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.
A city that defies expectations, this is what many visitors often express about the Senegalese capital, Dakar. As Africa's most western port city, which gained independence from the French in 1960, Dakar is a regional hub for diversity and culture. While it's often described as an unexpectedly sleek and "modern" city, with its characteristic and sometimes colorful monolithic buildings, Dakar is in fact in constant development and each of its districts tends to reflect a different style and focus, depending on its inhabitants and the dominating functions.
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.
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.
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.
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.
The modern and futuristic architecture of Sub-Saharan Africa reflects the aspirations and progressive spirit that dominated the early years of independence for many countries in this region between the late 1950s and early 1960s. This architectural production, coinciding with economic growth, employed complex construction methods in designs that seamlessly blended interior and exterior spaces (thanks to the tropical climate), focusing on form and expression of materiality. From this fusion of specific conditions emerged architectural masterpieces of unique value that demand 'rediscovery,' among them the Kenyatta International Convention Center (KICC) in Nairobi, Kenya.
In the contemporary context, museums face contradictory sets of ideas: becoming attractions on and of themselves but presenting an understated image that shifts the attention to the exhibits, creating a safe and protected environment for the artifacts, yet opening them up to the public, becoming repositories of history yet catalysts for innovation. Searching for the balance between all of these constraints has resulted in the flourishing of diverse types of museums and cultural institutions, from those dedicated to the remembrance of a single event or persona to temporary homes for cultural events or spaces that expand their cultural offering beyond exhibition areas.
Local communities are more than just a collection of buildings and infrastructure. They possess a distinctive architectural character that mirrors their history, culture, and values. As part of our year in review, we take a deep dive into the top narratives that examine the architectural identity of different local communities.
Located 270km north of Dakar, the capital of Senegal, and near the border with Mauritania, is the Island of Saint-Louis. It is a prominent colonial city in West Africa, known for its blend of Mediterranean architecture with a tropical climate. Saint-Louis was founded by the French Colony in 1659 as its first trading post on the Atlantic coast of Africa. It later became the capital of French West Africa (AOF) and Senegal. However, it lost this status in 1902, which led to its economic decline.
