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.
Senegal's Assembly: Colonial Past, Modern Function
The National Assembly of Senegal in Dakar is an example of the former. As degrees of self-rule began to take place in the run-up to independence, the Palais du Grand Conseil was constructed and inaugurated in 1956. This was four years before independence and this building would become the National Assembly. It was designed by French architects Daniel Badani and Pierre Roux-Dorlut who had formed a partnership in 1946. Together, they completed many projects in Paris, the south of France, and Algeria, and through their collaboration with the French Overseas Ministry they designed projects in Côte d'Ivoire, Niger, Cameroon as well as Senegal in Africa.
Thus, the building belongs to the colonial period and is illustrative of Senegal's relationship with France and predates the later architectural approach of first president Leopold Senghor's Asymmetric Parallelism. It does, however, exhibit elements of the trend in West Africa at the time of Tropical Architecture, where Modern Movement principles are blended with a climatically responsive approach. This can be seen on the fins and recessed windows of its façade.
The building itself is composed of a linear block of six stories above ground. A very large canopy with a shallow sawtooth roof extends above the main entrance. This is reached by a gently sloping causeway with a linear ornamental pool from a square forming a main city node. Behind this linear block is the block with the assembly chamber itself, which completes the T-shaped plan and has a sawtooth roof similar to that of the main entrance. Most of the building is of concrete rendered in light colors, with wood paneling reserved for the circular chamber that sits within the block to the rear.
Post-Independence Modernism in Zambia
Whilst Senegal had a new assembly building associated with self-rule at the time of independence, several African countries constructed their parliamentary buildings after independence. Zambia's and its neighbors' path out of British rule came in stages, with the country gaining full independence in 1964 with Kenneth Kaunda as president. The National Assembly building in the capital, Lusaka, would be completed in 1967, designed by Montgomerie, Oldfield, and Kirby, a firm local to Southern Africa. Their other works in Zambia include the geometrically complex Maisonettes for the Bank of Zambia and the Evelyn Hone College Student Hostel.
The National Assembly building sits prominently on a hill near other important buildings such as the campus of the University of Zambia and the Mulungushi International Conference Center. Its Modernist aesthetics are stark. Most of the building consists of a plinth which is elevated on pilotis, leaving most of the ground level open. A single-story horizontal volume contains the parliamentary offices and is characterized by ribbon windows and sculptural vertical brise soleil, all in concrete panels. The assembly chamber starts at ground level and breaks above this plinth, forming a rectangular volume clad in copper, Zambia's main raw material export at the time of independence.
International Collaboration and Nation-Building in Sudan
Similarly, Sudan's National Assembly building was constructed after independence, although in this case, it was much later. After gaining independence in 1956, the country's democratic system faltered twice and Gaafar Nimeiry seized power in 1969. His 16-year rule saw extensive building programs including the construction of the National Assembly on the bank of the River Nile in the city of Omdurman. The location is prominent on the waterfront. Relocating the parliament from Khartoum, the colonial capital, to a site across the river in Omdurman, the cultural and anti-colonial capital, also carried symbolic significance.
President Nimeiry established relations with several communist and socialist countries. In 1972 the Romanian premier Ceaușescu visited the country and it was agreed that a new parliament building would be built by cooperation between the two countries. A team led by architect Cezar Lăzărescu was appointed. Lăzărescu was a well-established architect in his home country, having completed major works such as Bucharest's Henri Coandă Airport and the Omnia Conference Hall.
The building consists of two stories, rectangular in plan, sitting on a raised plinth. It widens upwards with the roof and the upper story each providing shade to the level below, and the rows of vertical sun breakers feature prominently. These cast deep shadows in the harsh sunlight, creating a playful rhythm of light and dark across the façade. Two spaces break above the roofline – the main entrance atrium and, more prominently, the roof of the assembly chamber itself.
The three national assembly buildings offer examples of how architecture was tied to nation-building in Africa. They exemplify cooperation with other countries and illustrate similarities and differences in the political context around the time of independence.
This article is part of an ArchDaily series called "Rediscovering Modernism in Africa." Many buildings from the Modern Movement in Africa are of high architectural quality. Despite being several decades old and historically important, they have only recently gained attention in international discussions. This series explores this rich history. As always, at ArchDaily, we greatly appreciate our readers' contributions. If you have a project you think should be featured, please submit your suggestions.
