Miriam Makeba and others, that have performed at that prestigious venue. This event affirmed the unfolding cultural renaissance across the continent, but it also signified the rising global influence of African music, movies, fashion, cuisine and the arts.
Sadly, traditional African architecture, especially in Sub-Saharan Africa, has not profited from this renaissance and has instead steadily lost its appeal across the continent. In spite of its towering influence in the pre-colonial era, it has largely failed to develop beyond the crude earthen walls and thatch roof architecture; for this reason it has remained unattractive to homeowners who often associate it with poverty. Consequently, the neglect of indigenous architecture has resulted in the dearth of skilled craftsmen knowledgeable in the art of traditional building, a reality that has further dimmed hopes for a revival of this architectural style.
https://www.archdaily.com/889350/why-african-vernacular-architecture-is-overdue-for-a-renaissanceMathias Agbo, Jr.
Recently I spent part of a week in the company of a multidisciplinary group of academics and researchers from Europe, the US, and Africa, at a workshop entitled “The Practice and Politics of DIY Urbanism in Africa.” Jonathan Makuwira, a professor from the Malawi University of Technology, delivered a compelling paper on “Disability and Urbanism in Malawi,” highlighting the many challenges of the continent’s disabled population, using that city as a case study.
The lecture reaffirmed my sentiments on the gross inadequacies of urban public spaces for the disabled. It’s an issue that formed the basis for my 2016 entry for the Richard Rogers Fellowship at the Harvard Graduate School of Design (GSD), where I had proposed to use the fellowship to develop a prescriptive accessible design blueprint for public spaces in the city of Abuja.
https://www.archdaily.com/886204/how-african-cities-are-failing-people-with-disabilities-and-what-architects-can-do-about-itMathias Agbo, Jr.
In the last two decades, the African narrative has changed phenomenally. The tired, age-old storyline—largely woven around the stereotypes of poverty, disease, and bloody civil wars—has been replaced with one celebrating the continent’s unprecedented economic growth and relative political stability. This new narrative is also about Africa’s gleaming skyscrapers, massive shopping malls, and ambitious “smart” cities being designed and built from scratch: Ebene Cyber City in Mauritius; Konza Technology City in Kenya; Safari City in Tanzania; Le Cite du Fleuve in DR Congo; Eko Atlantic in Nigeria; Appolonia City in Ghana, and others.
There are currently at least twenty of these new cities under construction in Africa and about twice that number in the works. These developments have permanently altered the continent’s urban outlook, and have offered it something different from the bland pastiche of colonial architecture that it was once known for. As a designer, I was initially excited by the quality of some of the architecture. Though I must admit that these new cities are eerie mimicries of similar developments in China, Singapore and even the UAE, and that they’re largely bereft of any cultural connection to Africa.
https://www.archdaily.com/872025/the-tragic-human-cost-of-africas-new-megacitiesMathias Agbo, Jr.