When the TV or heard, throughout the debate,

When you hear African Architecture, what comes to your mind?

Normally, I will encounter people describing African Architecture as building made from clay, mud and people living in small, little huts, with straws as roofing, it is a big disappointment to see how people view and stereotype African as continent, based what they are being  shown on the TV or heard, throughout the debate, I will be proving that African Architecture is far more than a building made of clay, mud and people living in small, little huts, with straws as roofing, in a way that African Architecture has its own identity and diverse style, which is creating a diverse path for Africa, where the rest of the world is looking and admiring from a distance, as they increment and incorporate the diverse style for Africa, in the western world as the movement makes a breakthrough.

African Architecture is creating a diverse style for Africa, as African Architecture is contained an art movement, that interlocks culture and artwork,

African Architecture is the architecture of the African continent expanse from north to south, from east to west, on both sides of pre-history to ancient, out-of-date to contemporary movement. African Architecture agreements by means of the creative and technological demand of African dwellings and accommodation of the human being. Most bias Eurocentric scholarship has preferred to an agreement with the original characteristic and superintend the technical and historical. Such allowance has cautiously been chosen toward an arrangement concluded the vernacular and superintends the ancient monumental architecture– tombs, walls, palaces, in the establishment of the opinion that Africa, particularly the sub-Saharan Africa lack those structure, conflicting to the accounts of European travellers, Arab buyers, and other outside visitors to the continent. Unfortunately, the main class of monumental structures in Africa are south of the Sahara, in Nigeria, Sungbo’s Eredo and the Benin Walls. Of most current growth is the unearthing of the general use of fractal projects within African art and architecture– self-similarity, in which the separate parts are the same method as that of the whole.

 Furthermore, in this discussion, I will be talking about how Islam and Christianity have a heavy influence on the movement, architecture predominate among the visual arts, throughout, the debate I will be being the wild elements to the characteristic and materiality within the African Architecture,

Through the whole of the debate it shows African Architecture Vernacular Architecture, as the movement displays trial and error, as we all evolve, Vernacular Architecture reveals a great range of human behaviour and atmosphere, principal to differing building methods for practically every single diverse context; even neighbouring communities might have faintly diverse methods to the construction and usage of their dwellings, even if they at first give the impression if the same. Notwithstanding these differences, each structure is an issue to the same laws of physics and henceforward will demonstrate noteworthy comparisons in structural procedures.

African Architecture

African architecture, the architecture of Africa, principally of sub-Saharan Africa. In North Africa, where Islam and Christianity had an important influence, architecture outweighs between the visual arts. Contained within here are the wonderful mosques constructed of mud in Djenné and Mopti in Mali, the rock-hewn churches of Ethiopia, and the Islamic monuments of coastal eastern Africa. Debates of architecture in sub-Saharan Africa emphasis mainly on housing in villages, rural mosques, and the mélange of foreign and contemporary influences that characterise city areas.

Modern architectural practice in Africa is an observer to frequent new and ground-breaking tactics on the part of the informally committed structure: schools, nursery schools, marketplaces, hospitals, cultural centres, sports facilities and assembly halls. It is these public structures and normally used spaces indefinite where signs of new usefulness and architectural ideas are made evident. In many cases, upcoming users are straight involved in the project and structure procedures. In addition to the use of the up-to-date skill, many of the construction developments are being established with local resources and continue undeveloped building traditions.

Contemporary African Architecture

The topic of Contemporary African architecture is as massive as the continent itself. Each African area and country has knowledgeable settlement, independence, and modernity in an exclusive way, and oversimplifications about the continent would have to be so wide-ranging as to be practically worthless. Nevertheless, an investigation of nominated foreign influences and nation-wide architectural characteristics make known much about the variety and number of postcolonial Africa.

As has continuously remained the case in Africa, the contemporary architecture makes known the encouragement of a rich display of cultures. Foreign explorers and overseers brought European architectural systems to the coasts and city areas of Africa, a phenomenon that is boomed in both pro-independence architecture and city development. The Portuguese, for a sample, brought medieval European stronghold architecture to Africa, mainly lengthways the western and southwestern coastal regions. Individual structures of Portuguese foreign architecture—mainly established in coastal forts and castles—consist of high towers, thick masonry walls with gun turrets, large loading spaces and prisons for slaves, and living residences located within self-justifying walls. Numerous of the European forts and castles in Africa are positioned end to end within the shoreline of Ghana because of the large amounts of gold spread there.

African Architecture characteristic and materiality

How Islam and Christianity influence on the movement?

Contemporary African Architecture is heavy inspirited by Islam and Christianity……….

Early peoples in the western Sudan area had strong exchange links across the Sahara, and an Islamic existence was recognised south of the desert 1,000 years ago. In the 11th century Kumbi, the capital of the kingdom of Ghana (in present-day Mali), was labelled as consuming a dozen mosques. Then, the kingdoms of Mali and Songhai old-fashioned ancient Ghana, with Timbuktu and Gao on the Niger River attractive most important centres of learning and business. Excavations have exposed that these townships were huge, wealthy, and well-constructed. Muslim constructers make known to a new form of dwelling redirecting their Arab and North African societies: unbending in the plan, flat-roofed, and frequently two stories or additional in altitude, these dwellings remained constructed of sun-dried mud brick or of mud and stone. By the 16th century, this method had entered the Nigerian grassland with the founding of the Hausa states. Kano, Katsina, Sokoto, and Zaria currently contemporary an arrival perhaps comparable to that of earlier periods, but the previous tube-shaped huts have been substituted by those of square proposal, readdressing the varying size of families. New houses are constructed from the table, or pear-shaped mud bricks; some house facades are luxuriantly decorated with calligraphic or representative shapes and even such symbols of modernism as weapons, bicycles, and cars. The huge forts of the rulers are often luxuriantly decorated in the interior, with spaces covered by palm ribs

Islam and Christianity, engrained in the African Afroasiatic character, has left a limitless imprint on African Architecture. Islam has prejudiced Asian Architecture–the Middle East is where the belief was born. In Europe, the faith moves to and fro the monumental castle architecture, Iberian

Architecture, and communicated her technical know-how. Africa is no different. Her influence can be understood in Mediterranean Africa from Morocco to Egypt, the Sahelian-Sudanic strip from Senegal, Gambia, and Mali to Sudan, Ethiopia, and Somalia, the east coast of Mozambique. Sahelian Architecture, some have labelled as duplicating Mecca in adobe and wood. The coral base Great Mosque of Kilwa of the Swahili and the important Mosque of El Kairouan from Tunis, all are founded on Islamic norms.

Christianity found has its root early in Africa–North Africa and Northeast, Egypt, Sudan, and Ethiopia. Egypt and Nubia ( “Ethiopia”) are revealed in the Bible. Axum was one of the earliest states to make Christianity the national religion and the cross character of the state. Northeast Christianity had a Close Eastern Conventional flavour, even though Christianity in the respite of the continent a Wide-ranging and Protestant essence. Christian effect can be seen in the Coptic Church of Alexandria, the rock-hewn Ethiopian churches in Lalibela, the leftovers of the mudbrick churches of the out-dated Nubian Christian Church, and the outline of European church plans, using native African resources, during the foreign era.

African Vernacular architecture

African Vernacular Architecture spreads to the commencement of the human species. Some African Vernacular Architecture appears to have advanced amongst the proto-ethnolinguistic groups–Afroasiatic, Nilo-Saharan, Niger-Congo, and Khoisan groups. Between the Afroasiatic, the growth of a rectangular floor plan proposals and flat rectangular roof. Among the West African Niger-Congo forest dwellers rectangular floor plans with a vaulted roof or gable roof made of weaved palm. These buildings would dot equally sides of single streets or end to end the riverbanks with the riverbanks the side of streets. Between Sudanic Nilo-Saharan, the cone-shaped roofs and tube body or cone on tube advanced. Dome-shaped buildings were the favourite of the Khoisan(Ehret).

African Vernacular Architecture habits a diversity of resources:

grass, leaves, limestone, sandstone, coral, twigs, bamboo, raffia palm, hardwood, mangrove timber, papyrus reed, semi-desert soil, high clay content soil or laterite soil, sewn goatskin, woven camel hair, mud, mudbrick. Mud might be mixed with shea butter, cattle blood, or cattle dung

How is African Architecture in the 21st century creating diversity?

The African Architecture is creation its way advancing and is rebuilding and outspreading its cites at great speed. This building movement takes place in a cloud and uproar, distorting the image of what the urban will sooner or later look like. The building process is fast and of such an area that you cannot but that an objectivity a wait pending the frenzy is over. Yet, in order to try to understand what will see when the dust has sooner or later settled, it may be valuable to apprehension what image is in the mind of the conceivers of this new African city. What is the philosophy is being built? Is the architecture of the new city on the behalf of an African understanding of free-for-all tolerance? And the other way around, what is apparent as “the true architecture” that should be a basis of the transformation of Africa in an African way? What, for want of an improved concept, will be the African architectural response that will respond to the continent’s ambition to modernity?

In order to find practical answers to above questions, it possibly will be cooperative to know where we come as of. Structure-activity in Africa is not new, and the continent has approved through additional phases of landside growth which shaped new cities and architectures. What principles were built throughout these eras and what memories did they leave behindhand to which we can mention in generating insights for future?

The procedure of separating the past of Africa’s constructed future exposes that the shared academic reminiscence of Africa’s architectural history has nothing to do with and display thoughtful gaps. By filling these voids, a wealthier and multiple-layered sympathetic of the present architectural state of affairs of Africa will come to the surface.

The subject of contemporary African architecture is as massive as the continent itself. Individually African area and the country have a knowledgeable establishment, independence, and modernism in a unique technique, and generalisations about the continent would have to be so comprehensive as to be almost meaningless. Nevertheless, an investigation of certain foreign inspirations and national architectural characteristics make known much about the variety and variety of postcolonial Africa.

Throughout, ……….

David Adjaye (Adjaye Associate)

Francis Kere (Kere Architecture)

Kunle Adeyemi (NLE)

Mokena Makeka (Makeka Design Lab)

Mphethi Morojele (MMA Architects)

MASS Design Group

Urko Sanchez (Urko Sanchez Architects)

David Adjaye – An Architect that works in the UK, born in Tanzania, him and others have been key member in the Contemporary African Architecture movement, Adjaye has been someone that has redesign the image of Ghana, Nigeria, Gabon and many more, Adjaye has quoted ” I’m bored of the simplification of Africa – the reduction of confident down to a series of clichés.” Well known for his building across the Northern hemisphere, Adjaye is using his significant sway in the media to determination attention in African Architecture, lately effecting an extremely through research noticeable by a smart combination of western and African

Francis Kéré – Undoubtedly my inspirational architects that waved my train of thought, someone that I had the pleasure to meet during summer 2017 on four different accounts. An architects that were born and raised in Burkina Fuso, that has established himself in Germany, Berlin, someone who has given back to the motherland (Burkina Fuso, Kenya, Mali and Togo) Africa, Kéré is a key person in Africa Architectural movement that is creating a diverse future for Africa, offered a Grant by a German charity for carpentry, but Kéré used this opportunity to train in Architecture in its place before recurring to the motherland Burkina Fuso, to his home village of Gando, where his combination of western training and local knowledge has shaped a series of innovative building that has dramatically improved condition.

School Library Gando (Gando, Burkina Faso) PICTURE

Wide overhanging roofs resist the rainy season and allow passive air circulation to cool

Kéré set about using his European training and traditional African methods to transform Gando, moving the focus from western “one size fits all” methods to ones that incorporate native solutions to high temperatures, lack of resources and seasonal weather.

Kéré’s work in Gando is well-known thanks to his ground-breaking use of local resources, substituting the heat retaining and control concentrated existing within the neighbourhood made mud bricks, attached with wide overhanging roofs designed to struggle the rainy season and let inactive airflow to cool the building. The initial achievement of the Gando Primary School has since long-drawn-out to a public library and secondary school, teacher’s housing and a community centre. Kéré has also worked on undertaking deforestation by by means of Eucalyptus wood for the buildings, a tree often established by replanting programs that is water hungry and unfitted to the local weather and replacing them with mango trees, which delivers both a source of fruit and shade to the local community. The source of food is mainly significant; the harsh environment and reliance on millet (pounded and boiled into foufou) mean that the food source is precarious – to some degree that also led Kéré to establish a school allotment, increasing the variety of the local food supply and education children valued techniques which will result in more sustainable farming practices.


Kéré’s work in Gando has stimulated other societies to embark on similar projects, while the attention it has transported has allowed Kéré to enlarge the scale of his projects, including a medical centre, Red Cross Museum and remarkably, a centre encouraging the use of earth architecture as a way of reducing deforestation. Also well-intentioned of comment is his work on the Opera Village, a scheme incorporating the beliefs of the Gando development with a focus on nation-wide identity.

Kunle Adeyemi, is an architect that I came across, someone that see chaos and problems, whereas, he see solution and potential, Kunle Adeyemi has quoted ‘ I am constantly inspired solution we discover in everyday life in the world’s developing cities’ for example Kunle wild thinking creating ideas on water, as he design a floating school, which later combine with a floating residential spaces, challenging the perception, that to modernise to westernise, Adeyemi innovative contribution to architecture on both the academic and built level are based on the assumption that problem can be solved using method developed by theses facing the problems something he deployed with aplomb with his series of floating building.

Mokena Makeka an architect that has been working in South Africa, who condemned to spend his early career fighting the perception that he was only there because of the Black Economic Empowerment policy, part of a new generation of south Africa architects, Makeka’s career has been built on dealing with the legacy of apartheid on a personal and professional level. Designing for those left behind by both the old and south Africa Makeka’s designs encourage participation from all, Mokena Makeka has quoted “How do you democratise a building that was not designed with democracy in mind?”

Mphethi Morojele, someone who made a name for himself in the field of Architecture, as he registered as one of the first black-owned architectural practices in South Africa, following the end of apartheid and has been a leading voice of the new, non-establishment practices ever since. Morojele is heavily involved in efforts to remake the face of the African city to serve the public and reflect social commentary. A strong cultural interest is also indicated in his designs, which are intended to reflect the way South Africa views itself in the post-apartheid era. Morejele, building the first South Africa embassies since the end of apartheid rule, Morojele is key in articulating an architectural vision of post-apartheid South African culture into an international context has been highly successful, as have his dignified reconstruction projects, Morojele has even quoted “Our focus in on the ability of design to respond to enhance the historical and emerging African condition”.

MASS Design Group, creating and environments that promote health and dignity. Throughout the construction process, we collaborate with the communities our building will serve, approaching every project as a chance to invest in their future. MASS’s philosophy is based on a model of iterative design that monitors the success of their building after construction. The success of this model spurred the development of a large number of the positive building across Africa. The MASS Design Group has quoted “What design and architecture don’t produce the positive social effect? And if it doesn’t should we be doing it at all”

Urko Sanchez one of many architects from the European region that is breaking in the African Architecture movement that giving on input in creating a diverse future in Africa, Sanchez has based himself on the Kenyan Island of Lamu, after falling in love with the area, and his work on the island has understood native Swahili culture and practices at the highest levels. Working with charity Anidan, Sanchez has built a built a series of building for children across East Africa. Furthermore, Urko Sanchez has described African Architecture by quoting “I believe building should be rooted in the place where they are built”

How could African Architecture be popping up next you?




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