Sudanese Architecture

Twenty meters tall and four thousand years old, the Western Deffufa towers over the adjacent date orchards and ancient city remains in the desert. It is a former religious and administrative building near the modern-day Sudanese town of Kerma. Its significance is not only in its age and size, but also in that it is one of the oldest mud brick buildings in the world. And as the nearby mud brick houses also attest, earth is a material of continuous use from ancient times to the present. Yet, conversations around contemporary building systems have largely ignored this essential material. Some architects on the continent of Africa, however, are changing that.

In some languages, the very word for building refers to its immovability. The discipline of engineering related to buildings is referred to as statics. Thus, architecture is closely related to the fixed and the immobile. And yet, for millions of nomadic people around the world, shelters must be of a light and distinctly movable structure, while home is the vast landscape in which they reside. Such lifestyles, which carry centuries of traditions, are constantly under threat from the pull factors of sedentary life in towns and cities. In Tunisia, one project acknowledges the risk of heritage loss and attempts to improve conditions for nomadic herders.

Launched in September 2024, the Rediscovering Modernism in Africa series joined a growing worldwide interest in this topic. Previously underrepresented in architectural discussions, the work of architects and researchers on the continent and abroad has continued to tell the story of these high-quality modern works of architecture. These buildings represent designers striving to create locally suited architecture using global concepts and technologies, coinciding with huge political changes as most African countries gained their independence.

The colorful houses of Aswan in the south of modern-day Egypt attract tourists who venture that far up the River Nile. Accessed by small river boats, islands like Suheil West are the homes of Nubian communities, some of whom had had to relocate after the building of the Aswan High Dam in the 1960s. Behind the picturesque views of plastered walls covered in murals and motifs, perched on rocky hills overlooking the Nile, is a construction technique used locally for centuries. It uses locally sourced materials, conserves nature, and regulates internal temperatures against the heat in the day and the cold at night.

Little has been written about the work of Abdelmoneim Mustafa, one of the most respected architects in his homeland of Sudan and a pioneer in his profession in the mid-twentieth century. Esra Akcan, who made extensive research of his work with a team in Sudan during a small window of opportunity between 2019 and 2021, laments this lack of recognition thus, "How could someone as gifted as Moneim Mustafa… designer of some of the most exciting mid-century modernist buildings anywhere, be so neglected, so ignored out of Sudan, that to this day there is no internationally accessible publication in his name." Akcan's writings, coupled with the personal blog of Hashim Khalifa, who trained under Mustafa, shed light on his extensive legacy.

The mid-twentieth century marked a transformative period for Africa as 29 countries achieved independence between 1956 and 1964, signaling the dawn of the nation-state across the continent. This era resonated with a spirit of liberation and progress, paralleling the global movements of that time, such as the establishment of international organizations like the United Nations (1945) and the Organization of African Unity (1963). Within this context, Modernist architecture emerged as a powerful symbol of national identity, ambition, and the collective aspiration for a brighter future. As newly independent nations sought to define themselves apart from their colonial pasts, the adoption of Modern Movement principles facilitated the construction of key infrastructures, such as convention centers, parliament buildings, and hotels, as well as the development of architectural education, as native-trained architects begun to either replace or cooperate with foreign-born professionals.

As, one by one, the African nations gained their independence in the middle of the twentieth century, building programs were central to the process of nation-building. In several of those countries, this included the construction of the state's institutions such as their respective national assembly. These buildings not only facilitate the legislative process but also symbolize the new nation's governance, identity, and aspirations. The period of independence movements also coincided with the introduction of the Modern Movement across the continent, which was associated with progress and a break from the colonial past. Across Africa, some national assemblies were constructed early and were part of the nationalization process that preceded independence, while some were constructed long after.

Two museums in Africa built in the mid-twentieth century carry the name 'National Museum.' They reflect the story of their respective nation's history and are tied to notions of national identity. Both are also examples of fine architecture built on the principles of Modernism, a movement associated with nation-building in Africa. However, their inception and purpose followed very different paths. This article explores the under-reported architecture of the National Museum of Ghana in Accra and the Sudan National Museum in Khartoum.

The middle of the Twentieth Century saw the independence of most countries on the African continent. Those euphoric times brought forward-looking sentiments and a wish to break with the past. As an architectural movement, Modernism was ideal for the day, and newly independent countries had extensive building programs to assert themselves as fully functioning nations.

There is a burgeoning, perhaps overdue, interest in mid-twentieth-century African architecture of the Modern Movement. This period saw independence movements and new self-ruling governments asserting their new nationhood with built projects, often in what was regarded as the International Style or Tropical Modernism, both offshoots of Modernism. These included monuments, convention centers, and hotels, with well-known examples such as the refined brutalism of the Kenyatta International Convention Center in Nairobi, Kenya, or the formal expressionism of the Dakar International Fair, Senegal.