As one takes a visual tour through the city, one might spot structures that break the rhythm of finished architectural products. These are buildings encased in grids of metal or wooden sections, sometimes wrapped in colored nets, that communicate a moment of construction, repair, renovation, or demolition. They are called scaffolding systems, temporary structures built in the city to aid in the erection or maintenance of buildings. However, they have evolved to speak their own architectural language. As city-making is a continuous process, scaffolds serve as beacons, proposing silhouettes of the height, shape, or forms of new buildings. They step into the sidewalks, acting as shade or obstructions to the flow of human and vehicular traffic. In contrast to the permanence of architecture, they exhibit a sense of temporality that helps communicate time, the growth of neighborhoods, and the evolution of a city.
The final installment of The Architect's Studio series at the Louisiana Museum of Modern Art showcases the works of Cave_bureau, an architectural studio from Kenya. The exhibition explores the volcanic caves of Kenya, emphasizing the concept of "reversed futurism." Cave_bureau believes that by studying the past, they can develop sustainable solutions for the future.
In the south of Burkina Faso, sharing borders with the northern environs of Ghana is Tiébélé; a small village exhibiting fractal patterns of circular and rectangular buildings, housing one of the oldest ethnic groups in West Africa; the Kassena tribe. With vernacular houses dating back to the 15th century, the village’s buildings strike a distinctive character through its symbol-laden painted walls. It is an architecture of wall decoration where the community uses their building envelope as a canvas for geometric shapes and symbols of local folklore, expressing the culture’s history and unique heritage. This architecture is the product of a unique form of communal collaboration, where all men and women in the community are tasked with contributing to the construction and finishing of any new house. This practice serves as a transmission point for Kassena culture across generations.
Fractals are complex geometric shapes with fractional dimensional properties. They have emerged as swirling patterns within the frontiers of mathematics, information technology, and computer graphics. Over the last 30 years, these patterns have also become important modeling tools in other fields, including biology, geology, and other natural sciences. However, fractals have existed far beyond the birth of computers, and have been observed by anthropologists in indigenous African societies. One of which is Ron Eglash; an American scientist who presents the evidence of fractals in the architecture, art, textile sculpture, and religion of indigenous African societies. In his book, “African Fractals: Modern Computing and indigenous design”, the fractals in African societies are not simply accidental or intuitive but are design themes that evolve from cultural practices and societal structures.
The luxury hotel, as an architectural typology, is distinctive. In effect, it's a self-contained community, a building that immerses the well-off visitor into their local context. Self-contained communities they might be, but these hotels are also vessels of the wider socioeconomic character of a place, where luxury living is often next door to informal settlements in the most extreme examples of social inequality.
Compared to that of the West and East, awareness and knowledge of the architecture of sub-Saharan Africa—Africa south of the Sahara Desert—is scant. A new book intends to mitigate this oversight, and it’s a significant accomplishment. Architectural Guide Sub-Saharan Africa (DOM publishers, 2021), edited by Philipp Meuser, Adil Dalbai, and Livingstone Mukasa, was more than six years in the making. The seven-volume guide presents architecture in the continent’s 49 sub-Saharan nation-states, includes contributions by nearly 340 authors, 5,000 photos, more than 850 buildings, and 49 articles expressly devoted to theorizing African architecture in its social, economic, historical, and cultural context. I interviewed two of the editors—Adil Dalbai, an architectural researcher and practitioner specializing in sub-Saharan Africa, and Livingstone Mukasa, a native Ugandan architect interested in the intersections of architectural history and cultural anthropology—about the challenges of creating the guide, some of its revelations about the architecture of Africa, and its potential impact.
https://www.archdaily.com/979526/a-remarkably-comprehensive-new-guide-to-the-architecture-of-sub-saharan-africaMichael J. Crosbie
Meet 2022 Pritzker Architecture Prize winner, Francis Kéré, Burkina Faso-born black architect, in an interview about his architectural philosophy, with Louisiana Channel. As the official statement of the Pritzker Architecture Prize notes, “Through buildings that demonstrate beauty, modesty, and invention, and by the integrity of his architecture and geste, Kéré gracefully upholds the mission of this Prize”, continually “empowering and transforming communities through the process of architecture.”
“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.
The year 2021 has been a turbulent one –coronavirus rages on, and the design and construction industries have been forced to keep adapting two years into a global pandemic. As virtual methods of working and communicating continue to be tweaked and honed, a plethora of virtual events has meant that architectural discourse outside the western canon and Eurocentric gaze, in a small way, has been able to claim space front and center in the global architectural conversation.
A few months ago – in July 2021, the 47-year-old Kariakoo Market went up in flames in Dar es Salaam. Designed by Tanzanian architect Beda Amuli, the market is a central landmark – a key part of Dar es Salaam’s commercial hub. Early images of a new Kariakoo Market show a taller structure, with six floors compared to the three in Amuli’s design. Conversations on social media have abounded on the new design, and if a “tower” typology is really the appropriate choice considering the unpopular nature of other similar “tower” market halls in Dar es Salaam.
Every year, in the hot, dry town of Djenné in Central Mali, something special takes place – La Fête de Crépissage. Roughly translated to the “Day of Plastering”, this day sees the entire community of Djenné collaborate to reinforce the mud walls of the Great Mosque of Djenné – a UNESCO World Heritage Site and one of the African continent’s most distinctive architectural landmarks.
Scale dramatically shapes how we experience architecture and the built environment. Whether looking at buildings by volume, square area or height, the larger a project gets, the greater our perception changes. Monumental projects tell incredible stories of spatial experience, programming and design. Towering above us and around us, these large-scale works become landmarks in rural and urban contexts.
This week’s curated selection of the Best Unbuilt Architecture focuses on large-scale architecture located around the world. Drawn from an array of firms and local contexts, they represent proposals submitted by our readers. They showcase a wide array of approaches to designing at larger and larger scales, from an expansive arena in Vienna and a lush memorial in Singapore to the world's tallest tower designed to draw attention to poverty in Toronto.
Cover of Architecture in Global Socialism by Łukasz Stanek, Princeton University Press, 2020.
In the course of the Cold War, architects, planners, and construction companies from socialist Eastern Europe engaged in a vibrant collaboration with those in West Africa and the Middle East in order to bring modernization to the developing world. Architecture in Global Socialism shows how their collaboration reshaped five cities in the Global South: Accra, Lagos, Baghdad, Abu Dhabi, and Kuwait City.
Łukasz Stanek describes how local authorities and professionals in these cities drew on Soviet prefabrication systems, Hungarian and Polish planning methods, Yugoslav and Bulgarian construction materials, Romanian and East German standard designs, and manual laborers from across Eastern Europe.
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.
Alárò City. Image Courtesy of Skidmore, Owings & Merrill
Skidmore, Owings & Merrill have broken ground on Alárò City, a new masterplan development that will connect to Lagos in southwest Nigeria. The mixed-use model community will feature an international trade gateway with a new seaport and airport. Designed for the Lagos State Government and Africa’s largest urban developer Rendeavour, the project is made to boost foreign direct investment to create an economic and cultural hub for West Africa.
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