For centuries and centuries we’ve built – and the diversity in our global built environment is a testament to that. The many different cultures around the globe have had different ways of building throughout history, adapting locally found materials to construct their structures. Today, in our globalized present, building materials are transported across the globe far from their origins, a situation that means two buildings on completely opposites sides of the world can be more or less identical.
“Through buildings that demonstrate beauty, modesty, boldness, and invention, and by the integrity of his architecture and geste, Kéré gracefully upholds the mission of this Prize,” explains the official statement of the Pritzker Architecture Prize. Announced today by Tom Pritzker, Chairman of The Hyatt Foundation, Francis Kéré is the 51st winner of the award founded in 1979, succeeding Anne Lacaton and Jean-Philippe Vassal. Praised “for the gifts he has created through his work, gifts that go beyond the realm of the architecture discipline”, the acclaimed architect is present equally in Burkina Faso and Germany, professionally and personally.
A little less than two years after the onset of a global pandemic, inclusion in the architecture profession is unfortunately still a limited conversation. A 2020 survey by the UK’s Architects' Journal revealed a sobering amount of obstacles for Black architects in the UK, and in the United States, prominent Black practitioners such as Mabel O. Wilson of Studio & have questioned the Eurocentric nature of a large amount of architectural study.
When we look at African architecture, we see the architectural diversity of a continent which has been shaped and moulded into its present form by a combination of internal and external factors. When we look at African architecture, there is also a tendency for certain regions to take precedence over other parts of the continent. The Tropical Modernist works of Maxwell Fry and Jane Drew in Ghana and Nigeria, for example, are extremely well documented. So is the extremely well-preserved colonial-era architecture of the Eritrean capital of Asmara. Yet, there seems to be parts of the continent that “slip under the radar” in African architectural conversations – and the book Architectural Guide: Sub Saharan Africa is a welcome addition to African architectural scholarship.
The African continent has been - throughout history – a key player in the ever-evolving story of human migration. Cultures and customs have been shared, adapted, and re-imagined as a result of this movement of populaces, and architectural styles are no exception. In a way, the varied architecture present in Africa is a lens one can look at to understand the intricacies of migration. Present on the continent are ancient indigenous and building typologies born out of the organic assimilation of cultures. Also present are remnants of colonial architecture, a legacy not of voluntary migration, but of forced colonial imposition.
Amancio d'Alpoim Miranda Guedes, known as Pancho Guedes was an architect, painter, sculptor, and educator that is revered as one of the earliest post-modernist architects in Africa. Throughout his career, he has contributed to more than 500 building designs which were often characterized as eclectic, bringing together Lusophone African influence with his unique surrealist and experimental artistic style. It is said that having worked mainly in Mozambique, Angola, South Africa, and Portugal, Pancho Guedes was less well known than he ought to have been in the rest of the world, as he is a leading figure in modern African architecture.
Launched by the Goethe Institut, Habiter Dakar (Living in Dakar) is a virtual exhibition tackling Housing in the Senegalese capital. The study was led by Nzinga Mboup and Caroline Geffriaud, both Architects based in Dakar. They noticed that the current housing offer in the city was particularly far off the needs of its inhabitants, whether on the cultural, societal or environmental level.
The architects analyzed the progression through which the Senegalese capital's Urban Landscape and Housing development had passed, starting from the traditional compound living type to today’s international housing models which seem to be disconnected from the daily reality of most of the city’s inhabitants. The study is concentrated on Housing which is an essential part of the formation and evolution of Dakar and suggests important theoretical and concrete reflections for the future development of the African metropolis.
Parpend, a design studio from Lagos, Nigeria, interviews every year a group of architects to discuss their favorite projects and how they created them. Believing firmly that design should be a fusion of function and expression, statements are compiled in a publication in order to highlight the designers’ creative process to achieving good design.
Entitled “PERSPECTIVE”, this edition of the report, destined for designers and non-designers alike, examines 4 projects with 3 designers: Seun Oduwole, Principal designer at SI.SA talks about the JK Randle Centre for Yoruba History and Culture, on Lagos Island; Tosin Oshinowo, Director at cmDesign Atelier discusses a Bahá’í temple competition and an art space for Victor Ehikhamenor, a prominent Nigerian artist. Moreover, James Inedu-George, Head of Design at HTL Africa explores a mosque contest.
The Ivory Coast is creating a new design language in West Africa. Located between Ghana and Liberia, Côte d'Ivoire is home to a range of modern architecture. Before colonization, the Ivory Coast was home to Gyaaman, the Kong Empire, and Baoulé, with ties that would shape its identity. Now, local architecture is rethinking past traditions to create a model for the future.
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