Lagos Workshop Reflections

Lagos Writing Workshop

Context

This document summarises the collective reflections from the Lagos Writing Workshop.

During the event, participating Early Career Researchers (ECRs) shared insights from

previous experiences organising student writing workshops in architecture. Discussions

included how to strengthen the pedagogical impact of these workshops, optimise cohort

composition, improve documentation and archiving, explore effective workshop models,

expand publishing and dissemination efforts, and establish robust logistical structures for the

long-term.

Based on these reflections, participants discussed how they might transform the workshop

series into a platform tentatively called the African Architecture History and Theory Network.

Such a platform would advance scholarship on the African built environment through various

events and opportunities for writing. It would involve academics and practitioners, on and off

the continent, who work on the history and theory of its built environment.

1. Pedagogical Impact and Institutional Uptake

A recurring theme in our conversations was the importance of tracing the workshop’s longer-

term impact. There were questions about the journeys of previous participants: Where are

they now? How many found their way into academia, and how many continued in

professional practice? More importantly, in what concrete ways did the workshop influence

their teaching, research, or approach to design and writing? This kind of follow-up could

strengthen the workshop’s role as a bridge to academic careers – if we so desired – and guide

how future editions are shaped to meet participants’ realities.

The discussion also brought up a common challenge: in many African universities, research

and writing are introduced into the curriculum only in their later stages. By that time,

valuable opportunities for skill development may have been lost. While institutional reforms

can be slow, participants identified opportunities for immediate action through informal

initiatives, such as integrating writing exercises into existing classes, establishing peer-review

groups, or mentoring students outside formal structures.

Participants emphasised the need to view the curriculum as a living and continuously

developing document that, even within the same framework, approached the material with

creativity in its delivery. This flexibility could open space for richer, more engaging writing,

teaching and development.

There was also a call to clarify the type of writing to prioritise: academic, creative, or a blend

of the two? Clearer goals would help ensure that teaching and mentoring efforts are aligned.

Finally, the group identified an opportunity for deeper institutional support: inviting

academics to serve as visiting scholars in specific schools, funded to spend extended periods

(perhaps a semester or more) and to help embed a writing community of practice more firmly

within an architecture department.

2. Cohort Composition and Interdisciplinarity

We reflected on how different compositions of workshop participant cohorts, such as single-

discipline or interdisciplinary, or those from a single institution or multiple institutions, shape

the workshop experience. Past multidisciplinary groups, comprising participants from various

universities, were seen as especially enriching, bringing fresh perspectives to both

discussions and writing. In particular, pairing architects with participants from other fields

interested in writing about buildings, as in the Accra workshops, proved valuable.

When it comes to larger participant numbers, colleagues suggested experimenting with group

essay writing. Under such conditions, each group member could contribute a section, as a

way to sustain engagement and produce richer outputs. This may require more work up front

to set it up effectively. Yet it promises to yield good results in the long run.

Another critical question was whether we had, in the past, assumed too much about

participants’ writing ability during the selection stages. In earlier workshops, many were

chosen because they could already write well. Moving forward, requesting writing samples

could help establish a baseline. Where needed, we can offer resources and strategies to help

beginners build foundational skills, as well as targeted support for advanced writers. At the

highest level, we recognised the importance of a clear framework to support and challenge

experienced writers to produce polished, high-quality outputs.

Participants also pointed out the importance of cohort size, which would shape the structure

of the workshops. Smaller groups allow for more intensive work, while larger groups may

benefit from group or collaborative approaches. But much of this needs to be discussed

alongside issues such as the number of ECR mentors available and the duration of the

workshops, and all these depend on funding.

3. ORGANISATION: Documentation, Archiving, and Knowledge Management

Lagos workshop participants also discussed the need for a more systematic approach to

capturing, storing, and sharing the knowledge generated through the workshops. This

includes establishing clear protocols for cloud storage and file sharing. These should ideally

be set up before each workshop to ensure that all forms of output are preserved and

maintained. The frameworks should provide for the archiving of materials in multiple

formats, including audio and video recordings of workshop discussions, lectures, participant

feedback, and organisers’ reflections.

We also acknowledged the central role that archival materials and comparative building

analysis can play in fostering architectural research and writing, as well as the barriers to

accessing architectural records across institutions and countries. Whilst some university

libraries may have useful records, there still exists a need to establish direct contact with

architects or their families, in case they have passed away, to explore how we might collect

and store their archives. Copyright issues emerged as a key consideration. If architectural

drawings or other archival content are to be published online, it is essential to secure the

necessary permissions from rights holders.

There was also discussion about the platform through which archived materials might be

made accessible online. Should this be a standalone website dedicated exclusively to the

workshop series, giving it a clear identity and independent visibility? Or should it be

integrated into the digital infrastructure of an existing institution, potentially offering greater

3long-term stability, technical support, and credibility? Each option carries implications for

accessibility, branding, and sustainability. We need to consider this alongside questions of

funding, audience reach, and alignment with the workshop’s broader objectives.

Finally, participants emphasised that robust archiving is just as much about accessibility as it

is about accuracy. To ensure that stored knowledge remains reliable, we discussed the

potential for an independent peer-review mechanism for workshop essays and other materials

generated. Such a system would help maintain the archive’s long-term value as both a

teaching resource and a research asset.

4. Workshop Models and Formats

We reflected on the range of workshop models used to date, from those focused on individual

essays to those built around group writing, and from standalone events to workshops

embedded within larger programmes. Each format offers distinct advantages: individual

writing allows for deeper personal engagement with a topic, while group essays can foster

collaboration, distribute workload, and produce richer, multi-voiced outputs.

Lessons from initiatives such as the Shared Heritage Fellowship suggest that embedding

workshops within broader collaborative frameworks can create valuable opportunities for

networking, resource sharing, and sustained engagement. Well-structured collaborations can

also open doors to funding streams that might otherwise be inaccessible.

Potential partners identified included:

· The Canadian Centre for Architecture (CCA), which holds relevant archives and could

host African scholars for on-site archival work as part of a workshop.

· The Museum of Modern Art (MoMA) in the United States.

· The Architecture and Design Centre in Rwanda by MASS Design Group.

· The African Futures Institute (AFI); and

· The African Architectural and Urban History Network (AFRAUHN).

Reaching out to such institutions could create new possibilities for co-organised workshops,

access to specialised collections, and cross-continental exchanges.

5. Publishing, Toolkits, and Knowledge Dissemination

We discussed the value of consolidating the insights, methods, and resources developed

through the workshop series into outputs that extend beyond the immediate cohort. Joint

publications, whether in the form of edited volumes, special journal issues, or curated online

essays, could serve both as a record of the intellectual work undertaken and as a meaningful

contribution to the broader discourse in architecture.

Platforms for such outputs could include academic journals such as Architectural Research

QuarterlyJournal of Architectural Education, and The Journal of the Society of

Architectural Historians.

Conferences such as the Society of Architectural Historians (SAH) Annual Conference, the

African Architecture Matters Forum, and the African Studies Conferences could serve as

opportunities to present findings, build networks, and position the workshops’ outputs within

both African and global conversations on architecture and heritage. Such outputs could feed

back into architectural curricula, enriching reading lists for history and theory courses and

influencing teaching practice within departments.

In parallel, the creation of practical manuals or toolkits – which draws on our collective

experience in workshop design, pedagogical strategies, and partnership building – could

support future workshops as well as other educators and institutions interested in running

similar initiatives. Toolkits could be tailored for a broader readership, including practitioners,

students, and cultural institutions, and made accessible in multiple formats: print, digital, and

ideally, open-access.

Finally, there was strong interest in forming a dedicated working group or network to develop

and promote research, teaching, and dialogue on African architectural history and theory.

Participants believed this would provide a sustained platform for collaboration and visibility

in this field. A suggested name is the African Architecture History and Theory Research

Network (AAHT), which would have a base (a writing hub) at each participating university.

These AAHT writing hubs could be dedicated to providing year-round support for student

members who develop essays for publication and who could serve as a pool to draw from for

future workshops.

6. Planning, Logistics, and Long-Term Structuring

We discussed the need for more robust logistical and planning frameworks to support the

consistent delivery of successful workshops while reducing the need to reinvent processes

each year.

For transnational events, this includes building capacity for virtual and hybrid formats to

support collaboration across countries and institutions. For in-person gatherings, challenges

such as visa applications must be addressed early. A practical step would be to send accepted

participants a checklist of required preparations immediately upon selection, to avoid delays

caused by unforeseen administrative issues.

Clear decisions will be needed regarding the frequency of workshops (e.g., annual or bi-

annual). This, in turn, will determine how much time will be required for planning. This

means formalising the workshop series as an event centred on writing and text production

about the African built environment. This will be based on a standing document outlining our

core values, mission, and vision, supported by a strategic committee responsible for

oversight, continuity, and long-term direction.

To streamline coordination, we proposed appointing an administrative lead – possibly an

intern based at the host institution – to handle logistical tasks, allowing academics to focus on

the programme’s intellectual and pedagogical components.

Alongside the list of potential collaborators, a standing register of funding and grant

opportunities would help guide application timelines and planning priorities. Planning

frameworks should also account for different funding conditions, with adaptable approaches

for both funded and unfunded workshops.

Finally, we explored strategies to expand the series to other university campuses, beginning

by consolidating our presence in key locations, such as Uganda, before extending it to new

sites. This phased approach could help ensure depth and sustainability in our growth, building

strong local networks before scaling further.

November 8, 2025–April 12, 2026: Office Southeast in collaboration with Dana Salama

During the 1960s, Accra stood at the center of the anticolonial world. As the capital of Ghana—the first independent country in sub-Saharan Africa following European colonization—the city drew revolutionaries, intellectuals, and artists from across the continent and the Cold War divides. Ghana’s first leader, Kwame Nkrumah, envisioned Accra as a showcase of African statehood and invited architects to help shape its future.

Exhibition Photograph, courtesy of Łukasz Stanek, 2025.

Intersections traces the collaboration of two architects who responded to that call: Ghanaian Victor Adegbite (1925–2014) and Hungarian Charles Polónyi (1928–2002). Polónyi arrived in Accra as part of Eastern European technical assistance programs supporting Ghana’s transition to socialism. He worked for the Ghana National Construction Corporation (GNCC), where Adegbite—a Howard University graduate—served as chief architect. In their work at the GNCC they mobilized architectural resources from the socialist, capitalist, and non-aligned countries and designed buildings that responded to Ghana’s needs, means, and aspirations.

The exhibition centers on the housing projects designed by Adegbite and Polónyi, which embodied the many dimensions of independence—from representing a new elite to the state’s provision of housing for all social groups. By juxtaposing family archives from the United States and Hungary—preserved by the architects’ daughters—the exhibition both reconstructs and reenacts an encounter from sixty years ago. By recording how the buildings designed by Adegbite and Polónyi have been appropriated by their inhabitants, it shows how the architects’ work continues to impact Accra’s urban landscapes.

Curators: Michael Dziwornu and Łukasz Stanek, in collaboration with Dana Salama.

Values of Waste: Social and Material Histories of Bio-Based Construction 

Values of Waste will bring together architects, historians and activists to discuss how histories of labour and production can inform architectural uses of bio-based and waste materials. 

At a time when architects are increasingly re-evaluating the relationship between the built environment and materials like agro-industrial by-products, mineral tailings and discarded construction materials, this event will facilitate challenging interdisciplinary dialogues, posing questions such as:

• How are ‘natural’ and ‘waste’ materials valued, produced, and transformed?

• Do recycling efforts in architecture and related industries address or inadvertently conceal histories of labour exploitation, and what are the alternatives?

• What lessons can designers and building scientists working with natural and waste materials learn from history or contemporary grassroots experience, and vice versa?

• What new historical narratives might emerge from design experimentation? And what new possibilities in design and construction could result from archival and oral histories of labour and materiality?

It would be wonderful to see you there if you are able to attend for some or all of the day. Places are free but limited so please register on Eventbrite: https://www.eventbrite.co.uk/e/values-of-waste-tickets-1724185257519

Or RSVP to: 

alistair.cartwright@liverpool.ac.uk

Zamarian, Patrick. (2025). The Bombay School of Architecture and the Royal Institute of British Architects (1917–1948). Fabrications, 1–41. https://doi.org/10.1080/10331867.2025.2528267

 Technical Building, Sir J. J. School of Art, Bombay, 1909, designed by George Wittet and since 1926 home to the Bombay School of Architecture. Photographer unknown; from John Begg, Annual Report on Architectural Work in India 1909–1910 (Calcutta: Superintendent Government Printing, 1910).

In the early twentieth century, Bombay (now Mumbai) emerged as the largest and commercially most important city in what was then British India. With its rapid urban development offering opportunities for professional architects, the city produced the country’s first school of architecture, instituted in 1913 and, in terms of student numbers, soon among the largest such institutions in the British world. The Royal Institute of British Architects (RIBA) meanwhile claimed to promote and coordinate the training of architects across the British Empire. Using a broad range of archival records, government reports, and contemporary periodicals, this article traces the relations between the Bombay School of Architecture and the RIBA, which began during the First World War and ended following India’s independence. It argues that throughout this period the school was driven by its efforts to attain the RIBA’s “recognition,” which ultimately foundered on the RIBA’s intransigence. In contrast to its handling of schools in the settler colonies, the RIBA insisted on unrealistic metropolitan standards from the Bombay School. I therefore contend that the RIBA did not in fact pursue a coherent imperial policy; its lofty rhetoric notwithstanding, the RIBA’s role in coordinating architectural education beyond Great Britain remained limited.

General Post Office, Bombay, designed by John Begg and built between 1904 and 1913. Image from Report of the Civil and Military Works of the Public Works Department (General Branch), Bombay Presidency, for the Year 1909–1910 (Bombay: Government Central Press, 1910).

Full article available (creative commons) via the link above.

China’s Two Tropical Architectures: Climatic Regimes, Socialist Reconstruction, and Global Maoism in Guangzhou and Dar es Salaam, 1955-76, by Sun Zhijian, National University of Singapore, supervised by Prof Jiat-Hwee Chang.

Abstract:

In the contexts of decolonization and the Cold War, the tropical world became a contested arena with fierce competition among various old and new donors in the name of development aid, of which the infrastructural construction constituted the backbone. In the past decade, a growing body of literature on postcolonial tropical architecture has challenged current accounts weighed towards the built environment produced by either the former metropolitan powers or the Soviet-bloc, by shedding new light on the role of a third category of emerging aid donors, especially socialist China. Following the Sino-Soviet Split (1960), the Chinese attempted to promote an alternative socialist development path in newly-independent African states to that proposed by their Soviet-allied rivals. However, despite the allegedly age-old Sino-African solidarity, as latecomers in the unfamiliar tropics, the Chinese struggled against many challenges, among which the most crucial was the hot-and-humid climate as well as building problems it caused. This process almost coincided with their domestic socialist reconstruction through coping with the scorching heat and humidity in subtropical Guangdong under the Great Leap Forward (1958-62) and subsequent revolutions.

Based on archival materials from China, Tanzania and the UK, this thesis is a transnational history of China’s two tropical architectures in relation to both domestic politics and global geo-politics in the mid-to-late 20th century, i.e. China’s overseas architectural aid in decolonizing Dar es Salaam, Tanzania under Nyerere’s Ujamaa socialism, which was the largest sub-Saharan African recipient of China’s assistance in the Cold War, and China’s domestic subtropical modern architecture in Maoist Guangzhou, which has long been the stronghold of China’s subtropical knowledge production. Through case studies of sample projects of industrial and agricultural infrastructures in Guangzhou and Dar es Salaam, it answers two overarching questions: Since China’s two tropical architectures took place concurrently, were there any transnational interactions between their knowledge production and practice? (If so, how did they happen?) How did the Chinese socio-cultural construction of the tropics give rise to a distinctively “anti-imperialist” mechanism of tropical architecture from that of the West and socialist North? 

Moving beyond traditional architectural historiography relying primarily on stylistic analysis, it draws on theories of “techno-political regimes” and “critical temperature studies” to develop the notion of “climatic regimes” to capture the interdependence between tropical architecture’s climatic management and the exercise of socio-political power. As the socio-technical arrangements of an interlinked body of climatic knowledge, thermal comfort norms, sanitary discourses, urban typologies and architectural expertise transcending Cold-War rivalries, climatic regimes render intelligible a certain set of climatic parameters, trigger remedial strategies dealing with environmental concerns and normalize people’s thermal sensation for certain political goals. It argues that China’s two tropical architectures were not only concurrent, but more importantly, were co-constitutive with each other through a highly-centralized bureaucratic network of socialist state-run institutions rather than the genius of certain individuals, in which not only architects and planners, but also building physicists, meteorologists, physiologists, ventilating engineers and technocratic Party cadres were all active mediators of global flows of resources and expertise. Divergent from the Soviet-bloc’s climatic regimes paying particular attention to former colonial thermal segregations of mass housing in Africa, the Chinese endeavors driven by the Sino-Tanzanian common appetite for rapid industrialization and self-reliance under the principle of “Production First, Livelihood Second” resulted in the uneven distribution of climatic considerations between industrial and non-industrial spaces in the work-unit typologies both within and beyond China. By revealing how the Chinese tropicality worked from within and vice versa, it contributes to existing literature on the histories of both modern Chinese architecture’s transnational influence and global tropical architecture, as well as recent scholarly attention to thermal comfort in the built environment against the Anthropogenic climate change.

As Hardly Found: Art and Tropical Architecture centres artists and artworks that have so far been overlooked by histories of ‘tropical architecture’. In this collection of essays, historians, artists and archivists address works of art connected to epicentres of teaching and practice within the movement – focusing on the Department of Tropical Architecture at the Architectural Association and its collaborators such as Kwame Nkrumah University of Science and Technology – which emerged in the mid-20th century alongside anticolonial struggles that dismantled the British Empire.

Here, authors use creative, critical and speculative methods to inhabit the gaps in archives of tropical architecture, highlighting artworks in Nigeria, Ghana, India, Indonesia, Singapore, Costa Rica, Cuba and the UK. Their contributions trace connections within a network of relations between art and architecture; one which recentres the rich and diverse forms of environmental knowledge, social values and material cultures contributed by artists working in these contexts.

We are delighted to welcome the editor, Albert Brenchat-Aguilar, and the team from AA Publications, who will give a short introduction to the book. A small installation will accompany, food and refreshments will be provided.

More info here: https://www.aaschool.ac.uk/publicprogramme/whatson/as-hardly-found

Book contents:

  1. Foreword by Ingrid Schroder
  2. As Hardly Found by Albert Brenchat Aguilar
  1. Bea Gassman de Sousa, Pencils and Ink: Ben Enwonwu’s Boy Reading
  2. karî’kachä seid’ou, A Silent Witness: J C Okyere’s Lonely Woman
  3. Juliana Yat Shun KeiThe Unspeakable and the Unspoken: Theo Crosby’s Graphic Communication in Architectural Design
  4. Mark CrinsonThe Frontiers of Architecture: Eduardo Paolozzi’s Man with a Camera
  5. Kennii Ekundayo, Ecological Synthesis: Bruce Onobrakpeya’s Eketeke and Erhevbuye and Tree in a Landscape
  6. Ben Highmore, Flesh Feeling: Magda Cordell’s No 8
  7. Hannah Le Roux and Pedro Guedes, Zebra Attack: Pancho Guedes’s The ‘Buedes’ Mural 
  8. Pepe Menendez, Following (Foot)Prints: Tony Évora’s Poster for OSPAAAL
  9. Vandana BawejaCounter-Narratives of Tropicality: Asiru Olatunde’s Aluminium Repoussé Panels 
  10. Joleen Loh, Multi-Directionalities: The photographs of Kim Lim
  11. Adedoyin Teriba, Ever-Changing Nature-Cultures: Demas Nwoko’s Crafts Men at Work
  12. Albert Brenchat-Aguilar, Artemis Morgan, Çağla Kazanlı, Mina Gürsel Tabanlıoğlu, and Yiru Wang, Climate Anti-Determinism: Avinash Chandra’s Fire
  13. Rachel LeeWhere Are the Beautiful Moments? Homi J Bhabha’s Dove Sono i Belli Momenti?
  14. Lena Naumann, Forms of Significance: Susanne Wenger and the New Sacred Artists
  15. Antoni Malinowski, Hello, Shelagh: Shelagh Wakely’s KNUST Occasional Report cover
  16. Shirley Surya, Where Rivers Meet, a Dome: I Ketut Tagen’s Untitled (Bale, Bunder, Windhu, Anne, Bali, Ubud, Campuan)
  17. Courage Dzidula Kpodo, A Stranger Form: Kwaku bonsu’s Postcard of Prempeh II Sculpture
  18. Ikem OkoyeTesserae and Sovereignty at Risk: Yusuf Grillo’s Lagos City Hall Murals
  19. Zhijian Sun and Wei Weiting, Experts and Amateurs: Khoo Sui Hoe’s Children of the Sun
  20. Natalia Solano Meza, Experiments in Dissent: Felo García’s 20 Años de Pintura 
  21. Iain Jackson, Claire Tunstall, and Helen Unsworth, Something Unsettling and Subversive: Erhabor Emokpae’s Mural for the United Africa Company                               
  1. Epilogue by Bernard Akoi-Jackson (KNUST, Kumasi), A set of Artistic Speculations on Imperatives that are Structural and Systemic          
  2. Epilogues on Fiction: by Ella Adu, Mariana Castillo Deball, Ato Jackson, Debbie Meniru    
  3. Epilogue by Priya Basil, Archive Fever

Hector Othon Corfiato (1892 – 3 May 1963) was a Greek architect (although some claim Egyptian). After studying at École nationale supérieure des Beaux-Arts in Paris, he established the firm of Corfiato, Thomson & Partners and was professor and director at The Bartlett School of Architecture, UCL from 1946 to 1959 (emeritus from 1960). He worked on various ecclesiastical projects including https://c20society.org.uk/c20-churches/notre-dame-de-france and https://www.architectsjournal.co.uk/news/grade-ii-listing-for-rare-corfiato-church and after his retirement the Church at Debre Libanos, Ethiopia (circa 1961).

Church at Debre Libanos, Ethiopia

He also completed some further projects in Burma, and in West Africa for the Nigerian College of Arts, Science and Technology (NCAS&T) in Zaria. Whilst in Nigeria he established an office at the collage and took on further projects including for the Manchester based firm G B Ollivant.

G B Ollivant (GBO) was bought by the United Africa Company in 1933 and transitioned from cotton and fabric trading into general retail, office supplies, and building management. Corfiato designed several bungalow types for the firm as well as a large retail store in Onitsha (1959) selling cottons, hardware, provisions, and fancy goods. The store was to connect to an existing Cosley store – which we suspect were hardware/builders merchants.

The building provided showroom spaces as well as retail and was probably used more for wholesaling than general retail. The exposed concrete frame of the building supported the overhanging roof to provide solar shading to the upper level whilst the ground floor had a further projecting canopy over pavement. It’s utilitarian and straightforward – but more than a mere warehouse and a considerable aesthetic departure from GBOs usual building style found elsewhere in West Africa. It’s looking more towards the ‘high end’ retail stores being built at the same time across Nigeria, and was part of the construction boom in Onitsha that saw the new cathedral (by Richard Nickson) and market hall (see Nigeria magazine no65, 1960).


Corfiato collaborated with various other architects about whom we know very little. They’re listed in Nigeria Magazine as just “Avis” and “Horner” and are given credit for designing the Dispensary at Zaria College and a store for Gottschalck in Kaduna. The Gottschalck store closely resembles the GBO store and was also part of the UAC group.

Above Gottschalck Store at Kaduna. BEAM on the right hand side was another UAC subsidiary, ‘Business Equipment And Machines’. From Nigeria Magazine no73, 1962.

These projects raise a number of questions: Did Corfiato ever visit West Africa? Was he responsible for obtaining these commissions in the UK and then establishing a satellite office in Nigeria? Who were Avis and Horner? They were clearly a capable team and delivered some significant residential, educational, and commercial projects across Nigeria.

See https://bartletthistoryproject.tumblr.com/post/81996916344/hector-corfiato-extraordinary-man for more on Corfiato.

After the Global Turn: Current Colonial, Decolonial and Postcolonial Perspectives in Architecture

What is the status of postcolonial and decolonial discourse in architecture?

How has the “global turn” in architectural discourse evolved from histories of contact, conquest and colonization?

Forty years ago, the influential essays of “‘Race,’ Writing and Difference” appeared in Critical Inquiry (Gates, 1985, 1986). Essays by Edward Said, Homi Bhabha, Gayatri Chakravorty Spivak, Hazel Carby, Jacques Derrida, Abdul R. JanMohamed, and others created new critical models that interrogated how difference had been inscribed as “race” and explored the complex interactions of race, writing and difference, which influenced architectural history and theory for several decades.

That same year, Spiro Kostof’s textbook A History of Architecture (1985) spurred a “global turn” in architecture that has complicated the field’s canon. The new global discourse seeks to understand contemporary globalization as manifested in the built environment, exemplified by the foundation of the Global Architectural History Teaching Collaborative (GAHTC) and the publication of multiple volumes on global architecture.

The global turn has attempted to close the dichotomies of East and West, North and South imposed by earlier colonial and postcolonial theories, such as Edward Said’s formulation of Orientalism as the Occident’s “other” (Said, 1978). Perspectives from the “Global South” have emerged as important correctives to the hegemony of Northern Hemisphere-centered scholarship and practice. What has resulted from this “turn” has been ambiguous, however, as it often focuses on architects from the Global North operating in the Global South or developments modeled after Western architecture and urban design, without a concomitant innovation in truly global approaches and subject matter.

This Special Issue aims to explore the field’s development from colonial, decolonial and postcolonial theory to the global turn and beyond. We encourage papers that take innovative approaches to the colonial, postcolonial, decolonial and global in architecture, including such topics as:

  • Transnational connections and flows in excess of political boundaries;
  • Decentered models of global architecture;
  • Race and architecture;
  • Feminist, subaltern and minor perspectives on architecture,
  • Empire and decolonization;
  • Migration;
  • Indigenous architecture;
  • Informal architecture;
  • Landscapes of extraction and dispossession;
  • Modernization and development;
  • Other perspectives.

More info here https://www.mdpi.com/journal/architecture/special_issues/126537KTMW

References

Critical Inquiry: Autumn 1985 (vol. 12, no. 1) and Autumn 1986 (vol. 13, no. 1); Henry Louis Gates, ed. “Race,” Writing, and Difference. Chicago: University of Chicago Press, 1986.

Global Architectural History Teaching Collaborative https://www.gahtc.org/.

Kostof, Spiro. A History of Architecture: Settings and Rituals. New York: Oxford University Press, 1985.

Said, Edward. Orientalism: Western Representations of the Orient. London: Routledge & Kegan Paul, 1978.

Dr. Patricia Morton
Guest Editor

In 1958, the Ghana Arts Council and the Rockefeller Foundation provided the necessary funding to set up ‘the Experimental Theatre Players’ spearheaded by Efua Sutherland and Joe Degraft. Architects Gerlach and Gillies-Reyburn were commissioned to design the structure which was based around two performance stages – one ‘in the round’ and the other a proscenium arch theatre. It was Sutherland who generated the design strategy,

“Conceptualized by Sutherland, the dominance of traditional motifs in the architectural design of this theatre edifice was a statement of cultural renaissance, independence, and nationalism because she believed “political independence suggested cultural autonomy”

(Anku, S. S. (2022). (Post) Colonial Ghanaian Attitudes Towards Ibsen: An Overview of Ibsen Reception in Ghana Between 1930 and 1966. Ibsen Studies22(1), 3–30. https://doi.org/10.1080/15021866.2022.2063977).

The stages are enclosed by a series of interlocked rooms built from sandcrete and providing changing, offices, and other ancillary functions. The project received a full write up in the West African Builder and Architect journal in 1962.

“It was a small structure, unpretentious but handsome, traditional in inspiration yet modern in design. The dazzling whitewashed walls with their dark trim resembled a village compound and were meant to. Inside, at one end, a platform stage was covered by an overhanging roof; but the auditorium, with its seats of carved Ghanaian stools, was open to the night sky. It stood in a rough, weedy place approached by dusty footpaths, its simplicity contrasting sharply with the gaudy grandeur of Accra’s nearby Ambassador Hotel. The crowds were gathering at the entrance that was shaped like a huge traditional stool and flanked by two massive Akuaba dolls, sculpted male and female symbols of fertility”

(Anku, S. S. (2022). (Post) Colonial Ghanaian Attitudes Towards Ibsen: An Overview of Ibsen Reception in Ghana Between 1930 and 1966. Ibsen Studies22(1), 3–30. https://doi.org/10.1080/15021866.2022.2063977)

Anku further notes that the theatre was “replicated and relocated to the School of Performing Arts premises at the University of Ghana” – it’s unusual for a building to be entirely remade in a new location. The old site, as Anku notes, was near the Ambassador Hotel – this is now where the Mövenpick Hotel is located. Was the structure physically demolished, moved, and rebuilt? Perhaps the old site is where the National Theatre is located today?

The new Drama Studio at University of Ghana, Legon. Photograph by Phanuel Parbey

Delco Offices in Freetown, photographed in 2023, designed by Zdzisław Borysowicz in early 1960s

Have a peek at our inaugural AHUWA newsletter here: https://new.express.adobe.com/webpage/qgRzBtoiF2Snh

It’s devoted to our work-in-progress on the Polish architect Zdzisław Borysowicz – complete with lots of photos, basic biog on ‘Borys’ and how we managed to finally find out more on this fascinating architect….