Located north of Dakar, near the city's airport, is an architectural composition of triangular volumes known as the International Trade Fair Centre, Dakar, Senegal. Also known as the Foire Internationale de Dakar or FIDAK, this structure is an iconic example of 60s modernism in West Africa. It synthesizes the complexity of simple forms within vernacular spatial patterns. Completed in 1974, it reflects the post-colonial ambition of the country and has grown as an adaptive spatial framework for major cultural events and exhibitions.
In the 50s and 60s, at the peak of the modernism movement, newly independent African nations encouraged European architects to explore architecture that could define a new country’s national identity while drawing from its vernacular vocabulary. These buildings showcased a synthesis of modernism’s universalist approach with the expressiveness, cultural rootedness, and climatic responsiveness of vernacular architecture. In West Africa, this developed into the tropical modernism style, featuring buildings such as Unity Hall in the Kwame Nkrumah University of Science and Technology (KNUST), Kumasi, Ghana, and Independence House, Lagos, Nigeria, among others.
However, in 1971 Senegal, its first president, Leopold Sedar Senghor, sought something unique within this architectural movement. Known not only as a statesman but also as a poet, Senghor theorized the integration of rhythmic dimensions within architecture and how it could draw inspiration from both poetry and music. His ideals formed the project's brief through an international architecture competition, which wished for architecture as a diversified repetition of rhythm in time and space. The competition called for an exhibition center in its capital city, Dakar, and emphasized the desire for the project to reclaim the country’s culture and identity.
Two French architects, Jean-François Lamoureux and Jean-Louis Marin, won the competition with a design based on a rhythm of triangular modules that vary in size, scale, enclosure, and pattern across the site. This design, built between 1972 and 1974, can be categorized into two sections: the exhibition center and the convention center, forming the International Trade Fair complex.
The Exhibition Center spans an impressive area of nearly 27,000 square meters. It features 13 large triangular spatial modules designed to host a variety of events and exhibitions. Among these modules, there are 2 pavilions specifically set aside for large-scale gatherings, ensuring ample space and facilities for significant events. Additionally, the Exhibition Center boasts a vast outdoor exhibition area covering 29,000 square meters, providing an expansive setting for outdoor exhibitions and activities.
Meanwhile, the Convention Center complements these facilities with several well-equipped conference rooms. These rooms are designed with flexibility and modern amenities in mind, capable of accommodating up to 2,000 participants. This makes the Convention Center an ideal venue for conferences, meetings, and other large-scale events, ensuring that all participants have a comfortable and productive experience.
While the spatial functions across the modules may vary, the user experience throughout the complex remains consistent. Walking through the series of modules provides a feeling of a coherent set of triangular programming in both elevations and functional sections. The passage spaces are raised above ground level, offering visitors a different perspective. These spaces are highlighted by attention to light, materials, and varying levels, creating a unique atmosphere. According to SUNI.CICES, a community organization offering heritage conservation to the international fair complex, “All of the original buildings use similar structural and material strategies: concrete foundations; V-shaped concrete columns; corrugated pitched fiber cement roofs supported by an I-beam structure; earth-colored local clay tiles, glazed façades set in metal frames, concrete pavers Trief, and openings filled with sections of cement fiber pipes.”
Furthermore, the interior spaces of the complex are designed with a generous height, presenting a grandiose experience and allowing for optimal flexibility. These heights and peaks of the triangles include clerestory windows or skylights, creating controlled experiences of light and color within the spaces. The adaptive nature of the exhibition spaces allows the fair center to host multiple cultural events, fairs, and exhibitions. The versatility of the pavilion spaces within a uniform module gives each exhibitor the same space, shape, and form to engage with. Additionally, the exterior facades of these modules feature cultural and decorative patterns, creating harmony between modern architecture and local vocabulary.
Since its grand opening in 1974 to host Senegal’s biennial international trade fair, FIDAK has continuously held national and international fairs, events, art shows, and trade shows. However, over time, several building modules have degraded and are now in disrepair. This is due to a lack of maintenance and inadequate funding, prompting FIDAK's management team and the Ministry of Interior of Senegal to collaborate with other organizations such as SUNI.CICES, on historical documentation, heritage conservation, and adaptive reuse of the complex.
The International Trade Fair Centre features unique architecture that stands out not only by its exterior appearance but also by the experience provided by its succession of spaces. The design brief's translation into a rhythm of architectural modules created a new, modern architecture anchored in the country's identity and culture. It established a sequence of spaces that could bring Senegalese people together to engage in various events, whether as individuals, small groups, or communities, fostering the political and cultural renewal of their national identity.
This feature is part of an ArchDaily series titled AD Narratives, where we share the story behind a selected project, diving into its particularities. Every month, we explore new constructions from around the world, highlighting their story and how they came to be. We also talk to the architects, builders, and community, seeking to underline their personal experiences. As always, at ArchDaily, we highly appreciate the input of our readers. If you think we should feature a certain project, please submit your suggestions.
