Ghanaian Architecture

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.

Traveling on land through vast regional areas of African countries has been an inefficient ordeal, particularly in West Africa. Google Maps optimistically estimates it would take 53 hours to drive nonstop from Lagos, Nigeria's largest city, to Dakar, Senegal's capital. However, this estimate doesn't account for the poor road infrastructure, complex border crossings, and socio-economic challenges that realistically extend the journey to about a week.

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.

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.

Harvard University Graduate School of Design (GSD) has just announced Thandi Loewenson as the winner of the 2024 Wheelwright Prize. The prestigious $100,000 grant is dedicated to supporting innovative research in contemporary architecture with a global perspective. Loewenson’s project, “Black Papers: Beyond the Politics of Land, Towards African Policies of Earth & Air,” explores the social and spatial dynamics in modern Africa.

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At the initiative of the Surf Ghana Collective, architects Glenn DeRoché and Jurgen Strohmayer, the co-founders of DeRoché Strohmayer, set out to transform a small waterfront plot in Busua, a surfing hotspot on Ghana’s western coast. The result is a dynamic community hub, complete with amenities for local surfers, but also providing spaces for the entire community to gather in and off-season. The project has been recognized as the winner of the Gold Prize of Holcim Awards 2023 for the Middle East and Africa commended for the profound local impact and the resourceful approach to construction techniques. In a video interview for ArchDaily, architects Glenn DeRoché and Jurgen Strohmayer discuss the development of this initiative and the innovations that shaped it.

There is an increasing character of abandoned buildings in many African cities and Limbo Accra; a spatial design practice, roots itself in the experimentation of their repair, reuse, and transformation. The practice views these buildings as a unique architectural typology that includes key city landmarks, from the abandoned Independence house in Lagos to the incomplete airport tower in Accra, amongst others. They see them as major opportunities for modern public space and as symbolic sites for spatial justice. Through techniques such as photogrammetry, Limbo Accra has been creating a digital archive of these buildings and collaborating with artists and designers to propose new prospects for them. ArchDaily had the opportunity to speak with Dominique Petit-Frère, the co-founder of Limbo Accra, about the collective character of these buildings, Limbo Accra’s approach to their transformation, and navigating challenges in the adaptive reuse of these structures.

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Alero Olympio (1959-2005) was an architect and builder known for an intimately ecological approach to architecture. Born in Ghana, she divided her practice between Ghana and Scotland. She focused on work that prioritized people and was sincerely committed to social and environmental sustainability, prioritizing using locally sourced materials.

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.

On the 3rd of February, this year's Lagos Biennial opened at the Tafawa Balewa Square, Lagos, an emblematic venue that was once the site of Nigerian independence celebrations in 1960. As the 4th edition of the art fair, it continues with its objective of using art to activate historic landmarks that have lost significance either through functional use or symbolic meaning to the residents of the former capital city.