In historic Stone Town, the main city in Zanzibar, Tanzania, the story of one cinema building and its imminent restoration is reflective of the city's history and the narrative of cinemas generally. The early twentieth century saw the advent of cinema construction, peaking in mid-century, before declining against competition with multiplexes and home television. While many were demolished or irreparably altered, many also lay abandoned, like time capsules for a bygone era. They are a snapshot of the architecture styles and methods of their time, acting as a reminder of their role in their communities. Restoring and adapting a cinema like the Majestic is a recognition of its heritage and community value.
A Pan-African Biennale of Architecture is planned for 2026 in Nairobi, Kenya. According to the curator, it "represents an unprecedented opportunity to reclaim Africa's architectural narrative, reasserting the continent's role as a global leader in urban resilience, sustainability, and cultural expression."
Omar Degan, the curator in partnership with the Architectural Association of Kenya, is a practicing architect, professor, and teacher. He leads an architecture office known as DO Architecture Group, which was established between Italy and Somalia—two places deeply connected to his identity. His work focuses on what he describes as "fragile contexts" around the world, including areas affected by natural disasters, refugee camps, slum upgrades, and underserved neighborhoods.
The Republic of Togo presents its first pavilion at the 19th International Architecture Exhibition – La Biennale di Venezia 2025 with a project titled Considering Togo's Architectural Heritage. The inaugural pavilion is curated by Studio NEiDA, an architecture and research practice co-founded by architect Jeanne Autran-Edorh and curator Fabiola Büchele. Based in Lomé and Berlin, the studio is dedicated to equitable design processes, applying an Afrocentric lens to contemporary architectural discourse. The exhibition, located at Venice's Squero Castello, explores Togo's architectural narratives from the early 20th century, focusing on themes of conservation and transformation.
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 intersection of architecture and medicine profoundly shaped modernist design, where transparency, light, and air became essential tools in the pursuit of health. Emerging from the tuberculosis crisis of the late 19th and early 20th centuries, the sanatorium evolved beyond a medical facility into a testing ground for architectural innovation. The necessity of fresh air, sunlight, and sterility transformed these spaces into prototypes for modernist principles, influencing spatial organization, material choices, and design philosophies that extended far beyond healthcare.
More than sites of treatment, sanatoriums embodied contemporary medical theories in built form. At a time when tuberculosis — often called the white plague — devastated populations worldwide, medical professionals prescribed environmental exposure as the primary therapy. Architecture adapted accordingly, producing buildings with expansive terraces, large windows, and streamlined interiors designed to optimize ventilation and maximize natural light.
The use of technology has become vital in the documentation and conservation of heritage, especially in difficult or urgent circumstances. After many landmarks of the historic city of Palmyra were destroyed during Syria's war in 2015, conservators built three-dimensional digital models of the destroyed city to aid its future reconstruction. The destruction of the Buddhas of Bamiyan in Afghanistan in 2001 with very little prior documentation prompted action in the documentation of vulnerable monuments, such as the establishment of CyArk. More recently, detailed digital surveys and a heritage BIM model were essential in the restoration of Notre-Dame Cathedral in Paris after it was devastated by fire in 2019.
In late 2024, an important addition was made to the growing literature on Modern architecture in Africa. "Modernism in Africa: The Architecture of Angola, Ghana, Mozambique, Nigeria, Rwanda, South Africa, Sudan, Tanzania, Uganda" was published by Docomomo International and Birkhäuser, shedding light on multiple previously unpublished buildings. The book has a focus on education, although other building types are included. Amongst these are several university buildings in Nigeria which are explored here. Like other Modern buildings on the continent, they illustrate historical narratives of independence, decoloniality, international relations, and architectural education.
In the heart of Cairo, amid its historic landmarks and evolving urban fabric, a distinct modernist architectural movement took shape in the 1950s and 60s. It reflected the city's response to rapid political, economic, and social changes. When it arrived, modernism in Cairo was not just an imported style but a "pragmatic response to the needs of a growing city." Architects focused on functionality, efficiency, and adapting designs to the local climate and cultural context. Following the 1952 revolution, Egypt underwent significant transformations under President Gamal Abdel Nasser's leadership. In fact, the government sought to build a new national identity that reflected progress and the nation's self-sufficiency. Architecture played a crucial role in this effort, with a strong focus on modernization and development. The state invested in large-scale projects to accommodate the needs of a rapidly growing population and expanding industries. This period marked a shift from colonial-era influences toward a search for a distinct architectural identity that aligned with the political and social aspirations of the time.
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.
This article inaugurates a new series titled Rediscovering Modernism in Africa, aiming to explore the architectural legacy of the Modern Movement in Africa, highlighting its role in nation-building and the evolution of architectural education, while shedding light on the architects and movements that shaped this transformative era.
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.
Hotels are one type of building that illustrates the complex architectural and political history of the times. Some were built specifically to host international delegations, others to boost tourism, while some were built as strong leaders' wishes. Although a marginal building type, several hotels across Africa stand as physical records of important parts of their respective country's history. Following an exploration of the histories of West Africa's Modernist Hotels, this second article turns to East Africa to uncover the ways in which this understated typology relates to larger histories of independence and national identity.
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. Modernism, as an architectural movement, was ideal for the day, and newly independent countries had extensive building programs to assert themselves as fully functioning nations.
Hotels are one type of building that illustrates the complex architectural and political history of the times. Some were built specifically to host international delegations, others to boost tourism, while some were built as strong leaders' wishes. Although a marginal building type, several hotels across Africa stand as physical records of important parts of their respective country's history.
Dakar is a city of constant development. From colonial times, and on, the capital of Senegal has seen a lot of shifts in its societal definition which has, in turn, affected its architectural and urban fabric. Ever since the French mandate which somewhat forced a shift of local living traditions into a more 'European' lifestyle, the wheels of change have been set in motion. Afterward, a notable post-colonial attempt at re-defining Dakar was inevitable. It came about in many ways, still seen today, and it built a city of mixed architectural languages that defies most visitors' expectations.
Though the renowned African mid-century modernism was certainly present in the years after Senegal's independence in 1960, this was mostly due to its popularity with practicing architects in the region, not its relevance for the capital's rebuilding efforts. The modernist approach, which was mainly seen in the public, institutional, and cultural buildings, and which persists today in a more undefined contemporary style, was always aimed at showcasing Dakar to the world. It did not, however, reflect the reality of the city's development nor the way its dwellers live.
In an effort to refocus on Dakar, some of our more recent ArchDaily coverage has highlighted the many development and design efforts that look to provide a better means of living to inhabitants.
Courtesy of FDL, ADAGP 2014 | Le Corbusier in Chandigarh with the plan of the city and a model of the Modular Man, his universal system of proportion, 1951
The Victoria & Albert Museum is set to present an expansive exhibition focused on Tropical Modernism, an architectural movement that emerged in the late 1940s. British architects Jane Drew and Maxwell Fry were instrumental in developing this approach, combining modernism’s functional goals with local climate adaptations in warm and humid weather. This movement, which embodies Britain's unique contribution to international modernism, evolved against a backdrop of anti-colonial resistance, blending colonial architectural principles with local needs.
Since the advent of Modernism, architects have become schizophrenic in dealing with the reality of time. This is a problem, because time and gravity are two universal forces. Architects are exquisitely good at dealing with gravity—it is present in everything we design. We study it and engineer its unrelenting requirements. Gravity does a symbiotic dance with structure. No matter how a design feigns weightlessness, its mass cannot be denied. Architects must deal with gravity, whether it’s Frank Lloyd Wright’s sagging balconies at Fallingwater or today’s steroidally enhanced parametric buildings.
