Architect and Researcher with a Master's Degree in "Architecture and Urbanism" from the Architectural Association, London. Interested in housing, culture, semiotics, social boundaries of space, and the stories behind a city’s morphology. Based in London.
Rayon, an innovative online design tool that aims to create a new collaborative approach to developing "mundane buildings" within the city, has been selected as part of ArchDaily's 2023 Best New Practices. Founded in 2021 by Bastien Dolla and Stanislas Chaillou, it is a collaborative design software that brings together professionals in the architecture, engineering, and construction (AEC) industries. The software company believes that there is a “culture of the ordinary” in architecture. This culture represents an ecosystem of buildings that may seem unremarkable or aren't impressive landmarks in the city. However, these buildings and their construction professionals make up 90% of the urban fabric and contribute to the design culture that collectively gives identity to the city. The founders believe previous software generations have neglected this culture and propose Rayon as a novel tool to fill that gap by enhancing collaboration and user ergonomics.
Tropical Africa boasts vast forests that cover 3.6 million square kilometers of land in West, East, and Central Africa. These forests provide valuable timber resources that significantly impact sectors, such as the furniture, fuel, and paper industries. However, interestingly, timber is seemingly absent in the contemporary architecture of the countries in this region. While architectural taste plays a role, the main reasons for this absence can be attributed to the wood industries' inability to meet the requirements of availability, affordability, aesthetic appeal, durability, and climatic and structural performance of timber. The wood industry in tropical Africa is mainly composed of informal and small-scale operations, focused primarily on sawing logs rather than refining wood for architectural or structural purposes. Despite this, the large number of informal enterprises in the region presents an opportunity to reshape the wood industry and utilize the local forestry resources to construct timber buildings.
Protest has always been a powerful tool for creating change, and public spaces provide a platform for social engagement in societies. As part of the International Day of Democracy, we examine Africa, its series of emerging protests in the past year, and how citizens in various countries question political justice, demand better living standards from their government, and interrogate their nation’s sovereignty. With demonstrations ranging from organized large-scale marches to smaller spontaneous outbursts, residents of these countries have explored public spaces in symbolic and significant ways to amplify their voices. These spaces include public squares with cultural and historical meaning, sites of political buildings, or makeshift protest areas such as roads and open areas. Through this, African cities show how people make these spaces their own and how the power of their conglomeration cannot be ignored in unwrapping the democratic essence of public spaces.
Timber has been a popular source of construction material for thousands of years. Through sawing, milling, and other engineered wood conversion processes, various wood forms have been created and applied in products, furniture, and architecture. However, these processes can sometimes alter the basic lines of wood structure. The stems can be split, grain patterns changed, and some woods, such as oak and cedar, are easily reduced while others can become intractable. This led to the exploration of whole timber forms in ancient structures, such as log cabins, which layered timber in different cross-sections to form home profiles. Through design, the use of trunks or branches of trees in their entirety can accentuate their innate mechanical properties for structural sustainability. Although these practices are fairly absent in contemporary building techniques, new technological innovations expand the prospects of timber construction in architecture.
The concept of a city can be viewed as a constantly evolving system where both architects and users contribute to its design and redesign. While its framework may start with planners or designers, the character of the urban fabric is ultimately shaped by the societies and generations that inhabit it. The question of "city authorship" often arises in the context of masterplan design. Can architects and urban planners determine the extent to which a city will evolve through its initial design? The answer is no. User authorship then acknowledges that city planning should not be approached like building design, where designers attempt to predict every aspect of shape, pattern, behavior, and culture. Instead, it recognizes the role that people play in shaping the urban fabric through their personal taste in architecture, the development of neighborhood personality, and ongoing redesign that contributes to the story and spirit of a place. These factors should be considered in the initial design by engaging ideas related to future expansion, adaptable infrastructure, and empowering citizens to contribute to the city's architecture, thus making the city design democratic. This article explores conceptual radical cities where designers embrace the ideas of user authorship and the constant evolution of ephemeral architecture.
Our daily lives involve constant communication with the city. As we move through different spaces, we ask ourselves questions like "Where am I now?", "Where am I headed?", "What am I looking for?", "What is this building for?", and "How do I experience this space?" While spatial encounters may feel intuitive, environmental graphic design (EGD) provides the answers by serving as an important interface between us and the built environment. It involves the design of graphic elements that merge with architectural, landscape, urban, and interior designs to make spaces more informative, easier to navigate, and memorable. EDG comprises three major elements: text, shape, and color. Text and shapes typically encapsulate the graphic information, but color projects it, amplifies it, and helps communicate it within the packed scenes of the city. In spatial experiences, we perceive colors first, since our senses mostly register visual sensations. Therefore, the strategic use of color is critical for environmental graphics to provide a layered experience of identity imagery, sense of place, and emotional connection.
Art has always been a means for people to connect with space, and art movements have served as a platform for exploring new relationships with architecture. By incorporating art into buildings and interior spaces, they have been transformed, resulting in a fusion that creates beautiful, inspiring, and spiritually uplifting environments. Throughout history, various art movements, such as the Renaissance in the 17th century, Baroque in the 18th century, and Art Nouveau, Art Déco, and Bauhaus in the early 20th century, have had a significant impact on architecture. Architects drew inspiration from the ideals, concepts, stylistic approaches, and techniques of these movements, using them to create large-scale habitable structures. As the home is a fundamental expression of an architectural movement and the simplest canvas to exhibit the artistic ethos of any particular era, studying the interior spaces of houses provides a detailed picture of art's influence on spatial organization, furniture design, product patterns, and user interaction.
African societies' cultures are intrinsically linked to color. From fabrics to clothing, products, sculptures, and architecture, various societies explore rich and vibrant colors that are vivid, expressive, and joyful. Through different shades, hues, contrasts, motifs, and ornamentations, colors are embraced as an unspoken language, a palette for storytelling, and a sense of cultural identity. Although the use of color in African societies may seem decorative on the surface, it is extremely symbolic, with a deep sense of history behind it. Traditional African architecture is a prime example. Ethnic societies have endowed their homes with color through ornaments and motifs, expressed it with religious and cultural patterns, employed it on facades to tell familial stories, and created labyrinths of communal architecture that not only celebrate color but explore its ethnic meaning.
Graffiti, as an art form, has a complex relationship with gentrification. On one hand, it has engaged the streets and urban fabric as a canvas for people to express themselves culturally and socio-politically. This expression could be a form of rebellion by ethnic minorities and disadvantaged groups in certain neighborhoods, or it can build up a sense of cultural uniqueness and social expression, giving a neighborhood a positive character and attracting newcomers. However, over the years, the latter has been an agent of gentrification, spiking up property values to accommodate richer residents and alienating the native communities of those neighborhoods.
In certain instances, artists recognize their role in this urban scheme and tweak their art form through its style, message, location, and action as direct forms of protest to fight against gentrification. From Brixton, Shoreditch, and Hackney in London, Williamsburg and Bushwick in New York, to The Canal Saint-Denis and Belleville in Paris, the use of graffiti on the streetscapes of these neighborhoods can either protest or inspire different forms of development.
Willow Technologies is a material research and building technology practice that has been selected as part of ArchDaily's 2023 Best New Practices. Founded by Ghanaian-Filipino designer and architectural scientist Mae-Ling Lokko, it operates in the gap between research, development, and diffusion of bio-based building materials. Working with agro-waste and bio-based materials usually incurs technical questions regarding scalability, industrial production, standardization, fireproofing, and mechanical strength. Exploring this data is where Willow Technologies situates itself, but peculiarly through the lens of developing regions in West Africa. Through comprehensive works with coconuts, moringa, rice, and other indigenous crops, Lokko’s practice has been able to investigate and catalog the material character of various crops, their possible by-products, local transformation techniques, and the prospect and challenges of scalability as building materials.
In Lagos, a city with a complex urban fabric that includes historical buildings and vast interpretations of contemporary architecture, lies PatrickWaheed Design Consulting (PWDC). This design practice, Co-led by Adeyemo Shokunbi, aims to contribute to a Nigerian architectural language through the renaissance of local materials. Through explorations anchored in local laterite, they have developed the material as a modern finishing technique, investigated its potential as a natural dye, discovered new ways to employ its thermal properties, and now build the research prospect of other local materials. I had the opportunity to speak with Architect Shokunbi, who discussed the initial inspirations and investigations during the construction of two building projects (Mad House & Abijo Mosque) in Lagos. These projects brought the Laterite finishing technique to life and now help build the case for a Nigerian architectural language.
There are moments when architects take the design process beyond their practice and engage with potential users as design participants. This expands the design framework and makes the input of future users key to project development. By seeking the knowledge, skills, and decision-making of a communal collective, the project becomes more tailored to their needs, better designed to fit within their local context, and a platform to exchange techniques and vernacular skills. It also creates a general sense of belonging in communities and gives users the authority to claim the environment around them.
Participatory design is a process that can be applied to all scales of architecture, from houses and offices to public spaces and urban interventions. By examining various projects through the lens of communal collaboration with architects, we gain a deeper understanding of the value this design process holds. It breaks down the participatory theoretical principles of collaboration, co-creation, and empowerment into actionable examples and pragmatic events. These projects exemplify users' contributions to the design process, whether through spatial and urban planning or material and local construction techniques.
India recently overtook its sub-continental neighbor, China, to become the most populous country in the world with a demography of over 1.4286 billion people. As data from the United Nations also estimates an annual population growth rate of 0.7%, the country’s built environment is set to interact with a new discourse of demography and present its own perspective on how to build for billions. It is set to engage with new challenges of infrastructure, transportation, and adequate housing, which on the surface will force cities to constantly expand as a response to these dynamic needs. However, a critical look at the population distribution within the country reveals that the majority of Indians still live in rural areas as it caters to 65% of the population despite increasing rural-urban migration. This suggests a nudge in a different direction. One where the design and development of the rural areas take precedence over the cities. One that explores architecture in rural areas, its relationship with the cities, and its future as a primary framework to house the exploding population.
As one takes a visual tour through the city, one might spot structures that break the rhythm of finished architectural products. These are buildings encased in grids of metal or wooden sections, sometimes wrapped in colored nets, that communicate a moment of construction, repair, renovation, or demolition. They are called scaffolding systems, temporary structures built in the city to aid in the erection or maintenance of buildings. However, they have evolved to speak their own architectural language. As city-making is a continuous process, scaffolds serve as beacons, proposing silhouettes of the height, shape, or forms of new buildings. They step into the sidewalks, acting as shade or obstructions to the flow of human and vehicular traffic. In contrast to the permanence of architecture, they exhibit a sense of temporality that helps communicate time, the growth of neighborhoods, and the evolution of a city.
In the south of Burkina Faso, sharing borders with the northern environs of Ghana is Tiébélé; a small village exhibiting fractal patterns of circular and rectangular buildings, housing one of the oldest ethnic groups in West Africa; the Kassena tribe. With vernacular houses dating back to the 15th century, the village’s buildings strike a distinctive character through its symbol-laden painted walls. It is an architecture of wall decoration where the community uses their building envelope as a canvas for geometric shapes and symbols of local folklore, expressing the culture’s history and unique heritage. This architecture is the product of a unique form of communal collaboration, where all men and women in the community are tasked with contributing to the construction and finishing of any new house. This practice serves as a transmission point for Kassena culture across generations.
Land reclamation from the sea has become a popular phenomenon in coastal development. It is the most preferred solution to the need for land in coastal areas and has been implemented for various use cases, including flood control and agriculture. Nowadays, it has become a famous urban response to the rapid increase in coastal urbanization, economic activity, and global population. Countries like China and the Netherlands lead the chart on the amount of land area reclaimed. However, most reclamation projects today take place within urban centers in the global south. Cities in West Africa, East Asia, and the Middle East produce these new lands as economic forerunners for their commercial industry and as platforms to house luxury residences.
But the relationship between the design and production of reclaimed lands and the response of water in ocean environments is complex. It requires a symbiotic relationship with water bodies for stability but can provoke natural forces when negligently imposed on the sea. Ocean water behaviors, including tidal accumulation, sea level rise, connection to wetlands, and aquatic biodiversity, can question the success or failure of land reclamation projects in different contexts.
As you make your way through the symphony of wooden colonnades, leafy screen walls, and unfurled roofing, towards the converging veins of flooring and ceiling ribs leading to the light, it feels like a space that was always meant to be there. Part of the park, the pavilion complements the nature around it, reflecting its patterns, and illuminates a main interior feature: a concentric set of tables and stools that inspire people to sit at the moment, hold conversations, and connect with each other. This narrative tells the tale of this year's Serpentine Pavilion, designed by French-Lebanese architect Lina Ghotmeh.
Titled, À table, It draws inspiration from the designer’s connection with nature growing up and is reminiscent of the French call to sit together at a table, share a meal and enter a dialogue. It foregrounds the table as a laboratory of ideas, concerns, joys, connections, and essentially brings people together. It further reflects on the architectural ideals that can provoke and welcome moments of collective conversations.
Fractals are complex geometric shapes with fractional dimensional properties. They have emerged as swirling patterns within the frontiers of mathematics, information technology, and computer graphics. Over the last 30 years, these patterns have also become important modeling tools in other fields, including biology, geology, and other natural sciences. However, fractals have existed far beyond the birth of computers, and have been observed by anthropologists in indigenous African societies. One of which is Ron Eglash; an American scientist who presents the evidence of fractals in the architecture, art, textile sculpture, and religion of indigenous African societies. In his book, “African Fractals: Modern Computing and indigenous design”, the fractals in African societies are not simply accidental or intuitive but are design themes that evolve from cultural practices and societal structures.
