14.11.2024 AMOO-MOCA African Creative Economy Summit London summary.pdf
September 18 English small - issuu
1. ArchiAfrikaM A G A Z I N EVol. 3 AUGUST 2013
BRILLAMMENT LUMINEUX
KOFFI &
ARCHITECTS
DIABATE
AP2013
ALL ROADS
LEAD TO
LAGOS
2. table of CONTENTS
EDITORIAL
By Tuuli Saarela, Editor of ArchiAfrika Magazine
...REGENERATION WITH
CONSERVATION AND PRESERVATION
OR BUST...!!!!
- ‘Frequent driving’ miles through Sekondi, Ghana
By Joe Osae-Addo, Chairman of ArchiAfrika Foundation
THE ARCHITECT AS EDUCATOR AND
ACTIVIST
- Interview with Issa Diabate
A CHANGING ACCRA
- Residents discuss urban challenges and future in
architecture-inspired forum. By Victoria Okoye
THE CREATIVE INDUSTRIES IN GHANA
- A new agenda
By Gilbert Nii-Okai Addy
WECYCLES TAKES ON LAGOS
- Video series highlights recycling program in Lagos
By This Is Africa
THE NEED FOR A NEW URBAN FORM
IN MAURITIUS
- Rethinking planning in the world’s 6th most
densely populated country
By Zaheer Allam & Dr. Zarrin Allam
LETTER FROM AN ENGINEER
- Nigeria through the eyes of an Belgian engineer
By Hugo Monteyne
8
16
38
48
64
6
82
70
3. THE URBAN EXPERIENCE IN ABIDJAN
- Thoughts on urbanization by Issa Diabate
THESIS: THE NEXT GENERATION
FIRST GRADUATES EVER
- The Kigali Institute of Science and Technology
(KIST) in Rwanda. By Tomà Berlanda, ph.d.
VOLTASCAPES: RETHINKING
MODERNITY
- A Master’s Thesis on a redevelopment proposal for
Danyigba
By Immanuel Sirron-Kakpor
THE UNSTUDIO
- Interview with Ben van Berkel
AFRICAN PERSPECTIVES
CONFERENCE
- Thoughts from Francis Kere and David Adjaye
96
98
110
122
142
92
4. 4
Renowned technical universities lead
the independent juries in five regions of
the world. They evaluate projects at an
advanced stage of design against the
“target issues” for sustainable construction
and allocate additional prizes for visionary
ideas of young professionals and students.
Find out more about the competitions at
www.holcimawards.org
The Holcim Awards is an initiative of the
Swiss based Holcim Foundation for Sustain-
able Construction. It is supported by Holcim
and its Group companies and affiliates in
around 70 countries. Holcim Ltd is one of
the world’s leading suppliers of cement
and aggregates.
4th International Holcim Awards for
sustainable construction projects.
Prize money totals USD 2 million.
“The Holcim Awards is a
universal idea: everyone with
good concepts has a chance of
winning. The competition is
independent and open to all.”
Francis Kéré, Principal, Kéré Architecture, Burkina Faso/Germany. Winner of
the Global Holcim Awards Gold 2012.
5. 5
advanced stage of design against the
“target issues” for sustainable construction
and allocate additional prizes for visionary
ideas of young professionals and students.
Find out more about the competitions at
www.holcimawards.org
The Holcim Awards is an initiative of the
Swiss based Holcim Foundation for Sustain-
able Construction. It is supported by Holcim
and its Group companies and affiliates in
around 70 countries. Holcim Ltd is one of
the world’s leading suppliers of cement
and aggregates.
USD 2 million.
6. 6
EDITORIAL
This is the third issue of ArchiAfrika
Magazine. In this issue we travel
from Abidjan to Accra and Lagos,
while also hearing from Mauritius and
Rwanda. We listen to architects, planners
and engineers on their thoughts about
urbanization in Africa. We explore the
architect’s activist role in creating a
sustainable heritage and identity for the
continent.
Chairman Joe Addo,writes about the power of
heritage and culture and need for integration of
tradition with modernity in Sekondi, Ghana.
Inourfeaturethismonth,weinterviewaleading
architect from Ivory Coast, Issa Diabate of
Koffi & Diabate Architects. He calls for
redefining the role of the architect to become
an activist and to effectively communicate
the architect’s point of view in responding to
development challenges in his city of Abidjan.
Koffi & Diabate Architects are truly one of the
continent’s shining stars.
Ms. Victoria Okoye reports from the
Adventurers in the Diaspora series on how
a changing Accra is viewed by planners,
architects and photographers. All agree that
the city’s sense of individuality brings vibrancy,
economic opportunity and culture but this
individuality may also disconnect it from its
true identity and heritage. How can we resolve
this tension?
This month, we feature WeCyclers, a recycling
firm responding to the urban waste crisis in
Lagos with an sms based incentive program.
The organization, This Is Africa, has created
short videos of success stories in Lagos to
highlight solutions to urban waste and other
challenges.
Zaheer Allam and Dr Zarrin Allam call for a
new urban form in Mauritius, which is the 6th
most densely populated country in the world,
7. 7
by promoting decentralization and reducing
energy consumption.
Hugo Montenye, a Belgian engineer, writes
an open letter to describe the principles of
sustainable building design strategies and the
trias energetica as a clarion call for architects
in Nigeria.
We look at the challenges of urbanization in
Abidjan through the eyes of Issa Diabate, who
strives to make the architect’s voice heard when
local authorities are responding to issues of
traffic and the city.
In the last section of the magazine, we provide
a chance for the next generation of architects
to broadcast their ideas. In this issue, we hear
from Toma Berlanda of the Kigali Institute
of Science and Technology in Rwanda, which
graduated its first class of architects and rethink
modernity through a master’s thesis by
Immanuel Sirron-Kakpor.
We interview Ben van Berkel, one of the
foremost Dutch architects. He gives some
insight about urban development in Africa
and about architectural practice with the
UNStudio.
We would love to hear your feedback on our
magazine and are always ready to receive new
contributions and photos from across Africa,so
please get in touch with us with your comments
and questions.
Don’t forget to register for the African
Perspectives Conference in Lagos from
December 12-15, 2013. All Roads Lead to
Lagos!
Regards,
Tuuli Saarela
9. 9
Joe Osae Addo
Chairman, ArchiAfrika
chairman’s corner
... REGENERATION WITH
CONSERVATION AND
PRESERVATION OR
BUST...!!!!
10. 10
2013 has been the year on many
levels. My 16-year-old Kwabena
completed his O levels; Kwaku, 9, is
a natural leader and computer geek;
and 3 year old Juhani has morphed
into an i-pad phenom. Now, my
challenge is to imbue in them the
power of heritage and culture.
This year, I have spent most of my
time working outside of Accra, in
Elmina, where culture and heritage
are as part of daily life as is fishing
and tourism. This coastal enclave
boasts Elmina Castle, attracting bus
loads of foreign tourists in search of
identity and a need to understand the
trans-Atlantic slave trade. Coconut
Grove Hotel (where I live) is paradise
on earth and living proof
that nature and culture really do
matter. Colonial Ghana was birthed
here and in Cape Coast, and spread
from here across our country.
Contemporary Ghanaians are an
amalgam of the indigenous and an
overlay of the colonial with post-
independence values and heritage.
This unique confluence of identity
and culture translates into our built
environment, and is best captured
in towns such as Sekondi. I drive
through Sekondi quite often and
have become a fan. As a child I
remember the great stories of sailors
and their exploits in this port city and
the beautiful women that enriched
that experience.
Sekondi Seafront
11. 11
Sekondi is a well master planned city,
whichembracestheoceanwithwaterfront
mixed-use merchant class homes with
retail on ground level and residences
above. As with most port towns, its
soul died with that of the adventurous
sailor. However the seductive women
still remain, an embodiment of the great
beauty of its people and culture
Driving through last week, my activist
instincts kicked in and I wondered why this
humane and well-planned town, of pedestrian
friendly sidewalks and well-scaled buildings of
handsome pedigree, had literally been left to
decay. “Something has to be done,” I thought.
Luckily,my Rolodex has an impressive directory
of power players in Ghana and Sekondi is no
exception… I called up one such ‘big man’ and
expressed with indignation,what I had just seen
driving through his neighborhood.
I have known this rather fine gentleman
since my student days in London and I
was shocked by his response. “Joe,’ he
says, ‘I am tired.’ What? ‘These political
leaders have lost the plot in relation
to urban development... ‘I know that,’
I thought, ‘so why should that affect
the need to restore these very special
buildings?’
The Joe of 5 years ago would have argued
his point for the need for collective civic
action. But suddenly I felt tired too, and
switched topics to show my respect for
him and not agitate him any further.
12. 12
My drive back to Elmina was a very somber
one, reflecting my own weaknesses as I try
to balance practice and livelihood with my
passion and activism that I express through
ArchiAfrika, AiD, Holcim Foundation and
other platforms.Thankfully my distress turned
out to be short lived as I was wakened from
my lull by Uncle Nat’s phone call. I cherish
his calls, as they are ones of shared ideas and
passion. I narrated to him my depressing
phone conversation a few minutes earlier and
he forcefully concluded:
‘No! Something must be done,
Joe. I have lived through this
decay and we cannot give up!!!
After all AiD is discussing
heritage issues this year, and
the Sekondi story must be
highlighted as well.’
Now this is the kind of tonic I needed to get me
going for the day.Kwabena,Kwaku and Juhani
must understand that contemporary Africa
reflects the duality of both the indigenous
overlaid with external influences, creating a
unique hybrid character,on all levels.Sekondi,
and other African towns, must rediscover
themselves by recognizing their rich heritage
and regenerate themselves from within. This
can only made possible if residents appreciate
what they have. Modernity must certainly not
be about erasure but a careful recalibration
of heritage and development to create a
better and economically viable sense of place.
This month my refrain is ‘preservation and
conservation or bust!!!!!!’
Regards,
Joe Osae Addo
Chairman, ArchiAfrika Foundation
18. 18 Image Courtesy of Issa Diabate
‘I think that architects
should be responsible
for educating people
on how to build, how
to organize buildings,
how to think about
issues that are now
not being taken into
account.’
19. 19
We are hearing a lot about Africa being in
a state of economic growth and we want
to know what the situation is like here in
Ivory Coast. How do you see the space
of African design developing along with
the economics, and is design keeping
pace with the rate of growth?
Issa:I think it is a great for Africa to be in a state
of growth. In truth, we are quite enthusiastic
about the future but also at the same time we
are quite worried. When we travel to many
African cities, we see a lot of development
going on but we see few developments that
take care of all the issues that architects usually
take into account. For example, we see a lot of
newer buildings with all this reflecting glass on
the facade and around 10, 12, 15 to 20 floors,
and the question that comes to mind is: was
that really designed for this environment? So
I think that architects should be responsible
for educating people on how to build, how to
organize buildings, how to think about issues
that are now not being taken into account. But
22. 22
Green Wall at Koffi & Diabaté Ato answer your question I think there has been
significant growth in architecture as well.
In Accra, we seem to see a lot of foreign
funding streams for big projects and few locally
generated ones, is that also the case here?
Issa: To an extent, yes, but I think this is the
case all over Africa. Funders come in with their
architects and their buildings (which may be
designed for other types of environments),
and simply place them into our cities. The
driver behind foreign design is that you will
supposedly save on the cost of the design and
the imported materials.But what we need to be
careful about is how long those buildings will
be viable.The first question that comes to mind
is how much energy goes into it. We have to
think about how much energy we actually want
to consume and we need to understand that
the African climate is actually very convenient
for sustainability. It can be achieved easily.
Sustainability has to do with the way we place
the east and west facades in relation to the sun,
23. 23
Architects’ Officeventilation, and all the conditions of the local
environment that we need to take into account
if we don’t want our buildings to become
obsolete fifteen years down the line. In Africa,
we are quite lucky to be in this kind of climate,
because we have very little to achieve in terms
of reaching sustainable building performance.
You started to define sustainability in
terms of the African environment. Can
you attempt to define sustainability in
African terms?
Issa: I like to think of sustainability as what you
get and what you transmit: I mean you get a
benefit from living in certain environments and
the environment can also benefit. In order to
be sustainable you have to make sure that you
transmit a benefit to the next generation…that
you will be better than you are today. To me,
that’s what sustainability means. And then you
can apply that to so many environments: the
social environment, economic environment,
architecture. If you always ask yourself
questions: What am I doing? Am I taking
away? Am I improving? That is how I frame
sustainability. This method applies also on the
way you plan spaces. For example, I often have
clients who will like to have a big house and
when you when you talk to them you realize
that it is more a question of image, than usage.
So is that a sustainable house? (laughter)
So how do you convince them to become
sustainable?
25. 25
‘In order to be
sustainable you have
to make sure that you
transmit a benefit to
the next generation…
that you will be better
than you are today.’
Issa: You have educate them. Sometimes what
you realize is that the client may be building
their house for their numerous children. What
people don’t realize is that the house they
build is their house, not just accommodation
for their children. Once they understand that
principle, the client sees the house differently.
Some of my clients get home at as late as 9pm,
so they barely have any time to spend in the
house. The house they build should match the
real needs of the person and move away from
the image of the house in their head. You must
think of it in different terms: how to give the
house a flexibility, how you use the house at
certain times of the day, how you will use the
house in 40 years, 50 years and 60 years. So
these are some of the issues to think about.
Also there is a need to think of usage in terms
of the city. We realized that it is the people
themselves that know what they need in terms
of city planning and that the people in charge
of the government may not be the best people
to define their needs. You will find that a lot
of African cities have intensified even before
we have started talking about intensification…
however, we need to step back and consider
everybody and how they fit in around a plot of
land in inventive ways.If the building process is
done collectively,we can establish bigger spaces
for greenery and vegetation. In the end, we will
be better off.
Who is directing the development of our
cities, the architect or the government?
Issa: The architect simply has the responsibility
for that. Our first responsibility is to
communicate what we do and why we do what
we do and why it is so important to listen to
what we have to say. Ultimately, the architect is
responsible and it is our job to influence people.
If you think about it, this is what we usually
do: listen to people and think of solutions
that will influence them. Our responsibility is
to think about the big picture and about how
things integrate. How do we satisfy the needs
27. 27
‘Our responsibility is to think about the big
picture and about how things integrate. How do
we satisfy the needs of the population and at the
same time satisfy the needs of government?’
29. 29
‘We need to start talking
about ways of making
our lifestyle sustainable,
we need to start
sharing our vision of
sustainability. We need to
change people’s minds.’
of the population and at the same time satisfy
the needs of government? Most of the time
we have two visions that are not going in the
same direction but when you start to dig a little
bit deeper, you find out that these visions don’t
have to be going in opposite directions.
The final result should be a city that works well,
functions well and in which everybody is happy.
Ultimately that is what should happen. But
sometimes when people in government decide
to do something, to build the next building,
they also need to build goodwill and need
someone to advise them. They need someone
to tell them that “maybe this is not the best way
to do it” or “maybe if you did it this way the
building might be even better.”
There is definitely an interplay between
government and the architect and there
is a need for a architects to communicate
what they do.Can you tell us whether you
see any young talented architects coming
up in Ivory Coast who are ready to play
this role? Is architecture a profession that
many people want to get into?
Issa: If you had asked me this question five,
six years ago, I would have said no. When I
registered at the association of architects in
Ivory Coast, the last person to register had
done so 10 years before me. So for a long time
architecture was not a profession that people
were interested in.
30. 30
People wanted more to go into business. I have
to say that in the last five to six years there’s
been an influx of young people wanting to
intern at my office, a lot more through the
registry of architects, to the point that last
year I was able to form a small group of young
architects. We started raising questions and
talk about slums and other social problems that
we can influence.Our group simply talks about
things that architects like to talk about. Like
the problems with slums…
I think the term now is informal
housing...?
Issa: Yes, informal housing (laughter) to be
correct. And it has actually been a real pleasure
for me to see that there are more and more
people considering architecture. And more
and more people have a genuine interest in
architecture.Our small group talks about it and
we get people to document it. We were able to
do a first presentation at a conference on
32. 32
informal housing last year and we were able to
present to an international group of architects.
We formed a group of about 20 people from
different countries in Africa for the December
conference. After the conference, we have to
be able to share our findings with other African
countries, and in fact, recently we were in
Sudan and Cameroun to share the conclusions
of our work. In a way it feels strange that we
have this dual way of moving forward: on one
hand, we tie a business with a profession, but
on the other hand we have to tie to the world
of academics to educate and talk about subjects
that are concerned about. So yes I’m quite
happy to see that these days more and more
architects are coming.
We even had competition last week for a
phone company (orange) that sought a design
for the next regional headquarters and only
young architects were allowed to participate
(between 25-35). We had about 16 very good
entries from which we could see that there was
definitely a strong will to succeed within these
young architects.
There is no architectural program in Ivory
Coast, and it seems that a lot of young
architects are learning the profession
in places like India, Lome, Europe and
the US, and they’re also bringing ideas
and influences from those places. But
you have described something like the
Abidjan flare. Can you talk more about
these influences?
Issa: All of those sixteen projects have similar
ways to deal with sun breaking. They’re using
vocabulary like onduline roofs. That type of
thing… ventilated facades, ventilated roof
sand… it’s interesting to see this and it makes
you quite curious about where it came from.
Its also funny because at the same time you
see that at certain moments in your career you
have also used the same terms and you can
also see the power of example.. Sometimes
you create something in one way and you’ll
33. 33
“I like to think of
sustainability as what
you get and what you
transmit... you get a
benefit from living in
certain environments
and the environment
can also benefit.
34. 34
see it in a completely different direction done
by somebody else. Perhaps it is even more
interesting than you could have done. That is
quite pleasant to see that people are worried
about addressing the issues with climate.
At least it’s a concern. I’m not saying that
what they do is there yet but at least they’re
concerned with the way you use glass, screens,
overhangs, and the next step after that will
move them even farther away from the stylized
facades towards a simpler city with intelligent
solutions. But at least the concern is there and
that point is motivating. about addressing the
issues with climate.
At least it’s a concern. I’m not saying that
what they do is there yet but at least they’re
concerned with the way you use glass, screens,
overhangs, and the next step after that will
move them even farther away from the stylized
facades towards a simpler city with intelligent
solutions. But at least the concern is there and
that point is motivating.
I want to talk about the architect as an
activist. What is your view of current
politics on the continent and the reforms
like the Arab Spring and developments
in West Africa and what does this mean
to the continent?
Issa: Well that’s a loaded question (laughter)
and it is still very early for me to have a clear idea
about what this all means. You know what we
went through in Cote d’Ivoire in the last fifteen
years. When you step back and look at things
you can see that interesting things have been
happening during this difficult period: we see
a change in the way we think about ourselves,
our minds and thinking have been affected in
many ways. Perhaps some of these changes are
negative, but there is a silver lining. We have
spent a lot of time reflecting, wondering what
we did wrong, how it went wrong and how we
can fix it. And if you’re an architect, we have
reflected a lot on how we can fix problems with
Architecture.
36. 36
So how can you fix it with architecture?
Issa: Well, I think we have a lot to say. Many
people still think of architects as people who
draw nice things. But by the time we get to
building, we have done a lot of thinking and
I think we need to share that with more and
more people.I think the profession is too closed
off. When people with social background
think of architecture, they will think about the
building and the style, but will also think about
the environment in which it is placed. I mean
we architects need to describe our profession,
become more vocal about how our cities are
planned. The political choices, political vision
for our cities, we need to put our voice into
that.We also need to be able to show examples,
I believe in the power of examples. If you do
something to show when you talk to the people
they easily understand the necessity of your
proposal.In a way,I think we need to take power
(laughter).We’ve been very timid and laid back
and too often it’s given a cloudy image of the
architects. It is time to become more vocal, we
need to show people that we definitely have
a say. We need to start talking about ways of
making our lifestyle sustainable, we need to
start sharing our vision of sustainability. We
need to change people’s minds. For example,
when we talk about natural ventilation in our
houses, people start to think about a rural
setting, which is absolutely untrue! So it’s our
responsibility as architects to show that there
can be genuine and modern alternatives [with
natural ventilation] and that we all don’t have
to follow the same trend of air conditioning.
How has Abidjan changed in over 15
years?
Issa: Well, there’s been a lot of degradation. I
mean Abidjan stopped developing in the mid-
80s. From the mid-80s until today we have not
37. 37
really taken care of what we had.The city now is
doing renovations and we have come to realize
that it takes a lot of effort to return even just
to what we had 20 years ago. It takes a lot of
energy and at the same time we have to think
ahead and plan ahead. We are in a very funny
position for the reasons we have talked about.
Architects think we should be more involved
when government talks about the city or is
proposing urban policy. Don’t get me wrong,
we’ve made a lot of noise for about six or seven
years, so slowly they are starting to talk and
listen to us. At the same time we also realized
that we have a voice. So at least now there is
dialogue, at least we talk. But there are still too
many rules. The government doesn’t always
stick to what we want but at least we get to
talk to them about some of the issues.The main
problem with all of this is that people have
been functioning in a certain way for a long
time and are not willing to change their habits.
It takes time for you to start putting things in
order. But I am quite optimistic. We have to
keep the pressure on so that we will finally be
able to reach a certain level.Ultimately,we have
seen how this city has evolved and we have a
contribution to make on its future.
see further: www.koffi-diabate.com
38. 38
residents discuss urban
challenges and future
in architecture-inspired forum
By Victoria Okoye
Urban Planner and Blogger
www.africanurbanism.net
A CHANGING
ACCRA
39. 39
“When I look at Accra, I see a city that has an
identity crisis,” said photographer and blogger
Nana Kofi Acquah. “If you look at the city,
there’s nothing that tells you where we were,
where we’ve been, where we are, and where
we’re going.”
Indeed, even in the past few years
alone, Accra as a city has morphed
and changed, with so many forces
at work – government, large and
small-scale private development,
ad hoc housing development.
“In the last so many years, the city [of Accra]
has changed tremendously,” echoed Nat Nuno
Amarteifio. These statements were part of
a larger conversation, a panel discussion of
the city’s changing urban landscape, where
more than 100 residents of Accra – long-
time residents, visitors, students, expats and
returned diaspora – came to add their voice
to the discussion. The event, organized by
Adventurers in the Diaspora, included built
environmentprofessionalsfromarchitectureand
planning, all of whom had grown up in Accra:
“When I look at Accra, I see a city that has an
identity crisis,” said photographer and blogger
Nana Kofi Acquah.“If you look at the city, there’s
nothing that tells you where we were, where we’ve
been, where we are, and where we’re going.”
42. 42
Osei Agyeman, an architect and former
president of Ghana Institute of Architects,
Ralph Mills-Tettey, professor and architect,
author of Visions of Accra in the 21st Century,
Osei Ankam, urban planner, Nana Kofi
Acquah, photographer and blogger, and Nat
Nuno Amarteifo,architect and former mayor of
Accra, who served as moderator for the panel
and Q&A session that followed. In
Accra, certain neighborhoods are growing,
changing, evolving, and the result is a “new
face” for the city. But these changes come with
their own challenges, and in the urban space,
these changes must work within specific limits.
Thewell-knownchallengeinAccraisthe
challenge of working with – or around
– the city’s outdated planning controls
and policies: “Overhauling governance
in Accra to make it more congruent with
the rate of change with where the city is
going is something that nobody even
dares think about,” Amarteifio said.
The result is that the city is developing, but
for the vast majority of space, and for the past
decade, it’s happening on “autopilot,”to borrow
the word that Osei Agyeman used to describe
the city’s lack of planning - individuals,
households, families and residents are creating
their own environments, with little guidance or
input from the local government.
But at the center of the city’s development is
tension: “There’s a lot of conflict in terms of
how people perceive how the city must happen,”
Agyeman said.“Everybody wants a piece of the
city to make sure that their wellbeing is catered
for…Therefore, the man who sells sugarcane in
a wheelbarrow along the road believes he has
every right as the one who passes by in his car,as
well as an estate developer. In as much as there
is no harmony or direction in terms of what we
want from the city, there’s always going to be
some amount of conflict.”
This individuality brings vibrancy,
economic opportunity and culture
to the city, but it’s also a downfall for
the city’s lack of planning direction:
This go-it-alone mentality, in terms of
how people act and interact, leads to a
series of “disconnects” – a modern-day,
local example of Accra’s tragedy of the
commons.
Opening spread: Old image from Accra, from the National Archives
UK Previous spread Photo by Nana Kofi Acquah
Right: Images from the July AiD event, ‘A Changing Accra’
44. 4444
Photo by Nana Kofi Acquah
“The result is that the city is developing, but for the
vast majority of space, and for the past decade, it’s
happeningon“autopilot,”toborrowthewordthatOsei
Agyeman used to describe the city’s lack of planning
- individuals, households, families and residents are
creating their own environments, with little guidance
or input from the local government.”
46. 46
Ideas on how to changeAccra
Indigenous culture/space: There’s an extreme
spatial conflict between existing indigenous
communities(Ga)inthecityandongoing(often
upscale) urban renovation (gentrification?) and
development: While Accra began as a series of
Ga fishing settlements, today the ethnic group
makes up just about 15 percent of the city. The
majority culture of the city, Amarteifio said, is
now Akan culture.
Pedestrians: The need for pedestrian urban
master plans that integrate transport transfers
between modes and sidewalk infrastructure to
make the city more walkable;
Greenbuilding: Developing locally, context-
specific interior design. “All I see is concrete,
concrete everywhere,” Nana Kofi Acquah said.
“And for me, it tells of a constipation of the
mind…There’s no creativity. We have all these
beautiful elements that is not tapped. You enter
a building in a tropical country,and the building
is totally sealed up in concrete and you have all
these air cons working and we’re complaining
that there isn’t enough electricity?”
Cultural tourism: Why not create Accra and
Ghana as a boxing capital of the world, one
panelist proposed. Every two years, bringing
the boxing world to Accra to celebrate the sport
and bring local economic development and
tourism boons. With the strong funeral culture
in Ghana, creating festivities and cultural
activities around “death” like Day of the Dead
in Latin American countries.
47. 47
Urban revitalization: Revitalizing the city’s
infrastructure can drive the city’s development:
urban transport, moving from reliance on taxis
and trotros to more large-scale options, as well
as the sewer system, improved water supply and
power.Additionally,redesigningurbantransport
stops (trotro stops) to avoid increases in traffic
congestion, and developing rail transport as a
means of alleviating traffic congestion
Broadening the role of design professionals:
Urban practitioners need to expand into new
roles — the thinker, the researcher, the artist;
expand beyond this discipline to imagine new
ways to see and understand the city. The city
needs technicians and pragmatists as well as
artists, to create and implement innovative
solutions.
Private sector participation: As with many
trends throughout African cities, the private
sector is playing a larger and larger role, in
the context of developing satellite cities and
housing estates, new roads and sewer systems.
But how do cities like Accra manage the
transition from private sector development to
public sector maintenance? “There’s a lot of
urban development that’s happening in the
private sector,”said,referencing housing estates,
transportation, etc. Yet, he said, “I’m yet to hear
anybody have a good discussion,a good study on
how private infrastructure comes about, how’s
it financed, and how it’s going to be maintained
for the future,” he said.
Left: Old Post Office Accra, image from the National Archives UK
Right: View of Accra, photo by Nana Kofi Acquah
48. 48
Photo by Josephine Cross
By Gilbert Nii-Okai Addy
THE
CREATIVE
INDUSTRIES IN
GHANA a new agenda
49. 49
A New Agenda
for Arts, Culture,
Heritage and the
Creative Industries
The world in which we live today as
represented by the global economy,
science and technology, the arts and
culture - has changed dramatically
in the last decade or two and will be
changing even more dramatically
in the coming years. The masters of
today’s global economy are no longer
those who own the physical forms
of wealth and value most people are
familiar with or readily think of such
as land , buildings and other physical
assets. They are in fact People who
are able to harness and develop the
elements of intangible wealth and
capital such as ideas, knowledge and
expertise to add and create new value.
Ghana and much of Africa , after so many
years -even decades, of economic stagnation
- is now making making progress in terms of
in economic growth development although
there are still many challenges. The bringing
together of the country’s , skills, knowledge
base, and creative ingenuity is vital and this
will form the basis for economic development,
competitiveness and the quality of life for all
countries and societies in the coming years.
Ghana is a creative country. You can feel it
everywhere - it in our music, film, fashion
and architecture. Creativity is at the heart of
Ghanaian culture – a defining feature of our
national identity.
Creativity is in fact a key to all forms of
development and progress - economic ,
technological social - for any country or society.
As such public and private investment in the
50. 50
arts , heritage , creative and cultural industries
contributes immensely to the generation of
the cultural capital that provides the creative
industries the knowledge, inspiration , and
business and economic opportunities.
The creative industries embrace a wide
spectrum of modern economic endeavours
such as design, fashion, advertising, computer
games, music, film and television.
The broadly current consensus on the definition
of the creative industries sector the following
activities: Advertising, Architecture, Arts and
Antique Markets, Crafts, Design, Designer
Fashion, Film, Interactive Leisure Software,
Music,Television and Radio, Performing Arts,
Publishing and Software. This list includes
the resolutely analogue (arts, crafts, antiques,
architecture), established commercial business
sectors (TV, radio, film) as well as all-digital
new economy sectors (software, interactive
leisure software).
Although there are clearly discernible
continuities between “cultural” and
“creative” industries, the emerging,
or even emerged, international
consensus is that the difference can
be described as an extension or even
shift from the concept of publicly
funded or subsidised “arts”or “cultural
initiatives” and broadcast media to
more modern modern and knowledge
intensive applications of creativity.
The Creative
Economy in Ghana
– Opportunities and
Challenges
In the transition to knowledge-based
economies, the creative or cultural industries
have emerged as the most rapidly growing
sector. This trend is closely connected to the
51. 5151
“ “The creative industries are
not yet officially recognised or
defined as a sector in Ghana
in either national economic
policy or for the purposes of
statistical data collection and
analysis. This lack of data and
information has so far been a
hindrance to effective policy-
making.
Right: Photo of Gilbert Nii-Okai Addy, author
53. 53
phenomenon of urban development and a
modern lifestyle dependent upon knowledge
products. Creative industries are, together with
information and communication technologies
(ICT) and biotechnology, part of the new
knowledge economies. The strengthening of
creative industries in Ghana requires integrated
cross-cutting policy support and tailored
programme implementation.
CreativeindustriesinGhana
From discussions with Creative Industries
( CI ) businesses and personalities within
Ghana, it appears that the key issues facing CI
entrepreneurs in Ghana can be summarised as:
• Location factors – in particular access to
affordable premises for the smaller CI SMEs
• Networking – the importance of informal
and formal networks, national, regional and
international, personal and virtual
• Use of business support, business advice,
specific business skills, liaison with
organisations and professionals for this
purpose
• Training needs (business, marketing, ICT,
professional, administration), educational and
training background
• Use of ICT, e-commerce, professional
software (graphics, administrative systems),
training needs
Statistics and evidence-based policy
making
The creative industries are not yet officially
recognised or defined as a sector in Ghana
in either national economic policy or for the
purposes of statistical data collection and
analysis. This lack of data and information has
so far been a hindrance to effective policy-
54. 54
making. To address this issue there needs to
be concerted policies and programmes aimed
at capacity building at the national level which
will yield the following;
1. Improved data collection filling the existing
gaps between creative/cultural industries,
policy-making, and statistical data collection;
2. Increased awareness and evidence-based
policy development related to realising the
potential of the creative industries sector
The Creative Economy and
Industrial Policy in Ghana
The creative economy has a characteristically
cross-cutting and multidimensional in nature.
As such the appropriate policy mix, in the
broadest sense,naturally and logically embraces
other areas of economic and social policy. In
particular, the CE becomes a key element of
industrial policy through which strategies for
industrialdevelopmentcanharnessthepotential
55. 55
economic and technological dynamism of
the CIs to generate and promote growth in
economic output, exports and employment.
An industrial policy framework in which
creativity and innovation are regarded as
important drivers of growth is an appropriate
and logical response to the recent trends and
structural change within the global economy
where the CIs have been and are a major driver
of growth, technological and economic change
and development.
Creative Industries Policy
Directions
The key creative economy policy directions
requiring attention are most to be in the areas
of:
1. Infrastructure
2. Finance and Investment
3. Institutional Mechanisms for Cross-
cutting Policy
4. Development of export markets
5. Protection of Intellectual Property Rights (
56. 56
IPRs)
6. Facilitation and Establishment of Creative
Clusters
7. Institution of Effective Data Collection
Systems and Processes
Cross-cutting Sectoral Linkages
Conceptually the term “creative economy “ is
multidimensional with linkages to different
sectors in the overall economy. As such
appropriate and effective policy-making in
relation to the creative economy can not be
restricted to a single government ministry or
department but is likely to embrace a number
of different policy fields such as:
• Business enterprise and economic
development
• Urban planning
• International trade
• Labour and industrial relations
• Domestic and foreign investment
• Information and communications
technology ( ICT)
• Art and culture
• Tourism
• Social welfare
• Education
Long Term Support for the
Creative industries in Ghana
The key challenge in terms of appropriate
policy and programme support for the creative
economy in Ghana , is how to put in place a
plan of action and effective mechanisms to
articulate tailor-made policies to stimulate
creativity and improve the competitiveness of
Ghanaian creative goods and services in both
the domestic and global markets.
Government Support Creative
Industries
Many creative businesses are under pressure
from increased international competition, and
58. 58
Gilbert Addy (the author, to the right) playing with Agya Koo nimo, one of the greatest exponents of Ghanain cultu
59. 59
ure
the vast majority of these are unable to respond
effectively because they are very small. Even
kente weaving, that quintessential Ghanaian
cultural activity and product, is under intense
foreign competition. At the same time, a
core of these firms does have the potential to
grow quickly. Stronger growth in these firms
will enhance the productivity of the creative
industries and ensure their sustainability.
The Creative Industries capture the realities
of recent technological and economic
developments such as the globalisation, digital
technologies, technological and organisational
innovations that enable new relationships with
customers.
Typically, creative industries are less
national and more global and their
organisational model is typically the
micro-firm or SME that often has to
deal with large established distribution
or circulation organisations. Although
60. 60
there are many creative enterprises
within the arts and media, creativity and
creativeeconomicinputsareincreasingly
very important throughout the services
sector . The economy of Ghana has
very recently become a predominantly “
service” one as the ever-growing service
sector has now become the largest single
sector in the economy.
Emerging global technological and economic
trends – clearly visible in contemporary Ghana
– which frame the contemporary arts and
culture in the context of national cohesion,
audience development, access and community
involvement, as well as professionalization are
in fact very suitable to the concept and language
of a service industry model. A forward-looking
positioning and prioritisation of the creative
industries as an instrument for economic
development ,job and wealth creation in Ghana
could usefully exploit its growing convergence
with the service industries model. Rather like
62. 62
other more recognisably service industries
- telecommunications , health, education,
financial services – the creative industries
entail higher value added inputs such as digital
content and other applications along the value
chain. Herein lies their importance in the
increasingly knowledge-based economy where
issues of copyright and intellectual property
ownership are of central importance
The arts, cultural and creative industry
sectors are increasingly functioning
, and indeed are being seen, as part of
a broader collection of cultural and
economicactivitiesandactorsoperating
in value chains across content-rich
serviceindustriessuchaseducationand
learning, publishing, design, mobile
telecommunications and commerce.
One of the possible ways forward could be
the framing of new policies regarding the
arts, culture and creative industries around
a small business development agenda which
has potentially as much to do with the digital
economy ( increasingly including music, film,
publishing , ICT or the information economy
as it has with culture and the arts.
The policy and programme support mix could
include the facilitation of creative content
enterprises’ access to various industry support
schemes such as business incubation, business
skills development, investment incentives,
digital rights management, R & D (research
and development) tax concessions,tax holidays,
addressing VAT impacts on small business.
They could also include clustering strategies
and support measures to develop them.
Business skills, creativity,
technology, competitiveness,
economic transformation
63. 63
As can hopefully be seen a credible case
can be made for nurturing a virtuous
circle between improved business skills
in creative businesses, the emergence
of more high growth potential creative
businesses, the flow of attractive
propositions to private investors, and
so the increased interest of private
investors in the creative industries.
This virtuous circle should primarily form
around dedicated business development
services for high growth potential creative
businesses, so that: such services can recruit a
pool of high-quality management personnel,
develop stronger networks that generate further
commercial contacts and opportunities for
these businesses, and where appropriate, invest
in the growth of these businesses themselves
to the wider benefit of the Ghanaian economy.
About the author
Gilbert Nii-Okai Addy manages a globetrotting
work and lifestyle portfolio as (1) an International
Economist and Management Consultant; (2) a Critic,
Writer and Historian of the Arts,Culture and Creative
Industries and (3) a Classical Guitarist.Follow him on
Twitter at : https://twitter.com/gnaddy
64. 64
wecycleRs
a recycling revolution in Lagos
Urban Waste Crisis
Lagos, Nigeria faces a sobering waste
crisis that will only worsen as the city’s
populationof18millionpeoplecontinues
to soar. The overburdened municipal
government collects only 40% of city
garbage and a mere 13% of recyclable
materials are salvaged from landfills.
People living in slum conditions without
formal waste collection are subject to
increased flooding, disease spread, and
psychological stress that results from
unmanaged trash heaps. Concurrently,
recycling firms in Lagos face a supply
constraint - they cannot access and
adequate supply of quality materials
to process. One large recycling firm is
operating its factor 50 to 60% below
capacity.
By This is Africa
65. 65
THEWECYCLERSSOLUTION
The Wecyclers model solves the urban waste
challenge for households and recyclers. It
uses a fleet of low-cost cargo bicycles to offer
convenient household recycling service in
densely populated low-income neighborhoods.
The company motivates families to recycle
plastic bottles, plastic sachets, and aluminum
cans through our SMS-based incentive
program. For every kilogram of material
that families recycle, they receive redeemable
Wecyclers points over their cell phones in
return. Families can then redeem their points
for goods that they value, such as cell phone
minutes, basic food items, and household
goods. Families receive collection reminders
and rewards updates directly on their mobile
phones making the benefits of recycling
immediate. After collection, Wecyclers
aggregates the material at the household level
to sell to local recycling processors. Wecyclers
provides a consistent supply of well-sorted,
high quality recyclable material to processors
alleviating their supply constraints. (www.
wecyclers.com)
66. 66
‘Wecyclers gives low-income
communities in developing
countries a chance to capture
value from waste and clean up their
neighborhoods through incentive-
based recycling.’
68. 68
“The floods would not only damage
our homes, but also causeTyphoid,
Malaria, coughs. But now that we
have been collecting the plastics,
it’s not like that anymore.”
69. 69
“Our homes would flood when
the gutters would be flooded,
because of all the platic bags
littered inside.There is no way
for the water to drain.”
71. 717171
A NEED FOR
A NEw
URBAN
FORM IN
MAURITIUS
rethinking planning in the
world’s 6th most densely
populated country
By Zaheer Allam & Dr. Zarrin Allam
72. 72
Mauritius is an island of promise and of
prosperity, an island symbolising dreams of
brighter tomorrows.But it is also an island that
isfastdrowningundertheburdenofwhimsical
economical faux-pas and infrastructural
short-sightedness. Figures garnered by our
bureau of statistics reveal that Mauritius
harbours 2040 sq km of land and an existing
population of 1,233,000. This equates to 604
inhabitants per sq km, thus projecting our
small island echelons upwards the population
density ladder. We are indeed now the 6th
most densely populated country worldwide.
This concept is staggering, especially if we
reflect back on our populace a century ago. In
1911, Mauritius recorded a total of 374,000
inhabitants.These figures show that our small
island has witnessed a massive demographic
explosion of 330% over the last century alone.
If spatially contextualised, one can clearly
notice that the fundamental location of our
cities favours an intrinsic connective system.
Once pockets of civilisation are created,
the need to establish a route of connection
and exchange between them is essential.
Hence, our highway is very much the spine
of our country’s transportation and urban
planning. Most of our cities are located
adjacent to the linear axis it represents and
when our population mirrored that of a low
density area, this system worked perfectly
within a sociological, political, cultural and
environmental perspective.
However, in parallel to the demographic
explosion, our cities mirrored the same
exponential expansion. People adopted
the tendency to move further from the city
boundaries,spilling over into rural land,hence
stretching the city limits further. This trend
promoted a change in land adaptation and
usage outside the core of urban life resulting
in a relatively disparate form of residential
development and thus causing a loss of
open space, farmland and wildlife resource.
This sparsely monitored development was
encouraged all to promote a certain standard
of living and to inculcate a sense of ‘closeness’
to the inhabitants, hence catering to their
sociological needs.
This ‘Urban sprawl’ happened at
an unbelievably fast rate and to an
overwhelming extent, such that now all
our cities are nearly connected and form
a consecutive strip of urban settlement
along our highway. The impact on
density is such that 40% of our total
73. 73
“ “This concept of centralisation is
further enhanced by the addition
of a “Cyber city” as an office hub
for the country. It can be debated
as being the most ill-founded
planning strategy, especially
from a long term perspective.
Skyscrapers are unsustainable as
highdensityurbanismcreatesmore
problems than it solves, among
whichisthemassiverelianceupon
neighbouring resources.
77. 77
population is now occupying 8% of our
land; namely that of our cities. This
equates to 3022 inhabitants per km sq,a
numberthatastoundinglydemonstrates
thatourcitiesaredenserthanindividual
international metropolitans such as San
Francisco, Dublin, Milan, Dubai and
Kuala Lumpur.
In the above paragraphs, we referred to
a population’s ‘sense of closeness’. In this
context, it defines the acceptable driving
distance by an individual that is not considered
too cumbersome.
Within the concept of ‘urban sprawl’, cars are
a necessity and their usage is promoted. It is
however important to point out that while
the city walls are expanding, so should the
road pattern in order to accommodate more
vehicles. However, our roads and planning
models have illogically remained in their
original form and size. In addition, most of
the amenities have remainedin the areas of
their original location, usually the core of the
city; a fact which forces more people into a
limited space.
A phenomenon called the Urban Heat Island
effect can be witnessed in high density urban
states.This involves the capture of heat in the
form of sunlight by hard surfaces.This in turns
has a thermal effect on the air above those
solid surfaces, thus resulting in a considerably
hotter environment than in low density areas.
This increases the need and reliance on air
conditioning which represents an increase in
electrical energy expenditure. Hence we are
experiencing a gradual metamorphosis that is
turning a once humane city into a machine
that operates solely on the basis of mechanical
logistics at the expense of the population’s
needs.
78. 78
This concept of centralisation is
further enhanced by the addition of
a “Cyber city” as an office hub for the
country. It can be debated as being the
most ill-founded planning strategy,
especially from a long term perspective.
Skyscrapers are unsustainable as
high density urbanism creates more
problems than it solves,among which is
themassiverelianceuponneighbouring
resources. This developmental model
also short-sightedly depends on an
interrupted supply of vehicular fuel
as most of the employees rely on
commuting from all over the country to
one single destination.
Ebène Cyber city mirrors, on a nationwide
scale, the same centralization process
that has taken hold of our cities, hence
contributing to fuel consumption & traffic
congestion. This in turn is taking a massive
toll on our economy. According to the Road
Development Authority, traffic congestions
are costing us a staggering 2 billion rupees
annually. The Energy Observation Reports,
on the other hand, reveals that half of our
national energy consumption is linked to
the transportation industry. We are however
paying for this flawed urban planning model
not only with our pockets but also with
our well-being. Currently, there are about
422,000 cars registered in the country and of
those, 41,500 were involved in an accident.
This averages 1 accident for every 10 vehicles.
Promoting more cars on our streets in this
already dire situation is certainly no solution
to the problem.
Furthermore, this automobile
dependence alter our urban geometrics
insuchawaythatcarsareaccommodated
as a priority over pedestrians.These are
certainly the wrong pre-requisites for
a healthy lifestyle, but also generates
a subtle discrimination towards those
who cannot drive;the young,the elderly
and those whose income preclude the
use of a car. A sustainable city must be
designed for pedestrians first.
World-renowned Urbanist, Nikos Salingaros,
believes that reliance on those wrong codes
will eventually result in our roads being the
primary determinants of the geometry of
urban settlements. When the government
79. 79
invests in the installation of roads to connect
two towns, it invariably will give rise to a
spate of construction across the length of this
road, hence linking those buildings from that
particular road but remote from anything else.
It should be pointed out that human civilisation
does not confine to such limits. People connect
to their place of work, leisure and worship and
as such prefer to fulfil all the latter requirements
at the expense of remote convenience.
In accordance, a new ordered urban form
is strongly needed. One that promotes the
connection of human beings to their activities.
As for its structure; instead of centralised city,
we need a living & productive model. One
of which could be that of a geometrically
living cellular pattern where each cells having
their own cores, much like a living organism. A
setting of this sort,adapted to our local planning
code, would have numerous advantages;
1. It would help promotea decentralized
system.
2. Vehicular transportation would be
discouraged and basic activities that
connects a human to his habitat, such as
walking, would be on the increase.
3.The panorama would be more pleasing
as our roads would be populated with
less cars. This would in turn decrease
the need for numerous parking
lots and hence encourage the green
expansion of land. This would also
directly impact on the pollution levels.
4. A drop in stress levels and increase in
productivity rate.
5. Economically more viable as it would
reduce our energy consumption through
vehicular fuel cut back and decreased
electricity consumption through reduced
heat island effect.
While this proposal may be perceived as
unconventional by conservative norms, analysis
ofdevelopmentaltrendsprovethatcitiesenlaced
in a centralisation ideology are in danger.
Instead of designing to consume, we need to
design to produce in such ways that it creates
harmonization with nature and its inhabitants.
Thus, we need to view urbanism as a precept
that can drive our economic value at every
opportunity. Dated and archaic analogy of
planning as a purely mechanical process need
to be deconstructed and zoning and urban
80. 80
codes have to be completely revised since new
developmental models would be rendered
prematurely ineffective by adhering to the
present code. An approach towards urbanism
in an engaged and ethical manner is necessary
as it will define us, as humans, just as it will
define the long-term prospects of our nation.
Acknowledgement
We are greatly thankful to Prof. Nikos Salingaros for
allowing us to peruse his book “Unified Architectural
Theory: Form, Language, Complexity” before its
publication.
About the authors
Zaheer Allam is an independent scholar with a
background in Green Architecture & Project
Management. His field of interest lies in relation
to Sustainable & Utilitarian Urbanism, Ecological
Architecture and Culture.
Dr. Zarrin Allam is an ex-laureate and a medical
practitioner. Holder of numerous awards, her passion
expands to literary works and exploring avenues
for environmental & cultural conservation and
regeneration.
Photos by Ashvind Maudhoo, Emambux Sheik
Siddiq and Mohammad Salman Toorawa.
82. 82
Nigeria through the eyes of
an Belgian engineer
LETTER FROM
AN ENGINEER
By Hugo Monteyne
83. 83
Photo by Frank Bennett
Dear architect,
Dear reader,
When my wife, a most lovely Nigerian, first
took me to Nigeria, I was really surprised to
see the contemporary architecture style. I saw
a specific style that was new to me with pillars,
square windows, tinted glass, pitched roofs, an
attic that only was used as a construction space
for the roof, construction out of concrete blocks
and, high fences with barbed wire. Surprisingly
the same style occurred in the hot and dry north
as well as in the hot and humid south. Even the
very large houses of people who can afford it
did not demonstrate climatic responsive design.
I am a Belgian. Yes, the country synonymous
with the second hand cars all over the country.
In Belgium we have a policy (imposed by
the EU) to build energy efficiently and
each year the regulations become more
severe. The target is that in 2020 all new
buildings will be ‘near zero energy buildings.’.
That means that all energy to heat and
ventilate the building must be produced on the
building site. The Belgian building sector will
84. 84
succeed because the knowledge is available, the
education system will train the craftsmen
and the architects are aware that they have
an extra design challenge: to control energy
consumption. Bit by bit new technologies
are been implemented and researched. It is a
beautiful mission for architects and engineers
to design real sustainable buildings.
It is not because a house has a solar panel
or mud bricks or trees that the project is
deemed sustainable or a ‘green’ development.
Sustainability is nowadays a very trendy word
and alas it is often used to approve a personal
interest. The definition that I like is the one
mentioned in the Brundtland report of 1987:
“Sustainable development is development
that meets the needs of the present without
compromising the ability of future generations
to meet their own needs.” The three pillars
of sustainability are social, economic and
environment. My translation of that definition
to the building sector is a mission:
- Design and build to meet the social and
cultural needs of the citizens
- Design buildings that are cost-effective and
create an economic life around it
-Designbuildingsthatrespectourenvironment
“without compromising the ability of future
generations to meet their own needs”
These slogans are easy to chant but the
implementation is slightly more challenging.
The buildings that work in Belgium cannot
be copied in Nigeria because we do not have
the same culture and we do not have the same
climate.African sustainable building design has
to grow out of the continent itself. Architects
have to design buildings that reflect the social
and cultural life of the builder and integrate
the building in the environment where it is
constructed to harmonise life and environment.
The economic and environmental part of
sustainable design is teamwork, especially
87. 87
between the architect and the engineer. The
time has past when an architect finishes his
piece of art and passes it on to the engineer to
create a comfortable environment using a huge
air conditioner. To reach sustainable design in
all aspects of sustainability a team of architect
and engineer must exist from the start of the
preliminary design. Too many decisions have
to be made during the preliminary design that
impact the end result. A good thumb rule to
start with is the “Trias Energetica,”it is a simple
and logical concept that can be used during
the whole design phase. First of all: reduce
the demand for energy by avoiding waste and
implementing energy saving measurements.
Energy that is not consumed must not be
produced. That means in hot climates, the
cooling load for buildings must be reduced by
the design as much as possible. Heat that does
not enter the building must not be evacuated.
Energy that is not used by appliances must not
be evacuated. As one example, the windows of
a building are a crucial element; large windows
increase daylight comfort but can capture a lot
of solar radiation,small windows or dark glazing
increase the energy consumption of artificial
light. It is up to the architect and the engineer
to find the right balance.
When thermal comfort can be provided by
cross-ventilation, why should we use an air
conditioner to create comfort during those
hours? A good design can increase cross-
ventilation enormously.Which level of comfort
do we want or which comfort is affordable for
the client? The design of a cross-ventilated
house is completely different to the design of an
air-conditioned house. A sustainable design of
a house in the southern hemisphere is different
to one for the north.Analysis of the climate data
and even the local micro climate is necessary to
start each design.
The second rule of the Trias Energetica:
userenewableenergyasmuchaspossible.
88. 8888
‘Sustainable design
is not an end point.
It is the start of a
complementary
circle, which will
bring prosperity to
the country.’
Photo by Claudio Napoli
89. 89
Africa is blessed with a lot of solar, why
is it not used more? Not even by those
who can afford it? Solar and wind are
known renewable energy but what about
the polluted exhaust air of a building
can be used to dry the humid supply air
from outdoors. Many technologies are
available.
The third rule as conclusion: produce energy
and use fossil energy as efficiently as possible.
Sustainable design reduces the cooling loads,
which creates an opportunity to apply more
energy efficient cooling technologies. Most of
the very energy efficient cooling technologies
have a limit in cooling capacity which makes
it impossible to use them if the cooling load is
too high.The technology is available and can be
cost effective to reduce the energy consumption
of a building by as much as 90%.The technology
is available to increase comfort in affordable
houses with no or small cost implication. One
of my Nigerian brothers said that people in
Nigeria do not and cannot build that way. I
admit that there is a long way to go but success
is for those who try.“Our greatest weakness lies
in giving up. The most certain way to succeed
is always to try one more time” – Thomas A.
Edison.
Belgianhousestodayaredifferenttothose
of 100 years ago and within 10 years they
will be different from today’s. The world
is changing, knowledge is increasing day
by day. We have to use our resources and
research, we understand things are going
to be better.
The Nigerian building sector will change. I am
convinced that the change has started already.
Look at designs by architect Francis Kéré, to
mention one. I like his designs. I would like
to do a call to all Nigerians who want to start
a building project: implement a sustainable
building design, so that the next generation
inherits comfortable energy efficient and
90. 90
sustainable houses. If each one does what is
affordable to him, this will create a booming
building market in Nigeria. The budgets of the
high end houses are massive,and I am convinced
there must be a budget for sustainable houses
too.
Sustainable design is not an end point. It is the
start of a complementary circle,which will bring
prosperity to the country. New materials are
needed which will create new employment, the
back log of power production can be captured
in a shorter period which will bring access to
energy to more people, comfort in the houses
will increase which will improve health, and
other untold benefits.
In all likelihood, Nigeria will not be building
in the “near zero energy buildings” zone by
2020 as Belgium. But I believe that in ten years,
Nigeria could be transitioning to implementing
new and emerging building technologies in
all building types. From small to large, low to
high, affordable to expensive, right across the
board. Architects and engineers have to put
their minds together to develop a new Nigerian
building strategy,with its own social and cultural
identity, specifically developed for the varied
climate zones and building styles in Nigeria.
I am writing this letter on the day of a new age
for Belgium, the first day of our new king Filip
I, and I am inspired to write about change. I
hope to meet you in Lagos during ‘African
Perspectives: The Lagos Dialogues’ where I
will present a case study from Warri where the
teamwork of an architect and engineer reduced
the energy consumption by 90%.
About the author
Master of Science “Future Building Solutions in
different climate zones”. Director Passive Office
Nigeria Ltd. – consultancy sustainable building design.
Cooperator University Ghent – Belgium, University
Danube Krems – Austria and University Zaria - Nigeria
93. 93
ENCE
DJAN
banization
sa Diabate
‘In the past two years we’ve seen a new level with
traffic - its very intense- to the point that now traffic
is actually reshaping the whole configuration of the
city.To give you an example, we are now in Cocody
(a residential neighborhood) and I live in central
Abidjan, which can be considered as downtown.
It’s a lot easier for me to come to work because I
drive against traffic.It takes me six minutes whereas
people who come from the other direction would
probably spend half an hour to forty-five minutes.
People spend a long time in traffic. Abidjan is really
a good example of the traffic phenomenon and the
reason for this is that for the past 15 to 20 years, the
city has grown in one single direction.
Sixty to seventy percent of the residential
developments are all being built in one direction of
the city. The result is that you get one directional
movements in the morning and evening when
people are trying to get to and from their homes.
Remember also that all the people fighting in traffic
all live in neighborhoods where each has their own
house. This is hard on utilities as more people are
moving outside of the city. It’s expensive to extend
quality water and Internet there. To deal with
the traffic, we have to start to think of our cities
by planning some important elements: the type
of housing, the configuration of the city. Next we
should think about whether we just want to have
one city with small towns around it or should we
have many different cities that are next to each other
so you don’t need to drive 20km just to visit a bank.’
- Issa Diabate
94. 94
‘We have been experiencing most of our
residential neighborhoods changing to
commercial neighborhoods. You can see
houses turning into three story buildings
where you have shops at the bottom and
apartments or offices spaces upstairs.This just
happened spontaneously as you said and it
made sense also in terms of land occupation,
land cost, and zoning of commercial activity
which is not too far from a residential zone.
Now traditionally residential neighborhoods
are evolving with new commercial buildings.
However, if you go behind the new buildings,
you will still see the original houses. All
these things we see happening in our cities
is defining how we are developing and the
role of architects is to go with that flow, but
organize and direct it properly.
Our role is to communicate a vision to the
public agencies.In the world of politics,people
only seem to have enough time to consider
these issues when the need arises.So it’s going
to be hard to reconcile the architect’s long-
term vision and a political vision for change.
But we have to make the architect’s voice
heard when we are building the next tower or
fancy building in town, when we are looking
at issues of traffic, when there are issues
regarding the city at play.’ - Issa Diabate
95. 9595
‘We have to make the
architect’s voice heard when
we are building the next
tower or fancy building in
town, when we are looking
at issues of traffic, when
there are issues regarding
the city at play’ - Diabate
96. 969696
THESIS
ArchiAfrika promotes the emergence of the next generation of
design professionals, who approach challenges of the African
built environment by taking into consideration our culture,
environment and heritage. This section of the magazine is
dedicated to young professionals with good ideas
98. 98
the Kigali Institute of Science
and Technology in Rwanda
FIRST
GRADUATES
EVER
By Tomà Berlanda, PhD
99. 99
A School of Architecture
In order for a school of architecture to really
call itself as such, it needs to produce architects.
The Department of Architecture at the Kigali
Institute of Science and Technology (KIST)
celebrated this important event on May 2nd
and 3rd earlier this year. A two day final review
of 19 Thesis projects marked the end of the
first ever full cycle of five years undergraduate
students in architecture completing their studies
in Rwanda. The actual graduation ceremony
will take place later this fall,but from a teaching
perspective the effort is now complete.
Started in January 2009, Kigali’s program has
brought together many different perspectives
to discuss and elaborate what a new school
of architecture, the first ever in the country,
should teach. This has called for reflections
on what would be the balance between
100. 100
imported architectural education methods
and local solutions, building upon ideas and
experiences, which around 20 staff members
from 4 different continents brought to the
table over the years.
All the curricular debate and experimentation
culminated in a final year project, a thesis,
established as the means to test both the
competence of graduates, and their ability
to develop a contention with architectural
relevance, manifested and investigated
through architectural design research.
The Department engaged in drafting a Thesis
Policy in the spring of 2012.The work was led
by myself asThesis Coordinator,together with
dr. Ilaria Boniburini, Research coordinator
and Garret Gantner, Head of Department at
the time. The proposed structure envisioned
the creation of Thesis studios in which the
students (24 for the first class) would be
grouped according to their own specific
proposal in a determined number of broad
topics. The year long process, very much a
project in and of its own,was supported by the
presence of a Thesis Committee, comprised
of 4 other faculty members, Nerea Amorós
Elorduy, Kefa Angwenyi, Wambete Soita and
Michelle Stadelman, in order to open up the
discussion on the work through a series of
periodical group reviews.Thus students could
appreciate different insights and develop their
critical thinking and questioning skills which
are essential to operate as architects.
In order to keep the description of the
topics relatively loose, Culture, Society and
Environment, were the proposals for the first
Thesis year. The themes were then detailed
within each studio as a result of each instructor’
specific area of expertise. Hence Boniburini’s
studio became an effort to discuss the topics of
“Building Communities,” whereas Gantner’s
approach focused on “Environmental Metrics
of Design.”
What is presented here is a selection of
the projects developed in the studio I
led on “Architectural Topographies”, an
interpretation of the cultural role landscape
plays in Rwanda.
Cultural Role of
Landscapes in Rwanda
The specific topic of the studio lay within
the cultural and spatial implications of
an architectural design and its site, with
particular reference to the interaction between
landscape and memory. Ultimately, across a
theoretical framework and exploration along
different geographical and cultural areas, each
individual student project addressed where
and how the link between built object and its
site can be established.
103. 103
Using the notion of “topography”quite literally,
that is “writing a place,” each student was led
to recognise, analyse, investigate and choose
among many possible solutions to prove his
or her ability to deliver a final project resulting
from a logical concatenation of elements.
Richard Mpizi reinterprets the traditional
“urugo” settlement model through a project
which carefully examines the relationship
between living habits and agriculture.The result
of a design research on traditional and existing
houses of Rwandans, aimed at reinterpreting
how they respect the beauty of the “thousand
hills” landscape faced with the challenge of
population growth, it provides an alternative to
imported suburban settlement patterns.
This is done through the design of a new
residential development for a rural hillside
area in Kigali, where dwelling units comprise
of the house for the family, shelter for livestock
and spaces for agricultural crops. An ecological
system integrated within the slope and the
buildings, foresees a symbiotic relation between
architecture and ground.
Amelie Ntigulirwa’s “Architecture for healing”
explores the phenomenological approach to
design. The thesis investigates how emotions
are intrinsically connected to the atmospheric
perception of space. The scheme is dedicated
to widows and orphans of the 1994 Genocide,
a specific group of individuals which were
left with traumatic fears and sufferings. The
project aims at providing them with a healing
environment through the creation of a sequence
of meditation spaces built out of local materials.
using different colours based on their effect on
human beings.
The choice of the site, located in a calm area
at the top of the Rebero mountain overlooking
the Bugesera landscape,where the buildings are
carefully placed in relation to the views and the
slope, is part of the healing process.
‘The ontological importance of the
ground, both physically, and also in
terms of “grounding” thoughts on
solid foundations, will hopefully be
a strong tool for empowering the
first graduating class to begin their
professional career.’
104. 104104
“““ ““
In order for a school of architecture
to really call itself as such, it needs to
produce architects.The Department
of Architecture at the Kigali Institute
of Science and Technology (KIST)
celebrated this important event
on May 2nd and 3rd earlier this
year. A two day final review of 19
Thesis projects marked the end
of the first ever full cycle of five
years undergraduate students in
architecture completing their studies
in Rwanda.The actual graduation
ceremony will take place later this
fall, but from a teaching perspective
the effort is now complete.
107. 107
Solange Muhirwa’s project reconceives Rutare
royal cemetery as means to investigate how,
throughout history, Rwandan culture used to
celebrate the burial of dead kings. In recent
times this cemetery, where 9 royal tombs are
located,has been neglected and little evidence is
to be found indicating its historical significance
or pointing out the traces of its past. For this
reason the design does not limit itself to a series
of funerary monuments,but places them within
a spiritual landscape, a connection linking the
stations of a journey where the visitor can move
along.
It is conceived to reflect, through architectural
interventions,theRwandancultureofmourning
the death of a king, but also, more widely, the
intrinsic relation between memory and site.
The topic of memory is present also in Jacques
Murama’s scheme for a Genocide memorial,
prized with the Best Student Award.The scope
of the project is to demonstrate the ability of
physical elements such as a wall, roof or floor,
and materials, to define and conserve traces and
places of memories. Through the design of a
memorial to remember the victims thrown into
the Nyabarongo river in 1994, the exploration
seeks to expand the notion of architectural
elements beyond their normal structural uses
and aesthetic values.It brings people to the river
through a sequence of rooms which are marked
with the reinterpreted traces of history of this
site. Ultimately it attempts to show the role of
architecture as a discipline capable of writing
the history of a place through its landscape and
topography.
Across the different, and somehow disparate,
topics, the common thread is an inquiry over
the cultural significance of transformations
of the built environment which deal with the
landscape. All dealt with and investigated
topics which have general theoretical relevance,
and still managed to develop proposals which
are strongly tied to Rwanda’s landscape.
108. 108
The ontological importance of the ground, both
physically, and also in terms of “grounding”
thoughts on solid foundations, will hopefully be
a strong tool for empowering the first graduating
class to begin their professional career.
About the author
Tomà Berlanda,architect and ph.d.,was a Senior Lecturer
in the Department of Architecture at KIST between
January 2011 and May 2013. He is the co-founder of
ASA studio, based in Kigali.
www.activesocialarchitecture.com
110. 110
a master’s thesis on redevelopment
proposal for Danyigba
By Immanuel Sirron-Kakpor
www.voltascapes.wordpress.com
VOLTASCAPES:
RETHINKING
MODERNITY
111. 111
Danyigba, a Volta Region New
Town in Ghana
IntheyearsshortlyaftertheIndependence
of Ghana (1957) modernism was made
instrumental to prepare the country for
a promising future. To remain able to
deal with growing energy consumption,
a huge power dam reservoir was realized
by making use of a catchment area of
the Volta River. Many villages in the
area around the original river needed
to be relocated to make this possible.
An international team of planners and
architects developed the blueprints for
this major operation. A large percentage
of these plans have been executed,
although not always to the original ideas.
At the moment, approximately 50 years
after the commencement of the Volta
River Project, one can conclude, that the
foreseen development hasn’t reached the
area or its inhabitants.
The redevelopment needs of Danyigba
bring to the surface the successes and the
shortfalls of the original ‘top down’plans.
Re-thinking modernity aims to develop
a bottom strategic approach at several
scale levels form Danyigba, one of the
cities of the resettlement programme.
This bottom up strategy may lead to a
meaningful perspective from the local
community.
ForDanyigbaanditsdirectenvironment,
a master plan was designed and an urban
axis is developed, spanning between
a community centre and a training
institute. Either buildings, or rather
clusters of buildings, were further
elaborated to project the envisaged
strategy. Additionally attention was
given to the housing along the axis, to
also illustrate how the strategy can be
implemented here.
112. 112
TAMALE
KUMASI
KOFORIDUA
ACCRA
Rivers before the Dam Lake Vol
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REGIONAL PLANNING
Voltaian basin
TROPIC OF CANCER
EQUATOR
PRIME MERIDIAN
114. 114
The Building: Headmaster’s Ho
Concept
The plans implemented by the Volta River
Authority(VRA)fortheresettlementshavefailed,
because they neglected the existing culture while
modernity ideologies were imposed upon the
community. Strict division between functions, a
formal and rigid educational system,strict control
on building that prescribed building materials
and types of houses; all of these were ingredients
of a forceful development plan that was missing a
link with the people it was developed for.
The redevelopment plan of Danyigba aims to
repair these failures by implementing a model
that goes beyond building, and defining a
new role for the architect. Danyigba now has
a split nature between the ‘pre-resettlement’
host village and the resettlement quarters, has a
hampered relation with the Volta Lake, unused
school buildings, sleepy housing quarters and
agricultural land placed far away from the
116. 116
The Assignment Strategy
Social economics
KEYWOORDS
Environment
Building matters
Landscape, Sun
and Wind
Generic building
method = Reinvent
traditional building
methods with local
materials
Attractive social
economic , living
and learning
environments
Garment
making
Tailoring and
Fashion Design
Automotive
engineering
Auto-mechanic,
Auto-welding and other
allied auto-engineering
services
Building
Construction
Masonry, Carpentry,
Aluminium and Metal
fabrication, Electricals
Health
Nursery and
Pharmacy
Cosmetology
Hairdressers and
Beauticians
Aqua &
Agriculture
Plant Nursery
Fish Breeding
& Nursery
departments under one
roof/one gate compus
network of departments
Garment making
Cosmetology
Health
Automotive engineering
Building Construction
Tailoring and Fashion Design
Aqua & Agriculture
Auto-mechanic, Auto-welding and other allied
auto-engineering services
Adult education
Masonry, Carpentry, Aluminium and
Metal fabrication, Electricals
Nursery and Pharmacy
Hairdressers and Beauticians
Fish Breeding & Nursery,
Plant Nursery
Basic Numeracy, Literacy Training, Library, ICT
Adult
education
Basic Numeracy,
Literacy Training,
Library, ICT
EDUCATIONAL
PROGRAMME
THEMATIC
PROGRAMME
collective
public
private
+ +
117. 117
Dynamic landscapes of education
Village as network of education
facilities
Garment
making
Tailoring and
Fashion Design
Automotive
engineering
Auto-mechanic,
Auto-welding and other
allied auto-engineering
services
Building
Construction
Masonry, Carpentry,
Aluminium and Metal
fabrication, Electricals
Health
Nursery and
Pharmacy
Cosmetology
Hairdressers and
Beauticians
Aqua &
Agriculture
Plant Nursery
Fish Breeding
& Nursery
Adult
education
Basic Numeracy,
Literacy Training,
Library, ICT
Dynamic landscapes of education
Village as network of educational facilities
=
Garment
making
Tailoring and
Fashion Design
Automotive
engineering
Auto-mechanic,
Auto-welding and other
allied auto-engineering
services
Building
Construction
Masonry, Carpentry,
Aluminium and Metal
fabrication, Electricals
Health
Nursery and
Pharmacy
Cosmetology
Hairdressers and
Beauticians
Aqua &
Agriculture
Plant Nursery
Fish Breeding
& Nursery
Adult
education
Basic Numeracy,
Literacy Training,
Library, ICT
Dynamic landscapes of education
Village as network of educational facilities
=
118. 118
village. The redevelopment plan restructures
the existing and weaves in new elements and
impulses that ultimately may generate new
ways of income, self-training, reconnection to
the outside world and general development.
Education is a key driver of development in
the proposal. In contrast to the current strict
education system,based upon the conventional
British system starting at the age of 4 and
purely theory focused, a practical education
is proposed. This starts at the very beginning
by a playful introduction at the toddler stage,
revolving at each educational stage until a
choice is made to either a practical profession
or a more theoretical educational trajectory.
Practical training for building, health care, car
repair, beauty, fashion etc. is intertwined with
the basic theoretical education on reading,
119. 119
writing, mathematics etc.
The proposed buildings make innovative use
of local building materials and skills, and
borrow from other professions like skills of
boat builders, weaving for fishing nets, etc.
The steps to the realization of the buildings are
planned through an educational workshop run
by the architect, through which a local training
group is introduced to harness new innovative
building skills,resulting in the realization of the
first buildings.The builders will play a role in the
realization of the next steps of the development
plans,either communal or private.The designed
buildings are to be seen as a possible outcome,
since in the process of realization other design
decisions may be made, through experiments
and further innovation.
A second important driver for the regeneration
of the village is the introduction of e-commerce;
the mobile smart phone use has taken a flight
121. 121
in Africa and results in intensive use of all its
possibilities. Money transfers and business is
easily done with courier services and transport
adapting to this new trend.As the lead architect,I
see this as a great opportunity for local craftsmen
to do business in Ghana and beyond.
The project regenerates a community as a whole,
which is complex and involves many facets that
are not in control of the conventional architect.
As a designer I take a modest position; proposals
are made,but the realized buildings may very well
differfromthedesigns.Designprinciplesarebased
on local uses, materials and climatic conditions
and form a strong basis for the buildings – an
architect as an enabler.
About the author
Immanuel Sirron-Kakpor MArch, born in Ghana, resided
in the Netherlands between 1994 and 2012. Educated
in architecture and urban design both in Denmark and
Holland. Immanuel works now as a Principal Architect at
Sirron-Kakpor Architects which have an office in Accra -
Ghana and Vlueten – Holland.
125. 125Photo by Christian Richters
UNStudio is a firm based in Amsterdam.
It is a network of specialists in
architecture, urban development and
infrastructure.
Photo by Christian Richters
Theatre Agora, Lelystad, Netherlands
126. 126
UNStudio has offices in Amsterdam and
Shanghai.You have recently developed an
interest in Africa and specifically Ghana.
Why?
My personal interest stems from a number of
factors, but perhaps the key issue lies in the
recognition of a global and age old problem for
which no adequate solution has yet been found:
namely, how do we competently deal with the
many problems that emerge from extremely
rapid urban growth and is it possible to create
new models which can successfully tackle these
issues in the future?
A number of African cities - including of course
Accra - are currently experiencing very rapid
growth and this expansion is bringing with it all
of the economic benefits associated with urban
growth, but also all of the pitfalls- such as large
discrepancies between socio-economic groups
and a shortage of adequate housing. This of
course affects the ways in which cities develop,
with certain areas enjoying an economic boom,
whilst others experience unplanned, inadequate
and impoverished settlement. As inequality
widens,so the city becomes increasingly divided.
But this issue is not specific to African countries
alone. The associated problems have recurred
globally throughout history and many solutions
have been sought, tried and tested along the
way. Few however have ever truly managed
to successfully solve all of the complex issues
involved. So Africa is currently of particular
interest to urban designers and architects -
myself included – as we see the potential to be
involved in re-thinking the city from the ground
up.
Of course individual African countries and cities
present their own particular and very specific
challenges. Problems of rapid urban expansion
do not stop at economic divisions, but in fact
encompass an entire range of issues - cultural,
economic, infrastructural, political, social and
historical. Also, whilst new and immediate
127. 127
Photo by Ryan PaetzoldPhoto by Iwan Baan
Music Theatre, Graz, Austria
128. 128
We have always
believed in
recognisable
architecture, but this
is not only in respect
to its form, it is also
very much related to
its organisation
129. 129
Photo by Ryan Paetzold Photo by Christian Richters
Galleria Department Store, Seoul, South Korea
130. 130
Photo by Brigida Gonzale
Mercedes-BenzMuseum,Stuttgart,Germany
populations create peripheral districts around
an existing city, solutions need to be found to
integrate and balance these with existing and
historical inner city areas. The economic and
socialforcesandthedemographicsoftheexisting
city need to be analysed and applied inwell
thought out new developmental strategies.
User groups, user flows, infrastructure, public
amenities, mixed programmes and clockwise
programming need to be applied in order to
ensure the incorporation of liveliness and all of
the integrated elements that ultimately make
city life sustainable for the whole population.
For Ghana specifically, the recent discovery of
natural resources which has led to increased
prosperity means that in particular the
harbour areas are also becomingmore and
more important. However this particular
development also needs to be carefully
considered,integratedandbalanced.Ontheone
hand harbour areas will grow because of their
131. 131
Photo by Ryan Paetzold
industrial necessity,but on the other hand,they
can also be developed in such a way as to take
full advantage of all they have to offer: to their
local populations, to tourism and to trade. But
again, it should not be the case that this drains
the existing surrounding urban settlements of
their liveliness, vitality or economic security.
On the contrary, a carefully considered balance
needs to be created between the new and the
old so that both can prosper from what they
each have to offer.
In an ideal world we would be able to predict
rapid urban expansion and be fully prepared
with strategies to ensure that cities can cope and
cater for sudden growth. For now however, we
are not it aposition to make such predictions.
But the recent rapid growth ofa number of
African cities appeals to the desire in architects
to deeply examine the issues at hand and
presents the possibility to engageand propose
contemporarysolutionstotwoageoldproblems
132. 132
Photo by Kim Yong-kwan
Galleria Centercity, Cheonan, South Korea
133. 133
Photo by Ryan Paetzold
: how can we solve the problems already created
by unplanned growth and how can we plan for
and accommodate continued expansion?
What are some of the iconic projects
in Africa that have captured your
imagination of growth on the continent?
There are a number of very interesting
buildings in Africa and in recent times an
increasing amount of contemporary projects
are being introduced. But paradoxically I am
critical of thinking of buildings in terms of the
iconic, as this runs the risk of reducing them
to mere images.We have always believed in
recognisable architecture, but this is not only
in respect to its form, it is also very much
related to its organisation. Over the past 20
years or so architecture became very image
oriented, but now it needs to be re-thought
and to engage more fully with its political and
social responsibilities. The image of a building
is made by the user and by their memories of
134. 134
their experiences of a building and for us this
is a more contemporary way of thinking about
iconographic architecture.
What are some of the challenges you
perceive in the African market and do
you have strategies to overcome them?
There are of course many challenges, one of
which I referred to above: that intelligent
solutions need to be found on an urban and
infrastructural level to ensure that development
occurs in such a way as to lessen existing
problems of economic inequality and ensure
that future growth occurs in a more integrated
fashion. Providing adequate housing should
also be approached in terms of creating
‘communities’ and ensuring that each area of
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Photo by Ryan Paetzold
the city develops with the potential for social
and economic growth. Providing for the most
basic housing needs of a rapidly growing
urban population is of course essential and
immediate, however I firmly believe that what
is needed is also a deep planning strategy that
is both socially and economically sustainable
inthe long term and on an urban level.
Thekeyistofindoriginalwaystoimproveurban
settlements and to solve specific local problems.
You not only need to face the challenges
presented by the locations themselves, but
you also have to create your own challenges.
So you don’t look at issues as single problems,
such as housing shortages etc., but instead you
look at the bigger picture and, for instance, try
to ensure that residential areas also contain
public service functions. Such ideas are often
very difficult to integrate however, as they rely
on political decision making, but they are still
essential to successful urban design.
Another challenge for any European architect
Photo by Christian Richters
VilLA NM, Upstate New York, USA
